#Competitive and Transparent Pricing

[dipnots]

Choosing the Right VPN Service: Key Features and Considerations

In an era where online privacy and security are paramount, selecting the right VPN (Virtual Private Network) service is crucial. With countless options available, it’s essential to understand what features to look for and what makes a VPN service reliable and effective. Here’s a comprehensive guide on how to choose a VPN service and the key elements a good VPN should offer. Security…

[emergencyplumbingil]

What you need to know about home water filtration.

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[hsmagazine254]

Setting Your Price Point: A Business Strategy

Understanding the Art of Pricing Pricing your products or services effectively is a critical aspect of running a successful business. Your price point not only impacts your revenue but also shapes customer perception and can make or break your competitiveness in the market. In this article, we’ll delve into the art and science of setting the right price point for your business. Understanding Your…

[webuniseo]

IDENTIFY THE RIGHT AMULYA GOLD BUYERS IN BANGALORE

Finding the right Amulya Gold buyers in Bangalore is crucial for a successful transaction Look for reputable and trustworthy jewelry buyers with a proven track record. Ensure they offer fair and competitive prices based on current market rates. Read customer reviews and testimonials to gauge their reliability. Verify if they provide transparent and secure processes. Choose buyers who prioritize customer satisfaction, confidentiality, and professionalism. Research and compare multiple options to make an informed decision. By selecting the rightAmulya Gold buyers in Bangalore you can ensure a smooth and satisfactory selling experience while getting the best value for your precious jewelry.

[carbt2]

CAR HİRE DALAMAN AİPORT (2)

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Best Car Rental

When it comes to exploring the beautiful landscapes and vibrant culture of Dalaman, having the right vehicle can make all the difference. The best car rental services at Dalaman Airport ensure you enjoy the freedom and flexibility to travel at your own pace. With our extensive fleet, you can choose a car that suits your style, whether you prefer a compact ride for urban exploration or a spacious SUV for family adventures.

Opting for a Dalaman car rent service provides you with several key benefits:

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For those looking to explore Dalaman and its stunning surroundings, choosing Dalaman airport rent a car means you're making a smart decision for your travel. Contact us today to book your ideal vehicle and embark on a journey filled with unforgettable experiences!

Dalaman Car Rent

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Airport Car Rental

When traveling to Dalaman, the convenience of airport car rental cannot be overstated. With a variety of options tailored to fit every traveler's needs, renting a car upon arrival allows you to explore the stunning landscapes and beautiful destinations around Dalaman at your own pace. Whether you’re here for a family vacation, a romantic getaway, or a business trip, choosing the best car rental services will enhance your experience tremendously.

Unmatched Convenience

Picking up your rental car at Dalaman Airport means you can skip the hassle of public transportation or waiting for taxis. Our streamlined airport car rental process ensures that your vehicle is ready for you as soon as you land. No matter the time of day or night, you can count on us to have your vehicle waiting, offering you immediate access to explore the vibrant surroundings.

Wide Selection of Vehicles

Our fleet offers a wide range of vehicles, from compact cars for solo travelers to spacious SUVs for families. This ensures that you can choose the perfect rental car that suits your trip. When you opt for Dalaman airport rent a car, you can easily select a vehicle equipped with the latest technology and comforts, making your ride smooth and enjoyable.

Competitive Rates

We pride ourselves on offering the best car rental deals in Dalaman. With transparent pricing and no hidden charges, you can enjoy peace of mind knowing that you're getting the best value for your money. Our affordable rates cater to all budgets, allowing you to enhance your travel experience without breaking the bank.

Ready to embark on your Dalaman adventure? Choose< strong> airport car rental for an unforgettable experience. Visit our website to book your vehicle today and discover the beauty of Dalaman with the freedom that comes from having your own car!

Dalaman Airport Rent a Car

When you choose to rent a car at Dalaman Airport, you're unlocking the freedom to explore the stunning landscapes and vibrant coastal towns at your own pace. With our extensive fleet of vehicles, we ensure that you find the perfect match for your travel needs, whether you're traveling solo, with family, or in a group.

Our commitment to providing the best car rental experience begins the moment you land. With a hassle-free pick-up process and excellent customer service, we aim to make your journey seamless from the very start. Rest assured, each car is meticulously maintained to guarantee a safe and comfortable ride.

Looking for convenience? Our convenient location at Dalaman Airport makes it easy to grab your rental car and hit the road without delay. Experience the beauty of Turkey's coastline, hidden gems, and rich culture with the freedom that only a rental car can provide.

Don't miss out on your adventure. Book your Dalaman airport rent a car today and start your journey with confidence and ease. Visit our website to secure your vehicle now!

[durtblog]

CHAMPPAİNTİNG

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Painters Toronto

Finding reliable and expert Painters Toronto can be a daunting task, especially with the multitude of options available. At Champ Painting, we understand the significance of quality painting services that not only enhance the aesthetic of your space but also reflect your personal style. Our team is composed of skilled professionals dedicated to delivering top-notch results on every project.

