How Artists Starve, Part 2: Lessons to Draw From Ongoing Drama

The previous post has become unexpectedly popular. Issues addressed there are ongoing.

As in that post, the privacy of all involved is preserved here. No personally identifying details are included here or anywhere else. AltSciFi protects your privacy, and will continue to do so.

Unfortunate aspects of the situation aside, this is a fascinating example of how social media accelerates and distorts issues that could otherwise have been resolved quickly and simply.

Over the past two days, Twitter has revealed a pattern that’s worth keeping in mind moving forward. Read the previous post first if you haven’t already.

A snowball becomes an avalanche. AltSciFi is a bystander at this point, marveling at how strange all this has become. This is how artists destroy each other. No wonder nothing ever changes as corporations take over our lives. They don’t need to force us to work for them. We’re too busy fighting amongst ourselves to do anything worthwhile at all.

The Vicious Filter Bubble

You’ve probably heard of the “filter bubble” effect, where users of sites like Facebook and Twitter cocoon themselves inside opinions that agree with their existing beliefs.

This also applies to disagreements, but in even more amplified form. Here’s the scenario:

One user with a large social media following (in this case, Artist B) hears a rumour from someone she likes. The rumour — in this case, a wrong one concocted by someone looking to spread gossip — was “someone is stealing your art”. Instead of asking the target of the rumour (in this case, AltSciFi) “is it true?”, Artist B decided to crowdsource for more opinions.

On a social network like Twitter, typical gossip quickly becomes a campaign of cyberbullying, as followers “take sides” to “protect” their friend. Note that AltSciFi doesn’t play this game — we’re not part of the Artist Twitter clique, so the bullying was one-sided from the start. What’s fascinating is how the bullies convinced each other that they were just an unusually massive, loud and assertive group of victims.

Bullies in an Echo Chamber

No one looked further for facts by asking the target of the gossip, because within minutes, an echo chamber emerged. Everyone began entertaining themselves with the juicy tea of the day. That’s the whole purpose of social media for most people: to use others as a form of free entertainment. In this case, artists were doing to each other what Twitter “fans” usually do to artists (i.e. demand entertainment for free), only in a more blatantly malicious way.

The real problem arises when people try to use social media to transact business with each other.

As we see in this ongoing situation, Artist B could have sent email saying “AltSciFi, please take down my work” or in a more cool-headed moment, “I found this site. What’s going on here?” Instead, Twitter was used, leading to a predictable pile-on of the mindless herd seeking rage as entertainment. Even worse, as the bullying intensified, legitimate voices asking AltSciFi for clarification went unheard amid the noise. The purpose of these blog entries is to at least have some way to counter the louder narrative. But of course, gossip-seekers and angry mobs aren’t exactly known for their reading comprehension.

There’s a second dynamic at play which is more important.

The second aspect here is the misuse of language, and its effects.

To Weaponise a Group, Convince Them That They Are Victims

If you follow AltSciFi, you’ve recently read about how easily individuals and groups can be misled into doing the wrong thing when they feel threatened.

What’s the easiest way to create and weaponise a group?

Convince them that they are victims, and demonise the evil “other”.

AltSciFi was targeted by Gamergate a few years ago. The dynamic was identical to what’s happening now. The roving horde showed up and started talking trash for whatever reason, probably something related to their hatred of women in videogames. But the strangest part of it was that they — about fifteen or twenty howling at once — consistently repeated how AltSciFi was impinging on their “freedom of speech”.

They came to bully AltSciFi, yet the gang was genuinely convinced that the target of their bullying was the aggressor.

It was amazing.

Gaslighting, Shaming, and Victim-Blaming

The same situation is happening how. Artist B incited a Twitter mob to harass AltSciFi, all the while whining about being “gaslighted”, “shamed” and “victim-blamed”.

Gaslighting

is an emotional abuse tactic where Person B tells Person A that they’re “crazy” in order to undermine their self-confidence. At no point in time has anyone done that here. It’s bizarre to assume that anyone who disagrees with you automatically thinks you’re crazy.

Shaming

is the weaponising of a crowd to enforce social norms by isolating and applying group pressure against the targeted individual. AltSciFi has never retweeted or mentioned anyone directly during this entire drama.

The only people who know about this situation are those on Artist B’s side, because Artist B brought out the horde. It’s quite likely that most of AltSciFi’s followers don’t know or care about Artist Twitter, just as Artist Twitter doesn’t know about Hacker Twitter (the other half of our audience).

Victim-blaming

requires a victim. Taking the posture of a victim does not make you one, and the misunderstanding in this case could have been resolved before that posture seemed necessary to anyone. But that’s not how things happened here. The mistake made by AltSciFi here could have been resolved in a way that was useful for everyone. How frustrating that years of work have been reduced to a rage-fueled trash fire by people who couldn’t be bothered to send an email before releasing the hounds.

(The whole point of the store site is that it has no inventory — we have to collaborate with artists in order to sell anything. What’s online is a prototype, not a finished store. The whole bit about “stealing art” is a bullshit soundbyte repeated ad nauseam based an a complete lack of anything resembling facts beyond surface assumptions.)

Connect a lie to a person’s values, and anything will become a fact if you repeat it often enough. And so here we are. Gossip becomes viral bullshit, and viral bullshit becomes sanctified fact.

It Ended Before It Began

By the time the conversation began, it was already an argument, like a circle of elementary-school children on the playground goading two kids in the middle to fight each other. The circle prevents Kid A from leaving, as the circle is friendly with Kid B. What happens? It’s not even a fight, fair or otherwise: it’s an episode of violent bullying.

If you’ve ever experienced this in real life, you know this all too well. It’s happening between adults right now, bleeding out from Twitter as you read these words.

So why does this blog post sound so calm and detached?

Mainly because it’s impossible to control other people. There is no way to de-escalate situations like this, even if you apologise for honest mistakes (to an already-suspicious person, there are no “honest mistakes”) and deal with the issue quickly (there is no such thing as “quickly enough”).

For most people, their emotions rule their lives, and it has nothing to do with gender.

The Only Thing to Fear

Humans are primarily emotional animals. The strongest emotion is fear. If you can convince a person to be afraid — then connect them with others who are similarly persuaded — you can weaponise them against nearly any target. Even their own allies. Fellow citizens in their own country. Friends. Neighbors. Random strangers. People of a different sexuality, culture, economic background or ethnicity.

Read the previous paragraph again and ask yourself when this tactic has been used to influence you, because it definitely has been. The question is “were you aware it was happening?”

