The End of History: Bureaucratized Technical Management and Capitalism Realism

The concept of the “end of history” has been a topic of debate in political theory for many years. The notion that history has ended and that there is no longer a need for serious politics or ideological conflict has been propagated by scholars such as Francis Fukuyama. According to this theory, the end of history represents the culmination of human progress, with the triumph of liberal democracy and capitalism over all other ideologies. However, some critics argue that this theory represents a dangerous illusion that obscures the true nature of politics.

One such critic argues that the left-right divide is nothing more than an illusion that has been conjured to obscure the fact that there is no serious divide at all. Instead, there is only a broad consensus on a bureaucratic anti-politics that has taken hold in modern society. In this view, no serious politics is necessary anymore, and history has ended. Instead, there is only space for some perennial bureaucratized technical management.

According to this perspective, left and right can only adopt positions around the center and fight the culture wars under the flag of “capitalism realism,” individualism, universalism, and “meliorism” (the belief in perpetual progress à la Steven Pinker). In other words, politics has become a contest of who can best manage the status quo rather than a battle of competing visions for the future.

This view of politics is deeply troubling, as it implies that there is no longer any need for serious political engagement or debate. Instead, politicians are reduced to mere technocrats who are tasked with managing the existing system, rather than changing it. This has serious implications for democracy, as it suggests that the public’s role is limited to choosing between slightly different variations of the same technocratic approach while a bureaucratized technical management and capitalism realism sips our lives.

Bureaucratized technical management has its roots in the industrial revolution, where the need for efficient management of large factories and production lines was paramount. Over time, this approach to management has become increasingly sophisticated, with the development of techniques such as scientific management, which seeks to optimize efficiency through the application of scientific principles. Bureaucratized technical management is now the dominant form of management in most large organizations, including governments and corporations.

While bureaucratized technical management has been successful in achieving its goal of increasing efficiency, it has also had some negative consequences. One of the most significant of these is the dehumanization of work. The focus on efficiency and productivity has led to workers being treated as mere cogs in a machine, with little consideration given to their individual needs or aspirations. This has led to widespread dissatisfaction with work, which can have a negative impact on mental health and overall wellbeing.

Capitalism realism is the idea that capitalism is the only viable economic system, and that there are no realistic alternatives. This idea has become increasingly prevalent in modern society, with many people accepting it as an indisputable truth. However, this acceptance of capitalism realism has also had some negative consequences.

One of the most significant of these is the perpetuation of inequality. Capitalism rewards those who are able to accumulate wealth and power, often at the expense of those who are less fortunate. This has led to a widening wealth gap, with the rich becoming richer and the poor becoming poorer. This inequality can have significant social and political consequences, including increased crime rates, social unrest, and political instability.

Furthermore, the acceptance of capitalism realism has led to a lack of imagination when it comes to considering alternatives. This has limited the development of new economic models that could potentially address some of the problems inherent in capitalism. As a result, we are left with a system that is increasingly unsustainable, both economically and environmentally.

In conclusion, bureaucratized technical management and capitalism realism are two concepts that have had a significant impact on modern society. While they have both been successful in achieving their respective goals, they have also had negative consequences that must be critically examined. It is important that we continue to question these concepts and explore alternatives, in order to create a more equitable and sustainable society.

Furthermore, this perspective obscures the fact that there are still significant differences between different political ideologies. While it is true that the left-right divide has become blurred in recent years, there are still meaningful differences between those who advocate for greater social and economic equality, and those who prioritize individual freedoms and the free market. To suggest that these differences do not matter is to deny the very essence of political debate and democratic choice.

In conclusion, the idea that history has ended and that there is no longer a need for serious politics is a dangerous illusion that obscures the true nature of politics. While the left-right divide may have become less clear in recent years, there are still meaningful differences between competing ideologies. To suggest that these differences do not matter is to deny the very essence of democratic debate and choice. Rather than accepting the end of history as an inevitability, we should continue to engage in meaningful political discourse and work towards a more just and equitable future.

