#Museum Computer Network

[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/

[wizardysseus]

On Friday, the president signed yet another Executive Order, this time directly targeting funds allocated to libraries and museums nationwide. The Institute of Museum and Library Services (IMLS) is a federal agency that distributes fund approved by Congress to state libraries, as well as library, museum, and archival grant programs. IMLS is the only federal agency that provides funds to libraries. The Executive Order states that the functions of the IMLS have to be reduced to “statutory functions” and that in places that are not statutory, expenses must be cut as much as possible. [...] The department has seven days to report back, meaning that as soon as this Friday, March 21, 2025, public libraries–including school and academic libraries–as well as public museums could see their budgets demolished.

Actionable items from the article:

Sign the petition at EveryLibrary to stop Trump’s Executive Order seeking to gut the IMLS then share it with your networks.

Write a letter to each of your Senators and to your Representative at the federal level. You can find your Senators here and your Representative here. All you need to say in this letter is that you, a resident of their district, demand they speak up and defend the budget of IMLS. Include a short statement of where and how you value the library, as well as its importance in your community. This can be as short as “I use the library to find trusted sources of information, and every time I am in there, the public computers are being used by a variety of community members doing everything from applying for jobs to writing school papers. Cutting the funds for libraries will further harm those who lack stable internet, who cannot afford a home library, and who seek the opportunities to engage in programming, learning, enrichment, and entertainment in their own community. Public libraries help strengthen reading and critical thinking skills for all ages.” In those letters, consider noting that the return on investment on libraries is astronomical. You can use data from EveryLibrary.

Call the offices of each of your Senators and Representatives in Congress. Yes, they’ll be busy. Yes, the voice mails will be full. KEEP CALLING. Get your name on the record against IMLS cuts. Do this in addition to writing a letter. If making a call creates anxiety, use a tool like 5 Calls to create a script you can read when you reach a person or voice mail.

Though your state-level representatives will not have the power to impact what happens with IMLS, this is your time to reach out to each of your state representatives to emphasize the importance of your state’s public libraries. Note that in light of potential cuts from the federal government, you advocate for stronger laws protecting libraries and library workers, as well as stronger funding models for these institutions.

Show up at your next public library meeting, either in person at a board meeting or via an email or letter, and tell the library how much it means to you. In an era where information that is not written down and documented simply doesn’t exist, nothing is more crucial than having your name attached to some words about the importance of your public library. This does not need to be genius work–tell the library how you use their services and how much they mean to you as a taxpayer.

Tell everyone you know what is at stake. If you’ve not been speaking up for public institutions over the last several years, despite the red flags and warnings that have been building and building, it is not too late to begin now. EveryLibrary’s primer and petition is an excellent resource to give folks who may be unaware of what’s going on–or who want just the most important information.

[art-that-fucks-you-up-tournament]

SET ELEVEN - ROUND ONE - MATCH SEVEN

"“Untitled” (Perfect Lovers)" (1991 - Félix González-Torres) / "The Lovers" (2001 - Sneha Solanki)

"UNTITLED" (PERFECT LOVERS): Two clocks that gradually fall out of sync with each other representing the artist’s relationship with their partner who had AIDS. It just never stops being tragic no matter how many times I've looked at it (@marwamarwa) (also submitted by anonymous and another with commentary)

THE LOVERS: asldkjaskldjaskldjaskldjaskljdlkasjfoawehfdsckhf HRNNGGGGGGGGG this piece of art makes me feel like i am one click away from imploding. it makes me think about how we use our words and how a relationship works. i think about the love poems and the slow corruption and i think about how these computers are hooked up to one another and they cannot escape. would they want to escape? are they in love? i don’t know. this piece fucks me up. ( @x-ca1iber ) (also submitted by anonymous)

(""Untitled" (Perfect Lovers)" is a piece by Félix González-Torres that has two versions, this is the second version that was made after González-Torres' lover, Ross Laycock, died. The two clocks are each 13 1/2 in (34.29 cm) diameter, and the piece is held by the Museum of Modern Art, although currently off display.

"The Lovers" is a piece by British artist Sneha Solanki which consists of two networked machines, one infected with a virus, slowly infecting the other through the interface of classic romantic poetry.)

[spacetimewithstuartgary]

New SpaceTime out Friday

SpaceTime 20250502 Series 28 Episode 53

Large carbon deposits discovered on Mars

NASA’s Mars Curiosity rover has discovered evidence of a carbon cycle on ancient Mars.

The billion-dollar Square Kilometre Array project

Construction work is now well underway on what will be the world’s largest radio telescope the Square Kilometre Array in outback Western Australia.

A busy time aboard the International Space Station

Three crew members from the International Space Station have successfully returned to Earth landing on the Kazakhstan Steppe 27 and a half hours after undocking from the orbiting outpost.

The Science Report

New study casts doubt on the dangers of the deadly H5N1 bird flu’s spread to humans.

Claims social skills may not be the most useful indicator of autism.

A major threat to the Australian regent honeyeater.

Skeptics guide to 15 paranormal myths that just won’t die.

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through your favourite podcast download provider or from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He was the dorky school kid who spent his weekends at the Australian Museum. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on a career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. His first gigs were spent as an announcer and music DJ in commercial radio, before becoming a journalist, and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth. That compares to the ABC’s overall radio listenership of just 5.6 per cent. The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[notokra]

InterCommunication’91 “The Museum Inside The Telephone Network”

Tokyo's 1991 museum show only accessible by telephone, fax and modem, with works by Laurie Anderson, J.G. Ballard, John Cage, Merce Cunningham, Félix Guattari, Derek Jarman, Ryuichi Sakamoto, & many more https://monoskop.org/log/?p=19463

--

The exhibition organised by the Project InterCommunication Center (ICC), founded by the Japanese telecom NTT, was a pioneering project investigating the implications of networked communication for the museum institution. The exhibition was only accessible to home users by means of the telephone, fax, and in a limited sense computer networking. It was meant as a model for a new kind of an “invisible” museum. Later it was followed up by another ICC exhibition The Museum Inside the Network (1995). The ICC opened its exhibition space in 1997.