This is just how humans operate. It’s unfortunate, because once a person has been persuaded emotionally, very little can be done to change their perspective. Thinking ends. Reacting begins. Snowballs naturally roll downhill.

In this specific situation, this drama interrupted other work in progress yesterday, so the completion of that work came first.

Now, Artist B’s complaint has been dealt with, as will anyone else (privately via email, not publicly on Twitter). This is the professional way to deal with situations as they arise. Social media is not the place for professional communication or dispute resolution.

In any case, it’s a fascinating example of how this type of situation unfolds, isn’t it?

Suspicion and Trust

If you study the lives of successful people, you’ll see that this type of problem is inevitable. Either intentionally or inadvertently, others will try to destroy anything new, because it is unknown, and therefore seen with fear and suspicion. You don’t need “evolutionary psychology” to know this is true.

Examples:

– electric car makers versus the oil industry.
– indie music labels versus the majors.
– people who defend the rights of women and minorities, versus those who yearn for a return to a misogynist, sexist and racist past.

With the addition of social media, situations like this one can lead to people using misplaced rage and self-validation to justify acting against their own best interests — jumping to conclusions and weaponising entire groups in pointless tribal warfare.

We’ve seen how this has transformed politics and society since 2016. The ways that social media have changed communication on a smaller scale are equally important, and in this case, troubling.

AltSciFi is designed to help artists, and it is artists who are trying to destroy AltSciFi.
Isn’t it ironic? :)

And yes, sad as well. But this is life. You have to roll with it, preferably with a sense of humour. There’s no other choice. The horde’s next tactic is to howl, “it took too long to fix it! You’re still the devil!”

Well, okay then. That doesn’t change AltSciFi’s purpose, which is to help artists. Your feedback is still welcome if our purposes align.

Choice

So what to do from here? Unfortunately, not much can be done, aside from responding promptly to reasonable suggestions and professional requests, and ignoring the rest.

This blog entry ends with a question: from the beginning of this drama, had you already made up your mind? (Hint: the answer is probably “yes”.) Really, it’s not truly answerable. We all rationalise our decisions immediately after the fact; everyone is 100% right in their own minds. Rightness is feeling, not fact.

These blog entries are not intended to change anyone’s mind. Hopefully, at least you’ll think before joining a social media mob next time. In the worst-case scenario, it could be too late for AltSciFi, but good enough if it helps you as an individual and as an artist.

P.S. The two main thinking-related issues here are called self-confirmation bias and the consistency principle. Look them up and read more if you want, especially if you intend to deal with groups of people, and even if you just want to better understand yourself.

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The real reason why most indie artists are starving: overcoming (and preventing) community drama as AltSciFi evolves.

Seriously, Artist Twitter? Are we going to do this every few months?

*sigh*

Okay.

This blog post exists as a point of reference in case similar situations arise in the future. A comprehensive blog post can be useful due to the appearance of behaviour patterns that are worth learning from (and not repeating).

Note that all parties involved are not personally named, and no personally identifying details are included here. AltSciFi protects your privacy, regardless of who you are or any relationship between us.

This post contains two parts: this part, and guidelines for the future, further down. You can read straight through or skip between them as you like. “Artists” referred to here also includes writers, and all independent creators in the science fiction genre. “Artist Twitter” refers to artists who are also heavy Twitter users, as you probably guessed already.

Fact and fabrication, gossip and misinterpretation

This post is dedicated to all the random Bored Artists and Angry Stans of Twitter who have arrived (again) to hunt witches and exercise their right to act like an mindless zombie mob.

Isn’t that what Twitter is for, though? Apparently so.

> the real reason artists r starving?! Bcos ur stealing it!1!!! #arttheft

— 300+ idiots on Twitter, in the space of a few hours.

Months ago, AltSciFi posted an image created by an artist. The image was tagged. “Tagging” means the artist’s Twitter username (“handle”) was included. The tag didn’t show properly, so a second tweet was added with the artist’s handle.

The only reason the artist (Artist A) knew her work was posted is that her handle was added (i.e. she was given credit). Twitter automatically notified her, which is the intended effect. It’s like saying, “hi, we re-tweeted/re-posted your work”.

That didn’t fit her personal specification, however. She soon demanded her full name be used. Fine, no problem there. But…

…instead of sending a DM (a private message on Twitter) and saying, “can you cite my name and/or contact details”, she quote-tweeted the image. Quote-tweets are like using quotation marks to tell your friends what someone else has said to you. She added nonsense about “stealing art” to her quote-tweet, and this triggered a mob from Artist Twitter screeching about “stolen work”.

This is how Twitter works…?

Artist Twitter seems to love this condescending bit about bragging “this is how Twitter works” then arbitrarily saying, “it must be as I demand”. Tagging an image cites the artist; no “stealing” involved.

Rather than argue for days with a zombified mob of people who weren’t reading (or thinking) before barking and howling, a massive number of people were blocked, including Artist A.

Fast-forward to now, literally months later. All was forgotten from the previous incident, or so it seemed. A notification arrives, including Artist A and Artist B. Artist A’s tweets were invisible (blocked), but clearly she’d been waiting for an opportunity to howl again.

Now we have Artist B. Her work is brilliant and unique. This is why it was included as one of the first around which a concept design was built for AltSciFi’s online store site.

The Opposite of Amazon

The essence of a store, obviously, is having items you pay for. AltSciFi is about helping indie artists get paid without corporations that gouge us like Amazon. So while building the site’s backend (database/etc.), a payment structure naturally needed to be built as well.

The key to this is AltSciFi does not have inventory of its own. The idea is to work with artists who have existing online shops, or help them create theirs.

This approach is something no one has done before (at least, perhaps not). That’s the whole point of doing it. In order to explain how it works, it’s better to use a “show, then tell” approach. Artists in particular are obsessively (rightly) wary of having their works stolen, so it’s necessary to paint a full picture before asking anyone to sign on.

Over the past few years, AltSciFi has tested prototypes and requested feedback. Artists and fans tend to fail to see value unless they have tangible work to lay hands on. There’s no point in giving an audience the first draft of a screenplay if you can show them the completed film. Likewise for the AltSciFi project.

How to Unleash the Undead Hordes…. by Mistake

Now, back to today. Artist B says she found the concept site via search engine. That was not independently verifiable, but there’s no reason to assume she was lying.

So what happens? Minutes later, yet another horde of frothing Angry Artist Twitter appears as if by magic.

