grayestofghosts: a sketch of a man reading a paper (Default)
So I was reading an interesting discussion started by a user on BlueSky that begins:

Share a thought about writing some may find controversial?

Outliers aside, I think the quality of any text is roughly proportional to the amount of time its author is plugged online, especially in social media.


And goes on to explain some things that I've noticed as well about some recent books, though I'm not really sure I agree with the conclusion. I do think as a society we've been wrestling really hard with what is "real life" and whether or not the online can be considered "real life", and the denial that it is "real life" has actually been to our detriment in many ways when it comes to understanding how our society has gotten to the dark place where it is now.

I think maybe more of the problem than what this user is saying, rather than that these people lack experience outside of online forums -- maybe they do, or maybe they don't, I don't actually think that's the issue -- is that they are no longer keeping these behaviors siloed to online forums, which is a different matter. I think there is very much a faux pas of bringing the online into real life that is breaking down and some people are more comfortable with it and some people find it "cringe", to use an online word, while others who have never been very online have no idea what is going on because they have no idea the depths of depravity that the first two have experienced. I think in a lot of these cases these people are writing to a microculture, which would be fine, but maybe they don't understand how big or how small this microculture is because the internet has a way of obscuring numbers of these very basic things. The experience of not knowing how many people you are talking to would be rich to plunge the depths of, but it's kind of ignored... because we don't know, and there's a profit/political motive to keep us from knowing, in the form of bots.



But there's also the factor that due to the idea of these norms being siloed and their breakdown is that it kind of seems like maybe these writers do not know how to code-switch, or, possibly moreso, even think that code-switching is somehow immoral. If you read enough books and you read enough fanfiction, you begin to see that the way these two types of prose are written is slightly different, that they exist in different registers, and when you read an original novel that was previously fanfiction with the "fan" part scrubbed off, the register still remains and it's obvious to anyone familiar with it. Blogging is not the same type of writing as what you read in a novel, or what you read in a nonfiction book, either. Posting adeptly on a microblogging site is its own skill, and arguing online is yet another, though one of debatable value. And yet there are many writers who seem to be unable to switch between these forms of writing, and as this OP says, all their writing sounds like you're reading screeds from their blogs. Rather than respecting these different forms of writing as their own art forms, being able to change how you write from one form of media to another becomes dishonest.

And I think this might really be the crux of the matter. So much of this is about how annoyed even queer readers are that certain writers will transplant up-to-the-second overly-online queer microdiscourse into novels set three hundred years ago, or on another planet, or in an alternate universe inhabited strictly with fairies and unicorns. It doesn't make any sense, it destroys suspension of disbelief, and makes the story more difficult to read. However, the writer probably feels that to not include this would be dishonest, somehow, or otherwise morally bad. The piece is meant to be instructive, or an honest display of themselves and their writing identity, or something, meaning that the code-switch cannot happen. The friction between the two sets of norms cannot be smoothed out.

So I guess what I'm saying is that to navigate this skillfully in the way the OP thinks is better, one has to be, in online parlance, a norm-understander, at the very least, rather than it having to do specifically with how terminally online one is. I mean, I guess being terminally online does erode one's ability to understand outside norms, or people who are terminally online generally did not have a great understanding of outside norms to begin with, but I don't think it's quite as one-to-one as suggested.

I don't know, it's hard to formulate all of my thoughts on this. There's a lot. It's getting late.

Diagnosis

Feb. 8th, 2024 09:35 am
grayestofghosts: a sketch of a man reading a paper (Default)
I'll admit to a lot of bad habits and making posts that probably should be more thought-out and essay forms but are actually incomplete ideas because I like to pretend I don't have time to do that. Anyway one of those bad habits is sometimes looking at the subreddit r/fakedisordercringe (probably because as someone whose medical issues were neglected for a long time, I like to hurt myself by staring at the mindset behind this, and a general morbid fascination with how bad mental healthcare is and has been historically). Anyway it's a subreddit dedicated to reposting, complaining, pointing out inaccuracies, and generally making fun of more puerile mental health influencers, people who put massive lists of mental health self-diagnoses on profiles, etc. Every so often you'll find someone who is actually educated on things like personality development theories and whatnot but a lot of it seems dedicated to cringing at self-diagnosed DID communities right now. Either way I'm not linking to it. A lot of my scrolling is as a confused observer, of both the people being highlighted and the people doing the highlighting -- it's like different enclosures of animals observing each other in the zoo.

