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529 results for “panopticpen”
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Echolocation: Blinded by the light? 🦇 Ten weeks is all it takes to rewire your reality. Click your tongue, hear the unseen. Darwin whispers, the Panopticon watches. Are you bat enough? #Echolocate #SensoryHacking #MindVirus
https://hackaday.com/2024/11/26/humans-can-learn-echolocation-too/
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Liljevars Brann – Helja Kor Review
By Mystikus Hugebeard
They say that 75% of a Finnish park ranger’s job is finding black metal bands that got lost in the woods shooting album covers. Suppose the park rangers in Germany had a similar issue. In that case, I imagine they would have the hardest time finding atmospheric black metal newcomers Liljevars Brann, given how musically deep into the woods they seek to take us in their debut album Helja Kor. Written in a fictional blend of German and Norwegian languages and dubbed “mystical black metal with a folkloric edge,” is Helja Kor a strong debut that conjures grasping roots to drag you into the heart of the forest, or are these woods still too close to the parking lot?
Liljevars Brann weaves together slow-tempo black metal with winding acoustic guitar passages. It worked when heavier bands like Panopticon or Ulvik did it,1 and it works here in Helja Kor. Melancholic guitar riffs plod beneath high-pitched harmonizing guitar wails like a reborn The 3rd and the Mortal with a harsher, black metal edge, regularly interspersed with panoramic acoustic sequences. Liljevars Brann excels at folk music; the guitars have a satisfying pluck and pace that happily reminds me of Uaral. The vocals, by frontman Sjelvindur, are one of the most compelling parts of Helja Kor. His clean vocals marry a mysterious folksiness with a warbling gothic cadence, and some of the album’s best moments come from Sjelvindur’s percussive intonation in the outro of “Helja Kor” and the somber shakiness of the beginning of “Krieglande.” Between the winning combination of black metal and folk music with the added edge of Sjelvindur’s unique vocals, the components of a great album are all here.
Unfortunately, Helja Kor struggles to truly find its footing due to meandering songwriting that begins to drag early on. Low intensity is one thing, but Helja Kor is also low energy, which makes it difficult to stay engaged. From the opener “Helja Kor” to the second-to-last “Krieglande,” every song is in the same torturously slow 3/4 time signature with minimal evolution or differentiation between songs. Even the rare black metal sections of the primarily acoustic “Sjelvind” feel melodically identical to those of the more predominantly heavy “Krieglande.” A 3/4 time signature isn’t an issue by itself, but after 40 minutes of overtly similar riffs in a stagnant tempo, it’s impossible not to crave variation. That comes in, blessedly, in “Brannstjeringen,” which ends the album on a miraculously high note through dynamic songwriting in a refreshing 4/4 time signature. “Brannstjeringen” builds towards an exciting, emotionally charged apotheosis that highlights how the remainder of Helja Kor lacks meaningful direction in its song structure, devoid of stirring peaks that move me like “Brannstjeringen” does.
Helja Kor touts a mystical, woodsy atmosphere, and this atmosphere is strong enough to partly compensate for what the songwriting lacks. The folk guitars are effectively paired with Sjelvindur’s vocals, and they just ooze arboreal mysticism. It’s a shame that an excess of melodic/harmonic repetition and languid structure permeate Helja Kor, because by themselves, the guitar harmonies in “Dansa Mej Brodar I Fyre” and “Krieglande” are enjoyable. It boggles the mind, then, how much the drums clash with Helja Kor’s atmosphere through a distracting mix that fails to effectively integrate them. The strength of Liljevars Brann’s acoustics is frequently undone in “Helja Kor,” “Dansa Mej Brodar I Fyre,” and “Sjelvind” by the incessant ting-ting-ting of the cymbals. Even towards the end of “Brannstjeringen,” the drums leave a stain on the song’s highest point with loud, off-tempo blast beats. It’s clear that Liljevars Brann has put a lot of thought into the unique atmosphere they want to create, but it unravels at almost every turn through songwriting that doesn’t support it and a mix that dilutes it.
