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Why, when he asked Google his question, was he directed to a white nationalist website trading in vicious propaganda, rather than to accurate statistics provided by the Federal Bureau of Investigation or the Southern Poverty Law Center? Had he gone to the FBI's webpage, he would have learned that the vast majority of violence against white Americans is committed by white Americans, and that the vast majority of violence against black Americans is committed by black Americans. Had his first hit been the SPLC, he'd have read that the Council of Conservative Citizens is "the modern reincarnation of the old White Citizens Councils," an organization that has "evolved into a crudely white supremacist group." Of course, it may not have mattered. Noble does not necessarily assume that the Charleston massacre would have been averted if these legitimate websites had ranked ahead of white supremacist ones. Roof was quite possibly looking for what his sick predisposition wanted to find, and would have scrolled for pages to find it. But she does rightly hypothesize that Roof's fated search touches upon the larger cultural relationship between search engine optimization and the perpetuation of racial ideologies rooted in a legacy of prejudice dating back to Jim Crow and chattel slavery.

“Everything’s geared toward self-sufficiency. Fuck that,” Björk told punk historian Jon Savage in Interview. “For me, the target is to learn how to communicate with other people, which is the hardest thing, after all. What you should be doing is learning how to live with other human beings.” Car parts, bottles, cutlery, technology, and political superpowers are no match against this outreaching feeling, this ethos of interconnectedness that lives inside “Hyperballad,” inside of Björk in general, and it is an instinct inherent, ever crucially, in the survival of humanity.

As the software enters its 30th year, a look back at one of its weirdest, most wonderful features. --- The idea is simple: you pick a tree species, change how voluminous you want your leaf count to be, on a sliding scale from zero to 100, and tinker with the size of the leaves and the height and thickness of the branches. Then fill the landscape with pre-rendered trees.

Five years ago I started a tumblr called Invisible Music, in which I posted tracks of (mostly) experimental electronic music and wrote about them without naming them. It was a lot of fun and I loved doing it but, alas, as happens with most online writing projects, I stopped doing it, and it’s time to put it to bed. Here are the tracks I posted, and there are a few pieces of writing here I still like. If you followed it, I hope you enjoyed it.

Looking into Deezer’s Spleeter and Facebook’s Musixmatch. Source separation can extract isolated vocal and instrumental tracks from any recorded song, but its potential repercussions for artists and streaming services hangs in the balance.

Oregon once aimed to be the greenest state in America. Its leaders adopted the nation’s first bottle deposit. They controlled urban sprawl. They declared ocean beaches public property. But in the last four years, Oregon’s most powerful industries have killed, weakened or stalled efforts to deal with climate change, wolf recovery, disappearing bird habitat, cancer-causing diesel exhaust, dwindling groundwater, industrial air pollution, oil spill planning and weed killers sprayed from helicopters. What changed Oregon? Money. Lots and lots of money. […] The consequences of Oregon’s logging practices are clear. State and federal scientists have blamed major population declines in species including the coastal Coho salmon, northern spotted owl and marbled murrelet on timber harvesting and state policies governing it. The Oregon Department of Forestry found 242 plants and animals listed or at risk of listing under the Endangered Species Act as of 2012. The trend was getting worse. Then the state agency, whose mission includes promoting the timber industry, stopped publishing the numbers and deleted past reports from its website.

Collection of FREE Gutenberg Templates and block designs to help you create beautiful websites in WordPress easily.

Just outside of Paris. Enter the still-functioning workshop of the innovative and influential French sonic pioneers.

Background music was once relegated to elevators and waiting rooms. Now the groundless consumption of music has become omnipresent. --- The idea of purposeful listening—which is to say, merely listening—is becoming increasingly discordant with the way that music is sold to us. […] In March, Warner Music Group’s Arts Division signed a twenty-album distribution deal with the German app Endel. The app’s proprietary algorithm “creates personalized soundscapes to give your mind and body what it needs to achieve total immersion in any task.” The company reports that its technology “is backed by science and uses personal inputs such as time of day, location, heart rate, weather to create custom sound frequencies to enhance one’s mood towards sleep, relaxation and focus.” Though I appreciate Endel’s creators not calling the app’s output “music,” I am nonetheless agog that my fellow-humans are comfortable with a late-capitalist robot voice telling them, “It’s 3:30 P.M. It’s a great time to get some work done,” and then generating electronic sounds designed to propel them deeper into their to-do lists. […] It makes sense that, in 2019, as we grow collectively more uncomfortable with our own quiet, inefficient sentience, we have also come to neglect the more contemplative pursuits, including mindful listening, listening for pleasure, listening to be challenged, and even listening to have a very good time while doing nothing else at all.