It occurs to me part of what I find so bizarre about both sides of this community is the premium put on diagnoses, both from the posters and highlighted users. The posters do not find any validity in self-diagnosis, despite the fact that major mental health diagnoses have historically, and do continue to wreck peoples lives while navigating legal, medical, and professional systems and even social lives as the masses become more and more educated with pop psychology. Like, look, I left my home state after they started restricting HRT, and to get it under the new rule I would have needed an autism assessment to prove I wasn't autistic and therefore mentally competent enough to... continue taking the drugs I have been taking for 4 years at that point. I don't think I am autistic, but the thought that autistic people are easily influenced into transitioning is particularly insane to me -- why in God's name would a group of people who are famous for their strict routines and visceral resistance to change in spite of massive social pressure to fit in do something like transition genders medically, socially, legally, which is definitionally a massive, scrutinized change that affects all parts of your life because of said social pressure? Like I know there's a correlation but when you think about people being somehow more susceptible to transitioning because they're autistic it's just ludicrous on its face. But that doesn't matter, it's what the state would have wanted. And I would have been forced through an assessment, and how do I know the bias of the assessor? The state would have had to approve of their approval, so the fact that I was transitioning at all would have likely counted against me, and being socially awkward might have been enough considering there's no medical reason for any of this, but who has met a trans person who wasn't somewhat socially awkward, having been raised in a gender they weren't and transitioning to a gender they never had a chance to practice as a kid? The mentally ill and disabled, including autistic people, were among the first victims of the Holocaust -- the idea that an official diagnosis cannot be used against a person is incredibly naive at best if not outright malicious. Just because you're paranoid doesn't mean they aren't out to get you, as they say.

On the other hand, the highlighted people in this sub, one has to wonder why they do what they do. The posters seem to boil it down to a need for "clout", "attention", "need to feel special", etc. and weirdly do not seem to consider that a lot of these people, while maybe not specifically having their exact diagnoses, are probably actually mentally ill. I don't say this to criticize, I am also, and honestly, most people reading this are probably also mentally ill. That's just kind of the nature of the internet, especially people who care to read this far on an essay written by a nobody in this weird corner of the internet. So that's not really a judgement on them as people. But the posters on this subreddit accuse them of lying because they are not miserable and ashamed enough to actually be mentally ill, which is very weird. It reminds me a lot of when I was a kid when people accused depressed teenagers of acting out for attention, especially with regards to self-injury, and this was used as an excuse... to accuse them of faking being depressed for attention. And now depression is a pedestrian diagnosis. It's ridiculously easy to have that diagnosis on your forms, and everyone and their mom has an SSRI script, and the only people complaining about it are anti-pharma-anti-psych folks and a few more principled wonks who get sorted with anti-pharma-anti-psych types anyway.

When I was a kid and depression was the hot thing (? It seems so crazy to say now) the media was accused of brainwashing and infecting people, telling them they'd be loved if they were depressed or something when in reality the opposite was the case. So I kind of doubt there is much value for the modern people producing this content in their offline lives, because the stuff they're talking about is still very, very, very much so stigmatized. But, maybe I'm just being an old fogey here, there seems to be something wrong with the constant desire to perform DSM-V diagnoses for a camera by choice, without coercion. I'd put it closer to the general weirdness of wanting to perform for a camera 24/7 that's infiltrated some people's minds but nonetheless it is very, very weird, and it seems like they are not thinking because producing video evidence of all of this, connected with your real face and real personal accounts, is actively counterproductive to the point made in the second paragraph here of not wanting a serious mental health diagnosis for possibly paranoid reasons. People don't believe in the panopticon we live in and they'd better start.