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We take pride in our meticulous attention to detail, which allows us to provide a flawless finish every time. Whether you're looking for vibrant colors to brighten your home or a subtle touch-up for your office space, our Painting services Brampton and surrounding areas ensure we cater to every client's unique needs. We also specialize in İnterior painting Toronto, guaranteeing that every room in your home will look stunning.

Let us help you transform your living or working space into a work of art. Contact us today for a free estimate and discover why we are the preferred choice among house painters in Barrie, Ontario. Your dream space is just a brushstroke away!

Painting Services Brampton

Transform your space with our exceptional painting services in Brampton. At Champ Painting, we specialize in delivering high-quality painting solutions that cater to your specific needs, whether it's a residential or commercial project. Our team of skilled and experienced painters is dedicated to bringing your vision to life with precision and care.

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Competitive Pricing: Quality doesn't have to break the bank. We offer transparent pricing that fits a variety of budgets without compromising on excellence.

Whether you’re considering a fresh coat for your home or a complete overhaul for your office, our painting services in Brampton are just a call away. Let Champ Painting help you create the environment you’ve always dreamed of.

Contact us today to schedule a consultation and receive a free estimate. Experience the difference with Painters Toronto—your trusted partner in painting!

İnterior Painting Toronto

Transforming your living space takes more than just a fresh coat of paint; it requires the expertise of skilled professionals who understand color palettes, technique, and the unique character of homes in Toronto. At Champ Painting, we pride ourselves on offering unparalleled interior painting services that cater to the distinct tastes and needs of our clients.

Our team of interor painting Toronto specializes in using high-quality materials that not only ensure a stunning finish but also enhance the longevity of the work. Whether you want to refresh a single room or undertake a complete interior overhaul, our attention to detail and commitment to excellence will leave your spaces looking immaculate.

We understand that every home tells a story, and our painters take the time to listen to your vision. Leveraging our extensive experience, we will guide you in choosing the right colors and finishes that reflect your style. Furthermore, our painting services in Brampton are designed to accommodate both residential and commercial needs, ensuring a seamless experience from start to finish.

When you choose Champ Painting, you are partnering with house painters in Barrie Ontario who prioritize your satisfaction. With our competitive pricing and efficient service, transforming your interior into a space you love has never been more accessible. Don’t wait any longer to fall in love with your home all over again—contact us today to get started on your interior painting project!

House Painters in Barrie Ontario

When it comes to transforming your living space, the right choice of painters can make all the difference. In Barrie, Ontario, our house painters offer unparalleled quality and expertise that aligns perfectly with your vision for your home. With an extensive portfolio of residential projects, we are proud to deliver stunning results that enhance the beauty and value of your property.

Choosing our house painters in Barrie Ontario opting for professionalism, reliability, and exceptional craftsmanship. We understand that every home is unique, which is why we tailor our services to meet your specific needs. From meticulous prep work to the final stroke of paint, our team is dedicated to achieving flawless finishes that exceed your expectations.

Don't settle for ordinary when you can have extraordinary. Get in touch with us today to schedule a consultation and let our skilled painters in Barrie help you bring your dream space to life. Experience the difference with our top-notch services that reflect your personal style and enhance your home’s aesthetic.

Ready to transform your space? Contact us now for a quote and discover how our house painters in Barrie, Ontario, can elevate your home’s appeal!

[pandemic-info]

Fact Check: Did Trump Raise Prescription Drug Prices? - Newsweek

Trump rescinded Biden policy on lowering costs of prescription medication for people using Medicare and Medicaid.

Biden's order [now rescinded by Trump] directed the Department of Health and Human Services to explore strategies to reduce costs. The U.S. Centers for Medicare & Medicaid Services (CMS) responded to the order with programs to cap the price of certain generic drugs at $2 for Medicare beneficiaries, improve Medicaid access to high-cost cell and gene therapies and to streamline the evidence-gathering process for new drugs.

...

"While the immediate impact depends on how pharmaceutical companies respond, this move potentially opens the door for drug prices to rise," Agranoff said. "Biden's order aimed to rein in costs by promoting price transparency and competition, which are critical for making life-saving medications affordable." "Without those measures, companies could have more flexibility to set higher prices," he added. "For many Americans, particularly those on fixed incomes or without comprehensive insurance, this change may lead to increased financial strain and limit access to essential medications."

[beraberblog]

ESTHETİCHAİRMEXİCO - DRAGON+ (5)

Esthetic Hair Mexico: Your Trusted Destination for High-Quality Hair Transplants in Mexico

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When you choose Esthetic Hair Mexico for your hair transplant needs, you can rest assured that you're in good hands. Our team of dedicated professionals is committed to providing personalized care and support throughout your journey, from the initial consultation to post-operative care and beyond.

[madeby-meru]

I have always seen the argument of "If you don't like it then stop playing" flying around since I have been in gaming communities and I have been thinking on writing a more detailed post on why I personally think that this statement doesn't truly fit in many of the complains about MCL NG.

Just as a heads up, I am not directing this to anyone in specific, honestly I can't even remember who has said this cause I have seen this comment across multiple social medias and various forums. So, to make things clear: I am only discussing the concept behind the argument, that's it.

Leaving it under the cut.

Now,

why do I think this response doesn't apply to (many of) New Gen critiques?

