#overwhelming and colossal and obfuscated

[ironshrikes]

i want to develop the confidence to be a little more off putting. to make unpalatable art. to be a little unpalatable myself

[soumil]

Fire-hosing of Falsehood!

It is said to take less time to make up facts than it does to verify them.

The amount of lies that can be tolerated is the strange propaganda technique of "firehose of falsehood" where obvious lies doesn’t have to be relevant/admissible or even believable when told by people with power.

We characterize the contemporary Russian model for propaganda as “the firehose of falsehood”. A lie after lie after lie Russia seems to have enjoyed some success under its contemporary propaganda model, either through more direct persuasion and influence or by engaging in obfuscation, confusion, and the diminution of truthful reporting and messaging. Even obvious lies doesn’t have to believable but it is highly effectively as shown by the reports, to have influence on people.

Quite ironically fire hose means the use of hose to spray water on fire but this time it’s the truth and truth driven facts are being watered beneath by propaganda and its irrational /obvious lies& fabrications.

When caught with such colossal lies and fiction stories, they reason that they are entitled to their opinions which apparently does not have to exist in reality.

 Traditionally This runs counter to the effective influence and credibility of the government. Be it Vladimir Putin of Russia or Donald trump, both leaders obfuscate the truth and makes an obvious lie of it absolutely denying the facts. 

The outright fiction stories or the propaganda stated by leaders truly confuses and overwhelms the audience, which makes them question even the truth that is in front of them.

However ridiculous this sounds it is effective from the report and research released by RAND specifically on Russian propaganda. Thus powerful leaders who have controls over press articles and reports benefit from telling obvious lies.

Two Characteristic of firehose of falsehood :-

No commitment to objective Reality.

No commitment to consistency & changing one’s own statement.

Even if you fact check to prove its fabrications ,It is sully and moot as you are a part of something that shouldn’t be in discussion in the first place. It is so ridiculous and humiliating as it has no effect altogether . To understand this we can see it in a way as ; in this era, a debate on shape of earth claiming it to be not circular but square.

Whoever Here has objectively more power owns reality.

Where a statement such as:

 “TRUTH isn’t TRUTH” can also be asserted .

Firehosing turn even the most obvious results into a messy mind numbing political fight. Something not qualified for debate starts into a scream match.

Where else have we seen this in our country. Hmmmm in the Hindu-Muslim debating news channels. which is mostly made up issues so it is obvious that these debates never comes to a conclusion. And circles around with screaming and obscene facts in vanity, solely for brain washing and negative entertainment.

As the outcome is obvious and already known , in search of such a thing hope is that you will get exhausted while proving it and that you eventually will give up.

What Can Be Done to Counter the Firehose of Falsehood?

Suggestion Is don't expect to counter the firehose of falsehood with guns of truth but to find ways to help put raincoats when the firehose of falsehood is being directed.—without arguments we take away their power .

[versatilepoetry]

Still Reigning Supreme

Although it stands in a pool of disdainful mud; with wild creepers camouflaging it in entirety, The lotus still reigns supreme; due to its lingering redolence; the stupendously enamoring color of its leaves. Although it is obliterated by a conglomerate of ominous thunder clouds; black gases whistling past it at swashbuckling speeds, The moon still reigns supreme; due to its scintillating and perennial shine; which profoundly illuminates the night. Although it flies amidst a fleet of hideous vultures; sounds of vicious wailing uncouthly caressing its wings, The nightingale still reigns supreme; due to its incredibly mesmerizing voice which permeates the atmosphere. Although she swims underwater with pugnacious sharks slithering in proximity; the multilegged octopus fervently awaiting every single opportunity to strangulate it, The mermaid still reigns supreme; due to its silken complexioned skin; the vivaciousness incorporated in its body. Although it lies obfuscated behind the fortress of lanky mountains; the colossal shadows trying to wholesomely submerge it, The sun still reigns supreme; due to its blistering rays; the overwhelming tenacity in its shine able to dazzle every nook and cranny of the earth. Although it lies incarcerated in cloistered space; a slimy shell sequestering it completely from the outside world, The pearl still reigns supreme; due to its unrelenting capacity to glow; inundate the life of whosoever who purchases it with an inevitable sparkle. Although it sprouts from primordial wild clay; with fetid puddles of slush sprawled abundantly around, The button mushroom still reigns supreme; due to its delectably appeasing silhouette; the exultation it generates when squelched between pair of teeth. Although it gushes past a plethora of belligerent barricades; jagged rocks hindering its progress at every juncture possible, The white water mountain stream still reigns supreme; due to its tingling noise; the reinvigorating feeling it imparts when drunk with cupped hands. Although it lies imprisoned in dungeons of doom; ghastly waves of air striking it each minute unveiling, The biscuit of gold still reigns supreme; due to the perpetual glow emanating from its persona; its uncanny ability to overpower all commodities existing. And although he existed in a world besieged with corruption; blood sucking individuals trying to massacre civilization, The angel still reigned supreme; due to an impeccable aura engulfing his demeanor; the unprecedented faith he had in his mother; his beloved; and the Almighty who had created him.