A few pages on the concept site, including Artist B’s page, have functioning PayPal links. In theory, it’s possible to buy items. This is a proof of concept. It works. Finally. :)

In practice, as mentioned previously, there are no items to buy. No inventory. Plus, at least while using search engine DuckDuckGo, the concept site is nowhere to be found. But apparently Artist B found it somehow.

So here’s where the problem begins. Instead of contacting AltSciFi, Artist B replicated Artist A’s behaviour and sent a Frothing Twitter Horde of Doom.

Unfortunately, over the past few years of development, this is just the sort of thing that happens periodically. People don’t know what they’re looking at and sometimes decide doomsday is nigh. Instead of just blocking all who arrived with pitchforks at the ready, this is a thread (now, blog post) for the next time someone decides to bark instead of think.

Ironically, with proper demonstration of a completed project, Artist B probably would have thought this project could work well for her, as an indie artist with a unique style. Indeed, she backhandedly admitted exactly that.

Instead of reserving judgment, Artist B and the unthinking horde burned the bridge to AltSciFi before it could be built.

Mistakes Were Made, But More Importantly, Who Wins?

Was it a mistake to leave a “functioning” store site online? Yes. It was an oversight. The site is not being marketed or promoted and no one has tried to buy anything, so it was assumed to be invisible for now.

On the other hand, it’s also somewhat strange to unleash a bully-mob when you’ve only heard one side of what’s happening. In this case, Artist A clearly spewed nonsense about “art theft” when she had no clue, as she was blocked for months already.

AltSciFi is for artists and techies, by artists and techies. Our followers are constantly reminded of it.

As it is, apologies were offered several times to Artist B for the oversight. Artist B was too busy winning a fight. If you want a fight, well, okay. But you’re fighting against your own ally here. This is years of work spent, zero dollars for marketing or promotion.

Picking the Wrong Fight

If you want a fight, fight against the social media companies that create social norms around endlessly churning out work for free. Fight against the idea that artists (and techies/programmers/hackers) should give away their work for “exposure”.

Realise that if you’re using social media as your primary marketing platform — and even worse, if you’re using your personality as your “brand” — you’re throwing away your work and your identity to corporations who are selling you out to anyone who pays.

Squabbling about who tagged whom, forgot to add perfect citations, or didn’t email about a site that isn’t even finished yet…? That is fucking frustratingly stupid. It’s an understandable mistake. But gathering hordes and making sport of harassing people is fucking stupid.

We’re artists. Probably half of AltSciFi’s followers are hackers, makers, tinkerers and engineers (and others who Know Things). We’re weird. Some are outcasts. The urge to bully when given the chance may be strong. It’s still wrong, though, especially in this instance.

You Are Not Special, and Life is Too Short

This isn’t “damage control” or “artist management”. This is artists versus artists; the most pointless kind of conflict. No one wins. The strife created does the dirty work of keeping mega-corporations like Amazon as the only option. You’ll see more about exactly what that means in the set of guidelines below.

Next time someone gets chafed that AltSciFi blocked them, it’s because life is too short for bullshit — hours were wasted, today alone. Stop wasting time quibbling about bullshit. Find out the situation. instead of reacting (and feeding the social media machine), think and respond.

If you want a fight, a fight you might get. More likely, anyone who comes with more noise will be blocked and ignored. Explanation is usually a waste of time, especially for those whose minds are set to “off”.

A hard lesson learned over years: your ego is not special. Your work is not special. The world doesn’t need you or your art; that’s why it’s hard to get paid.

It’s also why AltSciFi exists. We need to build better alternatives. Allow yourself to make mistakes along the way.

This was a messy moment, but a necessary one. Better deal with misunderstandings now than fight endless brush fires later. “Move fast and break things” is how you end up with Facebook, after all (not a good idea; doing it right — not “perfectly” — is more important than doing it fast).

AltSciFi isn’t a business yet. We’re close, but doors have yet to open; until then, useful thoughts are welcome. Approach with an open mind, and receive the same in return.

Guidelines for Professionalism in the Attention Economy

Beyond the childish pettiness described above, here are a few thoughts on professionalism. These informal notes are based on experience and study, not about how to be a “superstar”. Key points are rephrased or repeated, and merit re-reading.

Never make accusations until you understand the situation at hand.

Anyone with a few thousand social media followers is a superstar in their own mind. AltSciFi maintains a small following; the “followback” game (where you follow someone in exchange for them to follow you, thereby increasing both users’ “popularity”) is silly.

For independent devs, infosec people and artists, Twitter is a “professional networking conference” where everyone is saving face while desperately looking for work.

Never rely on gossip or the insider voices of your comfortable little clique.

Do not use your work as a business card.

Pour energy into no more than four unpaid projects per month that add to your portfolio. Young artists and hackers especially fall into the trap of churning out new art and working themselves to the bone on open-source projects.

Resist “positive thinking”: thousands of indie creators give away their work. This creates an expectation that no one need ever pay for it. Remember: your style may be unique, but your ego and your art are not “special”. If your art is absent, someone else will step in and do the job. Welcome to capitalism.

Value your time and work. Do not give it away. Asking people to pay after giving work to them for free is like billing relatives for Christmas gifts.

Ignore social media popularity.

Followers can be bought. Bots and spammers accumulate. Twitter gets rich, indies stay broke. In the so-called “attention economy” of social media, if you’re an indie (sole proprietor/independent contractor), protect your time. Do not spend time on people who will waste it. The business model of social media is to seduce you into doing the work (organising and sharing information) while the social media company gets paid by running ads and selling your personal data.

Remain aware that the most important opportunities you lose may be the ones you never hear about. More about that in a moment.

“If you need the money, don’t take the job.”

Always have an alternative if negotiations fall through; never resort to begging or bullying. If potential colleagues or clients display tendencies to bully or abuse you and your time, gladly fire the client and find new workmates.

The inverse: be glad to discover unprofessional people who engage in gossip, whisper campaigns and backstabbing. Cut them all out at once.

Those who can help, elevate your work and be mentors, are already well aware of you.

Drama always reflects badly, even if you “win”. You will lose far more than you gain by bickering and squabbling with your peers. Those above you will assume you don’t have what it takes to join them. And until you learn to avoid or prevent drama, you will never know why you remain stuck near the bottom. Those at a higher level will never waste their time on you.

Inverse: if your industry worships “superstars”, be ready to defend yourself. Bullies and hardline negotiators steamroll over anyone they perceive as weak.