I always said that when my time came I’d want to go fast. But where’s the fun in that? --- Closeness is impossible between an artist and a critic. Each wants from the other something—the artist’s mojo, the critic’s sagacity—that belongs strictly to the audiences for their respective work. It’s like two vacuum cleaners sucking at each other. […] To limber your sensibility, stalk the aesthetic everywhere: cracks in a sidewalk, people’s ways of walking. The aesthetic isn’t bounded by art, which merely concentrates it for efficient consumption. If you can’t put a mental frame around, and relish, the accidental aspect of a street or a person, or really of anything, you will respond to art only sluggishly.

An extremely real and heartbreaking story for a number of reasons. In 2017, I got an interview for the Master’s degree program at the Yale School of Art. When I returned a week later to pick up work I had left there, one of my paintings was gone. What happened to it? This is the story.

The latest escalation mirrors growing anti-democratic sentiment in the national GOP. --- In a nutshell, Oregon Republicans are exploiting an arcane constitutional provision in order to exert veto power over legislation developed by the Democratic majority, on behalf of an almost entirely white, rural minority. Five times in the past 10 months, they have simply refused to show up for work, preventing the legislature from passing bills on guns, forestry, health care, and budgeting. The fifth walkout, over a climate change bill, is ongoing. It is an extraordinary escalation of anti-democratic behavior from the right, gone almost completely unnoticed by the national political media. Nevertheless, it is a big deal, worth pausing to consider, not only because it is preventing Oregon from addressing climate change, but because it shows in stark terms where the national GOP is headed. […] Republicans’ objections have been heard and addressed. They just haven’t stopped the bill, and that’s what they want. It was never really about process, it’s about state government doing something they don’t want it to do (pricing carbon) in a state where they believe they ought to have veto power. They believe that rural white people and the kinds of jobs they do are more authentically Oregonian than those of city dwellers working service jobs, and thus they ought to have a greater voice in politics. […] “We must get our way, no matter what” is not a reasonable premise to carry into a dispute in a democracy. […] Republicans don’t just get to arbitrarily decide, as a defeated minority, how the majority’s bills pass, or what form they take. Their enormous sense of entitlement notwithstanding, they don’t get to rewrite the rules of democracy on the fly as it suits them, from bill to bill. […] Oregon has the country’s loosest laws on money in politics, with no restrictions whatsoever on what corporations or individuals can donate to politicians. This has led to a flood of cash into state politics and the steady erosion of the state’s once-proud pollution and environmental laws. Oregon is now first in the country in per-capita corporate donations to politicians; almost half the total money donated to Oregon legislators comes from corporations, far more than comes from unions or individuals. […] There is simply no precedent for what Oregon Republicans are doing, treating walk-outs as routine, using them to prevent passage of what is a fairly milquetoast set of carbon policies (less stringent than in many other states) and even to set the pace of work in the legislature. Democrats have never done anything like this, anywhere. […] This is an extraordinary situation. An overwhelmingly white, rural minority of voters is holding an entire state’s business hostage. Oregon Democrats played by the rules, got more votes, and developed legislation through appropriate channels. Now fewer than a dozen lawmakers, heavily funded by the very industries they are defending, are blocking it, at will, using an anachronistic quirk of the state constitution. There is no conceivable justification for it, no possible democratic rationale. It only makes sense in the context of white supremacy: the notion that rural white Americans are more authentically American than other groups and deserve outsized representation in its politics and veto power over its legislation. It is no surprise that there are copious ties between the Oregon GOP and the far right. Consider TimberUnity, which passes itself off as a grassroots group of rural Oregonian loggers and truckers against the climate bill. At a January 11 “Vanguards of Victory” awards ceremony, the Oregon GOP gave the group an award. […] It’s all an interconnected network in the state: the far-right groups, the GOP, and the resource industries that fund them. Over and over again, this minority is allowed to assert its will at the expense of its fellow citizens, the norms of conduct that hold state government together, and democracy itself — without consequence or accountability. […] For example, have a look at this story from the Associated Press. It is positively surreal in its devotion to the exhausted tropes of mainstream political coverage. The debate in Oregon has become “pitched” and the episode “reveals sharp divisions.” Republicans say this, Democrats say that, he says, she says, the end. Nowhere in the story will the reader be told that Democrats have a supermajority in the legislature. Nowhere will they be told that a small, demographically homogeneous minority is using once-extraordinary measures to routinely thwart the will of the democratically elected majority. Nowhere will they be told that the white minority holding the state hostage has been backed in the past year by the threat of far-right militia violence. Mainstream political coverage, as we’ve seen again and again in the Trump years, is simply incapable of communicating a sense of crisis. There is only one model of story — what each side says, in equal measure — and it only serves to blur and obscure a situation in which one party, not the other, has lurched in a radically anti-democratic direction. (The local coverage from outlets like OPB is much better.) Meanwhile, Democrats in state government wring their hands and cave to Republican demands again and again, as though it is simply a matter of course that a large majority must bend the knee to a small minority. […] In national US politics, as in Oregon, it’s increasingly clear that the population is urbanizing and diversifying and there simply aren’t enough rural and suburban white Christians to constitute a majority anymore. If that demographic — which has now become an intense, all-encompassing political identity — is to maintain its traditional hold on power, it can only do so through increasingly anti-democratic means. In Oregon, that means exploiting the quorum rule and unlimited corporate money. At the national level, it means exploiting rural overrepresentation in the Senate, the electoral college, voter suppression, the filibuster ... and unlimited corporate money. In national politics, as in Oregon, anti-democratic tactics and rhetoric are escalating on the right, but there is little pushback or accountability. They pay no penalty for lying, violating norms, or taking legislative hostages, so they keep doing it, keep escalating. The institutions around them seem unwilling or unable to draw lines in the sand, and when they do, as when Democrats impeached Trump, they find those lines blown aside by partisan unity.