So one has to assume that either these people are very stupid, which I don't really believe, or that the major motive is community, or attention, or whatever. But it seems weird also to criticize people for this directly, even if they are spreading misinformation. And the major thing that the posters on this subreddit seem to miss is precisely because they put such a premium on diagnosis from an actual doctor, that the diagnostic manuals are actually handed down from a divinity and describe actual entities and aren't just made up. There's a broader issue here -- uncomfortable and problematic feelings are unsympathetic and do not deserve help even if they're normal, or perhaps especially so. For having them something must be wrong with you, something specific, or on the flip side if we argue that something is normal, then we must also argue that it is neither unproblematic or uncomfortable and requires no help. It boils down everything to a binary -- to deserve concessions and help, you must receive a label. If you do not want a label or can't get one, you must constantly perform at a high level at all times. And let's face it, the label, even if concessions are available, often makes your life harder, because they will be fighting tooth and nail not to give you concessions anyway, and will try to use the label against you. People can't just help people who need help.

Like, Jesus Christ, I have trouble following conversations sometimes. I do have diagnosed ADHD, which people try to discredit because I have been apparently 'too high achieving' for it. But one of the major issues I have is not being able to follow conversations, especially lectures. So at my last job, during a Zoom meeting, I thought it might be helpful to me to have closed captions on, so I tried to turn them on -- and the leader of the meeting immediately started complaining, "Why is it asking me for closed captions? Who requested closed captions? Closed captions are annoying, I don't like them," blah blah blah, it was fucking mortifying. I really didn't think it would be a huge deal for me to get closed captions, but apparently for me to get any kind of accommodation was too onerous for the leader. I can really see thinking, "gosh, what if I was actually deaf? What then?" but then, would it really be less embarrassing for someone to go off on me if I actually couldn't hear? I mean, maybe not because I wouldn't have been able to hear them but the content would have been just as embarrassing, probably more so, because I would have gotten the same shit all the time, and more. I can see why people might think it would be useful to have a "more serious" diagnosis, but also. What the fuck. The forces that make that appealing are so widespread and so fucking sinister.

I am not sure if all of this makes sense, it is probably just meandering and not going anywhere. I should be applying for jobs. Fuck.
grayestofghosts: (percy)
A very interesting episode of the podcast Hooked On Pop came out last week called Invasion of the Vibesnatchers which seemed particularly relevant to my piece on AI art generators as potential IP laundering machines. It's a very, very interesting comparison on how two similar phenomena are being dealt with in two different mediums and how, with both of them, the artists seems to lose.

Most people are not familiar with how music credits and pay works. Various methods of what might be called 'collageing' have been used in popular recorded music since forever -- from literal clips being 'sampled' and used in a new way in a new song, or melodies repeated and reinterpreted and on and on. Also, in the United States, there's a very defined structure of who owns music, and therefore who gets money every time a song is played, so when pieces of a song are used in another song who gets a cut and how is very predetermined. Because of this structure of the business, nobody wants to step on anyone else's toes too badly, so often credit will be pre-emptively awarded before there's any kind of conflict leading to lawsuit if a company thinks there might be an issue. All of this is happening under the listener's nose unless they really look for these credits. Actual disputes like over Robin Thicke's "Blurred Lines" are not common and when they do happen they're usually settled pretty quickly.

Now, an "interpolation" isn't as straightforward a copy as a sampled clip or a repeated line of melody. The example analyzed at the beginning of the podcast showed that no individual piece of the song could be considered really copied directly from the old song being credited, but given that it has a a similar instrumentation, similar structure, etc and certain parts that are relatively unique, like a repetitive whistled melody, the old song is given credit, and with that credit the owners of the credited song get some small cut of the profit of the crediting song.

