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I should like to register a complaint! This is not the body I was issued at birth. It’s not even the body I had been carefully maintaining until 2019. I’d like to send it back and have a new one issued, but unfortunately that’s not possible.

One healthy thing to which my recent vacation re-introduced me was yoga. Omaha and I used to do yoga for a few years while the kids were still at home, but when I discovered weightlifting I sorta dropped out of the yoga class and she didn’t want to go alone. There was a yoga class on the cruise ship, and I discovered that I enjoyed it enough to go home and pick it up again.

Being ADHD, I arranged all my triggers. For years, my habit is to hang tomorrow’s clothes on a hook inside the bathroom door. Now I hang my yoga clothes in front of those, and when I head out of the bedroom there’s a bottle of cold water already in the ’fridge and my mat, my iPad, and a fully charged set of workout headphones are waiting for me. (These come under the heading of “reduce environmental friction” and “force the next action” under the “managing ADHD” banner.)

And for three weeks, I’ve been at it every day, using a nice enough app on my iPad. It’s just a 15-minute beginner class, and I had to downgrade from “beginner 2” to “beginner 1” because I’m so far behind on my exercise it’s not even worth mentioning. I’m a wreck.

The one thing I discovered, and the reason I downgraded, was that I have absolutely no sense of balance anymore. The reason I downgraded from beginner 2 to 1 was that I kept falling over doing the one-legged poses! I used to be a flamingo, able to stand on one foot for an hour or more, often in what yogis call “tree pose,” without even noticing; now I can’t hold a tree pose for more than five seconds without falling over. Hell, I was having trouble holding a goddamn straight-line two-legged lunge, the kind where you put your feet exactly in line, so you have no left-right stabilizers other than your sense of balance.

Given that not being able to hold your balance is associated with early death, I’ve been pretty determined to get it back. The good news is that even after three weeks, I’m no longer falling over during a lunge.

I’ve also noticed that the force-of-will “relax” habit that I’ve been developing as part of my daily meditation practice is no longer necessary. Yoga is teaching my body how to relax, and when to tense up, refusing to carry the tension of the day inside my skin. I’m no longer trembling at the beginning of the exercise, with a sense of calm and readiness that wasn’t there three weeks ago.

I have noticed that the places where my muscles have tightened unacceptably is strange… I can do some stretches with ease, like pressing my feet together and putting my knees to the floor, but if I try to do a shoelace pose, stretching forward while my knees are stacked… I can’t. I just can’t move at all. That chain from my back to my knee is frozen, and it’ll be weeks before I get it stretched out properly.

But overall, this has been interesting. If I make it to the end of next week, I’ll have gone four weeks with this practice, and maybe that’ll make it a routine. Then I’ll have to up either the time or the difficulty, or both. But dammit, I need not to lose my balance, by strength, or my flexibility. Those get harder to hold on the older you get, but I was doing so well until Covid tried to kill me. I’m still not gonna let that damn germ win.
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Between winning a trip to Antarctica and actually being in Antarctica is the grueling story of flying to Ushuaia, Argentina, where the Pursuit was currently making port. Ushuaia, “the city at the bottom of the world, is 12,427 kilometers from my home city of Seattle. London is only 7,700 kilometers away. Tokyo is 7,600 kilometers away. Equivalent flights would be to places like Melbourne, Australia, or Johannesburg, South Africa. It’s literally on the other side of the planet.

Our flight began early Saturday morning boarding a plane to Mexico City. I was genuinely surprised at how lax customs has become. Oh, the TSA is still a pain in the arse with your belt buckle but overall the amount of security theater was much less than I’d experienced before COVID. The flight itself on an Aeromexico 787 was a little short of five hours, wasn’t too traumatic, and the food was tasty and hot in a way US flights almost never have anymore. I masked until plane was in the air, at which point it exceeds the 5CH changeover for fresh air and risks are considered minimal, especially since I had gotten my COVID booster just a month earlier.

The “Your flight safety presentation today was brought to you by Volvo” notice was a bit disconcerting.

My travel laptop is a Surface Pro 6. I had cleaned it out before leaving and hadn’t put any movies onto it, so I was down to a very short list of films that didn’t really interest me. I spent most of the trip reading, as I had my e-reader with me and about 400 books on it are still listed as “unread.” I made quite a dent in my tsundoku list.


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Mexico City From the Air

From the air, Mexico City looks like any city embedded in an agricultural region: core, sprawl, and then lots of parceled and enclosed farmland spreading out for kilometers in every direction.

It’s been a long time since I had last flown international. Long enough that Mastercard now takes care of the exchange rate automatically and traveller’s checks are something only people my age remember. The exotic cuisine of Mexico on display at the airport consisted of a Carl’s Junior, a Krispy Kreme, a Starbucks and a 7-11. I mentioned this to someone who was also traveling on the flight and he said, “Yeah, it wasn’t like this before NAFTA. NAFTA really gave the ‘international franchises’” – his voice heavy with sarcasm – “free rein, and this is the result.”

I wouldn’t have thought it was NAFTA.

Our flight from Mexico City to Buenos Aires was much longer, almost ten hours, but it was overnight and we’d sprung for the seats that reclined fully into beds, so we slept most of that. Omaha’s CPAP worked even with the plane’s power outlets, which helped her sleep as well as one can under those circumstances. The food was, for flight food, spectacular, especially the morning omelet. Only the coffee was boring.

In Buenos Aires, the Seabourn people more or less took over our lives. It turned out that the contributor of the prize package had been the president of Seabourn itself and that he had made it very clear that Omaha and I were very VIP. While there was a knot of five Seabourn people there to take in all the arrivals, there were four specific names on a separate list that received special handling, and we were one of those names. “You’re special,” we were told. “The director said something about a charity.”

Which was good to know, because that’s when disaster struck. AeroMexico had lost Omaha’s luggage.

She had a single change of clothes in her carry-on, a few toiletries, and not enough medication to make it through the whole trip. The Seabourn people assured us that they would do everything they can to find that bag, and in the meantime they would also help us find alternatives.

I don’t do well under these circumstances. Things are out of my control and I have no idea what’s going to happen next, and that’s when I start to break down. I went with Omaha to the hotel Seabourn had booked for us, the Alvear Palace. There were a lot of other people going on the cruise, but I hadn’t yet figured out how to talk to them and, under the circumstances, didn’t really want to.


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Art Market at Carcono Park, Buenos Aires

The Alvear Palace hotel is a stunning place of marble, sandstone, oak, and brass. The Seabourn people whisked Omaha away to discuss the luggage and medication issue, and afterward we were free to wander the city. We found a local pizza place named El Continental, walked around the Recoleta Cemetery where Eve Peron (among many others) is buried, and visited a pop-up artisan market in Carcono Park. Artisan markets are the exactly the same the world over, with tsotchkes and such for sale that wouldn’t have looked out of place in Pike Place Market or the Seattle University District Street Fair.

I didn’t sleep well that night. I’m not even sure I slept at all. Fitbit says I got maybe seven hours of sleep, I was so anxious about the luggage and the medication. Omaha took charge and, frankly, I felt a little bullied about being hauled along by her whirlwind as she demanded I get onto the bus to the airport and the plane down to Ushuaia.

The ride to the airport included a bit of travelogue about Buenos Aries, including a massive, beautiful but broken mobile of a robotic flower, and a statue of Christopher Columbus gazing eastward while his victims slump and writhe at the base of his plinth. I like to think he’s gazing eastward toward the source of his power and approval, the kings of Spain.


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A Furry Airplane

I was miserable on the flight, even if the airplane did have a cute fox on the tail. I almost didn’t get onto the plane, instead thinking hard that I could just head over to the International section and book a flight home. But I just couldn’t do that, and so I ended up in Ushuaia. It’s a nice, fairly large town that does exactly two things: be the hub for the Antarctic tourist business, and support the Argentine Navy’s southernmost base of operations.

The Seabourn people let us onto the Pursuit, and told us three things: they hadn’t found the bag, they were trying to find a supply of Omaha’s medication, there was a seamstress on board who could provide her with some clothes, and when this happens the ship provides overnight laundry service.

With barely an hour until the gangplank was pulled and we would have to abandon the trip entirely, someone found us and said, “We found your medication.” A pharmacy at the north end of city had it, and it would be on board before we pulled out.

I was still wrung out. I’d gotten less than nine hours of sleep in the past 60. I don’t remember what I had for dinner, or what else happened that day. I went to bed and passed out.


 
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Omaha and I attended a fundraising auction where a bidding war broke out between her and another participant, which ultimately led to my going swimming in the Antarctic sea off Hanusse Bay.

Omaha loves going to fundraisers, especially the auction type. I enjoy them, if not to the same degree. It’s Omaha who goes full steam ahead into the live auction and the bidding wars. Sometime last year we attended one such auction for the Youth Arts Program associated with the Fifth Avenue Theater, our local venue for Broadway-style productions.

As we walked the aisles during silent bidding, Omaha found the one item she had to have: “A cruise vacation for two to Antarctica on the Seabourn Pursuit.” The description said there would be a large staff of scientists on board. The starting bid was $1,000. Omaha asked, and I agreed, that going would be the trip of a lifetime, especially for a biologist and oceanographer like herself.