[componentplanet]

Microsoft Needs to Stop Screwing With Local Accounts in Windows 10

When Microsoft launched Windows 10 back in 2015, it offered the option to use an online account instead of a local computer account. Four years later, it’s clear the company wishes it had never done this. For nearly half a decade, Microsoft has made a variety of changes to the Windows setup process, including repeatedly rewording the option to create a local account or hiding it altogether, as it did with the Windows 10 1809 Update.

Windows 1903 dialed the hiding back after user outcry, but now Microsoft is at it again. Attempt to set up an account on the latest version of Windows, and you’ll be greeted by the following:

“Domain join instead” is now offered where “Create a Local Account” once sat, as Hot Hardware has covered. This is not a one-time change that Microsoft made. This is not a test. This is an ongoing blatant attempt to gaslight and annoy users into creating the account type that Microsoft prefers they use rather than the account type they might want.

I am not going to bother going through the differences between an online, Microsoft-hosted account and a local account. Those differences have absolutely nothing to do with how Microsoft is repeatedly sabotaging and changing the mechanism for selecting a local account as opposed to an online one. The only point in play here is the fact that some users want local accounts and Microsoft very obviously does not want people to have local accounts. Whether because of legacy applications, corporate demands, or IT security requirements, it is apparently necessary for offline accounts to remain possible, but the company clearly doesn’t want them to be used.

This is what is known as a “dark pattern.” In the context of a UI, humans use patterns to look for recognizable elements and clues about how things function. A dark pattern, therefore, is a pattern purposefully designed to obfuscate and hide valuable information, in the hopes that people will not figure out how to use the application properly. A company with a permission form that switches from opt-out checkboxes to opt-in checkboxes in the same document is using a simple type of dark pattern. Displaying checkboxes that are grayed-out so as to appear un-selectable would be another hypothetical dark pattern — a user might not even attempt to click into them, assuming that because they are grayed-out, they are unusable.

A classic dark pattern. The top section is opt-out, the following is opt-in. If you only read the top section, you’ll opt-in to the following section below it and receive information from third parties you did not wish to receive. Credit: The Verge

Dark patterns are tricks. They hide the truth in a deliberate way while preserving plausible deniability. A number of web services use these sorts of tricks to lock you into subscribing to newsletters, signing up for more expensive services, or otherwise handing over data and personal information. Microsoft is using them to lock you into the kind of account it wants you to have.

The phrase “Domain join instead” is incomprehensible to the majority of individual users setting up their PCs. A small group of people will know that domains have something to do with corporate accounts and will choose not to explore this option out of the mistaken belief that the information it contains isn’t applicable to them. Most people will conclude that “Domain join instead” and “Use a local account” have nothing to do with each other exactly as Microsoft intends because Microsoft has hidden account options behind words that most people do not associate with the process of creating a local account. People are far more familiar with the idea of online versus offline than they are with the idea of a “domain joined” account versus an “online” account. The only reason to make a change like this is to deliberately harm end-user understanding.

Microsoft talks a big game about making Windows more intuitive and approachable. Perhaps the company should amend its marketing to make it clear that it can only be trusted not to misrepresent the contents of dialog menus when you are using its software in the manner it prefers.

It would be one thing if this was the first time Microsoft had changed this option. It isn’t. The company has previously removed it altogether, forcing end-users to disconnect from the internet or repeatedly enter bad email addresses in order to restore it. The company has already demonstrated profound bad faith on this point.