Later in the episode the host reveals that interpolation credits in popular music have increased from about 10% per year before 2017 to about 20% per year afterward, and the major reason cited why is that, well, the record companies that own songs are encouraging it. There's a definite profit motive here -- when someone uses a song they already own to make something new, they will get a cut of the profit from that song, and the more vague the definition of "use" becomes, the more credits they can have, and therefore the more money they will make without having to even acquire more songs.

Now, I can make an argument against this practice due to the "modern media companies encourage homogeneous sludge" argument, but the more important note is how different the music industry is treating music credits versus how visual art credits simply do not work and allow for AI art to sneak in. If you made an AI music generator instead, made it scan top 40 hits back decades for its learning set, and then started posting the music as your own creation or as a way to get "free music", the RIAA would have your ass on a platter in less than a week.

And I am not saying this because the RIAA is 'good' -- it's not like the record companies, once they get that interpolation credit, are actually distributing that cut of profit fairly. But it's so demonstrative of how, when it comes to who makes money on art, it's entirely down to might makes right, and the only reason AI art is allowed to exist as "free art generation" is because it is taking exploiting artists who have no legal or financial power to stop them.

grayestofghosts: (percy)
I keep reading doomsday declarations about what AI art will do to actual artists and their possibility of getting paid and at this point I’m convinced that everyone writing about this is missing the point. Artists have not been paid what they’re worth for a long time, either by exploitation or outright theft of their work. The homogenized, regurgitated slopification of art — no, I’m sorry, content — has been going on forever in the form of Save The Cat making all Hollywood movies the same, the MCU taking over cinema, the Penguin Random House/Simon and Schuster merger (including a hearing where they admitted they have no idea how books get popular), the insane scheduling requirements on Instagram to get any attention whatsoever, “crunch time” ruining game creators lives, all the way down to T-shirt bots trawling Twitter. If you read Little Women, Jo gets paid about the same amount in dollars for her short story during the Civil freaking War as a writer today would get upon winning a similar contest. I’m not saying it can’t get worse, but the idea that AI will change the fact that companies and unscrupulous individuals will do anything to avoid paying artists for their work, up to and including outright theft, by convincing them and everyone else that all “art” is essentially interchangeable, is nothing new, to the point that I wonder where the fuck anyone making these statements about AI art has been for the last ten years at least.
 
Art or “Art” is not the point here. The term "AI art generators" obfuscates what these programs are actually doing, and that's laundering intellectual property.
 
For AI to do anything it needs to be trained on a large data set. So, for an AI to make “art”, it needs to be trained with a large data set of “art”, which through “learning” it can then remix trends into the images it spits out. So, the biggest, most obvious question, then, is where is this “art” it is being trained on coming from? By the image sets DALL-E generates online, it's very obvious that the art it has used in its sample is not free, based on the fact that what it is best at creating is obviously someone else's intellectual property. It can generate very reliably images including "Pikachu" or "in the style of Frank Miller", meaning that the program must have analyzed tons of images of Pikachu and by Frank Miller, and not one article I've seen talking about art generators actually notes that to use these images, the user would have to actually pay whoever owned these images and properties to use them commercially, even if the final piece being used was generated by one of these AI programs.
 
DALL-E is able to exist and pull from these images probably because it's assuming that the use of copyrighted images and properties would be protected under fair use, with the argument that it's not for commercial use and the demonstration with these commercial properties is a part of the educational or scientific value of the generated pieces. However, I could imagine a large company like Disney deciding that it did not like users creating images of Mickey Mouse at strip clubs and send a cease and desist request that all Disney properties be taken out of the learning set, which would leave users suddenly unable to make images of Darth Vader making the first pitch in Dodger Stadium or courtroom sketches of Sora being tried for manslaughter.
 