Silent bidding is where the bidders register their interest in items offered for sale. You walk along tables, reading descriptions and, if the item is small enough, seeing it there on the table, and make a bid on a card. If someone else wants it, they make a higher bid. The card typically has six or eight slots. and if the card is full when silent bidding ends, it goes to the full auction: the auctioneers know they have a bidding war on their hands, and they avoid putting up embarrassing failures no one wants.

The cruise went to full auction, current bid $12,000.

The bidding war for this trip became a frenzy. It came down to Omaha and one other person. Omaha kept looking at me with a hopeful look every time the other person bid, and I nodded and agonized and flinched as it went higher, and higher, and higher. We won. I won’t tell you the final price, but let’s just say it was about five months of my salary.

The good news is that we don’t have a lavish lifestyle. I could afford five month of salary. It would put us below the “one year’s worth of savings” line, but with some work I could make that up.

I had no idea what I was getting into. We were invited to a special party for the “big contributors” two weeks later, where I met one of the people on the trip. We learned that the price differential between what we’d paid and the retail price was tax-deductible. And the person who had put the piece up for auction said that the bid was so insanely high that he’d actually doubled our contribution to the arts fund and offered the other couple the same cruise (at a later date) for the price we’d paid, proceeds also going into the arts program.

I hate cruises. My memories of cruises consist of exactly two: a lovely memory when I was 11 years old of traveling around the Mediterranean with my parents on their marriage’s swansong, where they tried to find a place to reconcile, and a later cruise I made with some friends on one of those massive gambling vessels that heads out to international waters, turns on the casinos and sucks the cash out of your pockets. The latter was recent if pre-COVID, and the crowded, cigarette-laden, drunken air was more than I could bear especially since I don’t gamble. Despite my pleasure at being able to give Omaha something like this, I wasn’t looking forward to it. My impression of modern cruise lines is formed by the monstrous hotels-on-a-hull that park themselves in Puget Sound where I live, and the recent news of the launching of the Icon of the Seas, one such monster with cabins for 7,600 people, 40 bars and restaurants, a water park, seven swimming pools, 20 decks, 2350 crew, an acrobatic theater… I shudder to think of it all crammed into a seagoing hull. Comic book write Gail Simone describes cruises as “Golden Corral with a jacuzzi”, although add “… and norovirus” and that’s pretty much my mental image. Plus Covid and gods only know what else floating around… my 57-year-old immune system was already having an anxiety attack.

But we were promised that the Pursuit was not like that. She was a smaller vessel, intended for Arctic and Antarctic excursions, nothing like those commercial monsters at all. I accepted the statement at face value and decided I would go anyway, if only for Omaha’s sake.

I had no idea what I was getting into.

Because let’s just start with this. See those numbers for the Icon? Look at the staff-to-passenger ratio: 1 staffer for every 3 passengers. The Pursuit has room for 240 passengers. It has more crew members than that. It has only two eateries (a restaurant and a smorgasbord– it wouldn’t do to call it a “buffet”), a small cafe, and a lounge on the topmost ninth deck split forward and aft.

The Pursuit doesn’t have a water park (or even a single water slide). It doesn’t have separate independent “neighborhoods.” It’s a ship, not a whole highly walkable city in its own right on top of a seagoing hull.

What it does have is its own submarine.

What it is, at that moment and until May 2024 when the Queen Mary launches, is the single most luxurious cruise ship in the world.

I didn’t learn that last part until later, when I met the man who built her.
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I’ve encountered two perfect examples of enshittification in the past 24 hours, both related to Google. And let’s just start off with this: Google has a monopoly on search. Sure, there are others, like Microsoft Bing or DuckDuckGo, but for all intents and purposes Google is everywhere: email, maps, search, translate, the list of features Google provides to you, and from which Google extracts information to sell to advertisers, creating for Google a loop so “virtuous” (in Capitalist-speak) that Google can now do whatever the hell it wants with search and there’s nothing you can do about it.

Professionally useless

I was writing documentation at work, and our current product is a browser-based single-page application. This means that when you navigate around the system, instead of going from page to page, just parts of the page change; it’s a subtle difference that means a lot to web developers and probably not much to everyone else. At my last job, we called the main part, the thing you care about, the “page” and the whole thing the “frame,” but that didn’t sit well with me. I wanted to know what terms designers used for those things.

I asked Google, and I asked Bing. “Glossary of Single Page Application terms,” “Term for the main part of a single page application,” “Glossary of web design terms.” I was getting desperate, because every single one of those queries gave me the exact same useless answers.

Google’s AI gave me the definition of a single page application.

The replies were equally worthless:

  • (Wikipedia) Single Page Application

  • What is a Single Page Application?

  • Anatomy of Single Page Application

  • What is a Single Page Application?

  • Pros and Cons of a Single Page Application?

  • Single Page Applications: What They Are And Why You Use Them

All of this beginner level dreck that’s only tangentially related to the question I asked, and despite that “anatomy” response, none of these actually answered any of my questions. And the Google page was so damned cluttered it bewildered the hell out of me.

Finally, after about half an hour of this, in desperation I went went to ChatGPT.

Me: In web design, a page contains a single, semantic unit of information. When someone clicks a link, that link takes them to a new page with a different semantic unit. In a Single Page Application, the “page” doesn’t change, only the important part, that semantic unit. Is there a common industry term for that semantic unit?

ChatGPT: Yes, in the context of Single Page Applications, the part of the web page that changes dynamically without requiring a full page reload is often referred to as the “view” or “viewport.”

Armed with this information, I was able to find not just other pages confirming this, but including whole glossaries of industry-standard terminology.

I shouldn’t have had to ask ChatGPT. Google says it knows enough about me to advertise to me effectively; if that’s so, it should also know that I’m not a friggin’ beginner when it comes to web development, or even SPA’s. So why hand me all the dreck?

Worse yet, that answer came from somewhere. Someone else wrote it, ChatGPT just barfed it up. I would like to know who they are, and what else they know, and give them the kudos they deserve. I’m not interested in reading ChatGPT and don’t want to read something no one bothered to write. By erasing the credit for creating this answer, ChatGPT decentivizes people from creating their own answers.

Personally useless

We just got back from a two-week vacation and there’s not a lot of food in the house, so this morning I decided I wanted Cream of Wheat. That’s an actual brand name; in fact, in the US it’s pretty much the only brand name known for the breakfast cereal known as [farina](https://en.wikipedia.org/wiki/Farina_(food). It’s a staple, and it’s estimated that as many as 1 million Americans eat it for breakfast at least once a week or so. There’s also a standard base recipe for the three main ingredients: milk, farina, and salt.

I couldn’t remember the amounts of each. So I searched: “Cream of Wheat Recipe.”

I got back a page full of recipies for “Things you can make with cream of wheat.” Pies. Cakes. Complex desserts using fruits and whipped cream. I tried “Cream of Wheat Base Recipe.” The brand page didn’t appear on the first page of Google, but it didn’t matter: Their recipe page doesn’t have the base recipe either!

Finally, I hit on the right term: “Cream of Wheat ratios.” That got me what I wanted, but then it lacked the recipe cook times! At least with a couple of those terms I was able to find that next.

Good Grief. I’m trying to imagine my mother, who’s in her mid-80s now, trying to navigate such a terrible, terrible experience just to make something really basic. Unlike the above problem, where I had an advanced question and Google gave me really basic answers, this was where I had a really basic problem and Google gave me advanced answers. Imagine anyone who’s not completely web-savvy trying to navigate this, and you’ll start to imagine the scale of the problem.

Professionally dispiriting

Google CEO Sundar Pichai recently said that Google is planning for “the post-search world.” Pichai believes that most search will be replaced by “summarization machines,” these AIs that suck in all the knowledge we’ve been putting on the Internet and summarize it into some kind of coherent explanation.

This makes me furious. Everything I’ve done over the past 30 years isn’t just free material from which Google can make a profit and leave me with nothing. A world like that gives me no reason to write anymore, if Google can take my reputation along with my knowledge.

“Pretend that I’m nine years old. In Ru Paul’s voice, explain to me how derivatives of regular expressions can be made to work in a language without a garbage collector.” Like, NO, Fuck You Google, that is my work and my discovery and you may not just steal it from me and treat it like it’s universal knowledge. Point people at me, let them learn from me, but don’t fucking pretend the discoverer doesn’t deserve to be recognized alongside the discovery.

Closing off the future

Cory Doctorow points out that platforms “enshittify” by going through three stages: First, they provide services to their users, connecting them to resources. Then, they slowly evolve systems to get more out of the users, making their lives worse as they deliver more and more to the resources, because it’s the resources that pay the bills. And finally, once they’ve sewn up enough users that the cost of switching to a different platform would be unimaginably painful, they start to abuse the resources.