Four caveats:

0. Do not act based on gossip or incomplete information. Never request secondhand facts if a firsthand source is accessible. If there are two sides to a story, listen to both.
1. Immediately apologise for mistakes and fix them as quickly as possible.
2. Walk away even if you can “win”.
3. Never make an enemy due to a bruised ego.

That’s all for now. These are exciting and interesting times for AltSciFi, but when has that ever not been the case? :)

P.S. One more guideline for time management and emotional wellbeing: never engage with those who deliberately misinterpret your words.

P.P.S. This isn’t “damage control” or “artist management”. This is a signpost, and a warning for every artist dealing with others online. You will probably encounter similar behaviour if you decide to do anything that challenges the status quo. People can rarely imagine beyond what they already know, and nearly always fear that which is foreign to them. Artists are not exempt from herd thinking or acting like childish bullies; open-mindedness often stops where social interactions begin.

Beyond that, hopefully you’ve learned something you can use in your professional, and perhaps even personal, life and evolution.

And if you’re new here, welcome to AltSciFi. This is as good an introduction as any. :)

Update: this post now has a second part (click here).

Sci-fi films so few people saw, they might as well have been indie: Passengers (2016)

Here be spoilers, dearest visitor. Watch the film Passengers (2016) before reading further.

The ideal date movie?

For an easy way to know if your date is a sexual predator or apologist, sit down together for a watch of Passengers (2016), starring Jennifer Lawrence, Chris Pratt, Michael Sheen and Lawrence Fishburne…

…then ask your date to read this blog post, or summarise it in conversation. Their reaction will tell you everything you need to know. Just be sure to have a quick getaway plan in case their answer surprises you in a certain way.

Did you notice how Passengers (2016) had three endings — but chose the (morally) wrong one?

In reverse chronological order:

Third is the actual ending of the film, when the rest of the crew awaken on their new home world nearly ninety years in the future. Jim (Chris Pratt) and Aurora (Jennifer Lawrence) are long dead, having turned the ship into a Garden of Eden during their lifetime spent together en route to Homestead II.

The second ending shows us the moment when Jim explains how Aurora can return to cryosleep using the medical treatment pod.

The first ending came as Jim (Chris Pratt) is blown out of the ship and into space, presumably beyond anyone’s ability to save him.

Passengers was a great story about two people who face impossible choices. An asteroid storm damages their ship and Jim, a mechanic in his early thirties, awakens from cryosleep eighty-eight years too early. He will live, grow old, and die on a ship in the middle of space, alone with barely palatable food and only an AI bartender to keep him company.

Aurora, probably somewhat younger than Jim but still age-compatible, is faced with the same fate. The twist is that Jim is to blame for her early awakening. This is essentially the reverse of the typical “date rape drug” scenario: instead of being molested in her sleep, Aurora is brought back from medically-induced slumber only to be emotionally manipulated by Jim into believing that their shared misfortune is due to cosmic destiny.

What’s interesting is how the filmmakers seemed aware of the moral implications, but ignored their (morally) rightful outcome in order to feign a “happy” ending.

To put it simply: in order to set things right at the end of the story, Jim needed to die.

Jim sentenced Aurora to death for the sake of alleviating his loneliness. He brought her back to life in order to deceive her into loving him. He didn’t even have the courage to tell her himself — Arthur (Michael Sheen*) the robot bartender was more of an honest person than he was, and even then the truth slipped out by mistake.

When Jim was blown out of the ship, his death would have been a heroic act of contrition to save Aurora. A life for a life.

When Jim discovered that the medical pod had the power of suspended animation, it was an opportunity to bring the symbolism of “sleep pod” full circle, using Jim’s expertise as a mechanic to save Aurora’s life. A perfect ending.

But instead, the forces of Hollywood prevailed. The sexual predator won. His victim’s disturbing “need” for his love resembled Stockholm Syndrome in which a person grows attached and emotionally enslaved to their captor.

Jennifer Lawrence’s performance was brilliant, raw and real. The script and filmmakers failed her character Aurora, and turned a visually beautiful film into a symptom of Hollywood’s inability to see women as real people. Instead, Aurora remained the love-object to be “won” by a “Nice Guy” abuser/rapist/emotional terrorist.

The screenwriters and filmmakers had two chances to make Passengers great. Instead, they chose the third option which, in light of recent revelations about Hollywood’s treatment of women, seems to be an ominous symbol of our past and present than a story about our possible future. If you see Passengers as a warning, then it’s still a good film, but a chilling one that tells its true story in layers simmering below the surface of its narrative. Passengers isn’t just romantic science fiction. Passengers is psychological sci-fi horror.

What’s the future of sensuality, sexuality and sex in science fiction, society and life?

[ + ] Crystal Sacrophagus, by G-host Lee.

Technology has always played a major role in the enhancement of our human sensual reality. Ripples from the future find voice in the quaking tremors of sex toys, the seismic shifts of mass media, and enduring whispers of unanswered questions.

From the Printing Press to Virtual Reality

Since the beginnings of literature with Johannes Gutenberg’s printing press, erotica — sensuality conveyed through words alone — has consistently been among the most profitable genres of fiction, especially among women 1.

From Victorian times, vibrators were often disguised as anything from handy kitchen utensils to mechanical neck massagers. One look at their elongated, bulbous shapes and attachments often betrays their dual-use versatility.

Today’s technology still transforms our lives in ways both subtle and obvious, as remotely sharable teledildonics share news headlines 2 with emergent virtual reality spaces 3. Media, hardware and software will eventually come together to redefine our conception of wetware, literally and figuratively, reaching deeply into all areas of public and private life.

There has never been a monolithic “right” versus “wrong” way to approach human sexuality. Non-Western societies have a multiplicity of words for an assortment of genders 4, 5. Both ancient Greeks and Japanese regarded love between men as the highest form of bonding 6. In ancient English and Asian 7 theatrical traditions, the roles of beautiful women were often played by young male actors.

Theatrical technology continues into the future, pervading everyday life in the realms of makeup, fashion and style. Increasingly sophisticated clothing interweaves synthetic materials with cloud-based programs to track vital signs 8 and fitness, embed our communications devices 9, and even disguise our appearance to protect us against increasingly intrusive surveillance 10.