The Kardashians and the Real Housewives are talking about premade Judy survival kits. Are they any good? --- Clearly, people need supplies like food and water in the wake of any disaster, but as Redlener sees it, typical advice tends to flatten these events into a one-size-fits-all mold, particularly when you look at prepackaged kits. Take the first kit that appears on an Amazon search. Available for $114.99, it promises a “100% satisfaction guarantee” for surviving for three days after “earthquake, hurricanes, floods + other disasters.” It’s a bold claim, considering the myriad variables not only in the disasters described but also when you take into account who might be purchasing the item and the specific needs they have. “In some ways, they just somehow misrepresent themselves as being ‘disaster preparedness.’ So people think, ‘I’ll buy a kit for my car and another for my house, and I won’t have to think about it again.’ Really a false sense of security,” Redlener says. […] Judy is largely being marketed as a trendy new tool your favorite influencers are excited about. The success of that approach hinges on the fact that Americans are keener to follow in Kim Kardashian’s footsteps than FEMA’s. This, despite the fact that she exists in an income bracket that is less likely to be deeply affected by climate change. […] In the US, lower-income communities are also already dealing with a higher rate of pollution in the air and in their water sources, which makes them more vulnerable to any additional issues brought on by climate change. Globally, a similar situation is playing out between higher- and lower-income nations. If the emergency items market continues to grow as projected, it’s hard to imagine the costs won’t continue to increase, as well, responding to a more competitive and eager market — potentially pricing out the consumers that need them most. That stark contrast in who is able to afford to not only evade disaster but also to recover from them is already clear in the postmortems of recent disasters. […] “It’s taking a moment to take stock, which is what the preparedness kits can do, but also taking a moment to to to know who’s in your community, and how you can help and how they can help you,” she says. “Not only be prepared for really, really bad things, but to also be prepared for the day-to-day stress. And so you’re investing when you’re doing this and not just, ‘Oh, well, when is the big, big bad thing going to happen?’ You’re actually doing something that makes you and your community healthier.”

Earth Day should be a time for thinking about time. --- Just as a satellite view shocks us with the strange beauty of our seemingly familiar home, Earth Day has the potential to give us a new temporal perspective. There is no natural basis for a week or a decade, and the endless extractive growth that corporations project has no analogue in nature. Earth's clock is richer than the Western manmade clock, an overlapping set of rhythms in which many scales coexist: not only days and seasons but also tides, flowering events, ecological successions, and geologic accumulations. […] I would like Earth Day to be like that: a pause for consideration, a day unlike other days, a time for thinking about time. Some things are visible only from a remove. Let this day be a porthole through which we look out on the vastness of ecological time, laughing in retrospect at our small-minded schedules and wondering how we might think and act in different ones. If we agreed to do that, I wouldn't be surprised if the effects of Earth Day cascaded into all our other days.