Lets use another free game with microtransactions as an example that I think will make things pretty obvious: the new Nikki game

If I came into that fandom and began complaining about the concept of style battles, of how focused it is on dressup, the storyline being about fashion... That is a me problem, that is my issue alone. I am complaining about the core of the game, about the purpose of it and about what makes the game what it is. I am not the target audience. I should, therefore, simply stop playing cause the game does not align with my taste and I am not gonna enjoy it.

I believe this is not what is happening with New Gen.

The most common critiques I have seen about it are: - The AP system (merging AP and Gold, expensive dialogue choices) - The style contest (unfair competition) - The price of packs (they are not simply cosmetics, they are means of earning more in-game currency, so they create an imbalance in the playerbase between those that can afford them and those that cannot) - The lack of transparency and communication with the company (announcements coming too late, not letting the players know what they will need to spend in events) - The timing of events (the pack event timings, overlapping) - The quality of the writing (inconsistencies, lack of a linear storyline, characters feeling OOC, nonsensical plots)

These complains are not a matter of taste, these complains are a matter of unfair treatment and poor quality (despite the cost of the game).

In this specific case, those of us that complain about these things are the target audience. We have a history of nostalgia, we like the personalization and dressup aspect, we like the adult setting and characters, we like the style of otome, we like the free option to play. And most importantly, I feel like most of us that complain so vehemently want to keep playing. We are still here for a reason, there is still something that keeps us logging in every day. We don't want the bad things to overpower the good ones.

"Don't play the game" feels like a dismissive argument here, it casts aside complains that should be made. You should complain about the poor quality of a product (specially if you have invested money and time in it), you should complain about the poor treatment you are receiving (feeling pushed to make purchases, feeling unlistened, feeling like you are not treated the same as other plaeyers, etc). These types of comments are necessary and beneficial. A critique that is well worded and based helps the game be better, a company should hope to receive those and not simply compliments. A company should what to fix what is wrong.

I think that the negative sentiment many players share its completely understandable and it should not be labelled as simply being hateful for no reason.

Of course I am not including hate for the sake of hate here. That may help vent when you're frustrated (valid) but it does not add anything or help in any way. Obviously, it's very easy to get wrapped up in the negative mindset and not allow yourself to enjoy the parts of the game that you do like and that you can find fun and engaging. It is important to take a step back every now and then and see when you may be being unfair (specially to other players, its unfortunately easy to get heated in a discussion and hurt someone else). And if you feel like the critiques towards the game and company are affecting you in any way, please step away from them. Mute, block, silence, keep your peace in your online experience and cater it to yourself <3

[revacholianpizzaagenda]

Three days left to sign up for the 2025 runs of the beautiful amazing transcendent Elysium LARP!

When and where

The larp will have two runs (20-24 & 27-31 August 2025) in Terezín, Czech Republic (about an hour’s drive north of Prague) [there will be options for car-less people]. The event starts on Wednesday evening and ends on Saturday evening; players need to be on-site for the entire duration of the event.

Price

Standard ticket €360, 13 subsidised at €150, understudy (last-minute spots) €50. The price includes the full experience, key parts of the costume, food, and basic lodgings.

Practicalities

What: A Disco Elysium larp for 109 players.

When: 20-24 & 27-31 August 2025 (starting Wednesday evening, ending Saturday evening)

Where: Old Military Hospital, Terezín (Czech Republic)

Cost: €360 standard ticket, €150 subsidised, €50 understudy (last-minute spots)

Produced by: Rolling & and international crew

Language: English

Location: Old military hospital in the middle of the city. Indoors and outdoors environment. The venue has basic amenities (toilets, water, basic portable showers etc), but don’t expect high standards (no central heating). Hotel accommodation can be bought extra.

Accessibility: Venue not wheelchair friendly (no elevators, stairs) and very large. Dusty environment. Need to read long texts before the larp (30+ pages). Higher levels of activity during the event. Loud noises, strobing lights, and crowds may be present.

Time: Arrival mandatory on Wednesday evening. One day of pre-game activities, then game time. Dedicated 8 hours a night for sleep. End of game on Saturday evening, cleanup on Sunday. All players need to be present on site between Wednesday and Saturday evening to participate in the event.

Costumes & props: Key costume elements and key props will be provided. You bring a base layer, shoes, and any extra props you want. Think 70s-90s wacky style.

Food & drink: Scheduled breakfast, lunch, and dinner (served in-game). We will provide water, tea, and vegetarian food, with the whole menu available beforehand, allowing people to bring food to address their allergies and special needs.

Design

Potential content warnings: Racism, violence, physical larping, poverty, political extremism, loud noises, realistic firearms, drug use, oppression, suicide, dysfunctional family dynamics, real work.

Design & play style: Immersive experience grounded in a poetic world. Some scripted story points and more collaborative than competitive play. Pre-written characters and plots. Characters have secrets not transparently known to all players.

Sign-up process: Lottery system with certain conditions applied by organisers. Players will have the option to flag they are uncomfortable playing with somebody or think somebody is not safe to be at the event. When given a spot, players have some weeks to pay. Casting happens after spot assignments but before payment.