Google’s vision is the final step: kill everything. Nobody will want to produce new intellectual content and put it on-line, because Google will just suck it up and make everything awkward, endearing, vituperative, argumentative, or entertaining about it just disappear. It’ll just be the facts. No new jokes, no new music, no new and interesting stories. Just machine-generate summaries of them, the humanity completely polished off, leaving a glittering machine world we don’t belong in.
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Someone on Twitter wrote:
“It’s the thought that counts.” This phrase is synonymous with gift giving, but have you thought about this phrase in a different way? It is always the thought that counts , meaning your thoughts and what you are thinking on a daily basis are what creates your reality.
Their point, as banal as it was, was that the recepient of a gift should always approach gift-giving in this fashion, always receive a gift as if the giver put “the thought” into it.

I think about this all the time, because as a person with a spectrum disorder (although my neurologist is quick to remind me that Interictal Syndrome is “technically not an ASD disorder, but the symptoms are the same”) I do not know how to give OR receive a gift.

If “the thought counts,” then I have received SO MANY gifts over the years where it was obvious the giver didn’t know me, didn’t think, and… didn’t care? I mean, maybe?

And as the giver, I don’t want to give a gift that they won’t like, won’t use, won’t read, and in a year will guiltily toss in the trash because “it was a gift from someone, but it’s really just clutter and I don’t have room anymore.” I just don’t have room in my home for any more tchotskes, well-meant “life changing books,” and small electronics I will never use, because like every nerd my specifications are narrow and specific. And every time I throw it away, that guilt comes back that I didn’t appreciate or understand, didn’t feel appreciated or understood, and damn but that fucking hurts.

Like every ADHD/ASD person with rejection sensitivty dysphoria, I’m super-sensitive to the awkwardness of a poorly given gift, and to the awkwardness of knowing a poorly given gift is a white elephant that makes the giver feel bad when you don’t use it, don’t like it enough to make it part of your life, and won’t prioritize keeping it, and makes the recipient feel bad because they didn’t feel seen or understood and ultimately have to toss the thing into the landfill, contributing to the ongoing crisis of a civilization that doesn’t really know how to deal with its waste.

I love everything about Christmas Season except for the duty of finding gifts. Hate everything about it. The act of mutual gift-giving, which we evolved to create understanding by sacrifice that mutually supports both the giver and reciever.

Because that’s what “gift giving” is: an evolved behavior between individuals and tribes that represented a worthwhile sacrifice in order to foster good-will on the part of the giver, and wanted or needed support on the part of the recipient that the giver was not obligated to give but, having done so, hopes to cement or maintain strong ties with the recipient.

In a world in which we (for some sad, awful definition of “we”) have enough food, water, shelter, and distraction, gift-giving is a ritualized demand that does nothing but prove you either do or don’t know the other person. And if you do, you’re either lucky, family… or really fuckin’ creepy.
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Logo from The Invincible Fanfic, even authorized fanfic, can be a risky venture. I've often made that point myself as a writer of fanfic, and as a reader. Making a fanfic video game out of a beloved work from a deeply respected genre master is especially treacherous. And yet, The Invincible somehow manages to both be completely faithful to Stanislaw Lem's original novel, The Invincible, yet extend it brilliantly.

I played the video game first, so let's start with this: I knew nothing about this particular book when I played the game. Like most SF readers, my encounter with Lem consisted of being forced to read Solaris in high school, which I found terribly dreary and uninformative. Lem's writing style is very much an older, more telling style, a narrative mostly of descriptions of people doing things; dialogue is reserved for brief color and long expositions. Not a style conducive to video gaming.

The Invincible: the video game


The game focuses on the character of Yasna, a member of a small exploratory vessel from "The Commonwealth," as she wakes up in the desert of Regis III, an unknown world of very dry atmosphere and a weak, cool sun. Her last memory is of her agreeing to stay on the ship with the ship's navigator (and its commander) while the other five people on the crew go down for a look, but she finds her backpack and her notes sticking out of a dune nearby. In her notes she finds that she had been walking for several hours and has a map back to the team's campsite.

She gets in touch with the navigator, finds two of her crew in a state of catatonia, and from there has to find her way back to the ship's one working lander.

The plot and story of this game are what make it worthwhile. There are very few places where you have to decide more than "go left or right," and like most such games the outcome of any such decision is foregone. This is mostly a tale being told in a slow, engaging way by a first-person game engine. The order in which you explore a new place, and whether or not to check out some side-stories, are pretty much the only fundamental decisions you'll make.

That said, it is an engaging bit of work. Yasna comes into conflict with a team from "The Alliance," who came in a starship named Condor. The game doesn't say so in so many words, but you get the sense that the Alliance is "western" in some sense, whereas the Commonwealth is more "soviet." Eventually, the real crisis of Regis III comes to a head and Yasna and members of the Alliance must work together to survive.

The game is gorgeous, the voice acting is excellent, and Yasna is good company with which to hang out.

The Invincible: the book


The 1964 novel has no "Alliance" or "Commonwealth." We're told only that The Invincible has been dispatched by "the authorities back home" to Regis III to find out why Condor, which had been scheduled to explore Regis III eight months earlier, had not returned.

The book focuses on the character of Rohan, the ship's senior exec and second in command, and the experiences he has on the surface of Regis III. The story follows Rohan around as various expeditionary teams are sent out to try to find Condor to discover what could possibly have happened to the ship and its crew. It's dry in that way that 1960s science fiction could be dry, especially when joined with Polish sensibilities of that time and the translator's efforts.

For all that, it's a brilliant book. It was written 22 years before Drexler's Engines of Creation and yet every great idea in that book exists in The Invincible. How the dangers of Regis III emerged from naturalistic processes is so well-described it makes James P. Hogan's Code of the Lifemaker read like fanfic. Lem single-handledly envisioned nanotechnology, and how nanotechnology, automation, and the feedback mechanisms of natural selection could interact decades before those very terms came into existence.

Faith and Deviation


The game is astonishingly faithful to the book. Recall that I read the book after playing the game. In the game, the Alliance has caterpillar construction equipment digging massive boreholes, balloon-wheeled all-terrain jeeps, ground-effect transporters, ducted-turbine "flying saucers," multi-legged crawlers and a few force-field floating war machines. The mix of vehicles felt completely nonsensical... and every one of those is in the book. The "atompunk" feel of the equipment in the game is accurate to the book in every detail. So are the limitations of the space suits, the communications equipment, the surface-to-orbit landers, the sensory gear, and even Yasna's compass is a pretty good representation of the same one Rohan used (although Rohan could wear his on his wrist, and Yasna has to keep taking hers out of her pocket).

The game starts on Regis III three days before The Invincible is scheduled to arrive, which creates tension in that the Commonwealth people, who are just a little exploratory team of eight, know they need to do a quick survey and get the hell out of there before The Invincible arrives.

There are a few deviations from the book. In the book, the crew of The Invincible find Condor and it's dead crew... and one guy who might still be alive in one of Condor's cryochambers. (It's not a spoiler to say he's not alive and can't be recovered; it's just a moment Lem added for pathos.) For game reasons, those cryochambers are empty and still working when Yasna finds the Condor. The book says that Condor and The Invincible are the same class of ship and of the same size. The game says that the Invincible is "the biggest ship in the Alliance, and twice as large as anything else they have." Condor's team didn't have time to set up more than one drilling operation to explore the strange metallic ruins under the sand, but the game, to stretch out Act II a bit, has three different drilling sites for you to visit.

And ... and that's about it. That last one could even be just that the crew of The Invincible, wrapped up in its own concerns, didn't find all the explorations the crew of Condor conducted. Otherwise, the game is a wholly faithful and reasonable extrapolation of what happened in the book, and the cold war conflict of the Commonwealth and the Alliance are deftly added, sensitive to the conditions of the cold war as it was playing out in 1964, and believable. It's a visual novel, an entirely new story, the best kind of fanfiction, told in an interactive way that gives well-thought and well-designed visuals to one of Stanislaw Lem's great works.

Technology And Its Disconnect


You get less of a sense of it in the game because the first-person visual narrative forces you to be "in the moment" with Yasna, but both the book and the game really hammer home the weirdness of atompunk sensibility (and the game somehow manages to do this without being "ironic" about it!). Lem's future is "like five years from 1964, only with bigger engines." Lem didn't expect information processing to get much better; he has robots and, like lots of SF writers, over-estimated how easy speech recognition would be and under-estimated speech production.

In the book, The Invincible has both orbital and atmospheric drones, but their lifespans are short and their cameras are both analog and terrible. On two occasions in the game, Yasna gets to operate a "camera balloon" drone (something not in the book, but completely believable given the tech) and the cameras have the classic snow and terrible bandwidth of analog. The teams use Morse code when voice radio becomes unintelligible. Their orbit-to-surface telescopes have a resolution of "miles", whereas the Mars Orbital Surveyor has a resolution of 1.5 meters per pixel, and unlike the MOS, The Invincible has to de-orbit the satellite so its payload parachutes within about 40 miles of their landing site so someone can retrieve the film!

This is science fiction from the 1960s in all its glory: manly men doing manly things, with bigger engines and more powerful laser guns, but no one and nothing is going to challenge man's position as the most intelligent being. Need to map a planet? You'll need 200 men and four months to go through all the photographs.