From Sexual Liberation to Social Dystopia: Meet The Real Enemies of Society

In an increasingly uneven economic landscape, where the rich get richer and everyone else feels pressured by the downward slide into corporate-owned dystopia 11, young women increasingly sell nude photos by the dozen to their online followers. Non-nude pornography proliferates on sites like Twitter and Tumblr, from lingerie selfies of playfully bared nipples and shapely rear ends to blogs full of blatantly erotic “fitspo” models and yoga posers. Influence cultivated via homespun “authentic” Youtube videos can lead to careers fueled by invasive behavioural profiling, innocently re-cast as “Internet advertising” 12. This is a technology-driven form of “soft” entrepreneurial sexwork evolving from the self-exposure demanded by Silicon Valley’s social media companies. Privacy policies dictated from above in dense legalese are minimally skimmed by attention-seeking users who gladly thumb their noses at the more prudish sensibilities of generations past.

There are harsh downsides and real dangers in this new world of sensuality, sexuality and sex in society. Shaming campaigns, revenge porn, and Internet stalking have reached epidemic levels. Amoral corporate entities like Facebook restructure our ideas about privacy to nudge us into oversharing while packaging and selling our digital identities — drunk tweets, lonely late-night nudes and all — to anyone who will buy them 13. Our immediate present becomes a long-tail past that, once uploaded and shared, can haunt us long after an initial indiscretion, perhaps for a lifetime. The entirety of Gamergate was based on attempts to shame and harass indie game developer Zoe Quinn into committing suicide, partly based on recirculation of nudes that were published nearly a decade prior. What people do consensually in private is never the business of a stranger, much less a pack of voyeuristic keyboard warriors hellbent on false “madonna versus whore” moral-purity witchhunts. Society loses sight of basic morality at its peril, and this is a peril that has quickly become an existential threat.

Privacy and the right to be forgotten, left alone or simply able to control access to non-public data has never been more important. The twenty-first century heralds an age where nation-states increasingly wage information warfare campaigns in tandem with kinetic battlefield tactics. Similar to our understanding of cyberwar, the average person remains woefully unprepared for the new era of misinformation, disinformation and malicious identity distortion that already envelopes and threatens the world’s democracies 14. We are now all potentially social media superstars — or at least stars to our few followers. With stardom’s intense fascination comes the perils of “reputation management”: a single cheeky semi-nude photo, cellphone “sextape” video or inebriated sexy tweet can be intentionally and virally misconstrued to slander a person’s entire identity. Technological capabilities have raced far ahead of the average person’s awareness of their responsibility to check facts and seek context, instead of jumping to unfounded conclusions based on assumptions and prejudice. Our hunger for entertainment often outpaces our willingness to accept the diversity of human sexual expression as technology spreads across the globe at an ever-increasing rate of acceleration.

The overused and irresistibly true William Gibson quote applies here, paraphrased, as everywhere else: the future (of human sexuality) is here, it’s just not evenly distributed. Gibson wasn’t talking about sex 15 but in some ways, sex is now just another aspect of cyberpunk, though Gibson’s original vision (and sexuality itself) is so much more than that.

Trans, human: Redefining nature, shifting social norms, Hollywood and porn

Glacial as it may sometimes feel, social norms are quietly changing. Rap stars now brag about not only fast cars and money, but also an increasing diversity of sexual orientations and inclinations. Pop stars continually push new boundaries as the glistening baton of sexual freedom passes from Madonna to Lady Gaga to Miley Cyrus, Halsey and other mass-media brand names. Androgyny and non-binary gender presentation has become cool with genderfluid personalities like Ruby Rose. Movie stars are increasingly comfortable with identifying as gay, from action heroine Michelle Rodriguez of Fast & Furious and Resident Evil fame, to the surprising insights brought by a refreshingly mature Lindsay Lohan. Transgender actresses and directors like Laverne Cox and the legendary Wachowski sisters, respectively, are powerfully visible role models for young trans women. Many people across the gender spectrum in the Hollywood spotlight are openly LGBT now, and it no longer necessarily consumes the gravitational centre of their public identity.

Homosexuality, bisexuality and pansexuality are as “natural” as any other sexuality; there are hundreds of species whose members engage in non-heterosexual behaviour 16. Human beings simply extend such natural inclinations into the symbolic and technological realms, and bring our intimately imagined desires to life. The internetworked spread of ideas clarifies what has been true for as long as species Homo sapiens sapiens has existed on this planet.

In the fashion world, reality stars like Carmen Carrera and high-fashion models like Andreja Pejić have built careers defying, challenging and changing gender and beauty norms. In January of 2017, model Hanne Gaby Odiele came out as intersex in a bid to raise awareness and help others who are born the same way 17.

Even pornography itself is changing. What used to be considered “gay” among cisgender heterosexual men is now becoming mainstream when a man and a woman do it together on camera. Transgender model Ines Rau graced the centrefold of the November/December 2017 issue of Playboy 18. Playboy is still the world’s most famous and well-respected “lad mag”, renowned equally for its beautiful models and for its high-quality in-depth journalism.
Above all, Playboy and Hollywood encompass massive business empires. They only hire, print and promote what sells to mainstream audiences. The fact that LGBT and non-binary actresses, directors and models (and yes, even porn stars) are increasingly visible means that society is not only becoming “tolerant”, but more accepting of expressive sexual diversity.

Returning to technology, cosmetic surgery merges with transhumanism as more people experiment with body modification. Techniques become more refined, strategic and precise, and will even become even moreso as robotic surgeons take over the scalpel from their human forebears. The line between “extreme” fashion, body modification, transhumanism and posthumanism blurs as augmentations combine style and function. Advancements like augmented reality built into our eyes will increasingly be adapted for ornamental and recreational purposes. First, essential medical devices like pacemakers found their way onto computer networks. Now, consider the increasing prevalence of sex toys that are already being connected via Wi-Fi; as technology begins to enter and take more permanent places inside our bodies, what’s next?

Questions for the future of sex and society

Gender reassignment surgery is real. How long until we have functioning implantable wombs?

In what ways will our perspective rebalance after the realisation that sexuality, sexual orientation, gender, and genitalia aren’t necessarily hardwired together?

How will our attitudes change as robots learn to accompany us and fulfill even our most taboo fantasies?

What happens when our technology-enhanced bodies and brains — meshed into a next-generation Internet of Things, Minds and People — inevitably get hacked 19? How will we protect ourselves from malicious software and memetic viruses that contain transmissions of a sexual kind (in a sense, the newest form of “social disease”, or more accurately, social-networking disease that contains a sexual payload)?