Co-creation: Pre-written characters. Given act structure with some limitations or mechanics; otherwise, players have the freedom to create. Players are not expected to prepare or create relations, have meetings, partake in events, etc., before the event – co-creation happens in pre-game activities on site. Lore is established by organisers. Players create art and make things at work during the game.

Physical & emotional safety: Opt-out techniques & safety techniques. Some themes apply to the whole larp and cannot be opted out of (for example, “poverty”). Medium-contact mechanisms for violence, symbolic mechanisms for physical intimacy. Dedicated organisers for safety and medical and emotional support. Calibration techniques will be workshopped.

What you will be doing: Playing out conflicts, romances, brawls, revealing secrets from the past, pursuing political goals, dealing with community problems. Creating art, music, weird performances, or just striving to have a normal, working family. Work is also part of the game. Most players will have 2-3 hours of some form of “work” to perform each day (making things, cleaning things…). Scheduled and spontaneous activities in the characters’ social groups (hobbies, families, politics, interest groups, etc.). Socialising, trading, scheming or just chilling and people-watching.

Sign up form

[mostlysignssomeportents]

The (open) web is good, actually

I'll be at the Studio City branch of the LA Public Library tonight (Monday, November 13) at 1830hPT to launch my new novel, The Lost Cause. There'll be a reading, a talk, a surprise guest (!!) and a signing, with books on sale. Tell your friends! Come on down!

The great irony of the platformization of the internet is that platforms are intermediaries, and the original promise of the internet that got so many of us excited about it was disintermediation – getting rid of the middlemen that act as gatekeepers between community members, creators and audiences, buyers and sellers, etc.

The platformized internet is ripe for rent seeking: where the platform captures an ever-larger share of the value generated by its users, making the service worst for both, while lock-in stops people from looking elsewhere. Every sector of the modern economy is less competitive, thanks to monopolistic tactics like mergers and acquisitions and predatory pricing. But with tech, the options for making things worse are infinitely divisible, thanks to the flexibility of digital systems, which means that product managers can keep subdividing the Jenga blocks they pulling out of the services we rely on. Combine platforms with monopolies with digital flexibility and you get enshittification:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

An enshittified, platformized internet is bad for lots of reasons – it concentrates decisions about who may speak and what may be said into just a few hands; it creates a rich-get-richer dynamic that creates a new oligarchy, with all the corruption and instability that comes with elite capture; it makes life materially worse for workers, users, and communities.

But there are many other ways in which the enshitternet is worse than the old good internet. Today, I want to talk about how the enshitternet affects openness and all that entails. An open internet is one whose workings are transparent (think of "open source"), but it's also an internet founded on access – the ability to know what has gone before, to recall what has been said, and to revisit the context in which it was said.

At last week's Museum Computer Network conference, Aaron Straup Cope gave a talk on museums and technology called "Wishful Thinking – A critical discussion of 'extended reality' technologies in the cultural heritage sector" that beautifully addressed these questions of recall and revisiting:

https://www.aaronland.info/weblog/2023/11/11/therapy/#wishful

Cope is a museums technologist who's worked on lots of critical digital projects over the years, and in this talk, he addresses himself to the difference between the excitement of the galleries, libraries, archives and museums (GLAM) sector over the possibilities of the web, and why he doesn't feel the same excitement over the metaverse, and its various guises – XR, VR, MR and AR.

The biggest reason to be excited about the web was – and is – the openness of disintermediation. The internet was inspired by the end-to-end principle, the idea that the network's first duty was to transmit data from willing senders to willing receivers, as efficiently and reliably as possible. That principle made it possible for whole swathes of people to connect with one another. As Cope writes, openness "was not, and has never been, a guarantee of a receptive audience or even any audience at all." But because it was "easy and cheap enough to put something on the web," you could "leave it there long enough for others to find it."

That dynamic nurtured an environment where people could have "time to warm up to ideas." This is in sharp contrast to the social media world, where "[anything] not immediately successful or viral … was a waste of time and effort… not worth doing." The social media bias towards a river of content that can't be easily reversed is one in which the only ideas that get to spread are those the algorithm boosts.

This is an important way to understand the role of algorithms in the context of the spread of ideas – that without recall or revisiting, we just don't see stuff, including stuff that might challenge our thinking and change our minds. This is a much more materialistic and grounded way to talk about algorithms and ideas than the idea that Big Data and AI make algorithms so persuasive that they can control our minds:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

As bad as this is in the social media context, it's even worse in the context of apps, which can't be linked into, bookmarked, or archived. All of this made apps an ominous sign right from the beginning:

https://memex.craphound.com/2010/04/01/why-i-wont-buy-an-ipad-and-think-you-shouldnt-either/

Apps interact with law in precisely the way that web-pages don't. "An app is just a web-page wrapped in enough IP to make it a crime to defend yourself against corporate predation":

https://pluralistic.net/2023/08/27/an-audacious-plan-to-halt-the-internets-enshittification-and-throw-it-into-reverse/

Apps are "closed" in every sense. You can't see what's on an app without installing the app and "agreeing" to its terms of service. You can't reverse-engineer an app (to add a privacy blocker, or to change how it presents information) without risking criminal and civil liability. You can't bookmark anything the app won't let you bookmark, and you can't preserve anything the app won't let you preserve.