As we enter a new decade, the ways in which we define electronic music styles are rapidly changing. Chal Ravens explores the etymological evolution of “UK club music” and speaks to some of its key players: about how regional roots are growing into digital ecosystems, and powering new conversations about globalisation in club culture. --- It’s more about the mood, ultimately: vibrant, kinetic, unpredictable. In fact, club is probably best understood as a style of DJing rather than production, a sound invented in real time. The element of surprise is highly valued, along with quirky edits, bizarre blends, and a fearless approach to clashing musical keys. You might hear a spinback or three. It’s music to stay on top of rather than music to get lost in. […] Why aren’t these UK club DJs appearing on European festival lineups? “If I knew I’d be playing more festivals,” says Finn, who wonders if there’s a basic mismatch in attitudes and expectations. “There’s not much room for humour in dance music. It all feels like it has to be quite serious,” he says. […] In the process of absorbing and reframing various black genres, the term “club” obscures the roots of its own diversity. That shouldn’t write off its utility as a catch-all term; how else might we capture the contemporary intermingling of dozens of related global scenes? But intersecting factors of race and class are always at work in the creation and adoption of new styles. […] There’s an absurd feedback loop at play in which promoters excuse pedestrian bookings by citing commercial imperatives, which does audiences a disservice by suggesting that they’re too bigoted or unimaginative to branch out from house and techno. But insofar as club music is thriving in small clubs and basement parties in the UK, the next challenge will be to establish the current generation as an internationally recognised creative powerhouse.

Every person I talked to was now two people, the one who was nice to me because I was thin, and the person who had been mean to me when I was fat. I was also two people: the fat person who felt like everyone was better than me, and who was so scared to walk across a room, or even stand up, and now, the thin person, who did not know how to manage the exhilaration of suddenly not feeling that way, and of sometimes even feeling superior to people. […] It’s bizarre the way that women’s feelings about their bodies, good and bad, are tied to other women, like, if a woman has a great body, this can feel like a rebuke to everyone who has a regular body. As I watched J. Lo’s Super Bowl halftime show, I thought, this is going to turn into a thing where middle-aged women get upset because they don’t look like that, and they will express this anger in racist and sexist comments about her clothing choices and the precise shape of her body. Poor innocent J. Lo’s body — here it thought its whole purpose was just to move J. Lo’s consciousness through space. I wonder how many women don’t feel so much that they’ve accepted their bodies as much as they need to present as someone who has. Younger women tell me that the way that they hear weight anxiety being expressed is more through the buzzword of “health,” so women say they’re not eating dairy, or bread, or sugar so they won’t be seen as judging themselves, or others. […] I am not saying that no one has accepted her body, that it’s all a lie. I am just saying that I’m pretty sure we haven’t “arrived” anywhere. And why would we have? The material conditions of being a woman have not been altered in any dramatic way, and seem to be getting worse, for everyone. And while there is certainly more of what is called a “celebration” of different shapes, it is rare that those shapes are not proportioned in a fairly universally attractive way.

He’s been DJing for more than two decades, so we talked about a lot besides that. --- I ask him simply: is this why you do it? He snaps out of his stasis, looking at me indignantly. "I just love it. I genuinely love the music I play. I love looking at people's faces when they lose it." He stops. "I've spent the past 35 years seeing how collective euphoria works. It's people coming to escape; to lose themselves and lose the stresses. For two hours, four days – they become part of this bigger thing. This sexy mess. There's a level where you can totally freak somebody out. It's the equivalent of making them cum. It's half-voyeurism, half-vampire; my secret of eternal youth. Not drinking the blood of the young – absorbing their sweat! I genuinely love it."