These are questions to be pondered, explored and played with here in this subproject of AltSciFi. The same imaginations that have constructed erotic narratives for millennia can anticipate unseen new directions before they become our collective reality over the coming decades.

Science fiction has always been a place to look toward possible futures. As you’ve read in this overview, society is changing faster and in more ways than most people are consciously aware, but we can all feel it. Sensuality, sexuality and sex offer a window into an aspect of ourselves that few people explicitly consider, but is evolving nonetheless. The implications of our relationship to our bodies and minds as expressed in sexual thoughts, desires, behaviours and technologies has always been intrinsic to our existence as human beings. The sooner we accept who and what we are, the sooner we move to a better future for all.

Welcome to AltSciFi ピンク. ;)

Join us. Explore. Enjoy. Above all, be safe and protect your privacy.

P.S. The AltSciFi project is for adults over the age of eighteen only. We do not knowingly include or endorse any imagery or other content depicting the sexual behaviour of anyone under the age of eighteen. AltSciFi is for consenting adults, by consenting adults. Any material depicting nonconsensual sex may be accompanied by a disclaimer that such fantasies are common (specifically among women) and thus constitute a grey area, up to a certain point. Child sexuality and rape are never acceptable topics for adult entertainment — including in anime — and are banned from use by anyone associated with AltSciFi. Aside from that, as long as it’s consensual, non-scatological and enjoyed by adults only, our future-focused approach will gladly consider all possibilities. This is the future, after all, and in science fiction, everything is possible.

Learn More

1. Stewart, Thomas. (31 Jan 2014). Which 5 Book Genres Make The Most Money? Retrieved from https://www.therichest.com/rich-list/which-5-book-genres-make-the-most-money/.

2. Cox, Joseph. (7 Aug 2017). We Anonymously Controlled a Dildo Through the Tor Network. Retrieved from https://motherboard.vice.com/en_us/article/wjnwgb/we-anonymously-controlled-a-dildo-through-the-tor-network.

3. Tsukayama, Hayley. (11 Oct 2017). Facebook announces a wireless $200 virtual-reality headset. Retrieved from https://www.washingtonpost.com/news/the-switch/wp/2017/10/11/facebook-announces-a-wireless-200-virtual-reality-headset/.

4. Medwed, Robbie. (01 Jun 2015). More Than Just Male and Female: The Six Genders in Classical Judaism. Retrieved from http://www.sojourngsd.org/blog/sixgenders.

5. Guy-Ryan, Jessie. (18 Jun 2016). In Indonesia, Non-Binary Gender is a Centuries-Old Idea. Retrieved from https://www.atlasobscura.com/articles/in-indonesia-nonbinary-gender-is-a-centuriesold-idea.

6. History of Same-Sex Samurai Love in Edo Japan. (1 May 2017). Retrieved from https://allabout-japan.com/en/article/5187/.

7. Kabuki. Retrieved from https://www.britannica.com/art/Kabuki.

8. Giles, Chris. (24 Oct 2017). The biomedical smart jacket that diagnoses pneumonia using Bluetooth. Retrieved from http://edition.cnn.com/2017/10/24/africa/biomedical-jacket-uganda-africa-tech-rising/index.html.

9. HAL 90210. (26 Sep 2017). Jacquard: Google and Levi’s ‘smart jacket’ that you can only wash 10 times. Retrieved from https://www.theguardian.com/technology/2017/sep/26/jacquard-google-levis-smart-jacket-denim.

10. Schneier, Bruce. (14 Jan 2013). Anti-Surveillance Clothing. Retrieved from https://www.schneier.com/blog/archives/2013/01/anti-surveillan_1.html.

11. Metcalf, Stephen. (18 Aug 2017). Neoliberalism: the idea that swallowed the world . Retrieved from https://www.theguardian.com/news/2017/aug/18/neoliberalism-the-idea-that-changed-the-world.

12. Eckersley, Peter. (21 Sep 2009). How Online Tracking Companies Know Most of What You Do Online (and What Social Networks Are Doing to Help Them). Retrieved from https://www.eff.org/deeplinks/2009/09/online-trackers-and-social-networks.

13. Hachman, Mark. (1 Oct 2015). The price of free: how Apple, Facebook, Microsoft and Google sell you to advertisers. Retrieved from https://www.pcworld.com/article/2986988/privacy/the-price-of-free-how-apple-facebook-microsoft-and-google-sell-you-to-advertisers.html.

14. Constine, Josh. (31 Oct 2017). Congress grills Facebook, Twitter, Google on shells hiding election meddlers. Retrieved from https://techcrunch.com/2017/10/31/election-inference-shell-companies/.

15. Kennedy, Pagan. (13 Jan 2012). William Gibson’s Future Is Now. Retrieved from http://www.nytimes.com/2012/01/15/books/review/distrust-that-particular-flavor-by-william-gibson-book-review.html.

16. Hogenboom, Melissa. (6 Feb 2015). Are there any homosexual animals? Retrieved from http://www.bbc.com/earth/story/20150206-are-there-any-homosexual-animals

17. Lindsay, Kathryn. (Jan 2017). This Model Just Revealed She Is Intersex. Retrieved from http://www.refinery29.com/2017/01/137416/hanne-gaby-odiele-intersex

18. Quinn, Dave. (19 Oct 2017). French Model Ines Rau Makes History as Playboy’s First Transgender Playmate. Retrieved from http://people.com/bodies/ines-rau-makes-history-as-playboys-first-transgender-playmate/.

19. Dalton, Andrew. (03 Apr 17). This connected vibrator’s camera is disturbingly easy to hack. Retrieved from https://www.engadget.com/2017/04/03/siime-connected-vibrator-camera-wifi-hack/

What if we can take Elon Musk’s science fiction high-speed underground vision one step further, and make it work for everyone?

Have you heard about Elon Musk’s idea for an underground system of tunnels that would move cars at superhigh speeds?

Of course you have.

The idea generated a wave of hype for Musk’s brand, but what is this “underground car” concept, really?

Silicon Valley often cannibalizes and reinvents existing services, usually involving an app, in order to turn a profit. In this case, Elon Musk has set his eyes on “disrupting” public transportation using his tech-celebrity cult guru status and the Tesla brand.

His “underground car” concept is a subway for private transportation, combined with the idea of a bus stop where cars arrive to be transported underground (a “car stop”).

Do you notice the weird part of that idea, though?

Yes. The exact reason for a subway is that many people don’t have access to cars. Subways and buses exist for everyone to use, which benefits all of society at an affordable price.