Despite being built on the same underlying open frameworks – HTTP, HTML, etc – as the web, apps have the opposite technological viewpoint to the web. Apps' technopolitics are at war with the web's technopolitics. The web is built around recall – the ability to see things, go back to things, save things. The web has the technopolitics of a museum:

https://www.aaronland.info/weblog/2014/09/11/brand/#dconstruct

By comparison, apps have the politics of a product, and most often, that product is a rent-seeking, lock-in-hunting product that wants to take you hostage by holding something you love hostage – your data, perhaps, or your friends:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

When Anil Dash described "The Web We Lost" in 2012, he was describing a web with the technopolitics of a museum:

where tagging was combined with permissive licenses to make it easy for people to find and reuse each others' stuff;

where it was easy to find out who linked to you in realtime even though most of us were posting to our own sites, which they controlled;

where a link from one site to another meant one person found another person's contribution worthy;

where privacy-invasive bids to capture the web were greeted with outright hostility;

where every service that helped you post things that mattered to you was expected to make it easy for you take that data back if you changed services;

where inlining or referencing material from someone else's site meant following a technical standard, not inking a business-development deal;

https://www.anildash.com/2012/12/13/the_web_we_lost/

Ten years later, Dash's "broken tech/content culture cycle" described the web we live on now:

https://www.anildash.com/2022/02/09/the-stupid-tech-content-culture-cycle/

found your platform by promising to facilitate your users' growth;

order your technologists and designers to prioritize growth above all other factors and fire anyone who doesn't deliver;

grow without regard to the norms of your platform's users;

plaster over the growth-driven influx of abusive and vile material by assigning it to your "most marginalized, least resourced team";

deliver a half-assed moderation scheme that drives good users off the service and leaves no one behind but griefers, edgelords and trolls;

steadfastly refuse to contemplate why the marginalized users who made your platform attractive before being chased away have all left;

flail about in a panic over illegal content, do deals with large media brands, seize control over your most popular users' output;

"surface great content" by algorithmically promoting things that look like whatever's successful, guaranteeing that nothing new will take hold;

overpay your top performers for exclusivity deals, utterly neglect any pipeline for nurturing new performers;

abuse your creators the same ways that big media companies have for decades, but insist that it's different because you're a tech company;

ignore workers who warn that your product is a danger to society, dismiss them as "millennials" (defined as "anyone born after 1970 or who has a student loan")

when your platform is (inevitably) implicated in a murder, have a "town hall" overseen by a crisis communications firm;

pay the creator who inspired the murder to go exclusive on your platform;

dismiss the murder and fascist rhetoric as "growing pains";

when truly ghastly stuff happens on your platform, give your Trust and Safety team a 5% budget increase;

chase growth based on "emotionally engaging content" without specifying whether the emotions should be positive;

respond to ex-employees' call-outs with transient feelings of guilt followed by dismissals of "cancel culture":

fund your platforms' most toxic users and call it "free speech";

whenever anyone disagrees with any of your decisions, dismiss them as being "anti-free speech";

start increasing how much your platform takes out of your creators' paychecks;

force out internal dissenters, dismiss external critics as being in conspiracy with your corporate rivals;

once regulation becomes inevitable, form a cartel with the other large firms in your sector and insist that the problem is a "bad algorithm";

"claim full victim status," and quit your job, complaining about the toll that running a big platform took on your mental wellbeing.

https://pluralistic.net/2022/02/18/broken-records/#dashes

The web wasn't inevitable – indeed, it was wildly improbable. Tim Berners Lee's decision to make a new platform that was patent-free, open and transparent was a complete opposite approach to the strategy of the media companies of the day. They were building walled gardens and silos – the dialup equivalent to apps – organized as "branded communities." The way I experienced it, the web succeeded because it was so antithetical to the dominant vision for the future of the internet that the big companies couldn't even be bothered to try to kill it until it was too late.

Companies have been trying to correct that mistake ever since. After three or four attempts to replace the web with various garbage systems all called "MSN," Microsoft moved on to trying to lock the internet inside a proprietary browser. Years later, Facebook had far more success in an attempt to kill HTML with React. And of course, apps have gobbled up so much of the old, good internet.

Which brings us to Cope's views on museums and the metaverse. There's nothing intrinsically proprietary about virtual worlds and all their permutations. VRML is a quarter of a century old – just five years younger than Snow Crash:

https://en.wikipedia.org/wiki/VRML

But the current enthusiasm for virtual worlds isn't merely a function of the interesting, cool and fun experiences you can have in them. Rather, it's a bid to kill off whatever is left of the old, good web and put everything inside a walled garden. Facebook's metaverse "is more of the same but with a technical footprint so expensive and so demanding that it all but ensures it will only be within the means of a very few companies to operate."

Facebook's VR headsets have forward-facing cameras, turning every users into a walking surveillance camera. Facebook put those cameras there for "pass through" – so they can paint the screens inside the headset with the scene around you – but "who here believes that Facebook doesn't have other motives for enabling an always-on camera capturing the world around you?"