Now that I think about it, the introduction of Yasna, a woman crewmember, into the game is actually one of the biggest anachronisms; there are zero women in Lem's book, the only mention of women at all is Rohan's observation that Captain Horpach never married. Or it could be completely in keeping with the games "cold war" sensibilities to introduce a woman on the Soviet Commonwealth's side, since one of Lenin's positions was that, unlike the West, the Soviet union didn't discard the intellectual firepower women could bring to scientific endeavors like space exploration.

Success Isn't Always Pleasure, But In This Case


Fun is where you find it. The book isn't fun, and neither, really is the game. What they are is intriguing and, ultimately, satisfying. The game succeeds wildly in what it sets out to do: retell the story of what happened to the starship Condor on Regis III from a unique (for the book) and different point of view, provide a visual vocabulary for all the wonders Lem described, and make the point of the book and its conclusion just as hard. You learn something from the book and the game, and you learn different things. The book is short, less than 200 pages, and can be read in about four hours. The game is about twice that long.

Technical details


The Invincible ran "okay" on my computer. I run Ubuntu Linux and have a GeForce 2060 with 6GB of RAM, and the framerate was sometimes not all that fantastic (I discovered that disabling the "special effects" on the operating system's window manager made it run much better!), but it runs well on modern hardware and it's gorgeous all the same. Given the nature of the game, I didn't need perfect aim. Running it on Linux and Wine (Proton) was otherwise flawless.
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The DSM-5, Section 300.3, subpart F-42, is about [Hoarding Disorder](https://www.theravive.com/therapedia/hoarding-disorder-dsm--5-300.3-(f42)) as a subtype of Obsessive-Compulsive disorder. It’s a real problem, and I suffer a bit from it, mostly digital, in that I know I have waaaay too much literature, music, art, and video than I myself will ever actually consume in my lifetime in any significant way. My life has always been cluttered, but never dysfunctional, at least not yet.

The funny thing is, when we talk about “hoarding” we think about people who have stacks of newspaper everywhere in their home, or never throw out their junk mail because “there might be something valuable in there,” until over the decades their homes start to have [goat paths](https://www.youtube.com/watch?v=5DNrZyht520) that you have to climb over to get from one room to the next. The real symptom of hoarding disorder is an inability to function normally as your stuff begins to crowd in around you.

And yet, there is one thing you’re allowed to hoard without question. You are celebrated for hoarding it. You are lionized in the press and feted by the powerful if you’re very good at hoarding *money*.

And yet hoarding money is still hoarding, and it’s become clearer than ever that the impulse to be a billionaire is just than: an impulse, separated from any notions of utility or community. It’s a hoarding syndrome in every way you can imagine, and it’s one that comes at the expense of not just the hoarder’s family, but in our case entire nations. Every billionaire is definitionally a psychopath; their need to hoard money, to have more than anyone else, to excel at the one thing which, more than any other, may stave off the indignities of the world, comes at the cost of everything and everyone else around them.

A lot of us want to resist this impulse, to *not* turn every conversation between two human beings into an exercise in accounting, books balanced and managed, overseen by an impassive transaction system built strictly to feed a few men’s unhealthy obsession with green slips of paper.

And yet… living in America forces us to develop the hoarding impulse. We’re encouraged, literally from the day we get our first job, to “start saving for retirement,” to put some money aside,to *hoard money* for the day when a healthcare disaster strikes and we’re on our own. Because we are on our own: the insurance company has to hoard money to survive so it has an antagonistic relationship with both you and with the healthcare providers; the healthcare providers have to hoard money to stay alive so they have an equally antagonistic relationship with the insurance companies. And you have to hoard money in case either one of those institutions decides you’re not worth saving. The US Government, meanwhile, has one party eager to tear down what little support there is for the aged and disabled, encouraging more hoarding.

The lack of a social safety net means that those who are good at hoarding money will pass down that trait to their children, and those who aren’t good at hoarding money will die with fewer offspring to pass those traits down to.

The 19th century invention of “medicine that works,” of an evidence-based approach to healthcare interventions that actually produces healthy people, could have created a better world, and in many ways it did. It’s just that the American implementation of it has bred a successively more psychopathic population.
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How are queer theory and the green energy discourse similar?

One of the books I’m happy to own is the somewhat infamous Fear of a Queer Planet, published in 1991, right in the center of the AIDS crisis. FoaQP was a distilliation of decades of queer theory, about how being queer was always an inherently political act, a challenge to a status quo. It didn’t incorporate everything: the influence of Roughgarden, Jane Ward, and Denny Lowell aren’t here, nor are the critical insights Pat Califia brought through the 80s and 90s, but overall it’s a good intro.

One thing queer theory does is explode the myth of “men are reliable and stable, women are fickle and unpredictable.” Gay men’s relationships are infamously less stable than heterosexual couples, and the ancient joke about what a lesbian brings on her second date still has a ring of truth to it. (Answer: A U-Haul.) The last 30 years since the publication of FoaQP has shown both significant progress in addressing this duplicity between the myths straight men tell about themselves and the reality straight women face in dating men, and often violent pushback from straight men that such truths should not be spoken.

I bring this up because we’re seeing it play out again in very strange ways when it comes to “green energy.” I’ve now encountered several conversations where the accusation is that green energy is “feminine,” that is, unreliable, fickle, and likely to fail when critically needed. “The wind doesn’t always blow, and the sun doesn’t always shine,” goes the refrain from these manly men, “which is why the market is stupid to embrace these technologies.” (Nevermind that “those technologies” produce electricity at the lowest cost and highest environmental respect.) Both fossil-fuel boys and nuclear boys are enamored of their own tech: it works, they say, and it’s reliable. You can turn it on and off with a switch, unlike the sun or the wind, and that’s why they like it, and that’s why we should embrace it. And they’re independent: you don’t need a whole network to just drive your gasoline-powered car.

Except they’re not really reliable. Chernobyl and Three Mile Island proved that about nuclear energy, and fossil fuels have contaminated enough of our planet it’ll be centuries before the taint of their passing is removed from our air, water, and soil.

Commodity streams of oil and nuclear fuel depend upon “a whole network” to deliver commodity fuels to gas stations and nuclear power plants. The transport of nuclear fuel and nuclear waste are both security and health nightmares for the people tasked with moving them, as well as the communities through which they might move.

Pro-nuclear-power and pro-fossil-fuel people lie about green energy the way men lie about women: because they like what they have, they like the feeling of power it gives them, they like the howling explosions– inside a V8’s cylinders and within the atoms at the core of any reactor– and they like the idea that it takes a lot of high-performance engineering to keep either from blowing apart the engines they power. Solar is disappointing: it just sits there. The worst thing a wind turbine does is catch fire and fall over, and that’s no fun. The opportunities to be manly, to engage in rescue, are few and far between.

The pushback against green energy resembles the pushback against queer theory: it’s an upset of the status quo, and it takes pieces of the carefully crafted “masculine” identity and says, clearly: you men are either lying or being lied to, and the lies are in service to a destructive (and self-destructive) lifestyle.
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Omaha and I learned that you can do everything right, especially when you do everything by the book, it can still lead to disaster.

We had headed out to go camping, and were in a campsite just a little south of the town of Darrington, WA. Darrington is a tiny little place, half logging town, half tourist attraction, a place where a number of significant long-distance mountain biking paths come together. By The Book: The Subaru Outback is old, 11 years and 105,000 miles; the tires are 60,000 milers with 55,000 miles on them, due to be replaced before the rainy season begins. But the oil is checked, the pressures are checked, the car is in pretty good shape for an 11-year-old manual with the original clutch.

Omaha and I had spent a beautiful day at Baker Lake, walking four miles into the woods to reach an obscure little place called Anderson Creek and access to the lake itself. We spent the day swimming and having a great time. On the way back, we were just outside of the town of Concrete when there was a bang, followed by the flup-flup-flup sounds of a flat tire. We pulled off.

Front tire, passenger side, totally flat. The back of the car is filled with the camping stuff we keep aside, the food and water and stuff we don’t want the bugs to get into. Omaha makes room for the damaged tire while I take it off the axle and replace it with the Subaru-supplied “temporary tire.”

Replacing the tire was routine. Not in the sense that I’ve done it often– I think the last time I had a flat was from a nail six years ago, and I had that one fixed the day after it happened. But the instructions were clear, the jack-and-frame mating easy to match up, and the tire itself isn’t too heavy. The nuts came off with a just a couple strikes on the wrench.

A quarter mile down the road, the car starts to make a frightening loud thumping sound. We stop and Omaha watches the tire as I move forward, but we can’t identify what’s happening. We decide to tough it out, make for a gas station and see if maybe the temporary tire is underinflated.

It was not underinflated.

We took a deep breath and try to make it to Darrington. It’s 25 miles, and as we drive the thumping gets louder, we start to smell burning, and the car is shuddering like it’s possessed. It wants to drive off to the right and leave the road, it’s damned hard to steer, the thumping is loud, it’s become our whole world and the smell of burning is getting worse and worse. The car has a strain gauge to tell you if you’re driving efficiently, and on a flat road it should be at zero, but it’s an -6, meaning something is hurting the engine badly. It’s late now, after 6pm, everything in this town, everything in every town in a 40 miles radius is closed.