“COME IN HERE, DEAR BOY, HAVE A CIGAR: THE INVASION OF THE PARADIGMATIC MIND

So the paradigm exists as I said for the purpose of making sense of your environments so that you can then make meaningful choices and bond reality however paradigms also seem to have two other primary characteristics. The first is the principle of responsiveness which is to say that the paradigm exists as I said for the purpose of making sense of your environments so that you can then make meaningful choices and effective choices in your environment so paradigms emerge so that you can bond reality however paradigms also seem to have two other primary characteristics

The second is the principle of conservation which is to say that paradigms in some sense seek to

change as little as they can possibly change and only change it at the edges minimally

The third is the principle of minimum dissonance which is to say that if some kind of perception shows up some experience comes in that doesn’t make sense in the paradigm. Paradigms need to solve dissonance but they need to resolve dissonance also under the principle of maximum conservation

The liminoid experience is a blast however, as their numbers grow, they become a headache. Disciples do all the organizational work, initially just on behalf of liminal mind: out of generosity, and to enjoy a g sub society. They put on events, build websites, tape up publicity fliers, and deal with accountants. The paradigmatic mind just passively soak up the good stuff like Mark Chapman from meaningness highlight — (…) you may even have to push them around the floor; Hipsters they have to be led to the drink. At best you can charge them admission or a subscription fee, but they’ll inevitably argue that this is wrong because capitalism is evil, and also because they forgot their wallet(…)

There’s another phenomenon, that of bro or bro-dude, which is the polar opposite of the hipster. You know them by their preppie-frat-beach-rawk fashions, their polo shirts, their shorts and sandals, their university hoodies, and their backwards baseball caps, You’ve seen them getting way too drunk on weak light beer whenever they’re out,

The paradigmatic mind also dilute the culture. The New Thing, and its liminoid manifestations although attractive, is more intense and weird and complicated than the people stuck in a paradigmatic mind would prefer. Their favorite songs are the ones that are least the New Thing, and more like other, popular things. Some with access to liminal consciousness oblige with less radical, friendlier, simpler creations.

Disciples may be generous, but they signed up to support people that are one step removed from magic able not paradigmatic minds. At this point, they may all quit, and the cultural capital is up for grabs.

“COME IN HERE, DEAR BOY, HAVE A CIGAR

Oh, by the way… which one’s Pink?

The cultural capital at this stage is ripe for exploitation. The liminal consciousness generate cultural capital, i.e. cool. The Disciples generate social capital: a network of relationships — strong ones among the liminal mind, and weaker but numerous ones with paradigmatic mind. The paradigmatic mind, when properly squeezed, produces liquid capital, i.e. money.

None of those groups have any clue about how to extract and manipulate any of those forms of capital. So the large slug-like sentient species, the Hutts quickly become best friends with people dropping in and out of liminal consciousness. Also at the same time we see the appearance of Doppelgängers. They dress just like the cool, only better. They talk just like the liminal mind — only smoother as if they were partaking of the same liminal consciousness. They may even do some creating/replication — competently, if not creatively. The people dropping in and out of liminal consciousness may not be completely fooled, but they also are clueless about what the hangers on are up to.

People dropping in and out of liminal consciousness really are not much into details and the Doppelgangers look to them like better versions of themselves, only better. They are now the coolest kids in the room, demoting the access to liminal consciousness. At this stage, they take their pick of the best-looking paradigmatic mind to sleep with. They’ve extracted the cultural capital.

The Hutts also work out how to monetize paradigmatic mind — of hipsters and bros which the Disciples were never good at. With better publicity materials, the addition of a light show, and new, more crowd-friendly product, they create a new polished liminoid experience, almost as good as the real thing, admission fees go up tenfold, and paradigmatic mind are willing to pay. Somehow, not much of the money goes to the people dropping in and out of liminal consciousness. However, more of them do get enough to go full-time, which means there’s more product to sell.

The Hutts which have always being in contact with the Empire side also hire some of the Disciples as actual service workers. They resent it, but at least they too get to work full-time on the New Thing, which they still love, even in the Miller Lite version.

As far as the Hutts, Doppelgangers and the empire stormtroopers are concerned, it generates easily-exploited pools of prestige, sex, power, and money.

The rest of the Disciples get pushed out, or leave in disgust, broken-hearted end up hating each other, due first to the stress of supporting paradigmatic mind, and later due to the gangsters crowd divide-and-conquer manipulation tactics.)

THE DEATH OF COOL

After a couple years, the cool is all used up: partly because the shiny New Thing that was was being pushed by the New Kid In Town is no longer new, and partly because it was diluted into New Lite, which is inherently uncool. As the people stuck on paradigmatic minds dwindle, the Hutts and the empire loot whatever value is left, and move on to the next exploit.