The works and messages from almost 100 artists, writers, and cultural figures were available through five channels. The works in “Voice & sound channel” such as talks and readings on the theme of communication could be listened to by telephone. The “Interactive channel” offered participants to create musical tunes by pushing buttons on a telephone. Works of art, novels, comics and essays could be received at home through “Fax channel”. The “Live channel” offered artists’ live performances and telephone dialogues between invited intellectuals to be heard by telephone. Additionally, computer graphics works could be accessed by modem and downloaded to one’s personal computer screen for viewing.

Contributors include Laurie Anderson, J.G. Ballard, Christian Boltanski, Pierre Boulez, William S. Burroughs, Merce Cunningham, Daniel Buren, John Cage, Jacques Derrida, Allen Ginsberg, Philip Glass, Félix Guattari, Pontus Hultén, Derek Jarman, Jeff Koons, Daniel Libeskind, Jackson Mac Low, Judith Malina, Renzo Piano, Steve Reich, Ryuichi Sakamoto, Akira Sakata, Paul Virilio, Robert Wilson, Tadanori Yokoo, John Zorn, a.o.

Edited by Urban Design Research Introduction by Akira Asada, Yutaka Hikosaka, and Toshiharu Itou Publisher NTT, Tokyo, 1991 259 pages

[janebonbon]

Alright, Let's talk

I've had some time to digest everything about the election and hearing all the talk surrounding it. I was, and am devistated as to where things stand now for a Trump presidency. However... My gut tells me this is not over. Whether that means election fraud or tampering, boycotts and protests, or more legal trouble for the big orange. It's not over. Things are far too quiet, and we are in the eye before the storm. Notice how EXTREMELY quiet Trump is this time around. He hasn't been boasting and gloating and unsufferably hard to ignore. There is something going on, and I think he is very nervous.

However. That does not erase the threat of everything Trump stands for. If anything, this has shown us the threat in front of us. My family is Polish, I have grown up Polish. Why is that relavant? Talk about world war two was almost a constant growing up. Most people associate Poles with WW2 anyway, so I learned a lot. I learned a lot about facism, nazis, eugenics, and the psychology of complacancy that led to the holocaust.

Around 2016, at the fresh age of 14, my mother and I went to the Zekelman Holocaust Museum in Michigan. I urge you too look at or read about some of their exhibits here. This is where my mother and I were first able to completely face the fact of what Trump was doing. There was an exhibit showcasing the 10 stages of genocide. We are now currently at stage 7. Project 2024 has thrust us there. I worry deeply about what project 2024 has shown us. What that means for every single women, the LGBTQ+ community, our immigrant communities, our disabled communities.

Even if there is no internment camps like in the holocaust, I worry about escalations. I am terrified of history repeating. I refuse to be complacant in that, and I urge you not to be as well. I urge you to prepare for the worst, but hope for the best. Be proactive in measures for the future.

Especially if you are a woman, I am telling you to buy Plan B now. Travel state lines if you have to. Plan B has a shelf life of 4 years. If not for yourself, do it for a friend, family member, or someone you care about. Even if you are not sexually active, you never know what is going to happen or who might need it.

If you have any period tracking apps, they need to go NOW. Flood it with misinformation if you are able, change past entries before you delete it. Stick to putting that information to pen-and-paper where your data will not be taken by the government and used agaisnt you.

If you are able to, please apply for a passport or renew yours if you haven't already, the sooner the better. It can take a lot of time for them to get processed, so do this first. If you are financially unable to pay for a passport, you may be eligable to apply with a fee waiver. In case you feel unsafe and just want to leave the country for whatever reason may happen, I feel it is extremely important to have.

Download Signal. It has end-to-end encryption that will keep you and those same people you care about safe. I also suggest turning off notification previews even on apps like Signal, as I am told that they can be un-encrypted. If you value your privacy for conversations with your trusted people, you need to do it on something that is end-to-end encrypted.

If you are able and feel safe to, build a community network. Anyone you believe can be trusted, talk to them now about your fears and come up with a plan for worst-case scenerios. Reach out to others that have the same fears as you. Talk to your trusted friends and family members. You are not powerless. You have strength in numbers. If not to help you feel safety, but to give you hope and laughter in hard times. It does not and will not mean that the world is not dire, but you need to still stay sane.

Save important doccuments now. Not on pinterest or in a TikTok bookmark. Download. That. Shit. Don't have the computer space? Get a hard drive. A USB. Fuck it, a CD. Can't download important information? Write it down on physical paper. You have options. Even if it doesn't get taken offline, archiving and saving important things is extremely important anyway. Anything important to you, save. I am worried about books and important information being lost. Get physical copies if you are able. Find ways to download them in PDF or similar formats. Music? Save it. Maybe I'm being too wary, but you will have no idea what is going to go until they start doing it.

[post-futurism]

Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology

When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.

Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.

Available here

[aimeedaisies]

The Princess Royal’s Official Engagements in February 2024

01/02 Visited ReBoot (Moray Computer Recycling) in Forres. 🖥️

As Warden, opened the Queen Elizabeth II classrooms at Gordonstoun School. 🏫

Visited Lossie Community Hub at the Warehouse Theatre, in Lossiemouth. 🎭

Unofficial Sir Tim, as Chair of the Board of Trustees, attended the opening ceremony of the Zimingzhong 凝时聚珍: Clockwork Treasures from China's Forbidden City exhibition at the London Science Museum. 🐉🧧🕰️

03/02 With Sir Tim As Patron of the Scottish Rugby Union, attended the Six Nations Rugby Match between Wales and Scotland at Principality Stadium in Cardiff. 🏴󠁧󠁢󠁷󠁬󠁳󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿🏉

05/02 Visited Dressability Clothing Alterations Charity in Swindon, to mark its 25th Anniversary. 👗🪡🧵

As Commandant-in-Chief (Youth) of St John Ambulance, attended the dedication of a new Community Response Unit in Devizes, Wiltshire. 🚑

06/02 Held an Investiture at Windsor Castle. 🎖️

As Patron of the Royal College of Occupational Therapists, attended the launch of Nottingham West Primary Care Network’s Interactive Group Therapy at Plumptre Hall. 🩺

As President of the UK Fashion and Textile Association Limited, visited GH Hurt and Son in Nottingham. 🪡

With Sir Tim As Royal Fellow of the Royal Academy of Engineering, attended the announcement of the winner of The Queen Elizabeth Prize for Engineering at the Science Museum in London. ⚙️🥂