But passing through Darringtown, I see a light on: “DC Garage. Subaru Specialsts.” There’s one man, mid-20s or so, working on a car in the lot. I pull in.

His name is Don and he spends a lot of time crawling around the underside of the car. There’s smoke streaming out of from the rear tire wells. “Your differential is leaking from both rear axles. It’s a manual, so it’s not the problem you get with automatics when the spare’s on. Engine well looks fine, but yeah, your differential fluid is super hot.” Discussing it together, we eliminate a variety of stupidities, Omaha and I did everything by the book. “Well, let’s put the tire back on and see if it goes away.”

While he goes to patch the tire, I start freaking out. There’s no rental out here, there’s no transport out here that I know of, how the hell are we going to get all that damn camping gear out of here and back home? We’re in a place where my usual response to a rare crisis like this, throw money at it, won’t work, or at least I don’t know how to make it work. We’ve always been frugal and keep our rainy day fund just for moments like this. Omaha calms me down, assures me there’s a way out of here.

Don comes back with the tire and a hydraulic lift. “They call it a temporary patch, but either it’ll fail immediately or it’ll last forever.” He puts it on, and there’s no hissing. It didn’t fail immediately. We take it for a test drive; it makes that thump three more times and then it’s just smooth and fine and perfect. I take it back.

Don nods. “That’s one of the things with Subarus. They don’t tolerate tires of different sizes. If your tires are old and your temporary is new, the ratio doesn’t work. Your differential was slipping over, and probably trying to tear itself apart.”

I asked him how much, and he said, “We don’t charge for tire patches.” I objected; it was after hours and deserved something for his labor. “Well, twenty bucks’ll buy me a pizza and beer.” I give it to him gladly. He saved our vacation.

But I’ve always driven on robust, if noisier, tires. I’ve always fixed flats within a day of having one.

We did everything right.

Doing everything right made our car want to tear itself apart.

Only sheer luck kept, and one kind and honest mechanic, kept that from happening.
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For the past three months or so, I’ve been playing with Stable Diffusion on and off, experimenting with different settings and generally entertaining myself with silly things. At one point I tweeted out something about having a bad day and ending with, “Fuck it. Stable Diffusion, give me 100 images of Disney princesses masturbating by a beautiful summer lake.” And the thing is, Stable Diffusion can do that.

(No, I’m not going to share anything I generate; I know it’s crap, and I know the databases are probably stolen as much as everything on Tumblr not posted by the original artists was stolen, and people mourn the death of Tumblr much more than they will the unlikely end of Stable Diffusion.)

One of the things I’ve found, though, is that “real person” Stable Diffusion is really unsatisfying. Even when there’s a very good plug-in model of that person, using AI illustration to make more of what that person did doesn’t really have much of an impact.

I was in my 30s and 40s through the era when names like Chloe Vevrier, Renata Daninsky, Aria Giovanni, Erica Campbell, Veronika Zemanova were all over the adult corners of the internet, and there have since then been plenty of quite good plug-ins that will do a decent job of rendering these women in whatever phase of their careers that you like.

Even so, I discovered that while I’m still highly entertained with the idea of “render Rapunzel as an Aztec warrior,” I quickly lost interest in renderings of real people, even real porn stars, in the same way.

I think the reason is simply that we develop a parasocial understanding of real people, being really photographed, in a way that doesn’t carry over. For all that it’s fantasty, Zemanova really did hold a shotgut and really did fire it and really was filmed by a high-speed camera that captured every delightful movement of her prodigious bosom. Monroe Rhys and Katya Clover really did masturbate (or at least seem to) for the camera while wearing Apple watches that depicted the rise and fall of their heartbeats.

But no matter how “realistic” Stable Diffusion can make an image, those images it produces did not happen. We couldn’t have been there, we could never have actually seen those events happen in real time and in real life. I could wish that Monroe Rhys made more than three films, and I could wish Aria Giovanni and London Andrews never got any older, but they’re human beings and they get tired of the job or they just get older and more tired in general and… that’s what being human is about.

Real Person Fan Fiction (RPFF) is a sub-category on the fanfiction site Archive of Our Own. RPFF puts words into the mouths of real people, often silly or horny or just revealing of what the writer wishes or believes the person being depicted should or would say. The writer is putting a lot of mental energy into maintaining and depicting the parasocial relationship they and their readers have with that person, and the strength of any given story comes from the resonance that writer can elicit from it.

Real Person Stable Diffusion, at least in the still image category, doesn’t have the same energy. Stable Diffusion is rummaging through a bag of eight billion tiny image shards and word relationships with those shards and assembling a collection of kaliedescopic images that, through the magic of alegebra and pareidolia, we hope looks like the prompt thet user typed in. It lacks even the illusion of verisimilitude: it doesn’t pretend to be true or possible or evidentiary or interesting. It’s just… pretty.

Pretty can sustain interest for awhile, but it’s not the basis for any kind of long-term relationship. Even animated films have the attention and interest of the artists behind them. CGI-heavy Marvel films work when we care about the characters, not the roller coaster ride of visual CGI. We want a story written by people, about people, for people. Real Person Stable Diffusion, no matter how “realistic” it can approach as a photographic simulation, sits deep in the uncanny valley where we know we are being fooled by a photograph of something that never happened.
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There’s a new Sushi place in town, Tori’s Sake & Grill, which doesn’t have a website of it’s own so the town’s guide will have to do. I have very mixed feelings about it, but I have no doubt I’m going to go back to it again.

It looks like the restaurateur took over an existing place that didn’t exactly have the atmosphere of a sushi joint. It’s sparse and a bit threadbare, the tables are second-hand and the utensils come in a plastic wineglass with “upscale” paper napkins and the cheap sort of disposable chopsticks. And for that experience, Omaha and I spent $78 (before tip) on two meals: An unagi don (grilled eel rice bowl) ($33) and the chef’s choice nigiri platter ($45).

But here’s the thing: I don’t know where the chef gets his fish, but he must have the most amazing contacts, because I have never had sushi that fresh. It was insane just how creamy and perfect the prepared fish was. I usually use very little soy sauce, and this time it felt like blasphemy to use any at all. Our usual haunt is Miyabi Sushi, and when we’re feeling indulgent we head out to Mashiko’s, which is amazing and has a reputation for using only highly sustainable fisheries, but it’s also adventurous and innovative in a way ordinary sushi diners might find disconcerting.

It has that neighborly, ordinary ambiance (the place is very well ventilated, a plus) and a disconcerting humming coming from the electrical box next to the men’s room, but the sushi was out of this world, and I can’t say I was disappointed by the layout, even at $45.
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I made the mistake (it’s always a mistake) of responding to someone on Nextdoor who complained that “… all the businesses downtown are boarded up. It’s really sad.” Given that it’s Nextdoor, the usual suspects chimed in with “It was the lockdowns!” and “We need more police!” But I stand by my response:

Well, let me ask y’all a question: how many packages from Amazon arrived at your doorstep today? Every single one of those packages, multiplied across every single person in that neighborhood, is a dollar you didn’t spend downtown. Every single trip downtown negated by your not needing to go anywhere to have your desires fulfilled is one less opportunity those businesses had to capture your interest.

You can blame politicians or COVID or whatever, but the simple fact is that, economically, we decided our convenience was more important than our town centers. We do our bulk shopping at Wal-Mart or Costco or Target, we get our food delivered by DoorDash, and we get the rest of our lives supplied by Amazon. Collectively, we are responsible for the death of downtowns by the thousand little cuts of “a dollar saved here, an hour of driving saved there.”

And I don’t know Kent Station shopping center very well, but Renton Landing shopping center is unbelievably hostile to “loitering.” When I was a kid, you could spend all day at the mall with just a few bucks for lunch at the food court and quarters at the arcade. But there are no more arcades, and the cops hassle kids if they’re being kids, and there’s no place to sit that isn’t a bar or restaurant. It’s optimized to sell you stuff and then encourages you to get the hell out of there. Which, I suppose, is another one of those end results of a culture that values “save a dollar here, save an hour there” over, you know, actually having a community.
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The Callisto Protocol is a horror-on-a-space-station video game produced by Striking Distance Studios and directed by Glen Schoefield, one of the original creators of Dead Space. It wants so hard to be Dead Space, and yet fails so utterly in that singular goal, that it’s hard to take seriously.

I will warn you that there are plot spoilers, including the twist ending, in this review.

The main character, Jacob Lee, is voiced by Josh Duhamel, who started his career as a soap opera star but is probably most known recently as the Bill Lennox, the lead commander of the pro-robot military unit in the Michael Bay Transformers movie series, and the main character’s design captures Duhamel’s look very well. Jacob is a cargo pilot whose circuit takes his ship past Jupiter’s moon Callisto, where the Black Iron Prison is kept. A crisis on board causes his ship to crash, and Jacob is captured, implanted with an inmate brain monitoring device, and thrown into the prison, where everything then goes to hell in a very familiar Dead Space way. Jacob’s job is, naturally, to escape this hell and return to his original life. The plot has other plans for him.