Apple's VisionPro VR headset is "a near-perfect surveillance device," and "the only thing to save this device is the trust that Apple has marketed its brand on over the last few years." Cope notes that "a brand promise is about as fleeting a guarantee as you can get." I'll go further: Apple is already a surveillance company:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

The technopolitics of the metaverse are the opposite of the technopolitics of the museum – even moreso than apps. Museums that shift their scarce technology budgets to virtual worlds stand a good chance of making something no one wants to use, and that's the best case scenario. The worst case is that museums make a successful project inside a walled garden, one where recall is subject to corporate whim, and help lure their patrons away from the recall-friendly internet to the captured, intermediated metaverse.

It's true that the early web benefited from a lot of hype, just as the metaverse is enjoying today. But the similarity ends there: the metaverse is designed for enclosure, the web for openness. Recall is a historical force for "the right to assembly… access to basic literacy… a public library." The web was "an unexpected gift with the ability to change the order of things; a gift that merits being protected, preserved and promoted both internally and externally." Museums were right to jump on the web bandwagon, because of its technopolitics. The metaverse, with its very different technopolitics, is hostile to the very idea of museums.

In joining forces with metaverse companies, museums strike a Faustian bargain, "because we believe that these places are where our audiences have gone."

The GLAM sector is devoted to access, to recall, and to revisiting. Unlike the self-style free speech warriors whom Dash calls out for self-serving neglect of their communities, the GLAM sector is about preservation and access, the true heart of free expression. When a handful of giant companies organize all our discourse, the ability to be heard is contingent on pleasing the ever-shifting tastes of the algorithm. This is the problem with the idea that "freedom of speech isn't freedom of reach" – if a platform won't let people who want to hear from you see what you have to say, they are indeed compromising freedom of speech:

https://pluralistic.net/2022/12/10/e2e/#the-censors-pen

Likewise, "censorship" is not limited to "things that governments do." As Ada Palmer so wonderfully describes it in her brilliant "Why We Censor: from the Inquisition to the Internet" speech, censorship is like arsenic, with trace elements of it all around us:

https://www.youtube.com/watch?v=uMMJb3AxA0s

A community's decision to ban certain offensive conduct or words on pain of expulsion or sanction is censorship – but not to the same degree that, say, a government ban on expressing certain points of view is. However, there are many kinds of private censorship that rise to the same level as state censorship in their impact on public discourse (think of Moms For Liberty and their book-bannings).

It's not a coincidence that Palmer – a historian – would have views on censorship and free speech that intersect with Cope, a museum worker. One of the most brilliant moments in Palmer's speech is where she describes how censorship under the Inquistion was not state censorship – the Inquisition was a multinational, nongovernmental body that was often in conflict with state power.

Not all intermediaries are bad for speech or access. The "disintermediation" that excited early web boosters was about escaping from otherwise inescapable middlemen – the people who figured out how to control and charge for the things we did with one another.

When I was a kid, I loved the writing of Crad Kilodney, a short story writer who sold his own self-published books on Toronto street-corners while wearing a sign that said "VERY FAMOUS CANADIAN AUTHOR, BUY MY BOOKS" (he also had a sign that read, simply, "MARGARET ATWOOD"). Kilodney was a force of nature, who wrote, edited, typeset, printed, bound, and sold his own books:

https://www.theglobeandmail.com/arts/books/article-late-street-poet-and-publishing-scourge-crad-kilodney-left-behind-a/

But there are plenty of writers out there that I want to hear from who lack the skill or the will to do all of that. Editors, publishers, distributors, booksellers – all the intermediaries who sit between a writer and their readers – are not bad. They're good, actually. The problem isn't intermediation – it's capture.

For generations, hucksters have conned would-be writers by telling them that publishing won't buy their books because "the gatekeepers" lack the discernment to publish "quality" work. Friends of mine in publishing laughed at the idea that they would deliberately sideline a book they could figure out how to sell – that's just not how it worked.

But today, monopolized film studios are literally annihilating beloved, high-priced, commercially viable works because they are worth slightly more as tax writeoffs than they are as movies:

https://deadline.com/2023/11/coyote-vs-acme-shelved-warner-bros-discovery-writeoff-david-zaslav-1235598676/

There's four giant studios and five giant publishers. Maybe "five" is the magic number and publishing isn't concentrated enough to drop whole novels down the memory hole for a tax deduction, but even so, publishing is trying like hell to shrink to four:

https://pluralistic.net/2022/11/07/random-penguins/#if-you-wanted-to-get-there-i-wouldnt-start-from-here

Even as the entertainment sector is working to both literally and figuratively destroy our libraries, the cultural heritage sector is grappling with preserving these libraries, with shrinking budgets and increased legal threats:

https://blog.archive.org/2023/03/25/the-fight-continues/

I keep meeting artists of all description who have been conditioned to be suspicious of anything with the word "open" in its name. One colleague has repeatedly told me that fighting for the "open internet" is a self-defeating rhetorical move that will scare off artists who hear "open" and think "Big Tech ripoff."