They leave behind only wreckage: devastated people on the threshold of awareness who still have no idea what happened to their wonderful New Thing and the wonderful friendships they formed around it.

LIFECYCLES

The Hutts only show up if there’s enough body count of paradigmatic mind to exploit, so excluding (or limiting) paradigmatic mind is a strategy for excluding “Come in here, dear boy, have a cigar” crowds. Some subcultures do understand this, and succeed with it.

So what is to be done? A slogan of Rao’s may point the way: Be slightly evil. Or: The people on the threshold between paradigmatic and liminal consciousness mind need to learn and use some of the “hutt tricks. Then liminal mind can capture more of the value they create (and get better at ejecting bad actors as they arrive.

Rao concludes his analysis by explaining that his Hutts, he calls them sociopaths, are actually nihilists, in much the same sense The cultural capital usually created by people dropping in and out of liminal consciousness is usually eternalistic: the New Thing is a source of meaning that gives everything in life purpose. Eternalistic naïveté makes subcultures much easier to exploit.

“Slightly evil” defense of a cultural capital requires realism: letting go of eternalist hope and faith in imaginary guarantees that the New way pof accessing the liminoid experience will triumph. Such realism is characteristic of nihilism. Nihilism has its own delusions, though. It is worth trying to create beautiful, useful New Things — and worth defending them against nihilism. A fully realistic worldview corrects both eternalistic and nihilistic errors

Liminality

LIMINOID STATES

Indeed, if the person is able to drop from this space and bring with him some valuable cultural capital more times than not you will create a scene. A scene is a small group of people with the ability of dropping in and out of liminal consciousness are able to invent an exciting New application — a musical genre, a religious sect, a film animation technique, a political theory. Riffing off each other, they produce examples and variants, and share them for mutual enjoyment, generating positive energy into a series of liminoid experiences.

Liminoid states are a concept in anthropology that refers to experiences or situations that are similar to but distinct from the traditional concept of liminal states. Liminality refers to a transitional state in which individuals are in between two phases or statuses, such as between childhood and adulthood or between life and death. In contrast, liminoid states are voluntary, non-ritualistic experiences that are often sought out for personal growth, self-discovery, or spiritual exploration.

Liminoid states can take many different forms, including experiences of intense creativity, adventure, travel, or experimentation with psychoactive substances. They may involve a sense of loss of self, a blurring of boundaries between oneself and the world, or a sense of being in an altered state of consciousness. These experiences can be transformative, allowing individuals to step outside of their usual roles and identities and explore new aspects of themselves and the world around them.

One of the most famous examples of a liminoid state is the Burning Man festival, which takes place annually in the Nevada desert. Participants at Burning Man engage in a wide variety of activities, including art installations, music, dance, and communal living. The festival is intended as a temporary community that challenges traditional social norms and allows participants to explore new forms of self-expression and creativity.

Another example of a liminoid state is the use of psychedelic substances, such as LSD or psilocybin mushrooms, for spiritual or therapeutic purposes. Some individuals report profound experiences of ego dissolution, mystical experiences, and a sense of unity with the universe while under the influence of these substances.

Overall, liminoid states offer individuals an opportunity to step outside of their usual roles and identities and explore new aspects of themselves and the world around them. These experiences can be transformative, leading to personal growth, spiritual development, and a greater sense of connection to the world.

The new scene draws Disciples. Disciples contribute energy (time, money, adulation, organization, analysis) to support the people that are able to deop in and out of liminal consciousness. The Disciples totally love the New Thing, they’re fascinated with all its esoteric ins and outs, and they spend all available time either doing it or talking about it.

Liminoid experiences

In 1974, Victor Turner coined the term liminoid to refer to experiences that have characteristics of liminal experiences. A graduation ceremony might be regarded as liminal while attending a rock concert might be understood to be liminoid. The liminal is part of society, an aspect of social or religious rite, while the liminoid is a break from society, part of “play” or “playing”. Turner stated that liminal rites are rare and diminished in industrial societies, and ‘forged the concept of “liminoid” rituals for analogous but secular phenomena’ such as attending rock concerts and other liminoid experiences.

David Chapman Meaningness explains really well. If the scene is sufficiently complex, it remains a strictly geek thing; a weird hobby, not a subculture. If the scene is unusually exciting, and the Liminoid experience can be appreciated without having to expend too much time on the details, it draws the paradigmatic mind. People that are not able to drop in and out of liminal consciousness mind are appreciative, but not devotees like the Disciples. They show up to have a good time, and contribute as little as they reasonably can in exchange.