The problem with The Callisto Protocol is that Dead Space came out 14 years ago and it’s still a superior game experience. The combat in Callisto wants to be more visceral and up-close, so ammunition for the few guns you scrounge off dead prison guards is scarce and your most frequently used weapon is a military-grade stun baton that, with a few upgrades, delivers deadly blows to the not-very-smart, not-very-robust zombies. The developers apparently wanted the combat to feel up-close so the animation is full of blood and guts, but there are only so many scripted animations a team can cook up independently and while there are several hundred such animations, delivering them makes the game feel more like a platformer where it’s just timing and remembering a button sequence and then it’s over. Over and over, and then it’s over. Dead Space relied much more heavily on the game engine to deliver the experience, so the varieties of deaths and combat sequences was significantly greater.

There’s a sequence where you have to walk across Callisto’s surface to get to a spaceship hanger, and it looks so much like another game that I though, “Ah, we’re in the Dead Space 3 part of the game now.” There are crafting benches (another Dead Space 3 mechanic), you get a “force projecting glove” (Dead Space 1’s “grip”), and you stomp zombies and cargo boxes for supplies.

Basically both Issac and Jacob (and aren’t those telling names!) find themselves in a vacuum-hazard human-made facility in deep space where a shadowy organization has “found something” and released it, causing massive mutation and zombification of everything and everyone, from which they have to escape, hampered constantly by some wide-eyed zealot and his minions, surviving as the facility falls apart from the constant misuse by zombies and the lack of maintenance. But Callisto doesn’t quite seem to understand what made Dead Space so compelling, and Jacob’s demeanor throughout the game doesn’t seem to gel into a whole and meaningful character. The worst internal struggled he has is over his guilt that his flight partner died messily and painfully in the crash at the beginning of the game. He’s in the fight to prevent the Callisto infection from breaking out but it often seems that he’s only in it because his allies, such as they are and what there are of them, will only help him escape if he helps them get the word out. Issac wanted something positive; he wanted to rescue Nicole. Jacob just wants to get the hell out of the game.

The DLC, The Callisto Protocol: Final Transmission, makes it very clear that the producers didn’t understand what made even Dead Space 3 worth playing. [Warning: here be the spoilers!] In both games, in the last chapter, the heroes find themselves alive after what should have been a fatally cataclysmic ending. And in both games, they start to experience very weird hallucinations, with maps that don’t make sense and encounters that are just surreal. In Dead Space 3, however, Isaac escapes from the cause of those hallucinations and makes it back to Sol just in time to see that the invasion of the Necromorph hives has begun. There’s no suggestion that what happens there is “all a dream;” the risks and battles Isaac faces in Dead Space 3: Awakened are never presented as anything but part of his ongoing struggle to deal with the Necromorphic influence over his life. But “… it was all a dream” is the ending of The Callisto Protocol; Jacob was fatally wounded in the previous chapter and is hallucinating everything that happens; every battle is a metaphor for him trying to save his life as the doctor character struggles to extract from his brain implant all the data he has collected along the way to implicate the shadowy organization and give humanity a fighting chance against the Callisto infection. The last chapter of Dead Space 3 left an opening for another game, one in which Isaac tries to survive in deep space, gather allies, and find a way to fight back. The Callisto Protocol implies heavily that that’s where you’re going until the very last scene. It’s a violation of the player’s trust that’s on par with the “twist” ending of Prey (2017), another game with an ending so bad it ruined the whole story for me.

The final boss battle is incredibly frustrating, as it’s a sheer RNG drop; you just have to get lucky and manage to hit the monster about 30 times with a hammer without somehow triggering its insta-kill melee move. You’ll die and reload that battle a dozen times or more until you get it. That’s it. And for the developers, that’s probably fine as they proudly announced that they crafted a dozen different death animations for that battle.

Speaking of death animations, Callisto is a very, uh, pretty game. The graphics are amazing and high-quality, and the dozens of “Jacob dies” animations are so carefully detailed that the development team, given a choice between re-rendering them with less gore or being unsold in some countries, decided they’d rather be banned than edit them.

But incredible graphics and sound design can’t hide the simple fact that The Callisto Protocol is a shallow, if expensive, knock-off of a much better game. It has no heart and offers nothing new. The derivative story, incredibly derivative mechanics when they work and incredibly frustrating mechanics when they don’t, and storyline abuse of the player’s trust makes the game much less than it could have been. I can’t recommend it.
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Sometimes I don't trust my extended ADHD diagnosis. I suspect my doc took a look at my intake essays and descriptions, saw the sex, the religious questioning, and all the writing, and said, "That's not ASD, that's Interictal Syndrome!"

The description of Interictal Syndrom is so vague as to be useless:


A distinct syndrome of interictal behavior changes occurs in many patients with temporal lobe epilepsy. These changes include alterations in sexual behavior, religiosity, and a tendency toward extensive, and in some cases compulsive, writing and drawing.


Some interictal patients don't even have seizures... they just have a constant, ongoing storm in a temporal lobe that causes those "symptoms." Despite their low resolution, PET scans clearly show such a storm in my left temporal lobe (the "ADHD" one) instead of the right (the "sex and whatever" one).

I suspect the extended diagnosis is a failure. He was an older man and burdened with prejudices. He's retired now. I don't know if I want a re-diagnosis; I get to have something in common with my wife (We're both epileptics now? Cool!) and there's something ticklishly delightful about having an "obscure" diagnosis, especially one with the promise of so much havoc behind it.

Then I remember that TempleOS's Terry Davis was THE poster boy for Interictal syndrome, and maybe I rethink that. Terry was a sad victim of his syndrome. He was a brilliant programmer who wrote an interesting DOS-shell, then claimed it had been dictated by God, was viciously racist and sexist and hated sex itself in all its forms, and harassed anyone who told him TempleOS wasn't that great.

But I'm clearly NOT Terry Davis, and the general diagnosis is good enough to give me access to a psychiatric neurologist and the medications I need to keep a job I actually like and that actually pays well, and doesn't (quite so often) drive my wife crazy.
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The Great Chain of Being is a Medieval theological idea that there is a hierarchy of all things with rocks at the bottom and God at the top. In between is everything else; it presupposes the idea that insects are “greater” in God’s eyes than bacteria, and that human beings are greater than every other living thing; above humans are only “divine beings” and finally God himself.

In the “human beings” range, though, the Medievalists placed men above women (naturally), and in the 18th and 19th century the early race scientists (including US President Thomas Jefferson) further amended the Great Chain of Being so that white people were on top and the other races ranked according to, to quote Jefferson, “their lack of coolness and steadiness … an overabundance of sentiment and sensation … an imagination dull, tasteless, and anomalous.”

The Right is obsessed with hierarchy. It’s one of their defining characteristics: Someone Must Be In Charge, and since that’s so, the world must have been arranged so that the ones best suited to being in charge must be obvious, and since that’s so, it must be those who are currently in charge: white men. With that settled, the only trick left is to figure out who those white men delegate to, and in what order.

Moral Injury “is the damage done to one’s conscience or moral compass when that person perpetrates, witnesses, or fails to prevent acts that transgress one’s own moral beliefs, values, or ethical codes of conduct.” Moral injury is a powerful incentive to act violently, it is permission to act violently when it seems as if there is no other route to correcting a moral injury.

The values of the Right are rich with a singular moral injury: how dare you try to change your place on the Great Chain of Being? Minorities have a place on the great chain; anyone who claims that Blacks have an equal footing with Whites in this world is committing, to the Right, a moral injury.

Trans people are committing the moral injury of trying to exchange places with the other sex on the Great Chain, and trans women are just outright terrifying because men insecure in their manhood but secure in their place on the Great Chain worry endlessly if that could happen to them. After all, the Great Chain says that those lower than you on the chain must serve and defer to those above them, which is a sweet deal for straight white men, but it also means they’re perpetually saddled with the terror that someone might usurp their place or, worse, transform one of them into a being lower on the chain.

Even Furries are committing the moral injury of suggestion that maybe everything about being human isn’t all its cracked up to be, and maybe the sensual experience, aesthetic response, or familial structures of some animals are worth learning from and enjoying.

Part of this terror comes from a sense of empathy, of the awareness that, even if they are lower on the chain, trans people, black people, Asian people, furries, and women are still “human enough” that they know they’re being used, misused, mistreated.

White men in the US constitute a Dominant Minority. And a Dominant Minority lives in utter bugfucking terror of one thought: “How will those we dominate treat us when we’re no longer dominating them? I know how I would react if the tables were turned.” The imagination of various cities burned to the ground during the height of the Black Lives Matter movement was a necessary part of the right’s fantasy of how the downtrodden should react, of how they themselves are planning to react when they become the downtrodden, of how they will react when the forces arrayed against them try to raise everyone to be on the same platform with them.

