MonthNovember 2013

Green Authoritarianism as Generational Punishment

As part of Weird Future‘s 5 Viridian Years series, Jay speculates about the coming “asperity,” defined as “A policy of cutting resource use and consumption via a reduction in carbon dioxide (or equivalent emissions) and resources that are available/provided to a population.”

I would like to speculate on what kind of societal leverage could politicians of the future use as fuel to rally popular support for asperity?—?as opposed to say, geoengineering?—?as a way to prevent global catastrophe? Asperity politics (in action) could take many forms and be called many things?—?deep green, green authoritarianism, perhaps even openly by detractors as eco-fascism (can one imagine a deep green sweeping in power on votes from climate refugee’s in the ravaged post united states of america?) It would be enacted by many groups concurrently: as a social trend, by governments, and even perhaps terrorists.

Asperity could be enacted on a society’s ageing population, marketed as generational punishment; for the years of dithering over climate action, for the forced debt and precarity the people now in power went through growing up. Yes, the old will die, but that’s ok. They were responsible for deaths of many over truly inconsequential things like debt. Hell, in the early decades of the 21st century 1 child died every 4 seconds from preventable poverty?—?with that kind of track record to compare against the old shouldn’t worry huh?

Full Story: Medium: The Coming Asperity

The 11 American Nations

11 American Nations

Colin Woodard writes:

Beyond a vague awareness that supporters of violent retaliation and easy access to guns are concentrated in the states of the former Confederacy and, to a lesser extent, the western interior, most people cannot tell you much about regional differences on such matters. Our conventional way of defining regions—dividing the country along state boundaries into a Northeast, Midwest, Southeast, Southwest, and Northwest—masks the cultural lines along which attitudes toward violence fall. These lines don’t respect state boundaries. To understand violence or practically any other divisive issue, you need to understand historical settlement patterns and the lasting cultural fissures they established.

The original North American colonies were settled by people from distinct regions of the British Isles—and from France, the Netherlands, and Spain—each with its own religious, political, and ethnographic traits. For generations, these Euro-American cultures developed in isolation from one another, consolidating their cherished religious and political principles and fundamental values, and expanding across the eastern half of the continent in nearly exclusive settlement bands. Throughout the colonial period and the Early Republic, they saw themselves as competitors—for land, capital, and other settlers—and even as enemies, taking opposing sides in the American Revolution, the War of 1812, and the Civil War.

There’s never been an America, but rather several Americas—each a distinct nation. There are eleven nations today. Each looks at violence, as well as everything else, in its own way.

Full Story: Tufts Magazine: Up in Arms

(Thanks moonandserpent)

If you’re not going to make music out of it, I don’t want to hear about your last acid trip

The Quietus just published a long piece by Peter Bebergal on Coil, John Coltrane, LSD and consciousness. Peter takes a contrarian point of view on LSD and consciousness. He doesn’t condemn drug users, and acknowledges its role in art, but is skeptical about its role in understanding consciousness:

[Hoffman] immediately recognised the possibilities for psychology, medicine, and maybe even religion. What he could never have known was that he changed the world. The amount that has been written on Hofmann, on LSD, and on the nature of the LSD experience, could seemingly fill the universe that one often imagines is in their fingernail when tripping on the very same drug. Certainly important work has been done, and the recent collapse of fearful prohibitions on research of psychedelic drugs could prove beneficial in exactly the ways Dr. Hofmann had hoped. But psychedelic drugs, despite their contribution to the spiritual revolution of the 1960s – a revolution that essentially changed the course of American culture and beyond – have become something of a drag on any attempt to understand altered consciousness.

It started with Aldous Huxley, who had once understood mystical-oriented experiences as being rare, requiring spiritual exercises, philosophical introspection, and maybe even a little bit of luck. In his writing on the mescaline experience in his now infamous but slight manifesto The Doors Of Perception, he became a kind of mystic turncoat, arguing that the experience was available to anyone. More damning, however, was his view on the primacy art once held to be the key to transformative experiences. After his own night sitting comfortably in his drawing room grooving on the patterns in the curtains, Huxley came to see art as a pretender to the throne of direct experience, calling it the method for “beginners”.