The liminal consciousness welcomes paradigmatic mind to the liminoid experience at first at least. It’s the mass of paradigmatic minds who turn cultural capital into a money. Creation, reception or whatever you want to call it is always at least partly an act of generosity; The people that are able drop in and out of liminal consciousness want as many people to use and enjoy their creations as possible. It’s also good for the ego; it confirms that the New Liminoid experience really is exciting, and not just a geek obsession.

PARADIGMATIC MIND AND LIMINAL MIND: THE BIRTH OF THE COOL

Liminal Consciousness is the state that exists between and betwixt, at the edges of boundaries, at dawn and dusk, in the moments before falling asleep and the moments of resurfacing from the dreamtime into waking. It is a time that is often more vulnerable, but also more alchemically charged. The liminal state is not as fully formed as what is on either side of it, it partakes of both sides, and therefore it is an ideal state for creating new forms.

“The liminal state is characterized by ambiguity, openness, and indeterminacy. One’s sense of identity dissolves to some extent, bringing about disorientation. Liminality is a period of transition where normal limits to thought, self-understanding, and behavior are relaxed — a situation which can lead to new perspectives.

The crossroads are a meeting of two directions, where a traveler must make a choice between continuing straight ahead and turning onto a new path directly away from the old one. Or like Rod Serling said (…) is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge. This is the dimension of imagination(…)

The artist occupying a position at, or on both sides of the threshold of the liminal consciousness have been the main creative cultural force from roughly 1956 to 1996 , when the model stopped working and started to fold onto itself. One reason — among several — is that as soon as has the liminal spaces start getting really interesting, they get invaded and absorbed by the paradigmatic mind, The Hutts, Dopplegangers and other Empire figures, who ruins them. The cultural capital extracted from liminal spaces have a predictable lifecycle, in which success means death by drowing.

This insight was influenced by Venkatesh Rao’s Gervais Principle, an analysis of workplace dynamics.

LIMINAL MIND. THE BIRTH OF COOL

When you find yourself in a circumstance where the principle of responsiveness has overcome the principles of conservation and dissonance you’ve now entered into a new location and this is what I’m calling liminal mind or liminal consciousness and so the first thing to keep in mind is that this space is in fact actually the base this is the source from which paradigms emerge and therefore it’s also the place to which paradigms dissolve when they break up completely.

You may have heard the word used in Tibetan Buddhism for the bardo state — the “transitional state” or “in-between state” or “liminal state”. Used loosely, the term “bardo” refers to the intermediate state of existence between lives on earth. The liminal space lies between the known and the unknown — the space is a transitional space of heightened intensity.

CROSSROADS

“I went down to the crossroad, fell down on my knees. Asked the lord above ‘have mercy, save poor Bob, if you please.’” — Robert Johnson, Cross Road Blues)1936).

The story tells of Robert Johnson, a young blues player, who wanted musical fame. Robert heard voices one night, telling him to take his guitar down to the crossroads at midnight. As he stood there waiting, a tall dark man walked up and told Robert he could have his fame in exchange for his soul. Robert agreed, the stranger took Robert’s guitar and tuned it. After receiving the guitar back, Robert played a few licks and was amazed at his improvement. When he looked back up, the dark stranger was gone. For now. At least that’s how the story goes. As to its truth?

Think Coltrane, Rabel, Debussy, Stravinsky: It’s as if Liminal existence can be located in a separated sacred space, which occupies a sacred time. Examples in the Bible include the dream of Jacob where he encounters God between heaven and earth and the instance when Isaiah meets the Lord in the temple of holiness. In such a liminal space, the individual experiences the revelation of sacred knowledge where God imparts his knowledge on the person in the subtle space between any sense of identity you’ll find there is something there that is neither and both and more. There is a dimensionalization of consciousness that allows us to exist in a kind of quantum reality where both ‘the particle and the wave’ co-exist. Wormholes are bridges through space-time that create a shortcut from one reality to another.