Elon Musk wants to sell more cars. He also probably wouldn’t mind owning an entire private subway system. Beyond hyping his brand now, it makes good future business sense. Public transportation is also “suboptimal” to say the least, so maybe Musk could “disrupt” it and do it better.

What if there could be a public option that works for everyone, and doesn’t require digging a whole new subway just for cars?

Think about it: there are already bus stops in many urban areas around the world. There are also subways in many major cities from São Paulo to Seoul. What if we could create a compelling vision of a future where the two — bus and subway — came together?

On a busy rush hour city street, a bus-sized pod sits at the curb. The pod, however, has no tires (or maybe it does) and sits atop a platform. At scheduled intervals, the platform descends into a city subway tunnel, and is propelled inside a vacuum-sealed tube (or a regular subway track) to the next stop. Behind and ahead of the pod, a regular subway train also runs its route, along with other transport pods.

When the pod reaches the next pod-stop, it slides into the rectangular lift-space and is elevated to the curb, streetside, unloading passengers and making itself available to a new group of riders.

In this idea, you leverage existing subway tunnels to create a public transportation subsystem that’s a hybrid of bus and subway. It can

  • reduce traffic congestion and pollution
  • be mostly automated to fit into subway schedules, and
  • benefits everyone rather than only people who have private cars.

Revenue generated by this system can be used to improve other aspects of public infrastructure — bridges, roads, schools, a functional universal healthcare system, or even funding basic income for when AI and automation overtakes most human jobs.

This idea could change the world. And we — the science fiction writers, artists, tinkerers, hackers and future-fascinated engineers — could be the ones to build the vision so that society can imagine it as real and demand that it be created.

Learn More

1. The Boring Company. (28 Apr 2017). Tunnels. Retrieved from https://www.youtube.com/watch?v=u5V_VzRrSBI.

2. Etherington, Darrell. (28 Apr 2017). Watch how Elon Musk’s Boring Company tunnels will move cars faster. Retrieved from https://techcrunch.com/2017/04/28/watch-how-elon-musks-boring-company-tunnels-will-move-cars-faster/.

3. Oremus, Will. (2017 June 19). Lyft Isn’t Reinventing City Buses. It’s Undermining Them. Retrieved from http://www.slate.com/blogs/future_tense/2017/06/19/no_lyft_didn_t_accidentally_reinvent_the_city_bus.html.

4. Friedman, Ann. (26 June 2017). Lyft Shuttle: A bus, but without all those pesky poor people. Retrieved from http://www.chicagotribune.com/news/opinion/commentary/ct-lyft-shuttle-bus-perspec-20170626-story.html.

5. Pereira, Alyssa. (19 June 2017). Critics call out Lyft for reinventing the bus with its new ‘Shuttle’ feature. Retrieved from http://www.sfgate.com/technology/article/Critics-call-out-Lyft-for-reinventing-the-bus-11230357.php.

6. Drum, Kevin. (17 Jul 2017). Mass Unemployment Will Start Around 2025. Retrieved from http://www.motherjones.com/kevin-drum/2017/07/mass-unemployment-will-start-around-2025/.

The Matrix, Unloaded: Motoko Becomes Mira. Ghost in the Shell Becomes RoboCop. Hollywood Reboots into the Wrong Cyborg Body… Again.

2017 live-action Ghost in the Shell — a gender-switched RoboCop reboot starring whitewashed “Mira Killian” (not Motoko Kusanagi) with ethnically random cast, set in try-hard cyberpunk not-really-Japan?

After reading the reviews of Ghost in the Shell IMAX previews (here and here), the items mentioned in this article’s subtitle became clear.

Ghost in the Shell illustration by GUWEIZ. https://www.patreon.com/guweiz
Ghost in the Shell illustration by GUWEIZ. https://www.patreon.com/guweiz.

At least two different people have seen the first fifteen minutes of 2017 Ghost in the Shell and written in-depth reviews that are highly similar. Those fifteen minutes contain more than enough footage to glean a basic idea of the plot — or in this case, what the plot basically is, and definitely isn’t. Reviews confirm that Motoko Kusanagi (oops, “Mira Killian“) is intentionally whitewashed; her backstory is a gender-bent copy of RoboCop, not Kusanagi’s background drawn from 1996 anime Ghost in the Shell.

Known facts:

– the 2017 Hollywood version of Ghost in the Shell is designed as a big-budget blockbuster — not a mysterious indie noir thriller with some sort of complex, inscrutable concept and plot;
– the advance screening wasn’t a VFX exhibition; the footage was chosen to give people an idea of what the film is about;
– both reviewers independently agreed on the basic plot and the Motoko Kusanagi (oops, whitewashed “Mira Killian”) character’s strangely RoboCop-like backstory as shown in the footage.

Here is the newest trailer released on 01 March 2017:

This could have been a decent cyberpunk film without needing to:

– “prettify” the gritty Ghost in the Shell anime aesthetic with neon and giant holograms everywhere;
– blatantly whitewash a Japanese anime (Motoko is now “Mira”);
– or, as the reviews also suggest, dumb down and replace the real Ghost in the Shell concept with a blockbuster-friendly Hollywood plot.

Why not just create a female RoboCop starring Scarlett Johansson and the same ethnically random (“diverse”) cast, set in some imaginary future city?

Lessons Lost From The Way of the Matrix

They could have gone the way of the Matrix and lifted eighty percent of the plot from Ghost in the Shell itself, sprinkled in “deep” transhumanist philosophical moral dilemmas, and blended the other twenty percent with Dark City (or in this case, RoboCop).

People who hadn’t seen Ghost in the Shell or Dark City thought that the Matrix was brilliantly original. This 2017 Ghost in the Shell film could have followed a similar formula and at least tried to create something that seemed new.

Dark City Detour

We can’t definitively know what influence Dark City (1998) had on the Matrix (1999) during the intervening year after Dark City was released. It’s entirely possible that the Wachowskis took cues from Dark City in designing the style of the Matrix in post-production and maybe even reshoots. Three hundred and sixtyfive days is a long time, but it’s also true that today’s hype for virtual reality was already a trendy sci-fi trope back then.

All that’s clear is how many eery similarities exist between the two films’ style and subject matter, and the fact that the Matrix was released after Dark City.

The Matrix Was a Smart Blockbuster

It’s also useful to note that the Matrix wasn’t a small-budget indie film by any stretch of the imagination, especially for relative unknown directors as the Wachowskis were at that time.

