Quotulatiousness

November 12, 2024

John Carter – “We can all sense the vibe shift”

At Postcards From Barsoom, John Carter tries to explain the “vibe shift” in western culture:

The Course of Empire – Destruction by Thomas Cole, 1836.
From the New York Historical Society collection via Wikimedia Commons.

Underneath the medical tyranny of COVID, the stolen elections, the Internet censorship, the inflation, the hypermigration, the gender psychosis, the polarized rancor of sexual politics, and all of the rest of the symptoms of our decaying mismanagerial order, a countercurrent has flowed through the deep and hidden places of our collective psyche, hot and slow, like a chthonic river of magma rising implacably to the surface.

It isn’t just frustration with the intolerable imposition of Woke into every aspect of our lives, as though we could reset the clock to 90s liberalism and get fresh again with the Prince of Bel Air. It isn’t just anger at the invasion of our countries by the third world, nor is it limited to impatient disgust with the glossolalic babble of an incompetocracy comprised of credentialed midwits who seem to feel that word-shaped noises confer all the legitimacy they need to misrule our countries into oblivion.

It isn’t purely negative.

There’s a sense, somehow, of hope.

Hope, that after decades in which it seemed that history has stalled, that the culture has been frozen in permafrost, that nothing new could ever really be done again, that Nothing Ever Happens, that the only thing we can look forward to is a long, cold decline into technocratic surveillance, demographic implosion, green energy poverty, and final, irrecoverable collapse … hope that maybe this insipid fate isn’t so inevitable as we thought. Hope, that the building tectonic pressure of those buried psychological forces might finally break through and crack the shell of a dead future.

The sudden birth of artificial intelligence and the renewed enthusiasm for the conquest of space are two very obvious signs of this abrupt return of novelty. This is not a purely positive thing – AI is regarded with anxiety by almost everyone, but it is the raw fact of its sudden transition from science fiction to mundane tool of everyday life that is significant here.

There are other signs of this sense of renewal. The proliferation of self-improvement culture amongst many of the youth, particularly on the Very Online Right. The rise of the digital nomad, a modern re-enactment of the Romantic wanderjahr. The quiet birth of the network state, for instance in the form of Praxis. The renaissance of thoughtful, long-form essays right here on Substack. Surging interest in the religious traditions of our ancestors, whether in the form of Orthodox Christianity or paganism. The transformation of warfare by drones, promising a revolution in military affairs every bit as epochal as the firearm. The rise of a contradictorily global sense of national particularism. The steady refinement of 3D printing technologies.

Trump’s victory in 2024 seems a sure sign of this vibe shift. In a plot arc that could have been lifted straight from the original Star Wars trilogy, Trump brought A New Hope to America – and the world – in 2016; his forces were shattered and scattered to the winds in 2020 when The Empire Struck Back; only for the rebel forces, tempered by the lessons learned in defeat and strengthened with the assistance of new allies, to Return With the Jedi in 2024 and once again blow up the Death Star. This time around, Trump represents not simply the desperate holding action of an underground resistance to granny state totalitarianism, but the coalescence of a new and vigorous counter-elite, as embodied most of all by the ambitious hectobillionaire space lord who built auctoritas by buying the digital public square out from under the Empire so he could shitpoast in peace with the chuds.

Each of these has their good and bad aspects – the point, again, is not to dwell on whether any given development will be to our benefit or our detriment. As always, the ramification of second and third-order effects through the social order will result in both advantage and disadvantage. The point is simply that things are changing, that we can all feel it, and that this fuels a sense of nervous excitement that permeates the atmosphere like electrical buzz of a high-tension wire. Perhaps there will be disaster, and we shall drive ourselves to ruin and extinction; perhaps our descendants will walk the stars as near-gods. Either way, we are here, now, at this most interesting of nexus points in the unfolding history of our species. Would you rather be anywhen else?

The pessimism of recent years naturally generated an interest in cyclical theories of history – the empirical Strauss-Howe model of generational turnings, Turchin’s mechanical cliodynamics with its elite overproduction and wealth pumps, Spengler’s mythopoetic conception of cultures as vast organisms whose lifecycles progress through predictable seasons. Hard times make strong men; strong men make good times; good times make weak men; weak men make hard times. Whichever model one favours, the invariable conclusion is that Western civilization is in its terminal winter – fragile, ossified, decadent, corrupt, exhausted, and doomed. Desolation awaits.

“The Course of Empire – Desolation” by Thomas Cole, one of a series of five paintings created between 1833 and 1836.
Wikimedia Commons.

Yet a cycle is not defined by its final product, no more than a symphony is defined by its concluding note, a life by its last moment, a wheel by a single turn, or a circle by a single point. Viewed from another angle, the death of Faustian civilization is also the birth of a new civilization … and even as we are here to live through the death of one, we plant the seeds for the other. With the tempo of history moving faster than ever before due to the global interconnectivity of instantaneous telecommunications and high-speed travel, it may be that our children will live in the savage springtime of that new civilizationperhaps one animated by the Aenean rather than the Faustian soul, which “will go Mars, not because it is hard, but because it is necessary”. You should read the essay at that last link, by the way. It isn’t long, it’s extremely interesting, and it’s new.

“Nice business ya got there, Patreon. Wouldn’t want anything to happen to it …”

Filed under: Business, Media, USA — Tags: , , , , , — Nicholas @ 04:00

Above the paywall, Ted Gioia discusses Apple’s latest attempt to cut itself a nice big middleman’s slice of the indy creator market by putting the thumbscrews to Patreon:

Can Apple really charge a 30% tax on indie creators?

What Apple is now doing to indie creators is pure evil — but this story has received very little coverage. Journalists should pay attention, because they are under threat themselves.