The dissolution of order during liminality creates a fluid, malleable situation that enables new forms to arise. We speak of emergence — but it’s usually inside the unexamined current perspective of thinking emergence is an action that happens between solid realities

More conventionally, springs, caves, shores, rivers, volcanic calderas — ‘ are used as another symbol of transcendence’ — , passes, crossroads, bridges, and marshes are all liminal: ‘“edges”, borders or faultlines between the legitimate and the illegitimate’. Oedipus (an adoptee and therefore liminal) met his father at the crossroads and killed him; Major transformations occur at crossroads and other liminal places, at least partly because liminality — being so unstable — can pave the way for access to esoteric knowledge or understanding of both sides. Liminality is sacred, alluring, and dangerous.

When you’re in a in a truly deeply mental space you don’t necessarily even have the capacity to name the things that you’re experiencing so making sense can become very limited and you might be in a part

perceiving something that under a paradigmatic frame you would call a tree but in a liminal space you don’t have a name for it you’re just experiencing it and it’s raw sensorial and of course this means you can be quite limited like your your ability to make meaningful choices.

Jungians have often seen the individuation process of self-realization as taking place within a liminal space. ‘Individuation begins with a withdrawal from normal modes of socialisation, epitomized by the breakdown of the persona…liminality’. .What takes place in the dark phase of liminality is a process of breaking down…in the interest of “making whole” one’s meaning, purpose and sense of relatedness once more.

Jungians however have perhaps been most explicit about the ‘need to accord space, time and place for liminal feeling’ — as well about the associated dangers, ‘two mistakes: we provide no ritual space at all in our lives…or we stay in it too long’.

Cooling Down Communication: Embracing the Power of the Cold Medium

Cold Medium in 10 Technologies

The lockdowns imposed in response to the COVID-19 pandemic have disrupted our daily routines and forced us to confront the reality of isolation and social distancing. For many people, this has been a difficult and challenging time, but for some, it has provided an opportunity for self-reflection and creative exploration. One such individual is myself. During the lockdown, I have discovered a new appreciation for engaging with music and media in different ways, and this has been a positive and transformative experience.

In the past, I found myself constantly consuming media in the form of hot mediums such as television, YouTube, and streaming services like Netflix. However, over time, I began to realize that these platforms had reached their shelf life and were no longer providing me with the same level of satisfaction or engagement. I began to crave something new and different, and I found this in the form of cooler mediums such as turntables and streams, as well as my own creative pursuits.

I have always been an avid reader, but during the lockdown, I found myself delving even deeper into literature, exploring new authors and genres. I also picked up my guitar and began strumming more often, letting my mind wander and getting lost in the music. And, of course, I turned to social media platforms like Twitter, where I found myself engaging with others in new and exciting ways.

These changes in my media consumption habits have not only been a welcome distraction from the stresses of the pandemic but have also allowed me to tap into my own creativity and explore new avenues of self-expression. I am no longer content to simply consume media that is handed to me by others. Instead, I am actively seeking out new and interesting ways to engage with the world around me.

Marshall McLuhan was a Canadian philosopher, writer, and communication theorist who gained worldwide recognition for his groundbreaking work on media and its effects on human society. One of his most significant contributions to this field was the concept of “hot” and “cold” mediums.

According to McLuhan, a medium can be classified as “hot” if it is high in definition and low in participation. In contrast, a medium is considered “cold” if it is low in definition and high in participation. A hot medium, such as a television, demands a high level of attention and provides a complete sensory experience that requires little interpretation or participation from the viewer. In contrast, a cold medium, such as a book, requires active interpretation and participation from the reader to create a complete sensory experience.

McLuhan’s theories on hot and cold mediums had significant implications for our understanding of media and its impact on human society. He argued that hot mediums tend to create a sense of uniformity and passivity in society, while cold mediums encourage participation, interaction, and critical thinking. In this sense, cold mediums can be seen as more democratic, as they require a higher level of engagement and participation from the user.

One of the key characteristics of cold mediums is their ability to be inclusive and participatory. McLuhan argued that cold mediums, such as the telephone or the internet, allow for greater interaction and exchange of ideas between individuals, leading to a more democratic and participatory society. In contrast, hot mediums, such as television or radio, tend to create a more passive and homogeneous society, where individuals are more likely to consume information than to actively participate in its creation or dissemination.

Furthermore, McLuhan believed that cold mediums encourage greater creativity and innovation. In his view, the low definition of cold mediums requires the user to fill in the gaps and create their own meaning, leading to a more active and creative engagement with the medium. In contrast, hot mediums provide a complete and highly structured sensory experience, leaving little room for interpretation or creativity.