It’s only gonna get worse.
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The other day, as I was heading home from an event downtown, three adorable women, college-age, walked onto the train and started making their way up the aisle. I was in one of the seats that faces toward the back of the train, so eventually they passed me and out of sight.

Across from me, facing the other way, was a man who had to be about ten years older than I am. After the girls had passed it was comically obvious that his eyes were locked to their asses for what even I thought was an unseemly amount of time.

I realized then that I had become old, because, dammit, I used to check out cute womens’ asses all the time. I’m a firm believer that being aesthetically pleasing in public, especially if you’ve put effort into being aesthetically pleasing in public, is a fine thing, and that others should be able to appreciate it.

But dammit, I miss the vitality, the drive, that went with my aesthetic appreciation. Getting old kinda sucks.
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Garth Greenwell’s A Moral Education: In Praise of Filth starts off with this:


HERE’S A WAY of putting the problem: on one hand we want art to be free, and on the other we want it to mean. Not just to mean, but to be meaningful—to be useful for, and so maybe responsible to, other realms of life: our sense of community, say, or politics, our moral relations. … Within the small world of people who care about literature and art, the culture is as moralistic as it has ever been in my lifetime: witness our polemics about who has the right to what subject matter, our conviction that art has a duty to right representational wrongs.


Greenwell is a college-level teacher of writing and English, and so are his students. But here are issues here that he touches on that, I think, deserve a closer look.

He says, “Within the small world of people who care about art…”, and we’re seeing that right now with the AI Illustration debate. The world of people who “care about art” is quite small, at least in the sense of ‘care’ that Greenwell applies to it: the people who want art to do well, to be both meaningful to the world and an exploration of how to make people feel something new and different.

Most of the illustrations I hang on my walls are nostalgic: movies, television shows, or concert posters that remind me of a story I enjoyed or an experience that I can only share second-hand with other people. And even then, the story is likely to have been simply affirming; to the extent that there was any moral to a story, it probably told me things I already believed, or things that I wish were true, such as “good always wins” or “love conquers all.”

I like controversial art; Omaha loves to twit me for my appreciation of some modern art and the explorations it made. All-white canvases where the artist has built up layers and layers of white paint in a way that shows different things if the light is held at different angles is a parlor trick I adore, but she finds it boring. But I rarely keep it in plain sight.

Most people, though, find art “boring” or “annoying.” To the extent that they notice art, it is in their face, challenging them to think differently. Mostly that reaction is “Aah, some asshole artist thinks he’s clever again.” They don’t care. They just want their world filled with prettiness, simplicity, understandability. Comprehension should be instantaneous; that you have to work for it is anathema to them. That you have to first build a context within which a work of art makes sense, that you should have to think, is anathema.

When Pseudo-Moralists Attack


The “moralists,” the scolds who haunt school board meetings screaming that books be removed, books that educate children about the wider world, books whose topics include the idea that their teenager’s lives are equal to and independent of their own, that gay and lesbian and trans people (even children) exist and have a right to exist beside their own, that the culture they live in is imperfect and wounded by its past to an extent that harms women, children and minorities.

They care about “art,” but not in a good way. What they care about is what are is not. It’s not friendly. It’s not accessible. It’s not reaffirming. It challenges, it educates, it moralizes by showing the harms those screamers inflict on the world with their insistence that differences be hidden or killed. It tells kids that older people, yes even their parents, are hurting and killing other kids with their attitudes toward LGBTQIA+ people, Black people, and even women.

They want art to not be meaningful.

AI Illustration: A Brief Introduction


The state of the art in home AI Illustration is Automatic1111’s Stable Diffusion WebUI (SDW) distribution; installing it is a fairly technical undertaking but with plenty of on-line guides to help almost anyone who can navigate a spreadsheet should be able to get it up and running. And anyone who has a computer capable of running a modern video game such as Cyberpunk 2077, Doom Eternal, or Horizon Zero Dawn has the processor needed to run it.

Once up, you must acquire an SD model, of which there are literally hundreds. Once you’ve installed the model, you start the program and, in the app that’s presented to you, enter a prompt. A prompt could be “a cat wearing a space suit with a starry sky in the background,” “a beautiful girl wearing a dark blue Chinese dress glares at the viewer,” or “a tilt-shift photo of a tiny house on a leaf.”

“AI Illustration” has two processes running inside it: one generates a wildly random mosaic using the prompt (and parameters described below), and the other examines each mosaic and sends back data instructing the first on how to generate the next iteration so that it honors the prompt better.

Each SD model is a box, maximum 8 gigabytes in size, that has an uncountable number of images in it. Consider that, for each prompt, you can also set:


  • The size of the image: 512x512, 640x480, even 1920x1440 if you have a very expensive graphics card.

  • Free guidance scaling: a number between 1 and 30 that determines how much of the prompt the two AIs will use to generate and affirm that the image adheres to the prompt.

  • The iterative steps the two AIs will use to generate and affirm the way the image being generated adheres to the prompt. More iterations mean a better look, but it also means it takes more time to generate.

  • The sampling algorithm used to make that determination. There are currently 20.

  • A starting point in the box for where the generative AI should grab the tiny tiles for the mosaics with which it works. There are 4,294,967,296 valid starting points.


The free guidance scaling is a real number, not an integer. Assume people only ever use it to set “7.5,” halves. That means that for every unique prompt, not counting the resolution setting (which will cause wildly different outputs all on its own!), there are five trillion images.

There are five trillion cats in space suits. Five trillion pretty angry girls in a blue dress. Five trillion tilt-shift photos of a tiny house on a leaf.

AI Illustration: Giving the People What They’ve Always Wanted




On a store-bought “gaming” computer it takes somewhere between ten seconds and two minutes to generate a 640x480 image, given how many steps you ask for and which sampling algorithm you give it. Most of them aren’t very good, but they are recognizably close to what you typed in. A lot of them are repetitious, variations on the prompt in tiny, subtle ways, and most “AI Artists” spend their time filtering through all the bad ones to find the one or two that are convincingly lovely.

If you want hundreds of comforting images and you don’t care about what the art “says,” in fact if you’re offended by the idea that art should do anything other than affirm your already existing biases, then AI illustration is going to give you exactly what you want. Comforting, effortless, illustration that doesn’t clash with or chafe against the constraints of their drab, wretched lives.

“But It Doesn’t Mean Anything!”


One of the biggest complaints about AI Illustration is that, because it’s taking the billions of images artists and photographers have put onto the Internet since the Internet began, shattering those images into 8,589,934,592 (8 gigabytes) data points, and then remixing and rematching those data points into an almost infinite number of images, there’s no “there” there. The prompter didn’t put any meaning into the work; anything that seems to resonate with the viewer is entirely the viewer’s doing.

That’s pretty much what the viewer wants. They don’t want communication. They want comfort and beauty and reassurance. And AI illustration gives it to them.

So, sorry, Harjit, for most people, AI illustration is exactly what they want.
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Ebay vs Newmark


A relatively obscure court case, Ebay vs Newmark (Newmark here is Craig Newmark, the founder of craigslist), found that yes, a corporation’s first duty is to maximize shareholder value (Yale Law Review. Note: PDF).

That case hinges on some fairly technical issues, but here’s the gist of it: Ebay bought a 28% share of craigslist, and the board at craigslist voted to restructure the corporate governance into a poison pill; Ebay buying just one more share would trigger a whole cascade of penalties that made buying that share much more expensive and troublesome than it was worth.

Ebay sued, saying that the restructuring was done not for the benefit of craigslists’ shareholders (including itself), but for reasons unrelated to shareholder value. Newmark testified that this was, in fact, the case; he rejected the idea of “maximizing shareholder value” and instead desired to steer craigslist in a way that maintained its value to the communities it served.

The Law Review article starts by asking if corporations exist for specific reasons:


What is the purpose of the corporation? Who cares? If the New York Times is formed to publish a newspaper first and make a profit second, no one should be allowed to object. Those who came in at the beginning consented, and those who came later bought stock the price of which reflected the corporation’s tempered commitment to a profit objective.


It describes this as “concurrent with contract law, and a person’s rights to enter into a consensual contract.” But in Newmark, the court ruled that you cannot enter into such a contract with a corporation that explicitly declared itself “for-profit:”


Having chosen a for-profit corporate form, the craigslist directors are bound by the fiduciary duties and standards that accompany that form. Those standards include acting to promote the value of the corporation for the benefit of its stockholders. The “Inc.” after the company name has to mean at least that. Thus, this court cannot accept as valid for the purposes of implementing the poison pill Rights Plan a corporate policy that specifically, clearly, and admittedly seeks not to maximize the economic value of a for-profit Delaware corporation for the benefit of its stockholders.


This language is so strong that the court is saying the poison-pill restructing after the fact doesn’t matter. Craig Newmark had no right to create a business and incorporate as a corporation if he didn’t intend to maximize profits for shareholders. As Max Kennerly puts it, corporations “can engage in modest philanthropic efforts, but if they put their money where their mouth is, they’ll get Newmark’d.”