There’s already anecdotal information this latest dark pattern is working. On HotHardware, user TheEgg writes: “I was actually dealing with this over the weekend while setting up a PC for a family friend. Sat there for a good 10 minutes trying to figure out how to bypass needing to create a dummy MS account; eventually turned off the PC to be solved later.”

There is no justification for this repeated obfuscation. At best, it speaks to the colossal arrogance of a corporation who believes it knows better than its own users what settings they ought to use and is willing to tiptoe up to outright lying to force end-users to do its bidding. At worst, it magnifies every single accusation of bad faith leveled against Microsoft and its data collection and privacy practices as they concern Windows 10. I have tried to strike a middle ground on these issues by criticizing Microsoft strongly when I felt it made mistakes but also acknowledging when the company made moves that were friendlier to privacy and reduced data collection. It is much harder to do so when the company continues to make decisions that hide these basic choices.

Microsoft either needs to have the guts to remove the local account option altogether — and deal with the blowback it’ll deservedly get — or stop trying to hide important configuration options behind layers of obfuscating bullshit. It is long past time to cease this half-measure sabotage and provide people with a reasonable setup experience that doesn’t play “Hide the options” with the customer base.

No, the fact that Microsoft is hiding options and playing cute with its UI during setup doesn’t mean the company is harvesting PII (personally identifiable information) from customer data. The problem — which evidently hasn’t percolated its way up to the C-suites just yet — is that every time the company pulls this stunt, it convinces a segment of the population that they are willing to do nastier things. Given the flood of data breaches and deliberately poor practices pouring out of Silicon Valley like the breached dam of the world’s largest sewage-treatment facility, I can’t blame them.

But I’m tired of writing articles about how Microsoft is once more screwing with its customers, only to turn around in days to months and write Yet Another Article about how no, Microsoft has “learned” things now and become a kinder, gentler, company. It would be nice to make it through a six month period without having to write any articles about nasty, consumer-hostile actions Microsoft has taken like this one. Evidently, the company actually learned nothing from its Get Windows 10 debacle.

Microsoft’s motivations are irrelevant. What matters is how this constant stream of changes has played in the community, and the overwhelming response from the community is that it knows exactly what Microsoft is playing here and doesn’t like it one bit.

Knock it off. I’d like to stop using this stupid image of a corrupt salesman. I’d like to stop writing articles about how, once again, Microsoft is screwing with its users. I’d like to focus on the technical improvements and enhancements to the OS rather than things that go perennially wrong. Software bugs are a fact of life in any application. These aren’t bugs. They’re deliberate attempts to mislead people.

Microsoft is clearly trying to force people into using non-local accounts without actually going so far as to remove the option. The company refuses to have an honest discussion about its own use of dark patterns to achieve this goal. That’s all the reason I personally need to never use an online Microsoft account. Any company working this hard to seize access to user data doesn’t deserve it.

Now Read:

Microsoft Says AI-Powered Windows Updates Have Reduced Crashes

Part of Call of Duty Is Sony-Exclusive for a Year, and PC, Xbox Fans Are Fuming

Latest Microsoft Patch Breaks Windows 10 Desktop Search, Start Menu, Audio

from ExtremeTechExtremeTech https://www.extremetech.com/computing/299341-microsoft-needs-to-stop-screwing-with-local-accounts-in-windows-10 from Blogger http://componentplanet.blogspot.com/2019/10/microsoft-needs-to-stop-screwing-with.html

[publichealthjurnal-blog]

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[un-nmd]