We should prepare, not because we may feel personally at risk, but so that we can help lessen the risk for everyone. We should prepare not because we are facing a doomsday scenario out of our control, but because we can alter every aspect of this risk we face as a society. That’s right, you should prepare because your neighbors need you to prepare—especially your elderly neighbors, your neighbors who work at hospitals, your neighbors with chronic illnesses, and your neighbors who may not have the means or the time to prepare because of lack of resources or time. […] Here’s what all this means in practice: get a flu shot, if you haven’t already, and stock up supplies at home so that you can stay home for two or three weeks, going out as little as possible. The flu shot helps decrease the odds of having to go to the hospital for the flu, or worse yet, get both flu and COVID-19; comorbidities drastically worsen outcomes. Staying home without needing deliveries means that not only are you less likely to get sick, thus freeing up hospitals for more vulnerable populations, it means that you are less likely to infect others (while you may be having a mild case, you can still infect an elderly person or someone with cancer or another significant illness) and you allow delivery personnel to help out others.

This is a lovely reimagining of ‘The Little Mermaid.’ Essarala learned of the traders from her cousins' gossip, and she lingered near the interpreters, watching and wishing. She longed to explore their ship and ask them to take her with them to the stars. But the more she listened, the more she learned, and one thing became obvious: their ship might carry water for its crew to drink, but it didn't contain water for a mer to live in.

Lingering with a moment, operating in the dark, and moving through membranes. --- Renee Gladman: In Ana Patova the city becomes a three-dimensional embodiment of writing, a world propelled by sentences. Sentences, thus, become both propellants and consequences of the events of Ravicka. Ana Patova writes so that she can act in the world. The writing is the site of that action. What happens in between, where she’s actually walking down the hill, is unmappable. I don’t believe that there is any language without narrative, but there seems to be (in Ravicka and in Providence, RI) plenty of language without events. In Ana Patova, I’m trying to follow the line of thinking, letting it pass through these sentence-corridors that are bridges, and I’m doing this because something is being produced through this particular shape. A crossing reverberates, something being crossed. One consciousness crossing another. One’s books crossing others’ books. One’s walking with another’s walking. One attempt to see the crisis with every other attempt, and not only by the one person but also every other person in the city. I think of narrative as the story of our thinking and of language as that material.

The imagined city from Gladman’s Ravicka series is as elusive as human self-hood. --- What Gladman’s work does have in common with the aforementioned works is a faith that language creates the thing it describes. As opposed to the commercial novel, which gestures at the consensual reality beyond the page, Gladman begins with the internal and constructs her world from the ground up, finding meaning in negative spaces. Jakobi proposes that streets should be built according to “qualified voids” and muses that “You can design a flag and name a country, then design another flag and name another country, years before you have to bring that country into existence,” which might have been Gladman’s process with Ravicka—a coherent imaginary place, slowly solidified book to book. […] It’s possible to read the novel without being aware of how much of it Gladman intends as a dwelling against “the atrocities of the political and social present,” but what comes across in all of Gladman’s work is that there is a world worth discovering and which lives both outside and within us, a place “changing all the time” where “there is too much to say about it, too much to see to want to keep seeing.”

She says 'Miss Anthropocene' is about making "climate change fun"—and she can't stop talking about her hopes for an AI-driven future. But she might just be playing with our perceptions. --- But the Internet is notoriously good at simplifying the messiness of reality into cut-and-dry projections of our deepest hopes and fears—symbols so gripping that they can sometimes cause us to make assumptions that go against our values. To believe that Grimes has made an album designed to spread good faith in Silicon Valley is to undermine her intelligence and agency as an artist, one whose artistic reckoning with the world—and her place within it—has never been anything close to straightforward. The trouble with owning one's perceived badness so completely that you transform yourself into a literal demon, though, is that it's a bit of an out. There's nothing inherently wrong with trying to use technology to democratize music-making, or to offset our reliance on fossil fuels—but it's hard to take techno-optimism seriously when its proponents also seem strangely blind to the world that exists right in front of them. In the realm of business, that blindness can take the form of building a fortune partly based on the idea that you're trying to stop climate change while also discouraging your employees from unionizing. In the realm of art, it can mean getting so carried away by the grand design of your vision that you fail to realize that it's motivated by something a bit solipsistic, a mirror of your unique prison of pain. At worst, it can produce art that is less a reflection of shared experience than a vision of the world that was dreamed up in a corporate boardroom, by people who have the luxury of turning existential crises into an entertaining thought-exercise.

Dave Tompkins chronicles the adventures he's had while touring his acclaimed vocoder history ‘How to Wreck a Nice Beach,’ like when he introduced the National Security Agency to Cybotron.

In the past year-ish of my life, it’s become a minor goal of mine for people to discuss Ada Palmer’s debut novel, Too Like The Lightning, from now and until eternity. It’s just that kind of book. Here I’m collecting my own thoughts and musings on Too Like The Lightning.