07/02 As Colonel-in-Chief of The Royal Logistic Corps, visited the Defence Explosive Ordnance Disposal, Munitions and Search Training Regiment at St George’s Barracks in Bicester. 💥

As President of the Commonwealth War Graves Commission, visited the Commission’s Headquarters in Maidenhead. 🪦

As Patron of Catch22, visited the Commissioned Rehabilitative Services at Community Links in London. 🔗

08/02 As Vice Patron of the British Horse Society, visited Wormwood Scrubs Pony Centre in West London. 🐎

As President of the Royal Yachting Association, attended the Annual Luncheon at Trinity House in London. 🛥️🥪

09/02 In Wales, Princess Anne; 🏴󠁧󠁢󠁷󠁬󠁳󠁿

As Royal Patron of the National Coastwatch Institution, visited Worms Head Station in Rhossili, followed by a Reception at South Gower Sports Club in Scurlage. 🔎🍾

Visited Newport Medieval Ship. 🚢

Visited Newport Transporter Bridge which is undergoing maintenance. 🌉

10/02 With Sir Tim As Patron of the Scottish Rugby Union, attended the Six Nations Rugby Match between France and Scotland at Murrayfield Stadium in Edinburgh. 🇫🇷🏴󠁧󠁢󠁳󠁣󠁴󠁿🏉

12/02 As Patron of Swinfen Telemedicine, attended a Meeting at the Royal Society of Medicine. 💊

As Chancellor of the University of Edinburgh, held a Dinner at Buckingham Palace. 🎓

13/02 Held an Investiture at Windsor Castle. 🎖️

As Master of the Corporation of Trinity House, chaired the Quarterly Meeting of the Court at Trinity House. 📆

14/02 As Royal Patron of the National Coastwatch Institution, visited Hengistbury Head Station near Bournemouth. 🌊

As Colonel-in-Chief of the Intelligence Corps, visited I Company at Hamworthy Barracks in Poole. 🕵️‍♀️

15/02 Visited the Ordnance Survey National Mapping Agency in Southampton. 🗺️

With Sir Tim Attended Evensong and the James Caird Society’s Dedication Service followed by a Reception in Westminster Abbey, to mark the 150th Anniversary of the birth of Sir Ernest Shackleton. 🔭🧭🇦🇶

16/02 Visited knife crime community group ‘Off the Streets’ North Northamptonshire in Wellingborough. 🚫🔪

20/02 As President of the UK Fashion and Textile Association, visited Laxtons Limited in Baildon near Bradford. 🧶

As President of the UK Fashion and Textile Association, visited Marton Mills in Otley, West Yorkshire. 🪡

21/02 In Doncaster, South Yorkshire, Princess Anne;

Visited Agemaspark Precision Engineering Company. ⚙️

Visited Haith Group Vegetable Processing Machinery Company. 🥕🥦

As Patron of the Butler Trust, visited HM Prison and Young Offender Institution Doncaster. 🚓👮‍♀️

As Past Master of the Worshipful Company of Carmen, attended a Joint Services Awards Dinner at Painters’ Hall in London. 🍽️

22/01 Visited London South Bank Technical College and Lee Marley Academy. ✏️👷

As Patron of Save the Children UK, visited Mary’s Living and Giving Shop in Wandsworth. 👚

23/02 unofficial Departed Heathrow Airport for Namibia 🇬🇧✈️🇳🇦

24/02 unofficial Arrived at Windhoek Hosea Kutako International Airport in Namibia. ✈️🇳🇦

Representing The King, Princess Anne called upon Mrs Monica Geingos (widow of Dr Hage Geingob). 🖤

Unofficial Sir Tim represented Princess Anne, Patron of the Scottish Rugby Union, at the Six Nations Rugby Match between Scotland and England at Murrayfield Stadium in Edinburgh. 🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁥󠁮󠁧󠁿🏉

25/02 Representing The King, Princess Anne attended the Burial Service for Dr Hage Geingob at Heroes’ Acre. 🕊️

Later attended a State Luncheon given by The President of Namibia at State House. 🍽️

26/02 unofficial Arrived at Heathrow Airport from Namibia. 🇳🇦✈️🇬🇧

With Sir Tim Attended the British Horseracing Authority’s Thoroughbred Industry Employee Awards at Ascot Racecourse. 🐎🏆

27/02 With Sir Tim Attended a Service of Thanksgiving for the late King Constantine II at St George’s Chapel in Windsor Castle with members of 🇬🇧, 🇬🇷, 🇩🇰 and 🇪🇸 royal families.

28/02 As Patron of the Royal College of Emergency Medicine, attended the Emergency Medicine Trainees' Association Annual Conference at Hilton Newcastle Gateshead. 💉💊

As Royal Patron of the Motor Neurone Disease Association, attended a Rugby League Reception at Leeds Rhinos Rugby Club, in Headingley, Leeds. 🦽🏉

29/02 unofficial Departed from Heathrow Airport for the United Arab Emirates 🇬🇧✈️🇦🇪

Unofficial Sir Tim, as President of Never Such Innocence, attended a 10th anniversary celebration for the charity at Edinburgh Castle. 🏰

Total official engagements for Anne in February: 44

2024 total so far: 85

Total official engagements accompanied by Tim in February: 6

2024 total so far: 23

FYI - due to certain royal family members being off ill/in recovery I won’t be posting everyone’s engagement counts out of respect, I am continuing to count them and release the totals at the end of the year.

[frank-olivier]

The Birth of an Industry: Fairchild’s Pivotal Role in Shaping Silicon Valley

In the late 1950s, the Santa Clara Valley of California witnessed a transformative convergence of visionary minds, daring entrepreneurship, and groundbreaking technological advancements. At the heart of this revolution was Fairchild Semiconductor, a pioneering company whose innovative spirit, entrepreneurial ethos, and technological breakthroughs not only defined the burgeoning semiconductor industry but also indelibly shaped the region’s evolution into the world-renowned Silicon Valley.