Full Story: The Quietus: Love’s Secret Ascension: Coil, Coltrane & The 70th Birthday Of LSD

This reminds me of a piece by Erik Davis from a year ago. He who wrote:

And now there is a new competing narrative. Studies recently carried out at Yale, and published last month in the journal Science, have confirmed earlier reports that ketamine offers remarkable, nearly instantaneous relief for people who suffer from forms of major depression impervious to other treatment methods. Interpreting depression as a hardware problem largely caused by the loss of synaptic connections, the researchers argue that ketamine works by encouraging sprightly neural growth in brain regions correlated with memory and mood. Journalistic reports also linked this research with the development of a new vein of antidepressants, including Naurex’s GLYX-13, that have the neurone-fertilising power of ketamine without, as one report describes them, the ‘schizophrenia-like effects’.

Rarely has the new neuro-reductionism been so naked in its repackaging of human experience. Nowhere in the research or the journalism does anyone suggest that heavily depressed people feel better because ketamine sends them on a first-person voyage through profound, sometimes ecstatic, and certainly mind-bending modes of transpersonal consciousness whose subjective power might itself boot the mind out of its most mirthless ruts.

But I think the opposite is true as well: the psychedelic community needs to prepare for the possibility that hallucinogens are just drugs. That any therapeutic role they play can be replicated through less mind-warping means. Or, put another way: what if the “neuro-reductionists,” as Davis calls them, are right? What if they can succeed in creating an effective anti-depression drug without the disassociative properties of ketamine?

Part of the problem with banning hallucinogenic research for so long is that it’s allowed a community of pseudo-scientists to dominate the conversation about what the meaning these drugs are, raising expectations and creating dogmas about their effectiveness.

For example, you’ll run into people in the counter culture (such that it is) that believe ibogaine a 100% effective wonder drug for treating all types of addiction. But many ibogaine patients do relapse — which, to their credit, people who are actually involved in the ibogaine therapy community do openly admit. The truth there’s a dearth of scientific research on the substance and its efficacy. MAPS is trying to solve that problem. It might turn out that it doesn’t actually work. It could also turn out that it’s only effective for opiate withdrawal because it acts on opiate receptors, reducing withdrawal symptoms, and that the psychological effects of the 48 hour trip are not actually all that important. Or it could turn out that it works wonders for exactly the reason that psychonauts expect.

The point is, we don’t know, and that once rigorous, peer reviewed science gets back to work in the field, the come down may be harsh.

Long Interview with Metal Hurlant Co-Founder Jean-Pierre Dionnet

Metal_Hurlant_1

The Comics Journal ran a long interview Jean-Pierre Dionnet, who co-founded Metal Hurlant with Moebius, Philippe Druillet, and Bernard Farkas.

Here he talks about how the American version of Metal Hurlant, Heavy Metal, came about:

And then I did some very bad things, that, thirty years having passed, could be considered criminal. The first one was to intrude in the night at the offices of L’Écho, to steal with Druillet their subscriber listing in photocopies.

I also made a sort of scheme to be published in America.

I mean, I had seen Stan Lee, or sent him a letter, and he said, “Oh, maybe it cannot work here.” I had seen Infantino, and I sent him an issue; he was not enthusiastic. And Joe Kubert told me not to do it. I had seen Bob Guccione, and he scared me to death, because he was living in a very big house with Christs everywhere, and naked ladies. So he scared me a lot. And I met Len Mogel of National Lampoon.

Mmm-hmm.

My scheme was not as scary in the beginning. I really believed through the stories that I had seen, that maybe we could do an edition of the Lampoon. But very, very fast, I understood that it was not possible because it was very American, and there were only very few pages, like Gahan Wilson’s Nuts, that I could use. And some parodies. But I noticed that each time Len Mogel came to Paris, or invited me to New York, his wife walked into the next room reading Métal Hurlant, trying to understand it. And each time I saw her become more enthusiastic. So I pushed, I pushed, I pushed – and one day Len said, “Oh, my daughter, my wife loves Métal Hurlant a lot; maybe we could do an exchange? You do Lampoon in France and we do Heavy Metal.” And I said yes, but I already knew that I would never do the Lampoon

Full Story: The Comics Journal: “I’ve Already Forgot What I Said to You, But I Know It’s the Truth”: The Testimony of Jean-Pierre Dionnet

See also:

Early Issues of Heavy Metal Reassessed

Covers From Ah ! Nana, the All Female Creator Version of Heavy Metal

Moebius Career Chronology

Suggested for Mature Readers

grendel-header-with-text

Suggested for Mature Readers is a weekly blog by Tom Whiteley. Each week he re-reads and writes about a comic from the 80s or early 1990s comics that helped bring the medium into the mainstream. He updates roughly every Monday.