The story of a record-store snob struggles to fit an era defined by shared enthusiasm. --- The easiest way to update the satire would have been to change its milieu, making it about video gamers, for instance, or hardcore comics and superhero fans—or YouTubers, for damn sure. It’s all too evident there are toxic preference patterns to be skewered in those realms, set for processing through High Fidelity’s patented epiphany-and-redemption filters. But since it sticks to music, the show has to reckon with the fact that music fandom isn’t what it was 25 years ago. […] A general trend toward aesthetic eclecticism was already being noted by sociologists who study cultural taste before Hornby’s book came out. Surveys of previous generations found that people tended to share both their preferences and vehement distastes with other members of their social classes and backgrounds. Their tastes tended to follow, along class lines, the old model of “high art,” “middlebrow,” and “low culture.” But by the 1990s, elite cultural consumers were sampling widely across categories and creating more bespoke taste profiles—somebody might be an equal aficionado, for instance, of Asian art films, graphic novels, and WWE wrestling. Even in the original High Fidelity, the Championship Vinyl boys are well aware it would be lame to confine themselves too much to any single genre. While specialists still argue over how to read the data, it seems likely to me that the internet’s democratization of distribution has made this omnivore eclecticism the popular default (Exhibit A: “Old Town Road”), and it encompasses eras as well as styles. Through the “universal jukebox” of streaming, it’s as easy to give yourself an instant education on classic late-1960s Brazilian Tropicália—the new High Fidelity features a conversation about an Os Mutantes box set—as it is to inhale Young Thug’s whole discography in an afternoon. […] But from a lowercase-marxist perspective, it strikes me—and I realize this is a stretch—that being a cultural magpie, more noncommittal and contingent about which ever-changing suites of tastes might suit your moods and situations, roughly parallels the kind of flexibility and adaptability that’s demanded by today’s gig-and-hustle economy. We need to be able to change jobs, switch loyalties, move cities, update skill sets and personal images, to suit the ever-disruptable, often geographically and even physically disembodied labor marketplace. Being too strongly wedded to an identity becomes a liability. […] She wants to use music not to assert superiority and distance but to forge human connections—ultimately, despite her ragged insecurities, about being a music-maker herself. This might be where the new High Fidelity picks up the thematic thread from the original, in its radically different context, suggesting that it matters less what the characters’ particular tastes are than the ways they cultivate and care for them, along with one another. It isn’t what you like. It’s how you like it.

Portland, Ore., is known as a haven for progressive culture. So why does it seem like police consider rappers and their fans a threat to the city's specific brand of weird? --- Veteran local performer Cool Nutz, whose real name is Terrence Scott, says that to successfully grow a music career in Portland, rappers must proactively seek out dialogue with the powers that be. “[Portland] is not New York or L.A.,” he says, talking about creating a niche for hip-hop acts in an indie-rock market. Scott’s shows go smoothly, he says, when he takes care to talk to police, the OLCC, or the gang task force in advance of a show. That the responsibility for opening that line of communication falls on him seems tiresome at best and probationary at worst, like a child checking in with parents to assure them he’s not doing anything bad. But Scott argues his proactive approach is both empowering and effective, a way to set others up for success. “It’s about the progression of the urban music scene. When the police come in one show it doesn’t just affect that one show; it affects what everybody does.”