But "openness" is a necessary precondition for preservation and access, which are the necessary preconditions for recall and revisiting. Here on the last, melting fragment of the open internet, as tech- and entertainment-barons are seizing control over our attention and charging rent on our ability to talk and think together, openness is our best hope of a new, good internet. T

he cultural heritage sector wants to save our creative works. The entertainment and tech industry want to delete them and take a tax writeoff.

As a working artist, I know which side I'm on.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/11/13/this-is-for-everyone/#revisiting

Image: Diego Delso (modified) https://commons.wikimedia.org/wiki/File:Museo_Mimara,_Zagreb,_Croacia,_2014-04-20,_DD_01.JPG

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/

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[nem0-kn0ws-n0t]

Hermit Permits- or Hermitconomics101

I would just like to start off by saying I adore the concept. It's perfect. But also, I'm a massive nerd and I wanna talk about it.This is such a fascinating little economic model. Like, the usual hermitcraft economy is already so fascinating.

Warning-Long post! Also might Slightly skew your perspective of the Gimmick.

At first Glance, the Hermitcraft economy is the epitome of a Perfect Market economy -the basic selling/buying market you think of when thinking of markets-which has a few requirements

1. Homogenous products: gunpowder from Doc's shop is the same gunpowder from Tango's or Iskall or whoever sells it

2. No barriers to entry and exit: anyone can decide to sell. The technology's there. Any hermit can decide to make a farm or manually harvest something, set up shop and sell

3. Sellers are Price takers: If say, X and False are both selling copper ingots (for example), and X prices his higher than False (and they both keep their shops stocked), Hermits will buy from False. So X has to price the same (or lower but shhhh) than False.

4. Product Transparency: If you pay 1 diamond for a stack of iron blocks, you know you're getting 1 stack of iron. (usually) no shenanigans involved

And now the interesting point->

5. Many sellers- In a perfect competition market, the market is usually saturated with sellers, to the point that everyone needs to price the same, or at exactly the cost of production (or whatever needs to be to have the last seller joining the market to have economic profit of 0 but that's real hard to count in diamonds). Usually, this is done by having many firms coming in (free market remember) and undercutting each other until it's at the point where Supply is equal to Demand (yes, exactly the graph you're thinking of). In hermits' case, rarely is there more than one shop for an item unless there is an obnoxious amount of demand for it, and often, they'll buddy up in the same shop and split the profits and the work (I'm thinking of all the wood groups) for the highly in demand items. (More on that later).

So the sellers aren't usually competing with other hermits to sell resources- they're competing with the hermits' other way of procuring resources- The Endless Grind

Think about it- The rule of thumb for establishing the scope of a market (and its competition) is to ask yourself- where do I go if the shop becomes too expensive? In our real-life situation, we go to other shops- hermits just roll up their pixilated sleeves and get to work themselves. They are the alternative. (or Lag but stealing throws off all economic models so we're assuming it doesn't exist.)

A hermit shop, to have sales, needs to price its resources low enough that other hermits will see it as a better (cheaper) alternative than acquiring it themselves.

But Nemo, I hear you ask, isn't it always going to be cheaper to collect the material themselves? All the hermits already have all the tools/technology they'd need to get the resources they'd want, so shops wouldn't work.

But they do work, every season hermits "get rich" which implies there's something "wrong" with my model, which there is.

It's Time. That's the main currency in Hermitcraft.

Any hermits can decide to get any amount of resources with no real limit except Time. Sure, some hermits are more likely to build farms and have it done quicker than others, but all of them can decide to pick up a tool and just grind away (which they do, often). The point of the shops is to be convenient. You could spend 3 hours getting 15 stacks of oak wood, but you could also drop 30 diamonds at Ren's shop and get that done in less than a minute. Which, when you're a content creator on a tight deadline, already spending hours upon hours just building and editing and living outside of work, time is precious. So Time is the real trading currency on HC.

And so there comes a wrench in the plan as you have 2 "types" of goods- you have the Sellers' resources (that cost you diamonds but less time) and your own resources (which cost you Time but fewer diamonds)

Which invalidates point 3. Price Takers- There are 2 very different prices, which you are willing to pay at different times to different degrees. Somedays, they grind somedays they pay.

And thus, there goes the perfect competition model-

~~And in comes Monopolistic competition.

Now, listen to me, this is crucial ish- this is not the same as a Monopoly.

Monopolies imply there is 1 seller. 1. there is 1 way of acquiring the good (at this point in time) (everything is taken as if time is held constant). YouTube has a monopoly on hermitcraft videos (kind of). You can't watch Hermitcraft videos anywhere else, as the hermits don't upload their videos on other websites. If YouTube started charging 10000$ per video watched, you probably wouldn't watch hermit videos anymore. That's a monopoly.

Monopolistic competition is when a few firms sell slightly different products. Think Pepsi and Coca-Cola. They're functionally the same thing (don't @/me for this), but they both still work as companies, because people tend to prefer one over the other.

And thus our model. A monopolistic competitive market.

The real competition was not store vs store (unless for the bit), it was Sellers vs the Grind.