In conclusion, Marshall McLuhan’s theory of hot and cold mediums has had a profound impact on our understanding of media and its role in shaping human society. His work has highlighted the importance of participatory and interactive media in promoting democracy, creativity, and innovation. As we continue to develop new technologies and media, it is essential to consider the implications of hot and cold mediums for our society and our individual experiences.

Next a list of ten technologies listed can be considered a cold medium:

  1. Augmented Reality (AR) – AR is considered a cold medium because it requires active participation and engagement from the user to interpret and integrate the digital information into the real world.
  2. Virtual Reality (VR) – VR is a cold medium because it creates a fully immersive environment that demands active engagement from the user to interact with and navigate.
  3. Haptic Feedback – Haptic feedback is a cold medium because it involves physical sensations that are less intense than those experienced in the real world, and therefore require more active interpretation by the user to understand and respond to.
  4. Brain-Computer Interfaces (BCIs) – BCIs are considered a cold medium because they involve a direct interface between the user’s brain and a digital device, requiring conscious interpretation and control by the user.
  5. Artificial Intelligence (AI) – AI is a cold medium because it involves the simulation of human-like intelligence and decision-making, but does not engage the senses or require active participation from the user.
  6. BlockchainBlockchain is considered a cold medium because it creates decentralized, secure systems for exchanging data and transactions that do not require active participation from the user once they are set up.
  7. Internet of Things (IoT) – IoT is a cold medium because it involves the connection of everyday objects and devices to the internet, but does not necessarily require active participation or engagement from the user once they are connected.
  8. 3D Printing3D printing is considered a cold medium because it involves the creation of physical objects from digital designs, which do not necessarily engage the senses or require active interpretation by the user once the design is created.
  9. Quantum Computing – Quantum computing is a cold medium because it involves the processing of information using quantum-mechanical phenomena, but does not necessarily engage the senses or require active participation from the user once the system is set up.
  10. Nanotechnology – Nanotechnology is considered a cold medium because it involves the manipulation of matter at the nanoscale, which is too small to be directly perceived by the senses, and does not necessarily require active interpretation or participation from the user once the materials or devices are created.

The collapse of the electric medium that has shaped our postwar consensus has significant implications for our sense of identity and the way we engage with the world around us. As we move towards a new era of media and communication, it is important to consider how we can adapt and evolve our identities to meet the challenges of this changing landscape.

One possible approach is exit through exaptation. This concept involves taking existing features or functions and repurposing them in new and unexpected ways. By doing so, we can create novel solutions and pathways that were not possible before. This approach allows us to break free from the constraints of the old medium and explore new avenues of creativity and innovation.

Of course, it remains to be seen whether these changes will coalesce into a new form of media or art. However, I believe that the potential is there. If someone can find a way to combine these different mediums and approaches into something truly innovative and inspiring, the future is theirs for the taking.

In the meantime, I am content to continue exploring and experimenting with different forms of media and creative expression. I believe that the surest bet is to turn all of this into an art form and to attach ourselves to the objects and atmosphere around us. We must resist the urge to always seek out the familiar and known, and instead embrace the unknown and explore the uncharted territories of our own creativity.

In closing, I am reminded of the Brian Eno prompt, “Think desires and convert to sources.” This is a powerful reminder that we must tap into our own desires and passions in order to create something truly original and inspiring. By doing so, we can unlock new levels of creativity and innovation and chart a course towards a brighter and more fulfilling future.

Persuasion Technology

The development of behavioral technologies intended for military-grade persuasion in cyber-operations has its roots in a particular perspective on human beings. This perspective views individuals as manipulable subjects rather than rational agents, which is at odds with the way they should be viewed in democratic societies. As a result, the use of these technologies raises important ethical and moral questions about the nature of democracy, human freedom, and individual autonomy.

Behavioral technologies are designed to influence and manipulate the behavior of individuals, and they often rely on the exploitation of cognitive biases and psychological vulnerabilities. In the context of cyber-operations, these technologies are used to target individuals with personalized content and messaging, often with the goal of changing their attitudes, beliefs, or behaviors. The development of such technologies is based on the assumption that individuals can be easily influenced and manipulated, and that their behavior can be predicted and controlled through the use of targeted interventions.