The more Bong Joon-ho’s masterpiece is regarded, the more it seems to vanish in the spectacle of its acclaim. --- The emphasis on universality is achieved through a negation of the particular in a typical display of liberal chauvinism. Consequently, the more Bong Joon-ho’s masterpiece is regarded, the more it seems to vanish in the spectacle of its acclaim. Parasite has made history; never mind how history has made Parasite. This is not a charge against any attempt to relate Parasite to other contexts. Bong’s social critique concerns the international conditions of globalized capitalism, but particular to Korea’s neoliberal and neocolonial present. Examining the film as a story of class in the neocolony shifts it from a decontextualized tale of rich and poor to one of compradors and the colonized. This lens takes Parasite from an allegory of “class conflict” to one of imperialism, and illuminates the film’s recurring motifs of English, militarization and appropriated Indigenous material culture. […] The specter of war represented by Geun-sae and the space of the bunker are crucial to interpreting the film’s climax. The ongoing war in the Korean peninsula, sometimes called the Forgotten War, is often narrativized as “over” in a manner reminiscent of how the colonization of the Americas is regarded as complete. The recognition of either process as unfinished undermines the solvency of ruling class power, even as that power is sustained by an endless cycle of colonial violence. There is more than simple analogy at work here; there is a direct genealogy that links the US invasion of Korea to its invasions of Indigenous nations. […] Faced with the impossible situation of division and occupation, the only solution Ki-woo can imagine is rooted in the neoliberal ethos of hard work and constant striving. He pledges to miraculously become rich and buy the Parks’ house one day, so he can reunite with his father. Ki-woo’s solution is not only deeply unrealistic; it does not address the fundamental problem at hand. Even in this fantasy scenario, Ki-taek would still be contained in the house by a legal system that would seek his prosecution and imprisonment. The forces that created and upheld the Kim family’s separation would not be undone, merely adapted to. The class system and the war enabling it would continue unchanged. Bong’s final shot, which clarifies that the solution Ki-woo envisions is just a dream, seems to dare us to dream harder. Media narratives that spin Parasite’s acclaim through the lens of liberal assimilation miss the mark; a Hollywood that is more open to Asians or other people of color is no more of a solution than Ki-woo’s dream of buying the house that imprisons his father. The promise of inclusion is a distraction from the wars that haunt Parasite, Korea and this continent. As I write this, Wet’suwet’en land defenders are protecting their unceded territory from an invasion by Canada, which seeks to steal land for the Coastal GasLink pipeline.

The pernicious spread of corporatespeak, or garbage language, as Anna Wiener’s Uncanny Valley calls this kind of talk. Garbage language permeates the ways we think of our jobs and shapes our identities as workers. --- In other words, to “parallel-path” is to do two things at once. That’s all. I thought there was something gorgeously and inadvertently candid about the phrase’s assumption that a person would ever not be doing more than one thing at a time in an office — its denial that the whole point of having an office job is to multitask ineffectively instead of single-tasking effectively. Why invent a term for what people were already forced to do? It was, in its fakery and puffery and lack of a reason to exist, the perfect corporate neologism. […] But unlike garbage, which we contain in wastebaskets and landfills, the hideous nature of these words — their facility to warp and impede communication — is also their purpose. Garbage language permeates the ways we think of our jobs and shapes our identities as workers. It is obvious that the point is concealment; it is less obvious what so many of us are trying to hide. […] Our attraction to certain words surely reflects an inner yearning. Computer metaphors appeal to us because they imply futurism and hyperefficiency, while the language of self-empowerment hides a deeper anxiety about our relationship to work — a sense that what we’re doing may actually be trivial, that the reward of “free” snacks for cultural fealty is not an exchange that benefits us, that none of this was worth going into student debt for, and that we could be fired instantly for complaining on Slack about it. When we adopt words that connect us to a larger project — that simultaneously fold us into an institutional organism and insist on that institution’s worthiness — it is easier to pretend that our jobs are more interesting than they seem. Empowerment language is a self-marketing asset as much as anything else: a way of selling our jobs back to ourselves. […] One reason for the uptick in garbage language is exactly this sense of nonstop supervision. Employers can read emails and track keystrokes and monitor locations and clock the amount of time their employees spend noodling on Twitter. In an environment of constant auditing, it’s safer to use words that signify nothing and can be stretched to mean anything, just in case you’re caught and required to defend yourself. […] Usage peeves are always arbitrary and often depend as much on who is saying something as on what is being said. When Megan spoke about “business-critical asks” and “high-level integrated decks,” I heard “I am using meaningless words and forcing you to act like you understand them.” When an intern said the same thing, I heard someone heroically struggling to communicate in the local dialect. I hate certain words partly because of the people who use them; I can’t help but equate linguistic misdemeanors with crimes of the soul. […] The meaningful threat of garbage language — the reason it is not just annoying but malevolent — is that it confirms delusion as an asset in the workplace.

The story of DJ Renegade: a poet, a mentor to Ta-Nehisi Coates, now a poker grinder in Atlantic City who lives on two-day comps at luxury hotels by keeping tables warm.

In this landscape — where songs are interchangeable, indistinguishable commodities, and artists are unrecognizable to the average ear — it’s arguably larger content aggregators and curators, not artists, who are at the top of the food chain. And now several companies, some with venture-capital funding behind them, are racing to claim their own share of the lo-fi aggregation market.