But Disney is Disney. What about everyone else? I am not a lawyer, but I think this gets both easier and harder. As long as we're discussing fair use of images, Mickey Mouse at a strip club could be argued to be a parody or criticism somehow, while, say, if a drawing I made of a flower I found in my backyard was added to the data set, it would be really hard to argue anything made with it would be parody or criticism of the original work because I'm a nobody. There would be nothing specific in that image to parody or criticize because I am not known enough to parody or criticize. The use of my artwork in the dataset would strictly be used in a straightforward, instrumental fashion, and there would be no reason for them to not use any other picture of a flower. An AI using my random artistic renderings would very likely be a violation of fair use, but because of the way AI generate their images, it may be very hard to prove that my image was used unless the AI hiccupped and left my watermark in the generated image -- thus the intellectual property laundering potential of these programs.
 
The legal issues in using an AI art generator to make commercial art would have to be argued in court. Is an image created by an AI art generator transformative or derivative? This would likely have to be argued on a case by case basis. The real meat here would be, would the individual responsible for compiling the data set for the AI also be responsible for getting permissions from artists when their art is added to the generator, because the art generated may not be sufficiently transformative? Must Disney allow Mickey Mouse to be used in the generator because of the likelihood of the generated work being parody, or can it disallow Mickey's addition to these data sets outright? What are the implications of this for other artists? Etc.
 
Honestly I think the misunderstanding of the actual problems with these AI art generators is not because people don't understand how AI works (even though they don't), but because they don't understand how copyright and intellectual property work. While the DMCA has changed this slightly, it's still very rare for randos on the internet to get smacked for misusing or stealing art they find online while the legal system has been coping with integrating new technology doing copyright infringement since copyright has existed. The people freaking out definitely seem like they have never had to deal with purchasing a stock image or getting permission for music sampling.
 
The idea that there's no humans involved with creating AI art beyond the user typing input is just demonstrably false. If I type in Frank Miller into a generator and it creates something Frank Miller-esque, then Frank Miller was involved with the creation of it. If these generators have not already paid the artists for the data they've trained their AI on, then it's extremely likely we have another Napster on our hands. I don't think comparing AI generated art to music streaming is actually a bad comparison -- it could be very bad for artists in the end, but in a totally different way than the initial doomsayers claimed. It's easy to imagine people who were already stealing art putting the art through an AI to tweak it to make it more difficult for artists to find and send them a DMCA takedown. It's easy to imagine AI generated art replacing stock images in many cases, and the artists that produce stock getting a smaller and smaller cut because, while their images are being used, they're only being used "in part" so the companies facilitating this decide they deserve less money for it. I can even imagine a far future where the final product of art is so untouched by human hands because all human-made art goes into the art-slush and what is wanted by the consumer is pulled out as needed, but the original human-made art was still necessary. It's hard for me to imagine AI generated art replacing huge swaths of the art market with "free" art where it wasn't before, because the US government has prevented that from happening repeatedly -- from photocopiers, to VCRs, to Napster, ad nauseum. The toes being stepped on by these generators are too big to ignore.
grayestofghosts: A cartoon cat looking into a coffee cup (coffee cat)
Was getting into liminal spaces online, which is a weird thing to get into, I guess, but not so much that there aren't at least two popular subreddits dedicated to it, r/liminalspace and to a lesser extent r/backrooms (warning, the latter is spooky and more of an ARG type thing). To a lesser extent, try r/deadmalls for abandoned malls specifically, and if you're more into Twitter try the @SpaceLiminalBot.

There seems to be a lot of commonalities to these posts and it makes me wonder if it's primarily a symptom of modernity. In the US, Canada, and elsewhere, lots and lots of modern buildings went up very quickly in the last century, leading to lots of public and semi-public places that look almost identical. Seeing these places devoid of people is unsettling in itself, but at the same time, you may know this place because it's identical to your mall, or your school, or your local fast food restaurant, or office building, or church, or whatever because they all genuinely look the same, but not exactly. So the nagging feeling of familiarity is always there looking at these places because they really do, all in actuality, look the same. It makes me wonder if in places with significantly fewer modern buildings in this style, have these same feelings, because these places aren't familiar to them. Maybe if you live in Amsterdam there's enough distinctiveness in the architecture that you don't have these feelings, or they're much more difficult to trigger because abandoned places that look like Dutch streets are hard to find, unlike these modern American buildings that go up and come down as quick as corn stalks in a cornfield.