This perspective on human beings is at odds with the way they should be viewed in democratic societies. In democratic societies, individuals are viewed as rational agents who are capable of making their own decisions and choices, and who have the freedom to express their views and opinions without fear of coercion or manipulation. Democracy requires the active participation of citizens, who are expected to be informed and engaged in the political process. The use of behavioral technologies in cyber-operations undermines this ideal by treating individuals as passive subjects to be manipulated rather than as active citizens with agency and autonomy.

Moreover, the use of behavioral technologies raises important ethical and moral questions about the nature of freedom and individual autonomy. The ability to influence and manipulate individuals’ behavior can be seen as a form of coercion that violates their autonomy and freedom. In a democratic society, individuals are entitled to make their own choices and decisions, even if those choices or decisions are not in line with the preferences of those in power. The use of behavioral technologies to influence and manipulate individuals’ behavior can be seen as a violation of this fundamental principle, as it seeks to undermine individuals’ agency and autonomy.

In conclusion, the development of behavioral technologies intended for military-grade persuasion in cyber-operations is rooted in a specific perspective on human beings, one that is at odds with the way they should be viewed in democratic societies. The use of these technologies raises important ethical and moral questions about the nature of democracy, human freedom, and individual autonomy. As such, it is important to carefully consider the implications of these technologies and to ensure that they are used in ways that respect individuals’ autonomy and agency, and that do not undermine the principles of democracy.

Playlister Extraordinaire

Barack Obama, the playlister extraordinaire, the man who once held the hopes of an entire generation in his hands, has transformed from a firebrand of change into a curated influencer, peddling his personality as if it were a brand of bottled water. The man who rode into Washington on a tidal wave of “Yes We Can” might as well have added a footnote—yes, we can, but only if it’s comfortably within the bounds of corporate-approved moderation.

Remember those early years? Obama was the symbol, the promise of a country that could finally shed its political baggage and embrace something different. We didn’t just want change; we believed it was coming. Fast forward to now, and what do we have? An endless list of Spotify playlists, a carefully constructed Instagram feed, and a Netflix production deal. It’s as if he took the fervor, the sweat, and the hunger for reform that millions invested in him and fed it straight into the machinery of influencer culture, turning himself into the ultimate “brand,” with a wink and a smile.

Somewhere along the line, the passion he kindled in people for policy and reform was distilled down to a curated vibe, a set of playlists that reflect little more than an awareness of what’s trendy. It’s not just a shift; it’s a betrayal, a cold realization that all that talk of hope and transformation was simply a stepping stone to “influencer status.” Obama isn’t reshaping America anymore; he’s shaping a carefully controlled image of himself, one playlist, one polished Instagram post, at a time.

What about the issues? The promises? The change? Those busloads of hope we all rode in on have gone up in smoke, traded in for a role that’s no deeper than a celebrity endorsement. Obama became what he once promised to reform—an icon without substance, a brand that’s smooth on the surface but hollow beneath. We get a tastefully designed logo, a cool mixtape, maybe a Netflix documentary, but the real work, the hard, uncomfortable work of change, has been neatly sidestepped.

So here he is, the influencer-in-chief, perfectly manicured and market-ready, existing in that rarefied space where he can simultaneously be “one of us” and yet utterly removed from the struggles that still plague the very people who once saw him as a beacon. The playlist might change from year to year, but the tune remains the same: we were sold hope, and we got a brand instead.

The Problem With Incrementalism

The problem with Incrementalism: Unless the trick is to dabble incrementalism as an infinite series 1 + 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + … where “…” means keep going. What is supposed to add up is 2 ends up in the Zeno’s paradox, the arrow sneaks on his victim, Achilles sneaks up on the tortoise It is how you can do infinitely many things in a finite time. Do the first thing; do the second thing one minute later; do the third thing half a minute after that; then the fourth thing and so on. After a while you’ve done infinitely many things but you still didn’t get to 2 You did a lot of other stuff but you didn’t get to 2. Some futures are harmless, others are not. How do you tell? I have no answer but I’d use a heuristic that if your concept does not lead to red flags and contradictions, then it’s safe to use, but if it does, then it isn’t.