Apple is now putting the squeeze on Patreon, a platform that supports more than a quarter of a million creators — artists, writers, musicians, podcasters, videographers, etc.

These freelancers rely on the support of more than 8 million patrons through Patreon, which charges a small 8-12% fee. Many of these supporters pay via Patreon’s iPhone app.

Earlier this year, Apple insisted that Patreon must pay them a 30% commission on all new subscriptions made with the app. In other words, Apple wants to take away close to a third of the income for indie creators — almost quadrupling their transaction fees.

This is the new business model from Cupertino, and it feels like a Mafia shakedown. Apple will make more from Patreon than Patreon does itself.

The only way for indies to avoid this surcharge is by convincing supporters to pay in some other way, and not use an iPhone or Apple tablet.

This is what happens when Apple decides to treat a transaction as an “in app payment” — as if an artist’s entire vocation is no different than a make-believe token in a fantasy video game.

But you can easily imagine how almost anything you do with your phone could be subject to similar demands.

I’ve been very critical of Apple in recent months. But this is the most shameful thing they have ever done to the creative community. A company that once bragged how it supported artistry now actively works to punish it.

Canada in the news … for all the wrong reasons

In the National Post, Tristin Hopper explains why your non-Canadian friends may be finding their opinions on the dysfunctional Dominion getting more and more sour in recent years:

… within just the last few years, multiple foreign outlets have profiled Canada for the singular purpose of asking what happened to it, and worrying if Canada’s ills will soon be their own. What’s more, these articles are not limited to a single topic; so much is going sideways in Canada right now that everything from our assisted-suicide regime to our economy to our internet legislation is attracting overseas notice like never before.

Below, a cursory guide to some of them. If you’re noticing that your non-Canadian friends suddenly have a darker picture of your home country than they used to, here’s a clue as to why.

“Justin Trudeau is killing Canada’s liberal dream”

Ever since the 2019 federal election, The Economist‘s coverage of Prime Minister Justin Trudeau has usually followed a general theme of noting that the bloom is off the rose of his photogenic ascendancy to power in 2015. But in a trio of articles published last month, the publication laid into the Canadian leader as an icon of what not to do.

Justin Trudeau is killing Canada’s liberal dream, published on Oct. 14. Canada’s Trudeau trap, published on Oct. 17. And then, just for good measure, Justin Trudeau is paying for solar panels in the cold, dark Arctic.

[…]

“Canada Is Disintegrating”

The Telegraph in the U.K. ran an entire series of essays last week on the topic of Canada taking it to the limit on progressive laws covering everything from drugs to national identity.

[…]

“Canada’s Extremist Attack on Free Speech”

The June tabling of the Online Harms Act prompted a wave of foreign coverage unlike few pieces of Canadian legislation. Although virtually every non-U.S. country has legislated controls on extreme speech, the Online Harms Act went noticeably farther than its peer countries in two respects: It prescribes a life sentence for the speech crime of “advocating or promoting genocide”, and it authorizes pre-emptive custody for anyone suspected of committing hate speech in future.

Type 92 Japanese HMG

Filed under: France, History, Japan, Military, Pacific, Weapons, WW2 — Tags: , , , — Nicholas @ 02:00

Forgotten Weapons
Published Mar 9, 2015

The Type 92 was the final iteration of a machine gun that began as the Model 1897 Hotchkiss HMG made in France. The Japanese army purchased many of these guns, and then produced their own slightly refined version. These in turn were replaced by the updated Type 3 (1914) heavy machine gun, and finally the Type 92 (1932). A lightened upgrade to the Type 92 was prototyped (the Type 1, 1941), but never went into production. Mechanically, the Type 92 is very much like a scaled-up Type 11 light machine gun, using 30-round strips to feed. Despite being generally derided today, these machine guns were very reliable, accurate, and effective. This particular one happens to have a 7mm Mauser barrel in it, from a South American contract.

http://www.forgottenweapons.com

Theme music by Dylan Benson – http://dbproductioncompany.webs.com

QotD: Roger Scruton, terroiriste

Filed under: Britain, Media, Quotations, Wine — Tags: , , — Nicholas @ 01:00

>Good wine is a “somewhere”, not an “anywhere”. It is stamped with a place and a year. Rooted, literally. The fancy French word for this is terroir, referring to the way in which environment — soil, geology, even the history of a place — is all responsible for a wine’s character. Terroir is a sense of place in a glass. Roger Scruton often referred to himself as a “terroiriste“. And this could describe his political philosophy as much as his philosophy of wine. From 2001 to 2009, Scruton wrote a wine column in the New Statesman, enabling him to smuggle into that otherwise exclusively Left-wing journal, all sorts of reactionary political ideas: about God, about fox-hunting, about beauty, about his love of the countryside.

Wine, for Scruton, was never just about the taste, never a merely aesthetic sensation. Indeed, he was extremely sniffy about all those “blind tastings” — the ones where we delight when an expert fails to spot the difference between plonk and Premiere Cru. They miss the point, says Scruton. Blind tasting, he explained, is like blind kissing — not a good way to distinguish, for example, between someone who is sexy and someone who is not. Indeed, if the experiment on Love Island is anything to go by, it’s not even a good way to distinguish who your own girlfriend is.

That’s because sexual chemistry, like wine, is a great deal more than some momentary sensation on the lips. It’s a great deal more than a message sent by taste receptors to the brain. It is all about the terroir. And this is not just a comment about wine but about aesthetic experience in general. When we encounter a work of art, we bring a whole hinterland of knowledge that makes sense of that specific experience and gives it its character as art. Music is more than a vibration of the air and its reception by the ear and the brain. So too with wine and taste.

Giles Fraser, “Raise your glass to Roger Scruton, the terroiriste“, UnHerd, 2020-01-15.

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