But then there are the places that really nobody goes to that feel familiar. There's a very specific type of liminal space like the type the instagram jaredpike.art makes. Looking at sources for a lot of these pictures, when they're not artistic renders a lot of them seem to be from places like water treatment facilities in German countries. It's a very specific look that's very familiar -- blue water, small white tiles, curving walls that seem to go nowhere... you can hear these places, smell them, feel them, it's very strange, and yet no one on these has ever been to one of these water facilities, or knows where they are, and certainly if you go to Austria you wouldn't be able to go into one of these cisterns and take a swim. Why do we know them? I don't know.

I think there is something about these places, I don't know, I feel a lack of obligations looking at them. I maybe don't have a past or present or future in them so I do not have to worry about obligations, the existence of a blank space also implies blank time to go along with it. And maybe that's why, despite being eerie, they're pleasant to look at.

I think these places also have a lot in common with dreamwidth and neocities static pages, in a way. They were maybe developed at the same time as these places, and are pretty empty. Dreamwidth doesn't have a lot of users and limited means of interactions, not forcing obligations on the user browsing, which makes it feel spatially "empty" like these empty malls. When you look at a personal static page like neocities, there's an emptiness because the creator of the space is not looking back at you, not scrutinizing you so intently as modern websites, not demanding your engagement with your own responses, posts, "likes", metrics, even cookies, for the most part. It's eerie in its emptiness but it's nice to just be alone... the tradeoff of being alone is that one is no longer being watched.

grayestofghosts: a sketch of a man reading a paper (Default)
I guess I’m having a lot of thoughts in the pandemic, as being at home the vast majority of the time has given me a lot of freedom of what to do with my face. I like to wear makeup, and even when not wanting to look like I wear it, I have seborrheic dermatitis which, even when inactive can make the middle of my face very red so some light foundation and concealer helps with that, and matte bronzer can do wonders for a slight double chin. However these days i can go a lot further than that without thinking about it because, again, I have nowhere to be, and wearing a mask covering stubble can make anyone look more androgynous. There are a lot of women finding wearing no makeup very freeing, while at the same time there are a lot of women doing more editorial looks because it’s the only thing you can see with a mask on, or they have more free time, or they don’t have to worry about office comments about “how much better [they] look without makeup”.

There is a lot made about men and male-passing people wearing makeup, from some men complaining that if women have acne or “are ugly” they can wear it while they can’t, to lines of makeup made especially for men (and tend to be even more overpriced than normal makeup), male MUAs and the like. Makeup has not always been strictly feminine and has always been used by everyone being photographed or filmed so even now it’s not. But I do not think the problem with “men wearing makeup” is adequately understood by most people — they have a blanket idea of “makeup = feminine” and do not understand why.

I remember hearing somewhere that you only adorn things that you already think are beautiful. There is no point in adorning something that is not meant to be looked at as beautiful and I think that’s a big part of the taboo, and this is why I like to wear it, in some form of rebellion. I’m not supposed to see myself as worthy of adornment, so knowing how to do it and doing it myself is taboo, whereas in photoshoots it is others making the decision and putting makeup on the men so it’s in effect “not their fault” to be seen as beautiful, but rather something forced on them by others. Culturally women, especially young women, are “supposed” to be beautiful so that expectation wins out over the sin of looking at oneself as beautiful and adorning oneself, even though the self-adornment is still criticized (“you look so much better without makeup”).

Men’s fashion and presentation is such a mess culturally because of the taboo of thinking of oneself as beautiful. Often fashion for men is boiled down to one piece — a blazer, a Rolex watch, a Jordan’s shoe — and furthermore these pieces are often branded to be more a display of wealth rather than adorning oneself. To adorn oneself is to be “gay” because the only reason a man would do it is to attract the attention of other men. Straight women tend to have mixed feelings about it, because seeing a man as attractive is something they do, but one that intentionally signals it must be signaling to men, while acknowledging the double standard of “naturally pretty” for themselves.