Recent listening—

The Mothers of Invention, Weasles Ripped My Flesh (1970) Strikes a somewhat psychotic balance between the whimsy of a Ween and the all-out avant of a Beefheart. The musicianship’s all there lest you fear that Zappa’s noisy conundrums were meant to hide a lack thereof—his magic band equivalents are able to don ‘general public’ masks and jam away just like any contemporary fellow, as they do on “Directly From My Heart To You” and “My Guitar Wants To Kill Your Mama” (note the electric violin on the former). But to those with ears of gentle predisposition: beware, and don’t be fooled, for the joke’s on you. The visceral beasts behind those vaguely satirical eye-holes are let loose more often than they’re contained. Take the two characteristic collages, “Didja Get Any Onya?” and “Prelude To The Afternoon Of A Sexually Aroused Gas Mask”: chaos, yes, but ritualistic chaos; Zappa, wielder of the wild. The sheer number of ideas, themes, and allusions introduced and just as quickly passed over in the space of, for each, less than four minutes, is nauseatingly impressive. E.g. about halfway through the latter, whose title suggests Debussy’s own ...d’un faune, some Satanic call and response gives way to the distant strains of the second subject of the first movement of Tchaikovsky’s Pathétique, over which some madman projects an uncanny valley imitation of a big cat growling—then final tremors from kit and a deep down electric rumbling to close. And if you thought music was one-dimensional (audio, you could argue, perhaps is) wait till you hear Zappa break the fourth wall on “Toads Of The Short Forest” which itself ends on a parodic consonance that’s rich with the same commercial irony of the album’s parting words— “Goodnight, boys and girls”—which follow one and a half minutes of some of the harshest noise you’ll ever hear. If you thought Penderecki was aggressive listen to this and reconsider.

Various artists, Planetarium (2017) You would think that with the extra personnel Sufjan would be somewhat protected from the subsuming ambition that fed Illinois and Adz to over an hour each—or that he’d personally outgrown it, as these mature words here would suggest:

A lot of those flourishes and gestures and aesthetic wanderings on earlier records were smoke and mirrors, a lot of obfuscation that were probably the result of me feeling either inadequate or feeling coy. There’s a lot of role playing and constructing facades.

But the 76-minute run-time indicates otherwise. Perhaps it’s the subject matter. These four gentlemen’s ode to the cosmos is as much about space as it is about substance—by which I mean: aside from the planet portraits they also craft sonic voids to match that of the great vacuum, and call it ‘ambient music’ so its justifiable. Is Muhly to blame? If so, its at least theoretically intriguing for its marriage of post-minimalism and popular music. It makes for dull listening though. You accept it the first couple of times but there’s no way I’m sitting through “Sun” or “Tides” or the “Moon” coda for a third or further. However with “Black Energy” the suspended dissonances are at least something for the ear to work on, and “Halley’s Comet” and “Black Hole” are short enough to accept as outros/intros to tracks preceding/following, with the latter also being interesting for its similarity to certain parts of Badalamenti’s score to Fire Walk With Me. But of the actual songs?—“Jupiter” and “Mars” quickly go from overwhelming to simply overcrafted. Likewise “Earth” is overcome by temporal grandeur, but it is defensible in the same way that the Mahler symphonies are, i.e. gushing Romanticism kills itself yet in doing so also transcends itself. “Pluto” and its interstellar string line provide the appropriate sappiness required of a work named Planetarium. The real gems, however, are “Neptune”, “Uranus”, “Saturn”, and “Mercury”—is it any coincidence that these are also the most Sufjan-esque?

John Coltrane, The Olatunji Concert (1967) This was all the Gods could muster: a cheap, dingy mic, a 30-sec intro, time for two jams with the latter cut off before the final hit—there the master laid down his pen. Like J.S. centuries ago it was, fittingly, on his signature move. Did he know it would be his last live recording? The notion would at least have been entertained as by then he was probably well into the throes of the cirrhosis that would eventually take him. Trane’s apocalyptic final will and testament, the culmination—if only chronologically—of a lifetime’s innovation, comes at you through an otherworldly haze, through cigarette smoke and spirit vapours, through half a century (exactly) of sonic decomposition of tapes that were at a poor enough quality to begin with. All that’s pretty is shed away, left behind for the blind and the shallow to fuck with. This is the primal essence. Trane, on the precipice, delivers a performance of catastrophic immensity. This was no Mahler 9, no sweet surrender—with one foot in the grave he raged.