A seminal 1967 promotional film, featuring Dr. Harry Sello and Dr. Jim Angell, offers a fascinating glimpse into Fairchild’s revolutionary work on integrated circuits (ICs), a technology that would soon become the backbone of the burgeoning tech industry. By demystifying IC design, development, and applications, Fairchild exemplified its commitment to innovation and knowledge sharing, setting a precedent for the collaborative and open approach that would characterize Silicon Valley’s tech community. Specifically, Fairchild’s introduction of the planar process and the first monolithic IC in 1959 marked a significant technological leap, with the former enhancing semiconductor manufacturing efficiency by up to 90% and the latter paving the way for the miniaturization of electronic devices.

Beyond its technological feats, Fairchild’s entrepreneurial ethos, nurtured by visionary founders Robert Noyce and Gordon Moore, served as a blueprint for subsequent tech ventures. The company’s talent attraction and nurturing strategies, including competitive compensation packages and intrapreneurship encouragement, helped establish the region as a magnet for innovators and risk-takers. This, in turn, laid the foundation for the dense network of startups, investors, and expertise that defines Silicon Valley’s ecosystem today. Notably, Fairchild’s presence spurred the development of supporting infrastructure, including the expansion of Stanford University’s research facilities and the establishment of specialized supply chains, further solidifying the region’s position as a global tech hub. By 1965, the area witnessed a surge in tech-related employment, with jobs increasing by over 300% compared to the previous decade, a direct testament to Fairchild’s catalyzing effect.

The trajectory of Fairchild Semiconductor, including its challenges and eventual transformation, intriguingly parallels the broader narrative of Silicon Valley’s growth. The company’s decline under later ownership and its subsequent re-emergence underscore the region’s inherent capacity for reinvention and adaptation. This resilience, initially embodied by Fairchild’s pioneering spirit, has become a hallmark of Silicon Valley, enabling the region to navigate the rapid evolution of the tech industry with unparalleled agility.

What future innovations will emerge from the valley, leveraging the foundations laid by pioneers like Fairchild, to shape the global technological horizon in the decades to come?

Dr. Harry Sello and Dr. Jim Angell: The Design and Development Process of the Integrated Circuit (Fairchild Semiconductor Corporation, October 1967)

Robert Noyce: The Development of the Integrated Circuit and Its Impact on Technology and Society (The Computer Museum, Boston, May 1984)

Tuesday, December 3, 2024

[eelhound]

"It’s easy to take the city’s parks for granted. But when more and more social interaction takes place from behind computer and phone screens; when fewer and fewer people meet their romantic partners through real-world social networks; when fewer Americans report having close friends than ever and more say they’re spending less time with those they do have and feeling increasingly lonely — the very existence of public spaces for leisure, open for all to enjoy free of charge, is something to cherish.

Those spaces haven’t always existed. In the United States and elsewhere, public parks, recreation centers, and swimming pools were the product of social turmoil and political struggle, with socialists often playing key roles in creating and defending such spaces. Nobody’s thinking about class struggle as they flip hotdogs on the public grill. But because they serve the collective good rather than private profits, public parks are a challenge to the logic of capitalism...

Because public parks and recreational venues are publicly owned, operated for the common good rather than private profit, and generally open to all without regard for ability to pay, they do not obey the logic of for-profit capitalist enterprises or commodities. And as socialists from Milwaukee to Malmö have recognized, they provide rare spaces for collective enjoyment, discussion, and education of the kind we’ll need to build a better world. Green spaces where we can toss frisbees or soak up the sun, it turns out, have political value too.

My first spring park excursion this year was an evening a couple months ago, when the air was still brisk but didn’t require a coat. I picked up a tall boy from a corner store and made my way past the food trucks in front of the Brooklyn Museum and the pedestrians and bikers crunching together near Grand Army Plaza, eventually getting onto the walking path that leads into Prospect Park from the north side.

After wending onto a small trail that led me to the main lawn, I found my friends drinking beers in a small circle, listening to music on a small speaker; similar groups were scattered around the grass, along with dogs and people playing catch and flying kites. It was a totally ordinary scene, but being there — enjoying the park’s respite from the atomized concrete chaos of the city — filled me with a sense of relief and gratitude. You only need a few moments like that on a warm spring evening to know that socialists have been right to care so much about public parks."

- Nick French, from "Socialists Love Public Parks Because They Belong to Everyone." Jacobin, 24 June 2023.

[chinchinreviews]

Chinchin's Switch Games: A Masterlist

Click here for this post's introduction.

Proceed with caution. There are 327 games listed on this post. Beware clicking to view the post may possibly slow down your computer.

Disclaimer: if you have a game not on this list that you've been wanting to see content for/about, please let me know! If I have the money and am interested enough, I may buy it just especially so you don't have to before you know if it's good or not.

If you'd like to, please feel free to buy me a ko-fi. Or you can donate to my paypal.

Thanks! I hope you enjoy my reviews.

39 Days to Mars

9 in 1 Puzzles

A Short Hike

ABC Search With Me

Ark: Survival Evolved

Aka

Among Us

Angry Bunnies: Colossal Carrot Crusade

Animal Crossing

Another Crab's Treasure

Apex Legends

Arcade Archives DONKEY KONG

Arcade Archives VS. SUPER MARIO BROS.

Atomicrops

Autonauts

Baking Time!

Baldur's Gate: Dark Alliance II

Bandle Tale: A League of Legends Story

Bear & Breakfast

Bee Simulator

Bendy and the Ink Machine

Blades

Bleach: Brave Souls

Blokdoku

Bloodroots

Brain Memory Training Academy

Brawlhalla

Bricky to Me

Brothers

Bubble Bird

Bugsnax

Bum Simulator

Burger Chef Tycoon

CATAN - Console Edition

Cartoon Network: Battle Crashers

Castaway Paradise

Castle Crashers Remastered

Cat Cafe Manager

Cat Quest II

Cats Hidden in Cozy Places

Cattails

Cattails: Wildwood Story

Chained Echoes

Children of Silentown

City Super Hero 3D - Flying Legend Warriors Deluxe Simulator

Classic Games Collection Vol. 1

Clumsy Rush Ultimate Guys

Clustertruck

Coffee Pack

Color Zen

Conga Master Party

Cooking Arena

Core Keeper

Corpse Party

Cozy Grove

Crashlands

Creepy Tale

Creepy Tale: Some Other Place

Cult of the Lamb

Cuphead

Cyanide & Happiness - Freakpocalypse

Cynthia: Hidden in the Moonshadow

Dark Days

Darkwood

Dauntless

Death's Door

Doki Doki Literature Club Plus

Don't Starve

Don't Starve Together

Donkey Kong Country Returns HD

Dreamland Farm

DORaEMON STORY OF SEASONS

DREDGE

Dead by Daylight

Dig Deep!