Aside from rebellion there’s the matter of doing something artistic every day, and a beauty in ephemeral art, something meditative about making a whole work and then literally washing it down the drain every day. My other artwork, especially writing, is Sisyphean, written over and over again and rarely getting anywhere, which may be why this appeals to me. I don’t know. Maybe it is a form of that “self care” that people keep talking about, to look at my own face and examine it each day and decide what to do with it, for no one but myself. Or maybe, during the pandemic, I’m just really, really bored, and need the fifteen minutes of diversion in the morning.

If you don’t usually wear makeup, it may be worth it to try some concealer, eyeliner, blush, and think of yourself as worthy of adornment every day for once. In a world that doesn’t seem to value you, it may help.
grayestofghosts: a sketch of a man reading a paper (Default)
I wrote these thoughts down about a month ago and am only now getting to posting them. I am current with the books of A Song of Ice and Fire, though that's not saying much considering the release schedule. I have no interest in watching the TV series after the first couple episodes, and I've heard that a lot of people have a hard time watching it because it’s too dark and depressing.

ASoIaF is the example critics usually give for the genre of “grimdark”, a genre whose definition is pretty loose, but is generally characterized by its relentless pessimism, or what some consider to be “realism”. Liz Bourke gives a compelling definition for grimdark in her review of The Dark Defiles by Richard Morgan: “"Grimdark" is a shorthand in modern fantasy literature for a subgenre that values its gritty realism, and that attempts to overturn long-established heroic tropes. […] for me its defining characteristic lies in a retreat into the valorisation of darkness for darkness's sake, into a kind of nihilism that portrays right action—in terms of personal morality - as either impossible or futile.”  She goes on to elaborate, “I think it's a nihilism that many people find comforting: if everything is terrible and no moral decision can either be meaningful or have any lasting effect, then it rather absolves one from trying to make things better, doesn't it?” Further criticism of the genre points to its use of brutality of marginalized people as “realistic” backdrop as exploitative and catering to the fantasies of the (typically white, young, male, heterosexual, cisgender) audience is pretty damning. Because of this, genres to counter the popularity of grimdark have taken on a tone of moral crusade. First was the concept of noblebright, the exact opposite, where good can absolutely triumph over evil, and then hopepunk, which asserts that good isn't a destination but that rightness is an action that should be aspired to. Bloggers who write at length about these two genres argue that they have enough “darkness” in their lives that they don't want to see the descent in depravity that they've seen in real life reflected in their fiction, as well.

I'm going to be honest. I don't really like any of these genres. I don't like the broad pro- or anti-morality stance of either of them. And I have a probably controversial opinion:

Grimdark is not cynical enough. )
grayestofghosts: Elliot Alderson with the word hackerman superimposed (hackerman)
Yesterday Adrian Sanabria posted a twitter thread about the recent Equifax breach’s House Oversight Report, see here, unroll here, directly to the House Oversight Report here. Considering 2018 has been the longest year on record, I’ll forgive you if you managed to forget about this breach. This is the one back in late 2017 where Equifax managed to allow personally identifiable information of over half the adults in the United States be compromised. I remember saying to a friend that at this point it would be easier to just give everyone a new social security number, it was that bad — and I was only half-joking

Anyway. This breach was allowed to go on for an astonishing 76 days due to a lack of leadership and general incompetence and negligence at Equifax. Right before seeing the report, I’d finished watching the first season of Mr. Robot. If you’re not familiar with Mr. Robot, it’s a TV series where some hackers take down a large conglomerate from the inside because of the conglomerate’s unethical practices. Looking at the findings of the Equifax breach, what happened here is pretty much the opposite of the plot of Mr. Robot. Consider that, in Mr. Robot:
  1. The security of the major conglomerate is actually competent and only manages to be taken down by internal malicious actors.
  2. The hackers do not aim to victimize the ‘little guy’, AKA you, the normal viewer and consumer.
  3. The organization is actually harmed by being breached.
That last bit is the important bit. )

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