Deep Puddle Dynamics, The Taste of Rain... Why Kneel? (1999) And re-calibrate again for the emcees in this realm require of the listener a completely different approach. Here the gamut of receptors is tuned less to harmony, instrumental skill, or ‘compositional rigour’ (in the Western art sense), and more to verse, cadence, dialect, timbre, rhythm, and so forth—it’s only empty if you ain’t looking hard enough. And four voices means there’s plenty of variety to go round. The interplay between the distinct bodies to their voices makes them stronger as a unit, à la Tribe preceding. E.g. I don’t think I could handle an entire full-length full of Doseone’s nasal delivery but on this the other three contextualise the texture space he resides in so that his grating-ness means something. (See his entry on “The Scarecrow Speaks”.) Another point of difference between this and the records surrounding: I’ve had genius.com open for probably half my listens. The pace, density, and abstraction of the ideas expounded deserve more comprehension than a fleeting ear’s able to discern; the work is the word, mostly, so read the libretto. We open with Slug: “Descending on the centre / from the outskirts of obscurity”. An apt heads up for such is how you approach the meaning to these tracks, most of which exceed five minutes. Within them the majority of time is spent dealing in Impressionistic strokes of free-verse, free-associative syllables strung streaming out to the potent symbology of, say, a candle flame (as on “The Candle”) or the psychological landscape of a peeling ceiling (as on “Heavy Ceiling”—distant progenitor to Courtney Barnett’s “An Illustration of Loneliness”). However at times a rhyme catalyses the crystallisation of these supersaturated abstractions—here’s Sole towards the end of “Thought vs. Action”:

Man, I once had an idea but it didn’t get me anywhere Read The Art of War when I should have been out fighting Why is it the mass is unexposed to so-called great thinkers until they die? And why do they live in fear Of the fighters afraid to leave their insides?

But wait! Don’t forget ‘compositional rigour’ just yet as a certain hook on the track just discussed, the chant chucking nouns at each crotchet (“catalyst, cataclysm, fallacy, fortitude, medulla...”), appears also on “Deep Puddle Theme Song” and “June 26th, 1998”, albeit with different words, and as different answers to different questions. And formwise you’ve got the partition between the ‘98 tracks and those from June 26th, 1999. There’s a palpable maturation from the former to the latter. In the year of ‘98 they had more answers than questions—see the noun chant above, see the youthful arrogance on “The Scarecrow Speaks” and “I Am Hip Hop (Move the Crowd)”. And even the cynicism that closes #1 has with it a little bit of nihilistic tongue-in-cheek. One year on and they’re a lot more tired of the world. That sly grin’s nowhere to be found on lines like these...

How is it I’m motivated to endure Eight hours of pure unadulterated boredom? Then sit in front of another computer for Four more hours using the same old drum set Trying different loops, can’t find one to fit Maybe this is why I sit in front of a pad of paper, pen in hand with a blank mind And I ask myself Is the writer’s slump the best form of meditation? Rhetorical, don’t have an answer And I also don’t expect one.

...and all that’s left is a deathly wit...

It ain't all love, it's confusion and a waste of time It ain't all time, it's confusion and a waste of love It ain't all waste, it's confusion and some time to love It ain't all confusion, it's love and some time to waste It ain't all that It's all of the above So scared into this And you are And you wonder from the shores how deep the puddle is. 

...borne of the same fin-de-siècle dread that fed Radiohead’s OK Computer.

Alvvays, s/t (2014) Music that’s dense and complex and meticulous will never be difficult to write about, or, for some, even to listen to, because there’s always the task of ascribing theory to composition to hide in. Such an approach, however, can neglect what you might say to be the primary purpose of music: evoking a meaningful emotional response in the listener. This, to trained ears, can be tempered by knowledge and understanding of the underlying theory, but for the most part it is governed by right-brain perception; that is, the Dionysian response as opposed to the Apollonian. For example: I could write about how on “Dives” you can developmentally derive the verse theme from the prelude’s sinister synth line, or about the 3/2 bars on the refrain to the same and how Molly’s melody overlays a 6/4 structure in a sort of inverse hemiola to the colossal opening of Brahms’s 3rd—or, instead, I could write about the sweet, sweet ache I am immediately plunged into upon the first words to the first song (”How / Do I get close to you? / Even if you don’t notice / As I admire you / On the subway”), or the simultaneous melancholy of lyric and uplift of melody on the chorus to “Archie, Marry Me”, or the crack in my heart that accompanies, every time, Molly’s crack up to that high note on “Ones Who Love You”, that velvet vowel vocalise that’s recalled, in spirit, on the final seconds of their latest single when she, unexpectedly, epiphanically, goes up the register to a transcendent 5th scale degree falling to the major 3rd on what itself is a 6-3 on the I, i.e. a first inversion founded on yet another radiant, overtone-heavy 3rd. Point being, who really cares about the details when all you can think about is that it’s making you soar, or in some cases, sore (in the chest).