Here are 10 historical examples where incrementalism failed to achieve success over time:

  1. The Civil Rights Movement in the United States: Despite incremental progress, the movement faced significant setbacks and backlash, and it wasn’t until more radical and confrontational tactics were employed that significant changes were made.
  2. The War on Poverty in the United States: Despite incremental efforts to alleviate poverty through programs such as food stamps and Medicare, poverty rates remained relatively unchanged, and the program has been criticized for not addressing the root causes of poverty.
  3. The British policy of appeasement in the lead-up to World War II: Despite incremental concessions to Nazi Germany, Hitler continued his aggressive expansionist policies, leading to the outbreak of war.
  4. The Kyoto Protocol on climate change: Despite incremental reductions in greenhouse gas emissions by participating countries, global emissions continued to rise, and the agreement ultimately failed to meet its targets.
  5. The United Nations’ Millennium Development Goals: Despite incremental progress towards reducing poverty and improving access to education and healthcare, many of the goals were not met by the 2015 deadline.
  6. The gradual abolition of slavery in the United States: Despite incremental measures such as the Fugitive Slave Act and the Emancipation Proclamation, the institution of slavery was not fully abolished until the end of the Civil War.
  7. The War on Drugs in the United States: Despite incremental efforts to reduce drug use and trafficking through increased law enforcement and mandatory minimum sentencing, drug use and trafficking rates remained high, and the policy has been criticized for its disproportionate impact on communities of color.
  8. The United Nations’ efforts to prevent genocide in Rwanda: Despite incremental warnings and attempts to intervene, the international community failed to prevent the genocide that took place in 1994.
  9. The Chinese policy of gradual economic reform in the 1960s and 1970s: Despite incremental efforts to liberalize the economy, economic growth remained stagnant until more radical reforms were implemented in the late 1970s.
  10. The American policy of containment during the Cold War: Despite incremental efforts to contain Soviet influence through military alliances and economic aid, the policy ultimately failed to prevent the collapse of the Soviet Union.

Government Is the Entertainment Division of the Military-Industrial Complex

The phrase “Government as the Entertainment division of the military-industrial complex” is a play on a quote from musician Frank Zappa, who said, “Politics is the entertainment division of the military-industrial complex.” Zappa was known for his satirical and critical views of American politics and society, and this quote is often cited as an example of his commentary on the relationship between government and the military-industrial complex.

The phrase “military-industrial complex” was first coined by President Dwight D. Eisenhower in his farewell address to the nation in 1961. He warned of the dangers posed by the close relationship between the military and the defense industry, and the potential for them to exert undue influence over government policy. Over the years, this relationship has only grown stronger, and it has become increasingly clear that the government serves as the entertainment division of the military-industrial complex.

The military-industrial complex is a term used to describe the relationship between the government, the military, and the defense industry. This relationship is characterized by the close cooperation between these entities, with the government providing the military with funding and support, and the defense industry supplying the military with weapons and other equipment. This relationship has been responsible for some of the most significant technological advances in history, but it has also given rise to concerns about the influence of the defense industry on government policy.

One of the most significant ways in which the government serves as the entertainment division of the military-industrial complex is through the use of propaganda. Propaganda is a tool used by governments to shape public opinion and influence behavior. In the context of the military-industrial complex, propaganda is used to promote war and military spending. Governments use the media to create a narrative that justifies military action, portraying it as a necessary response to a threat or an act of self-defense. The government also uses propaganda to promote military spending, framing it as an investment in national security and economic growth.

Another way in which the government serves as the entertainment division of the military-industrial complex is through the promotion of military culture. The military is often portrayed in popular culture as heroic and glamorous, with films, TV shows, and video games depicting soldiers as brave warriors who are willing to sacrifice everything for their country. This portrayal of the military creates a sense of patriotism and nationalism, which in turn helps to justify military action and military spending. It also encourages young people to join the military, creating a steady supply of new recruits for the armed forces.

Finally, the government serves as the entertainment division of the military-industrial complex by creating a spectacle of war. War is often portrayed as an exciting and dramatic event, with the media providing constant coverage of battles, bombings, and other military action. This coverage creates a sense of drama and excitement around war, making it seem like a thrilling adventure rather than a tragic and devastating event. This spectacle of war creates a sense of detachment from the reality of war, making it easier for the government to justify military action and military spending.

In conclusion, the government serves as the entertainment division of the military-industrial complex by using propaganda to promote war and military spending, promoting military culture through popular culture, and creating a spectacle of war that glamorizes and justifies military action. This relationship between the government, the military, and the defense industry has been responsible for some of the most significant technological advances in history, but it has also given rise to concerns about the influence of the defense industry on government policy. It is important for the public to be aware of this relationship and to be critical of the government’s actions in promoting war and military spending.