Disney Dreamlight Valley

Donkey Kong Country: Tropical Freeze

Donut Country

Down in Bermuda

Dragon's Dogma: Dark Arisen

Dros

Dungeon & Gravestone

Dungeon Defenders: Awakened

Eggy Party

Elfin Clay 2

Endless Ocean Luminous

Epic Chef

Everdream Valley

Exploding Kittens

Fabledom

FROGUN

FUZE Player

Faaast Penguin

Fae Farm

Fall Guys

Fall of Porcupine

Fallen Angel

Family Vacation 2: Road Trip

Fantasy Tower Defense

Farmagia

Farmer Survivors

Fishing Paradiso

Five Nights at Freddy's

Forager

Forest Gold Planner

Forrader Hero

Fortnite

Freaky Trip

Garden Paws

Gold With Your Friends

Good Job!

Gorilla Big Adventure

Graveyard Keeper

Green Hell

Grow: Song of The Evertree

Guardian Tales

Hades

Hamster Playground

Happy's Humble Burger Farm

Haunted Zombie Slaughter

Have a Nice Death

Hello Neighbor

Hexceed

Hidden Through Time

Him&Her3

Hogwarts Legacy

Hokko Life

Hole io

Hollow Knight

Home Sweet Home

Hope's Farm

Horror Stories

Hotel Hustle

Howloween Hero

I Am Dead

I Love Finding Cats! - Collector's Edition

Immortals Fenyx Rising

Imp of the Sun

Inbento

Indie Gems Bundle - Nonograms Edition

Island Saver by NatWest

Islanders

Isolated

Jump Rope Challenge

Kill It With Fire

Kissed by the Baddest Bidder

LEGO Harry Potter Collection

LEGO MARVEL Super Heroes

LEGO Star Wars: The Skyalker Saga

LIMBO

Let's Build a Zoo

Little Kitty, Big City

Little Misfortune

Little Nightmares

Littlewood

Lonesome Village

Lost in Play

Lost in Random

Lost and Hound

LoveChoice

Lumberman and The Legend of Animals Warriors-Platformer Game

Luigi's Mansion 3

MINABO - A Walk Through Life

MONSTER HUNTER RISE

MagiCat

Mario + Rabbids Kingdom Battle

Mario Kart 8 Deluxe

Mario Party Superstars

Mars Survivor

MergeZ

Mine & Slash

Minecraft

Minecraft Dungeons

Mojito Cat

Monster Sanctuary

Moonlighter

Moonstone Island

Murder is Game Over: Deal Killer

My Hidden Things

My Time At Portia

MySims

Mystical Mixing

NAMCO MUSEUM ARCHIVES Vol 1

NAMCO MUSEUM (PAC-MAN VS. Free Multiplayer-only Ver.)

NOOB - The Factionless

New Frontier Days -Founding Pioneers-

New Super Mario Bros. U Deluxe

Niche - a genetics survival game

Nickelodeon All-Star Brawl

Night Reverie

Night in the Woods

No Man's Sky

No Place Like Home

Nonograms Prophecy

Ocean's Heart

Octodad: Dadliest Catch

Ooblets

Orange Season

Overcooked! 2

Overcooked! Special Edition

PAC-MAN 99

PAC-MAN WORLD Re-PAC

Paleo Pines

Palia

Paper Mario: The Origami King

Paper Mario: The Thousand Year Door

Paper io 2

Picross S +

Pikmin 1

Pikmin 2

Pinball FX3

Pants vs. Zombies: Battle for Neighborville

Pokemon Cafe Remix

Pokemon Legends: Arceus

Pokemon Quest

Pokemon Shield

Pokemon Violet

Potion Permit

PunchMan Online

Puyo Puyo Tetris

RAFT SURVIVAL SIMULATOR

Rec Room

Rocket League

Rogue Legacy

Rogue Legacy 2

RollerCoaster Tycoon 3: Complete Edition

Roots of Pacha

Royal Tower Defense

Run Sausage Run!

Run Factory 4 Special

Rune Factory 5

Scourge Bringer

SCREAM AND STEEL - Horror Story Shooter

Ship of Fools

Smoke and Sacrifice

Sparklite

Sprout Valley

Stardew Valley

SteamWorld Build

SteamWorld Dig

STORY OF SEASONS: A Wonderful Life

STORY OF SEASONS: Friends of Mineral Town

STORY OF SEASONS: Pioneers of Olive Town

Subnautica Below Zero

Super Dungeon Maker

SUPER MARIO MAKER 2

SUPER MARIO ODYSSEY

SWORD ART ONLINE: FATAL BULLET COMPLETE EDITION

Sally Face

Scarlet Tower

Scrapnaut

Scribbed

Scribblenauts Mega Pack

She Wants Me Dead

Shockman Collection Vol. 1

Shredded Secrets

Sid Meier's Civilization VI

Sky: Children of the LIght

Slime Rancher: Plortable Edition

Snug Finder

Space Roguelike Adventure

Spacefarer Mahjong

Speed Dating For Ghosts

Spiritfarer

Spirittea

Splatoon 3

Spongebob SquarePants: Battle for Bikini Botom - Rehydrated

Spyro Reignited Trilogy

Stolen Realm

Stumble Guys

Sudocats

Super Animal Royale

Super Kirby Clash

Super Mario 3D World + Bowser's Fury

Super Mario Bros. 35

Super Mario RPG

Super Snake Block

Survival

TERAVIT

TETRIS 99

THE NEW DENPA MEN

Tales of Kenzera: ZAU

Tali io

Taqoban

Teenage Mutant Ninja Turtles: Shredder's Revenge

Terraria

Tetris Effect: Connected

The Bunny Graveyard

The Escapists

The Escapists 2

The First Tree

The Game of Life 2

The Jackbox Party Start

The Knight Witch

The Last Campfire

The Legend of Zelda: Breath of the Wild

The Legend of Zelda: Echoes of Wisdom

The Oregon Trail

The Survivalists

The Tales of Bayun

The Witcher 3: Wild Hunt - Complete Edition

Thief Simulator

Time on Frog Island

Tiny Lands

To the Rescue!