He’s currently re-reading Grendal, which had a big influence on me. He also recently did the entirety of Marshal Law, along with Joe McCulloch of The Comics Journal, which I think is a… well, not underated, but at least overlooked series. It looks like Cerebus is on the list as well. I’m currently rereading Sandman and hope he gets to that.

The Silent History: The strange novel that makes you travel to read it

The Week reports, back in October 2012:

An ambitious new e-book pushes the boundaries of interactive fiction by requiring readers to visit specific locations to unlock new parts of its story
If you want the full experience of The Silent History — a new e-book available on the iPhone and iPad — you’d better get ready to do some traveling. The Silent History is “part medical case study, part mystery novel, and part-real-life scavenger hunt,” says Sarah Hotchkiss at KQED, and the e-book aims to personalize its narrative for each reader. (Watch a trailer for The Silent History below.) The Silent History is divided into two parts: Testimonials and field reports. The testimonials, which are divided into six volumes of 20 chapters each, are automatically unlocked as the story unfolds each day. But the field reports require an unprecedented level of interaction: They can only be read by traveling to specific locations, and readers are encouraged to write and contribute their own localized installments.

Full Story: Yahoo News: The Silent History: The strange new e-book that makes you travel to read it

(Thanks Skry)

The Aesthetics of Noise

Torben Sangild writes:

Apollo represents appearance, form, individuality, beauty and dream; the Apollonian aesthetics is an embellishment of suffering, a self-conscious lie, a veiling of cruelty by use of form and elegance, a semblance of beauty. Dionysus, on the other hand, represents ecstasy, being, will, intoxication and unity; the Dionysian aesthetics is a direct confrontation with the terrible foundation of being, an absurd will driving us all in our meaningless lives. In the Dionysian ecstasy individuality is transgressed6 in favor of identification with the universal will – a frightening yet blissful experience. Frightening, that is, because it is a death-like giving up of the Ego, if only for a few seconds; blissful in letting go of the responsibilities of being a subject. The Dionysian experience is a “metaphysical comfort”, knowing that suffering is a necessary part of the effects of the eternal will – the destruction of things in order to create anew. In the Dionysian ecstasy one is no longer concerned with one’s individual suffering, seeing instead things from the universal point of view.

In music, the ecstasy of noise is undoubtedly a Dionysian effect, as opposed to the Apollonian melody and form.7 As mentioned above, the German words Rausch (ecstasy) and Geräusch (noise) are related, pointing towards this fact. The Dionysian is that which is not totally controlled or formed, e.g. screams and noises. The Apollonian elements are seductive, inciting the listener to enter the ecstatic bliss of the Dionysian, enabling the listener to dare the confrontation with the dreadfulness of existence. Therefore, Nietzsche says, the Dionysian needs the Apollonian.

Merzbow is so demanding exactly because he refuses this; he does not soften the harshness of noise with any Apollonian elements. Listening to Merzbow is thus a very different experience from the Sonic Youth maelstrom.

One of the reasons for the ecstatic effect of noise is its sublime character. The sublime is that which exceeds the limits of the senses, perceived as chaos or vastness. Despite our ability to put these words to it, the sublime goes beyond making sense – we never really understand it. The complexity of noise (in the acoustic sense) overloads the ears and the nervous system and is perceived as an amorphous mass, incomprehensible yet stirring. The delight of the sublime is the satisfaction of confronting the unfathomable.

Full Story: Ubu Web: The Aesthetics of Noise

(Thanks Adam and Ryan!)

Chased by Google X

Fiction (?) from Adam Rothstein:

They explained the manifesto. Any device that was known to be approaching release, they would fabricate and wield in public. Their devices were seen in blurry street photos, profiled in gadget magazines of the highest order, spotted in the wild when by rights, they should never have been. They intentionally subverted the release cycle paradigm, and in doing so redirected the entire gray market of development, hype, and design. “Permanent beta techno-anarchism by the deed,” was the phrase I remember best, though this commodity insurgency was certainly permeated by the occult as much as any politics. Perhaps it was something in the incense smoke affecting my powers of reason, but there was a dark magic implied in these counterfeit devices.