(There are also sunk cost fallacies exhibited, when hermits make their own farms for materials they know they'll need a lot of, which then reduces the time spent, especially with AFK'ing, thus the active time spent being reduced but server time still fluctuating but that can be hermitconomics 102 lmao)

But Back to this season-

With the introduction of Hermit Permits (which, is such a fun term, I wouldn't be surprised if they came up with that first before the concept) they are forcing there to be a single official seller. But hermits are still able to collect their own resources and make their own farms. So the market stays the same.

Which is probably not what you were expecting was it. All this fanfare but theoretically, the model doesn't change. It might change the point at which a hermits decides it's better to grind it out instead of spending diamonds, but not the theory.

But here's the second hole in this theory.

One of the first assumptions one makes about any market model is that everyone involved wants to maximize profits. (which irl, is making the most money).

But the same was as the real currency is Time, the real Profit for Hermits is Content (and engagement, and a whole bunch of parasocial scales to do with audience retention but I'm an economic major, not a sociology or business student damn it, we'll stick with Content) .

Theoretically, nothing changes in the economic model, but the result changes. The potential to change things up is massive, simply because they at least superficially changed something. Rebranding something, in a way that shakes up previously established norms- That's what they're getting out of it. Forcing people to do content about things they normally wouldn't even touch, which inspires viewers to be invested, so see our favourite blorbos overcome the challenge. It's a narrative device.

(If anything, I'd expect this to actually "promote the economy" as hermits would be motivated to stock up their shops, thus making more farms/farm building episodes, or the competition occurring from additional permits being circulated.)

So yeah. Hermitconomics 101- The not-so-perfect competition. Sorry If I burst some bubbles, I just think it's fascinating.

Thanks for reading to the bottom!

TL:DR :This is gonna be so fun, and the hermit economy makes economists everywhere cry

[sgiandubh]

The telling hashtag

So S is willfully disclosing his LHR location, with a story and a post to boot, as expected:

📌at Bourne Offices, 11 Richmond Buildings, in Soho:

Literally round the corner from Soho House, on Dean Street. Of course:

Also, this - very telling:

#gifted. Before *urv starts her demented Fitness at Dawn - The London Hyrox Edition fanfic, let's unpack:

S chose to wear, in this post, one of the sunglasses models from David Beckham's eyewear collection. Price tag is a bit steep (twice my Ray-Ban Wayfarers), but still democratic:

But why the #gifted hashtag? Before you think C or Scottish Xena lovingly picked those up the shelf for his birthday, you might like to check a bit around for context. You see, all dbeyewear collections are manufactured by a single Italian producer based in Padua, Safilo Group. Hashtagged accordingly in his post, by the way.

A couple of days ago, Safilo Group and dbeyewear's commercial partnership reached a new, very important milestone:

[Source: Safilo Group press release, https://assets.ctfassets.net/cmstik7jzbvm/2lwJmoKJR7x3ydijfpi7c6/9870e11fbb2c040a89a6d8acb4ed25ea/20240502_Safilo_firma_un_accordo_di_licenza_perpetua_per_l-eyewear_di_David_Beckham.pdf]

On May 2nd, Safilo Group and Authentic Brands Group (ABG), the corporate side of Eyewear by David Beckham signed a 'perpetual licensing agreement, replacing the current one that would have ended in 2030'. Authentic Brands Group and Safilo Group have been working together since 2019, when Beckham started to design his own eyewear collection. Now, they are taking their collaboration one step further, with ABG (or the licensor) granting Safilo Group (the licensee) perpetual (unlikely to be retired, unless something goes really, awfully wrong along the way: breach of contract, etc.) exclusive right to produce, use, advertise, sell its merchandise.

Something like this needs proper promotion, so Safilo Group and/or ABG graciously sent S those sunglasses, in the hope he will sport them in one of his posts with a potential 3+ million subscriber views.

A word on the UK pretty obscure regulations on promoter advertising and the use of the #gifted hashtag. There is not one, but two competent national regulatory authorities: the Advertising Standards Authority (ASA) and the Competition and Markets Authority (CMA). The ASA is a bit more lenient in its approach and they clearly say that if the promoted product has been sent to the influencer on a no strings attached basis, then it is ok to use that #gifted hashtag. They will not pursue, based on the lack of #ad, however they will name and shame you - not a pretty picture, after all:

[Source, heh: ASA's Influencer Guide to making clear that ads are ads, https://www.asa.org.uk/static/uploaded/3af39c72-76e1-4a59-b2b47e81a034cd1d.pdf]

But the CMA is way more vigilant. They consider that any freebie can and must be monetized, based on its retail value and as such, must be clearly labeled as an #ad, when promoted on socials by an influencer. And yes, they can and might pursue, at any given moment: that must be proportional with the offence and in S's case, it might simply mean being served with a cease and desist notice or a removal and prohibition order. I'd rather not be in those shoes, mind you:

[Source: CMA's guide Hidden ads: Being clear with your audience, 2022; https://www.gov.uk/government/publications/social-media-endorsements-guide-for-influencers/social-media-endorsements-being-transparent-with-your-followers]

If he wants no further headaches, he should simply edit that post and add the right hashtag. It will be interesting to see if and when he will do it.

As for Fitness at Dawn, well... not even sorry.

Gracias a ti, ❤️. Siempre.

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