Toroom

Townscaper

Tricky Doors

Turnip Boy Commits Tax Evasion

UNO

Ultimate Chicken Horse

Ultra Foodmess

Unravel TWO

Untitled Goose Game

Viking City Tycoon

Voidcraft Island Chronicles: Sky Survival

Voltaire the Vegan Vampire

Warframe

What Comes After

Windbound

Wira & Taksa: Against the Master of Gravity

Witchy Life Story

Wizardry: Proving Grounds of the Mad Overlord

Wylde Flowers

Wytchwood

Yoshi's Crafted World

Yu-Gi-Oh! Master Duel

Zombie Harvest: Survival Farming Simulator

[mostlysignssomeportents]

Twinkump Linkdump

I'm on a 20+ city book tour for my new novel PICKS AND SHOVELS. Catch me in SAN DIEGO at MYSTERIOUS GALAXY next MONDAY (Mar 24), and in CHICAGO with PETER SAGAL on Apr 2. More tour dates here.

I have an excellent excuse for this week's linkdump: I'm in Germany, but I'm supposed to be in LA, and I'm not, because London Heathrow shut down due to a power-station fire, which meant I spent all day yesterday running around like a headless chicken, trying to get home in time for my gig in San Diego on Monday (don't worry, I sorted it):

https://www.mystgalaxy.com/32425Doctorow

Therefore, this is 30th linkdump, in which I collect the assorted links that didn't make it into this week's newsletters. Here are the other 29:

https://pluralistic.net/tag/linkdump/

I always like to start and end these 'dumps with some good news, which isn't easy in these absolutely terrifying times. But there is some good news: Wil Wheaton has announced his new podcast, a successor of sorts to the LeVar Burton Reads podcast. It's called "It's Storytime" and it features Wil reading his favorite stories handpicked from science fiction magazines, including On Spec, the magazine that bought my very first published story (I was 16, it ran in their special youth issue, it wasn't very good, but boy did it mean a lot to me):

https://wilwheaton.net/podcast/

Here's some more good news: a court has found (again!) that works created by AI are not eligible for copyright. This is the very best possible outcome for people worried about creators' rights in the age of AI, because if our bosses can't copyright the botshit that comes out of the "AI" systems trained on our work, then they will pay us:

https://www.yahoo.com/news/us-appeals-court-rejects-copyrights-171203999.html

Our bosses hate paying us, but they hate the idea of not being able to stop people from copying their entertainment products so! much! more! It's that simple:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

This outcome is so much better than the idea that AI training isn't fair use – an idea that threatens the existence of search engines, archiving, computational linguistics, and other clearly beneficial activities. Worse than that, though: if we create a new copyright that allows creators to prevent others from scraping and analyzing their works, our bosses will immediately alter their non-negotiable boilerplate contracts to demand that we assign them this right. That will allow them to warehouse huge troves of copyrighted material that they will sell to AI companies who will train models designed to put us on the breadline (see above, re: our bosses hate paying us):

https://pluralistic.net/2024/03/13/hey-look-over-there/#lets-you-and-he-fight

The rights of archivists grow more urgent by the day, as the Trump regime lays waste to billions of dollars worth of government materials that were produced at public expense, deleting decades of scientific, scholarly, historical and technical materials. This is the kind of thing you might expect the National Archive or the Library of Congress to take care of, but they're being chucked into the meat-grinder as well.

To make things even worse, Trump and Musk have laid waste to the Institute of Museum and Library Services, a tiny, vital agency that provides funding to libraries, archives and museums across the country. Evan Robb writes about all the ways the IMLS supports the public in his state of Washington:

Technology support. Last-mile broadband connection, network support, hardware, etc. Assistance with the confusing e-rate program for reduced Internet pricing for libraries.

Coordinated group purchase of e-books, e-audiobooks, scholarly research databases, etc.

Library services for the blind and print-disabled.

Libraries in state prisons, juvenile detention centers, and psychiatric institutions.

Digitization of, and access to, historical resources (e.g., newspapers, government records, documents, photos, film, audio, etc.).

Literacy programming and support for youth services at libraries.

The entire IMLS budget over the next 10 years rounds to zero when compared to the US federal budget – and yet, by gutting it, DOGE is amputating significant parts of the country's systems that promote literacy; critical thinking; and universal access to networks, media and ideas. Put it that way, and it's not hard to see why they hate it so.

Trying to figure out what Trump is up to is (deliberately) confusing, because Trump and Musk are pursuing a chaotic agenda that is designed to keep their foes off-balance:

https://www.wired.com/story/elon-musk-donald-trump-chaos/

But as Hamilton Nolan writes, there's a way to cut through the chaos and make sense of it all. The problem is that there are a handful of billionaires who have so much money that when they choose chaos, we all have to live with it:

The significant thing about the way that Elon Musk is presently dismantling our government is not the existence of his own political delusions, or his own self-interested quest to privatize public functions, or his own misreading of economics; it is the fact that he is able to do it. And he is able to do it because he has several hundred billion dollars. If he did not have several hundred billion dollars he would just be another idiot with bad opinions. Because he has several hundred billion dollars his bad opinions are now our collective lived experience.

https://www.hamiltonnolan.com/p/the-underlying-problem

We actually have a body of law designed to prevent this from happening. It's called "antitrust" and 40 years ago, Jimmy Carter decided to follow the advice of some of history's dumbest economists who said that fighting monopolies made the economy "inefficient." Every president since, up to – but not including – Biden, did even more to encourage monopolization and the immense riches it creates for a tiny number of greedy bastards.

But Biden changed that. Thanks to the "Unity Taskforce" that divided up the presidential appointments between the Democrats' corporate wing and the Warren/Sanders wing, Biden appointed some of the most committed, effective trustbusters we'd seen for generations:

https://pluralistic.net/2022/10/18/administrative-competence/#i-know-stuff

After Trump's election, there was some room for hope that Trump's FTC would continue to pursue at least some of the anti-monopoly work of the Biden years. After all, there's a sizable faction within the MAGA movement that hates (some) monopolies:

https://pluralistic.net/2025/01/24/enforcement-priorities/#enemies-lists

But last week, Trump claimed to have illegally fired the two Democratic commissioners on the FTC: Alvaro Bedoya and Rebecca Slaughter. I stan both of these commissioners, hard. When they were at the height of their powers in the Biden years, I had the incredible, disorienting experience of getting out of bed, checking the headlines, and feeling very good about what the government had just done.