Their work displayed the usual anti-corporate merit badges, measured in leftist buzz words and culture jamming cache. Every counterfeit device they made and used in public was a lobbed stick of dynamite at the Silicon Valley scabs, who had commodified the spirit of invention and delivered it up to the bosses. But there was a deeper symbolism at play. The devices they produced in this pseudo-lab were hexes, a transubstantiation of the spirit of consumption, simultaneously capturing the specter and setting it upon others. The market of gadget futures was a field of energy, invisible to anyone who wasn’t ensconced in this culture. And the Group played with this metaphysics as if it was their own personal toy. There was an incredible amount of power invested in the development of the newest, the most cutting edge, the most must-have consumer devices. The Group was blackening it, stealing this occult knowledge for their own purposes, hijacking it into unholy loops that they were attempting to channel. Also, sabotaging and rupturing the rights-of-way that railroaded this energy back to its supposed owners. And if the Group were throwing these bombs into the market square, then there were definitely Pinkertons out there, looking for them.

Full Story: The State: Chased by Google X

Very Large Structure: Return of the Walking City

Very Large Structure: a Walking City for the 21st Century

Arch Daily reports:

In a world where people live more mobile lifestyles than they have for centuries, cities are facing a problem they rarely planned for: their citizens move away. When jobs and resources start to decline, modern cities, such as Detroit , suffer difficult and often wasteful processes of urban contraction . In contrast to this, Manuel Dominguez’s “Very Large Structure,” the result of his thesis project at ETSA Madrid, proposes a nomadic city that can move on caterpillar tracks to locations where work and resources are abundant.

Of course this is not the first time that the idea of a nomadic city has been proposed. Ron Herron’s Walking City is one of the more recognizable Archigram designs from the 1960s, and has been influential to architectural theory ever since. However, the design for the “Very Large Structure” expands on the Walking City by including strong proposals for energy generation on board the city. […]

Dominguez also felt it was important that his design be theoretically feasible, which is why he looked to the world of heavy engineering to inspire the structure’s colossal steel frame and caterpillar tracks. With all these additions, Dominguez’s design seems less of a fantasy than Herron’s giant shell on stilts.

Full Story: Arch Daily: A Walking City for the 21st Century

Previously:

The Archigram Archive

Open Sailing

Mindful Cyborgs: Cyborg Anthropology 101 with Amber Case

Mindful Cyborg

This week Alex Williams filled in for my usual co-host Chris Dancy. We talked with cyborg anthropologist Amber Case. Here’s a taste:

I sat down with a kid who wasn’t really doing well in school. He wasn’t talking to his dad and I asked his dad I was like “Well, how do you hang out with your kid?” and he says “Well, I don’t really know.” So, I saw the kid on a laptop and I said, “Hey, what are you doing?” and he said, “Well, I’m playing a game” and I said “What game?” and he said, “Club Penguin”. So, I logged on to Club Penguin on my laptop, got myself an account and I said “What’s your username?” and I literally just went in and joined the game with him. And of course I couldn’t show that I never played the game before so I had to catch on really quick. So, initially, what the kid did was, he didn’t really necessarily want to show me around. He just wanted to show me that he was really fast in it and kind of leave me in the dust, so I had to catch up.

And so I caught up and I got control of my virtual self so to speak and then I was comfortable and then at that point I had proven myself and then he started showing me around. He said hey, let’s go over here and let’s do this and then we started doing all these activities together like sliding down a mountain or mining for gold, for instance. We could get upgrades which was difficult for me to watch and also participating.

All these different things we ended up doing and then after a while he started telling me about school that day and how frustrated he was with students and just started spilling everything, just everything came out. It was the equivalent of me in the past being his dad and throwing a softball, a baseball to him. Doing something where you’re walking with somebody. You’re doing something tangential and suddenly all the information comes out.

I later sat down and told his dad. I was like, he’s having trouble in school. Here’s why. If you want to hang out with him . . . you’re in computer software you should be able to figure out how to play Club Penguin.

Full Episode, Notes and Transcript: Mindful Cyborgs Episode 13: Always/Already, and Becoming More Still – Cyborg Anthro 101

See also:

My interview with Amber from 2010

Our dossier on Amber

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