Tag: control

From A to Zerzan

[Note: JZ is too timid for our taste but I guess he can serve as a gateway for people completely out of the loop on AnPrim thinking]

Eugene is home to notable anarcho-primitivist John Zerzan, who’s recently released a collection of essays about civilization

Zerzan is famous as one of the major developers of the anarcho-primitivism worldview and in 2014 spoke out against a group that tried to inject transphobia into the theory. Put simply, anarcho-primitivism is anti-technology and calls for the abolition of the large-scale industrialization that has distanced humans from our nature. It’s an ideology that was thrown into the mainstream by Ted Kaczynski (also known as the Unabomber), with whom Zerzan had shared anticivilization ideas during his high-profile trial and while in prison.

“I think there’s only one civilization left, and this is it, and it’s failing,” Zerzan says. “Maybe we look at certain things anew in that light.”

With the urgency of climate change, Zerzan says civilization needs to reconsider itself and the technologies it relies on because time is running out. “If we plod along as business as usual, it’s a course of suicide,” he says.

READ THE ARTICLE HERE

THE BASILISK by Paul Kingsnorth

MY DEAR BRIDGET,

I would not normally write to you in this way. I would not normally write to anyone in this way. I gave up writing letters some years ago after my correspondents mostly stopped replying. When one of my friends sent me a two-line text message in response to a five-page, handwritten letter—to add insult to injury, it even had one of those smiley face things at the end—I knew the game was up. I am not convinced that people know how to write letters anymore, or even to read them. I won’t bore you with the facts about the ongoing measurable decline in our ability to concentrate. You of all people know what the screens are doing to our minds.

That, as you might already have guessed, is the subject of this letter.

READ THE ARTICLE

Influencer Society and Its Future

Influencer Society and Its Future

Swallow the Ted pill on Unabomber stan TikTok

“HELLO FELLOW TRIBE MEMBERS.” The friendly greeting is superimposed over a familiar image of a rust-colored A-frame cabin with a green roof. Below it, a teen waves and strikes poses along with the on-screen text while percussion music plays in the video’s background. “Some of my beliefs: unga bunga > ooga booga. the industrial revolution and its consequences have been a disaster for the human race. anti civ CHAD. i cannot wait to tear down some power lines with you guys!”

Of all the contemporary internet’s innumerable hovels, few are as bewildering as the shambly shanty of Tedpilled TikTok. There, content creators meet the platform’s trending memes in a densely ironic effort to elevate Ted Kaczynski, the Unabomber. Through song imitations, dialogue reenactments, reaction videos, voiceovers, and dances, TikTokers broadcast the incarcerated terrorist’s views about the necessity of dismantling industrial society through property destruction and murder.

Using the hashtags #tedpill, #tedk, and #tedkazcynski—which have collectively garnered millions of views—the Tedpilled place photographs of the Unabomber in “duets” with other videos, creating a counterpoint between Kaczynski’s views and the supposed excesses of influencer culture. With the Wombo.AI, they face-morph Kaczynski into goofily singing songs about Fortnite. Elsewhere, shaggy anarchists riff on the #DontBeSurprised trend—in which TikTokers share images representing their hopes and dreams with the text “Don’t be surprised if one day I just . . . ”—juxtaposing the peppy indie-folk song “Go Down On You” by The Memories with pictures of Ted Kaczynski standing next to his off-the-grid cabin. Light-hearted jokes about personal body counts and depopulation fantasies coexist alongside more earnest defenses of anarcho-primitivist politics.

To swallow the “Ted pill” is to embrace the romance of a return to a pre-industrial, hunter-gatherer lifestyle.

It’s a strange, if organic, world. It blurs the line between the hyperbolic adoration of online stan culture and a critique of the same, all unfolding in the vernacular of the young and extremely online: Ted was right. Ted is daddy. Ted is a based God. In one since-deleted video, a mop-topped kid mouths along to a hip-hop song and points to a text bubble reading, “the Industrial Revolution lowkey be cringe,” followed by a string of emojis. Another entry in the canon is labeled “ted is so fine i’m sorry”; in it, a doe-eyed teen who has superimposed herself over a photo of a young, fresh-faced Unabomber sits in front of the stars-and-stripes while lip-syncing the Counting Crows “Accidentally in Love” (originally composed for the motion picture Shrek 2).

To swallow the “Ted pill” is to embrace the romance of a return to a pre-industrial, hunter-gatherer lifestyle. It is to reject modernity, agriculture, and civilization itself. It offers a dystopian diagnosis of modern life, embracing a utopian fantasy of some prelapsarian state-of-nature. More paradoxically, Ted-pilling means using TikTok—a culturally dominant, globalized, Chinese-owned social networking techno-bauble—as a means of agitating for a radical political philosophy that is, among much else, vehemently anti-technology.

READ THE ENTIRE ARTICLE HERE

How David Foster Wallace Used Compromise Aesthetics to Sell Infinite Jest

How David Foster Wallace Used Compromise Aesthetics to Sell Infinite Jest

Rachel Greenwald Smith on the Treacherous Common Territories of Literary Culture and Capitalism

Ardor characterizes Anderson’s tone, but it also becomes a value in and of itself in her editorial work. “I loathe compromise, and yet I have been compromising in every issue by putting in things that were ‘almost good’ or ‘interesting enough’ or ‘important,’” she writes in this particular issue. “There will be no more of it.”

Against “good poems” she wants to publish capital-A Art, art that goes beyond simply being the best version of itself. Notably diverging from Poetry magazine’s Open Door policy, Anderson believed that truly great art was not a matter of individual quality; it was a matter of ferocity of commitment. She wanted art that could knock a person over, art that “uses up all the life it can get.” She invokes the modernist credo “art for art’s sake,” but in an avant-garde reversal insists that this means not a retreat from the world of politics and history but a commitment to it. “Revolution is Art,” she explains. “You want free people just as you want the Venus that was modelled by the sea.”

READ THE ENTIRE ARTICLE: https://lithub.com/how-david-foster-wallace-used-compromise-aesthetics-to-sell-infinite-jest

‘One of the worst jobs I ever had’: former Citizen employees on working for the crime app

Working for the app, which feeds users local crime information, ‘is very traumatic’ and the managers ‘don’t appear to care’

“There’s nothing that tells me that that wouldn’t happen again,” one employee said. “It’s a private security force controlled by a bunch of really rich white men who have no concept of the communities that they’re supposedly protecting because all they want is money. What could go wrong?”

Link to full story: https://www.theguardian.com/technology/2021/jun/02/citizen-app-employees-mental-health