Trump isn't legally allowed to fire Bedoya and Slaughter. Perhaps he's just picking this fight as part of his chaos agenda (see above). But there are some other pretty good theories about what this is setting up. In his BIG newsletter, Matt Stoller proposes that Trump is using this case as a wedge, trying to set a precedent that would let him fire Federal Reserve Chair Jerome Powell:

https://www.thebignewsletter.com/p/why-trump-tried-to-fire-federal-trade

But perhaps there's more to it. Stoller just had Commissioner Bedoya on Organized Money, the podcast he co-hosts with David Dayen, and Bedoya pointed out that if Trump can fire Democratic commissioners, he can also fire Republican commissioners. That means that if he cuts a shady deal with, say, Jeff Bezos, he can order the FTC to drop its case against Amazon and fire the Republicans on the commission if they don't frog when he jumps:

https://www.organizedmoney.fm/p/trumps-showdown-at-the-ftc-with-commissioner

(By the way, Organized Money is a fantastic podcast, notwithstanding the fact that they put me on the show last week:)

https://audio.buzzsprout.com/6f5ly01qcx6ijokbvoamr794ht81

The future that our plutocrat overlords are grasping for is indeed a terrible one. You can see its shape in the fantasies of "liberatarian exit" – the seasteads, free states, and other assorted attempts to build anarcho-capitalist lawless lands where you can sell yourself into slavery, or just sell your kidneys. The best nonfiction book on libertarian exit is Raymond Criab's 2022 "Adventure Capitalism," a brilliant, darkly hilarious and chilling history of every time a group of people have tried to found a nation based on elevating selfishness to a virtue:

https://pluralistic.net/2022/06/14/this-way-to-the-egress/#terra-nullius

If Craib's book is the best nonfiction volume on the subject of libertarian exit, then Naomi Kritzer's super 2023 novel Liberty's Daughter is the best novel about life in a libertopia – a young adult novel about a girl growing up in the hell that would be life with a Heinlein-type dad:

https://pluralistic.net/2023/11/21/podkaynes-dad-was-a-dick/#age-of-consent

But now this canon has a third volume, a piece of design fiction from Atelier Van Lieshout called "Slave City," which specs out an arcology populated with 200,000 inhabitants whose "very rational, efficient and profitable" arrangements produce €7b/year in profit:

https://www.archdaily.com/30114/slave-city-atelier-van-lieshout

This economic miracle is created by the residents' "voluntary" opt-in to a day consisting of 7h in an office, 7h toiling in the fields, 7h of sleep, and 3h for "leisure" (e.g. hanging out at "The Mall," a 24/7, 26-storey " boundless consumer paradise"). Slaves who wish to better themselves can attend either Female Slave University or Male Slave University (no gender controversy in Slave City!), which run 24/7, with 7 hours of study, 7 hours of upkeep and maintenance on the facility, 7h of sleep, and, of course, 3h of "leisure."

The field of design fiction is a weird and fertile one. In his traditional closing keynote for this year's SXSW Interactive festival, Bruce Sterling opens with a little potted history of the field since it was coined by Julian Bleeker:

https://bruces.medium.com/how-to-rebuild-an-imaginary-future-2025-0b14e511e7b6

Then Bruce moves on to his own latest design fiction project, an automated poetry machine called the Versificatore first described by Primo Levi in an odd piece of science fiction written for a newspaper. The Versificatore was then adapted to the screen in 1971, for an episode of an Italian sf TV show based on Levi's fiction:

https://www.youtube.com/watch?v=tva-D_8b8-E

And now Sterling has built a Versificatore. The keynote is a sterlingian delight – as all of his SXSW closers are. It's a hymn to the value of "imaginary futures" and an instruction manual for recovering them. It could not be more timely.

Sterling's imaginary futures would be a good upbeat note to end this 'dump with, but I've got a real future that's just as inspiring to close us out with: the EU has found Apple guilty of monopolizing the interfaces to its devices and have ordered the company to open them up for interoperability, so that other manufacturers – European manufacturers! – can make fully interoperable gadgets that are first-class citizens of Apple's "ecosystem":

https://www.reuters.com/technology/apple-ordered-by-eu-antitrust-regulators-open-up-rivals-2025-03-19/

It's a good reminder that as America crumbles, there are still places left in the world with competent governments that want to help the people they represent thrive and prosper. As the Prophet Gibson tells us, "the future is here, it's just not evenly distributed." Let's hope that the EU is living in America's future, and not the other way around.

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/2025/03/22/omnium-gatherum/#storytime

Image: TDelCoro https://www.flickr.com/photos/tomasdelcoro/48116604516/

CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0/

[agbpaints]

I've had some ideas kicking around for a homebrew variant of the shadowhawk for a while now that I finally decided to put to paper (or I guess in this case Solaris Skunk Werks). My goal was to maintain the SHawk's character within the 55 ton trio (low heat, mid range harrasser with a flexible and balanced mixture of ballistic, energy, and missile weapons) while making it less aggressively mediocre than its succession war era designs thru the use of some lostech.

As the ashes began to settle following the Blakist Jihad, the Magistracy of Canopus determined they needed a cheaper and more flexible alternative to their fleet of advanced SHD-7Ms. Utilizing light fusion engine and multi-missile launch system technology from the allied Dutchy of Andurian, surplus production spares from the Canopan defense industry's work on the Taurian Brahma heavy mech, and the output of their own 7M line, Majesty Metals & Manufacturing produced three functioning prototypes for a design they called the Shadowhawk XA1. Despite costing 20% less than the model it was intended to compete with, internal politicking between MMM and the Magistracy government eventually sank the project. One of the prototypes was donated to the Magistracy Armed Forces Museum on Canopus IV while another was converted back into a standard 7M. The final prototype was sent to Capellan space for further testing but it vanishes from MMM's and the CCAF's records shortly before it was slated to arrive at the testing range.