Corporations are Sociopathic Thinking Machines


Corporations are effectively large, slow thinking machines. They’re information-processing organizations that take in data and react to it with real-world affect. Their collective effort does not necessarily reflect the moral ideals of the people who make up the majority of its workforce. They have a consciousness of sorts, that taking in information and reflecting it back upon the world, but very few corporations have a conscience, a recursive, reflexive, inward-looking process that asks if it is doing the right thing, if it is acting well toward its neighbor.

The Newmark case shows that having a conscience is simply not legal for a for-profit corporation; that taken as a whole a corporations actions must be seen to maximize profits and any philanthropic activities must be seen in that light as a form of “reputation management” and nothing else.

This is sociopathy. Corporations, like sociopaths, have selfish extrinic goals. Neither cares about the rights or well-being of people who are not them, and the court has ruled that corporations are not permitted to have such cares. Large corporations will employ child labor if that’s what it takes to drive profits. Large corporations will argue that if their product killed you quickly, your family has no right to sue on behalf of your pain and suffering because it was over before you could complain.

There are two kinds of people in the world: those who behave well toward their neighbors and their community because it’s the right thing to do and all the evidence points to mutual benefit from acting well, and those who behave tolerably– at least not criminally– toward their neighbor because a powerful external authority would punish them if they did not.

Both sociopaths and corporations view the world through a lens of risk vs reward, and the feelings of others don’t factor into that view at all. They are only and ever the second type; only the threat of painful sanction keeps them from heinous behavior.

Un(Just) Workplaces


So it was with a strong sense of familiarity that I read Tim Burke’s Institutionality Is The Thief of Joy. Burke’s case is a simple one: capitalists sell you constantly on the idea that work, and only work, is the source of all self-worth. “The dignity of work” is the idea that they prattle on endlessly, but that idea sucks all the life and self-worth out of people who are not sociopaths.

The notion that hospitals and schools are only workplaces, that they are for-profit enterprises and that notions such as “healing the sick,” “safeguarding the well-being of people,” and “inspiring minds and soul,” are sentimental twaddle; your duty is to maximize profits and those notions and actions inspired by them are merely the mechanisms by which you do so.

Burke says he’s “unwilling to accept a life sentence without parole in the worst timeline,” but he’s also unwilling to accept the idea that we live in a kyriarchy, in which there are so many forms of oppression that resisting any one of them results in the others inflicting so much pain the resistance is forced back, so he’s unwilling to “burn it all down.”

It’s not just that, as I once heard a street preacher say, “The world we need will not be built by men loyal to the world we have.”1 It that the institutions loyal to the world we have don’t care about the men in it.

Now how do we do better?



1(I was later disappointed to learn that he cribbed it from Game of Thrones.)
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Have you ever looked up the definition of beauty? The dictionary will tell you that beauty is “a combination of qualities such as shape, color, or form that pleases the senses.” These qualities are context-sensitive, since a beautiful man or woman is a different sort of judgment from a beautiful bit of architecture or a beautiful view, but they do have their similarities and psychologists have done a lot of work to quantify those similarities.

I’ve been playing with Stable Diffusion, the AI “art generation” program that has artists and illustrators panicked, and rightly so as I fear it really will create a market of “mechanically produced” art every bit as meaningful as a grocery store frozen dinner is nutritious.

Stable Diffusion is a search engine for a “model”; a model is a file containing upwards of 8Gigabytes of tiny little bits of knowledge about all the pictures and text describing those pictures that have been fed into the search engine. The act of creating an image is known as “prompting”; the search engine takes the text of a prompt and a few internally generated random numbers and assembles images which, if fed back into the search engine, would probably have the same text as what you gave it.

Despite this randomness, Stable Diffusion is extremely popular with pornography hounds. There’s one obvious reason for this– with a little cleverness that has everything to do with patience and nothing to do with talent it can produce images that the viewer enjoys and that he would never actually commission in real life, either because he’s too cheap or because he wouldn’t want to share his particular kink with the rest of the world.

But there’s another, deeper reason Stable Diffusion is so popular with smut fans, and it’s about beauty.

For the human form, the two qualities that consistently rate high as “beautiful” are youth and health. There’s massive amounts of grey matter in our brains dedicated to identifying other people, and those two qualities spark responses in that grey matter like almost no other. This isn’t to say that if you’re an older person you can’t be beautiful, but if you are an older person and you’ve “let yourself go,” well, you’re not going to have other people giving you second glances for the pleasure of it.

Beauty in the wider world is also characterized by two seemingly contradictory features: repetition and novelty. The human brain wants to know that the world is orderly and functional and healthy, so it looks to see that there is rhythm and repetition, that a beautiful landscape is consistent and expected; it also wants to believe that it is natural and changing and still healthy, so it looks for the rigidity of artifice and the sharp angles of decay sticking out, and registers whether or not the organic novelty is a sign of growth and bounty.

It is this combination of youth, health, repetition and novelty that Stable Diffusion exploits to a degree never before seen. Feel free to click on the image to the right; there is no nudity in it, although there is skin and lingerie.

AIBot is a Stable Diffusion master who posts regularly to his account, and he understands this vulnerability better than any other. Some men just want to drown in the physical beauty of women and AIBot (and many, many, many others just like him) (warning: those links are probably NSFW) know it, enjoy it, and exploit the hell out of Stable Diffusion’s ability to create literal oceans of pretty girls so they can enjoy it and share that pleasure with others.

It is this ability to hit all the high points of the human brain’s expectation of “beauty” that makes AI image generation so compelling. We’ve all seen pretty people and watched them from time to time; Victoria’s Secret and Sports Illustrated Swimsuit Annuals, not to mention Playboy, Penthouse, and all of their competitors were entirely financed by men’s urge to to do just that. What is new is the ability to create so much repetition and novelty on demand, fitting one’s fetishes and desires exactly, but with much more volume than any one artist or photographer would be willing to produce. It is a completely unprecedented phenomenon and this combination of being able to see your specialized desires in secret and generate an infinite amount of such images probably accounts for those people who describe themselves already as "addicted" to Stable Diffusion.

Now, I don’t want to go off on the idea that Stable Diffusion is a danger to human beings the way anti-pornography nuts like to depict it, saying “Never before in the history of mankind have we been exposed to so much nudity, and it’s bad for our brains.” I don’t believe that at all. I just think that when we read about AI illustration, we should be aware that the people producing those images are trying to hack our brains in new and interesting ways, and we should be aware that these exploits exist and think harder about indulging in them.
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I recently received one of those “The US Office of Management and Budget requires that we survey you about the quality of your stay while at our hospital. Please fill out the survey and return it to us. There is a space at the end where you can describe any concerns or praise you wish to deliver.”

Here’s what I wrote:


I was hospitalized for 23 days while at Valley, and in that time there were a number of occasions where I felt the strain that is slowly degrading our healthcare system.

My injury was mechanical; I had a hematoma blocking my duodenum and was unable to digest food. I was given an NG tube to remove the bile and stomach acid, and an NJ tube to provide food and water. Aside from that, I was in excellent physical health and am modestly athletic; I ride a bicycle regularly and have a workout routine.

The hydration I was given was “typical for that of a 56 year old man,” but it turns out that the typical 56 year old man is not in excellent physical health and does not work out regularly. My condition was not accurately explained to the nutritionist. As a result, after five days I was severely dehydrated and begged for more water. After a test revealed that I was in hypovolemia, this was resolved, but the miscommunication and neglect of patient’s own wisdom about his body was appalling.

At one point while I was there, the hospital pharmacy ran out of the liquid suspension ibuprofen necessary to manage the pain of having two nasal tubes passing down my throat.

I had a narrow NJ tube that required minimal but constant maintenance in order to continue to function properly. Twice while I was there that tube became blocked because a nurse either did not understand how the tube functioned or was too busy to take care of the tube properly. Because of the lack of liquid suspension ibuprofen, one nurse attempted to crush tablet ibuprofen and put it down the tube, blocking it. In another, the alarm indicating that the food being pushed through the tube, a product named Pivot, had run out. Pivot hardens when not in motion and completely blocked the tube.

On both of these incidents, I had to be sent down to Interventional Radiology and subjected to unnecessary X-rays to have the tube replaced.

Despite these incidents, I managed to maintain a daily routine of being unhooked from the NG tube for an hour or so every day in order to do a minimal set of exercises– a quarter-mile walk, a few push-ups, a few squats, that sort of thing. The equipment being used to manage the NG tube was unfamiliar to some of the nurses, and I was the one who had to show and instruct them on how to unhook it.

All of the nurses I spoke to said they were understaffed; where one was optimally assigned to four patients, each was now overseeing six patients. I am not naming any names in the above incidents because I don’t believe that the nurse was at fault; instead, the overwhelmed and undersupplied system failed to teach, monitor, and advise them, and failed to provide them with the proper support.

I am well-educated and insatiably curious. I was able to manage much of my own healthcare, and got along well with all of my nurses and doctors, and so I survived these incidents without any consequence worse than a significant uptick in pain while I waited for resolution. My concern is for the other patients who do not or cannot understand their predicament and manage their own healthcare.

Hire more nurses, and train them better.

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Elf Sternberg

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