From IMDB:

The Wachowskis approached Warner with the idea of the Matrix and Warner balked at the budget they had submitted, which was over $80 million. Warner instead agreed to give them $10 million. The Wachowskis took the money and filmed the first ten minutes of the movie (the opening scene with Carrie-Anne Moss) using the entire $10 million. They then showed the executives at Warner the opening scene. They were impressed, and green-lit the original asking budget.

USD$80 million in 1999 would equal $116,609,363.75 in 2017. That’s a fairly massive budget.

The Matrix proved that a sci-fi action blockbuster doesn’t need to dumb itself down in order to excite audiences and succeed at the box office.

How The Matrix Translated Philosophy Into Onscreen Action

What worked so well in the original Matrix (1999) was the abundance of symbolism from philosophy (“welcome to the desert of the real“), folklore (“buckle your seatbelt, Dorothy“) and religion (including Buddhism — “there is no spoon“).

This left the “true” meaning of the imagery up for interpretation.

The actual text itself (i.e. the script) was far less developed than the symbolism; that’s where the Wachowskis were at their weakest. The Matrix 2 and 3 often highlighted their inability to blend dialogue seamlessly with imagery. This culminated in the Architect’s plot-stopping speech, among several other “talking head” moments.

An unfortunate side-effect of “images above all” is that those images could be misinterpreted and twisted in any number of ways. The Wachowskis, two transgender women who (at least at time of writing) embody an inclusive mentality, created the “blue pill” and “red pill” symbol. And we know what happens on Reddit now when you talk about taking the red pill.

(The upside is that we got to see ahead-of-its-time moments like the Battle for Zion (Part 1 and Part 2), which showed us realistic combat exoskeletons over a decade before the Edge of Tomorrow (2014).)

There was literally a lot to see in the Matrix, philosophically speaking. The Architect’s speech was fine as a dramatic, theatrical monologue; it just didn’t work as part of a film script. The Neo-as-messiah myth is also an example of the “chosen one” archetype that you see in most Hollywood films; it’s easy to focus on and identify with a “hero’s journey” plot arc. Remember how ambiguous the ending of Matrix Revolutions was, though; there was more happening than just the sacrifice of Neo. It was a courageous way to end the series, particularly since it didn’t resolve to a typical “happily ever after” conclusion.

Neo Versus Motoko: Different Cultures, Different Challenges

None of this is intended to say that the Matrix was anywhere near as complex as Ghost in the Shell, because they operate in different media, designed to address and challenge different cultural expectations (1999 Hollywood film vs. 1996 Japanese anime).

Ultimately, the Matrix may have tried to do too much philosophically, rather than too little, whereas Ghost in the Shell infused the anime world with a near-perfect blend of non-glamorised futuristic Japan, cyberpunk, hardcore action and transhumanist adventure.

It seems clear now that 2017 live-action Ghost in the Shell won’t be the film that fans want, regardless of what Hollywood is trying to sell us. At least this leaves the door open for an indie production to create a faithful smaller-scale adaptation — without much fear of comparison to the big-budget “authenticity” of this one. Who could create such a faithful adaptation? Stay tuned.

What’s the future of society in a world where ideologies create facts, billionaires run countries and isolationism invites global war?

The previous entry was about the future of a post-capitalist world, and contains lots of sources to facts for further reading.

This topic is deeper. It’s about a future where facts themselves come second to ideologies, and where ideologies include large-scale war as a viable option.

We have two widely accepted versions of reality on offer now, bolstered by social networks and mass media.

1. Mainstream mass media, which adheres to a journalistic standard while reporting some facts and under-reporting or ignoring others.

2. Non-mainstream mass media across the political spectrum. The non-mainstream media is based on pushing a polarized, identity-based set of talking points that require the audience to pick a “team”. Once you support one ideology, the other becomes the “enemy”. Ideas become personal possessions and are instantly accepted or rejected based on ideology.

Solipsism Becomes Dogma

The tribalistic “non-mainstream” media is, at core, based on the principle of solipsism — that if you can’t physically verify a fact, it could be false and is therefore suspect. Ideology then defines what is and is not a fact. And ideologies are, at core, tools to inform (and manipulate) large numbers of people. Religions offer metaphysical ideologies. Economic theories become religion-like dogma (capitalism vs. Marxism, for example).

In a functioning society, citizens first accept that facts exist independently from ideology. If citizens prioritize ideology over acceptance of facts, facts become tools for ideological manipulation. This is true regardless of your particular ideological preferences.

Third War

We now have regressive tendencies on display across the planet, for example in France, Germany, the U.K. and the United States.

Nativism, protectionism, xenophobia, isolationism, racism, anti-Semitism, and Islamophobia are all rising. Even Naziism — an ideology explicitly based on calls for genocide — is being normalized as “free speech”. These are the same dynamics that gave rise to the second world war.

Dictatorship

In the United States, the president’s administration — based on constant, blatant lies — is now gutting institutions like health care and environmental protection. Tapping into citizens’ mistrust of globalisation, the American president champions a “strongman” approach that promises to crush dissent in the press and across society. These are the first steps toward dictatorship, and they are accelerating by the day.

Pretences and Guarantees

The American president has literally ushered Wall Street into the White House, under the proven false pretence that rich people will help common citizens become rich, too. Gullible working-class Americans immersed in an alternative media bubble have apparently forgotten what happened to them as recently as 2008 (i.e. the Great Recession). Revocation of trade deals with China and support of the fossil fuel industry virtually guarantee that the United States will fall far behind in four years.

Overall, it seems like the world is headed for pre-World War II conditions. Now, though, several nations have nuclear capabilities. The world’s largest economies have forgotten what made them great — cooperation rather than antagonism. And billionaires seem to be trying to take what they can before global corporate capitalism based on oil and American Empire finally destroys itself.

What’s next?

– Will people keep pretending that dismantlement of social services, glorification of militarism, and destruction of the environment will somehow yield social mobility and opportunity instead of terrorism, poverty, war and chaos?

– Will people wake up in sufficient numbers before it’s too late?

And if they do wake up, what kind of government will take the place of the current corrupt and dysfunctional one? Clinton was an opportunistic politician who took money from Wall Street. Trump is an egomaniacal billionaire who embodies the concept of vulture capitalism.

It all begins from how we define and accept the meaning of a fact.

Apocalyptic visions aside, if this isn’t the end of democracy in the U.S. and across the world, how does global civilization repair itself?

Now may be the perfect time to start a new story — almost definitely a story that includes less talk and more action.