Designed to fill the role of a medium-range skirmishing unit with a degree of inter-mission flexibility, the SHD-XA1 is built on the same endo steel chassis as the 7M. The bulky and fragile Core Tek 275 XL power plant has been downgraded to a more resilient experimental 275 light fusion engine while the 5 jump jets have been retained. 9 tons of armor leaves the pilot moderately well protected, relying on the XA1's speed and cover to protect the mech.

As opposed to the 7M, which saw fit to upgrade the size of the venerable 2H's weapons, the XA1 attempts to beat it in quantity amd accuracy. In the place of the guass rifle, a pair of light class 5 autocannons have been mounted in the left shoulder weapons pod, while an extended range medium laser has been installed in both the center torso and head. A five-tube multi-missile launcher is located in the right torso. All of the mech's direct fire weapons are networked to a targetting computer in the left torso, while all of its ballistic and missile systems draw from a shared 4-ton cellular ammunition stowage bay in the right torso. 10 double heat sinks allow a mechwarrior total freedom to use her weapons as she chooses, and while the torso-mounted weapons load leaves the mech vulnerable to flanking attacks and narrows its effective firing arcs, it does leave the arms free to engage in melee attacks once the mech closes.

The SHD-XA1's lends itself towards acting as a skirmisher or fast response unit that can tailor its exact role thru the use of specialty ammunition. Smoke and inferno missiles allow the mech to provide cover to advance under and anti-infantry/anti-vee capabilities with its MML, while the TC-linked autocannons can be configured to combat heavily armed units, aircraft, or fast moving targets through the use of armor piercing, flak, or precision ammo. The design's thin armor, fair mobility, and moderate range mean that the mechwarrior is advised to maintain distance and speed slightly behind the lime of battle until the enemy is weakened enough for her to close on and dispatch isolated unit.

This was fun to put together! Let me know what you think- should I do more homebrew mech variants?

[art-that-fucks-you-up-tournament]

SET ELEVEN FINAL - ROUND FOUR

"Two Earthlings" (2003/2009 - John Brosio) / "“Untitled” (Perfect Lovers)" (1991 - Félix González-Torres) and "The Lovers" (2001 - Sneha Solanki)

TWO EARTHLINGS: This painting makes me feel so very, very sad. I hope you will count it if its the TITLE that really gives the final effect. It being "two earthlings" feels like this wave of oh... oh both me and a dinosaur are earthlings. Despite the astronomical differences between us, despite the fact we have never met alive, we are Two Earthlings. Every once-or-currently living thing shares this earth with us. If this planet is truly the only place with life in the universe, we all share a home. (tangerinecat14)

"UNTITLED" (PERFECT LOVERS): I’m sure you’ve gotten his pieces already but GOD I love this one SO MUCH!! THE MOMENTO MORI OF IT ALL. (townesorsomething) THE LOVERS: asldkjaskldjaskldjaskldjaskljdlkasjfoawehfdsckhf HRNNGGGGGGGGG this piece of art makes me feel like i am one click away from imploding. it makes me think about how we use our words and how a relationship works. i think about the love poems and the slow corruption and i think about how these computers are hooked up to one another and they cannot escape. would they want to escape? are they in love? i don’t know. this piece fucks me up. (x-ca1iber)

("Two Earthlings" is an oil on canvas piece by John Brosio. It measures 48 x 48 in (122 x122 cm).

""Untitled" (Perfect Lovers)" is a piece by Félix González-Torres that has two versions, this is the second version that was made after González-Torres' lover, Ross Laycock, died. The two clocks are each 13 1/2 in (34.29 cm) diameter, and the piece is held by the Museum of Modern Art, although currently off display. "The Lovers" is a piece by British artist Sneha Solanki which consists of two networked machines, one infected with a virus, slowly infecting the other through the interface of classic romantic poetry.)

[spacetimewithstuartgary]

New SpaceTime out Wednesday

SpaceTime 20250430 Series 28 Episode 52

The strange mystery of Titan’s river deltas

Scientists are looking for the Saturnian moon Titan’s missing river deltas.

A new study unveils the volcanic history and clues to ancient life on Mars

A new study has revealed that the floor of the red planet’s Jezero Crater is composed of a diverse array of iron-rich volcanic rocks.

Rare earth metals discovered in the atmosphere of a glowing hot exoplanet

Astronomers have discovered rare earth metals in the atmosphere of KELT-9 b, one of the hottest known exoplanets.

The Science Report

Claims you can blame when you were conceived for how you store fat.

Scientists have for the first time analysed the soft tissue of a fossilized 183 million year old plesiosaur.

A new study shows Chatbots make inconsistent moral judgements.

Alex on Tech: YouTube turns 20

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through your favourite podcast download provider or from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He was the dorky school kid who spent his weekends at the Australian Museum. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on a career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. His first gigs were spent as an announcer and music DJ in commercial radio, before becoming a journalist, and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth. That compares to the ABC’s overall radio listenership of just 5.6 per cent. The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[thedigitalmuseum]

MUSEUM ARCHIPELAGO 103. HOW COMPUTERS TRANSFORMED MUSEUMS AND CREATED A NEW TYPE OF PROFESSIONAL

Computing work keeps museums running, but it’s largely invisible. That is, unless something goes wrong. For Dr. Paul Marty, Professor in the School of Information at Florida State University and his colleague Kathy Jones, Program Director of the Museum Studies Program at the Harvard Extension School, shining a light on the behind-the-scenes activities of museum technology workers was one of the main reasons to start the Oral Histories of Museum Computing project.

The first museum technology conference was hosted in 1968 at the Metropolitan Museum of Art. This prescient event, titled “Conference on Computers and their Potential Application in Museums” was mostly focused on the cutting edge: better inventory management systems using computers instead of paper methods. However, it also foresaw the transformative impact of computers on museums—from digital artifacts to creating interactive exhibits to expanding audience reach beyond physical boundaries. Most of all, speakers understood that museum technologists would need to “join forces” with each other to learn and experiment better ways to use computers in museum settings.

The Oral Histories of Museum Computing project collects the stories of what happened since that first museum technology conference, identifying the key historical themes, trends, and people behind the machines behind the museums. In this episode, Paul Marty and Kathy Jones describe their experience as museum technology professionals, the importance of conferences like the Museum Computer Network, and the benefits of compiling and sharing these oral histories.