Helja Kor is the type of record where it’s easier to appreciate what Liljevars Brann is trying to do than enjoy its execution. There are glimpses of a compelling folkloric atmosphere to be found, but Helja Kor flounders in excessive repetition, frequently dissatisfying structure, and irritating production choices. And yet, I abhor the thought of abandoning Liljevars Brann for good because there is a real vision here, and I want to see it realized. Helja Kor has enough individually solid aspects—Sjelvindur’s vocals, the Uaral-esque acoustics, the black metal harmonies, the peaks of “Brannstjeringen”—to compel me to keep my eye on Liljevars Brann in hopes that their next release finds me more lost in the woods than a mere park ranger can handle.
Rating: Disappointing
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Argonauta Records
Websites: facebook | bandcamp
Releases Worldwide: September 27th, 2024#20 #2024 #ArgonautaRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #GermanMetal #HeljaKor #LiljevarsBrann #OctoberFalls #OctopusRising #Panopticon #Sep24 #The3rdAndTheMortal #Uaral #Ulver #Ulvik
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Omnipresent AI cameras will ensure good behavior, says Larry Ellison - Enlarge (credit: Benj Edwards / Mike Kemp via Getty Images)
On... - https://arstechnica.com/?p=2049906 #machinelearning #securitycameras #aisurveillance #billionaires #larryellison #bigbrother #panopticon #aiethics #biz #oracle #ai
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𝟯 𝗪𝗼𝗿𝗱 𝗥𝗲𝘃𝗶𝗲𝘄: “𝗗𝗲𝗹𝗲𝘁𝗲” 𝗯𝘆 𝗩𝗶𝗸𝘁𝗼𝗿 𝗠𝗮𝘆𝗲𝗿-𝗦𝗰𝗵𝗼𝗻𝗯𝗲𝗿𝗴𝗲𝗿 -
Dated but valuable book on the nature of power and our own mental health against the permanence of media storage as history. Is it healthier to forget? More safe for all? And how do we get tech to do it?
#books #bookreviews #bookworm #readreadread #3words #viktormayerschonberger #delete #panopticon #technology #privacy #memory
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Ulvik – Last Rites | Dire Omens Review
By Mystikus Hugebeard
Last Rites | Dire Omens. Interesting album title, that. Last rites signify mourning and gentle acceptance, while dire omens suggest malevolence, a promise of death yet to come. Likely by design, these contrasting themes directly apply to the kind of neofolk and atmospheric black metal that Canadian duo Ulvik peddles, as the sad beauty of their folk music inevitably succumbs to a more pronounced black metal malevolence. Hailing from the endless pine trees of Canada’s westernmost territory British Columbia, Ulvik invites you to immerse yourself in their rural melancholy with their fourth opus, Last Rites | Dire Omens.
Ulvik’s atmospheric black/folk manifests in ways both familiar and unfamiliar for the genre. The implementation of acoustic guitars and strings reminds one of bands like Nechochwen and Panopticon, while the emotional tone wouldn’t feel out of place alongside the prairie-doom-isms of Altars of Grief. The metal, on the other hand, challenges the atmoblack label. Opener “Through False Dust” may initially give the impression of a traditionally atmospheric approach with distant, chilly tremolos, but the guitars quickly gain an uncharacteristic urgency as the album progresses. Last Rites | Dire Omens won’t allow you to drift into pleasant listlessness as you might elsewhere; many of the album’s deep, at times almost chugging riffs have a blunt force to them that demands your attention, while the vocalist’s emotive shrieks and all the wailing layers of guitars veer more into post-black metal territory. But while I typically associate emotions like sorrow or grief with the peaks of typical post-black metal, when Ulvik is at their heaviest in a track like “Sown on Earth,” I hear only anger.
Much of what works about Last Rites | Dire Omens lies in the simple appeal of Ulvik’s soundscape. Within the greater pantheon of folky atmoblack bands, Ulvik’s folk elements are some of the best I’ve heard. They bring to life the album’s bleak atmosphere while simultaneously underlining it with beauty; the heavier songs open with densely layered strings that have real grit to them, while the acoustic guitars are softer, offering a comforting reprieve. The acoustic interludes, which could’ve just been unremarkable asides, become genuine album highlights in Ulvik’s hands. This evocative, expressive dark folk pairs nicely with the metal’s bluntness and serves as an effective foil to the folk’s subtleties. After the gradual build of miserable strings and anguished spoken words in “Sown on Earth,” that aforementioned anger in the song’s crushing verse cuts all the deeper. That same bluntness did initially make the eight-minute “Glass & Scythe” feel tedious, but I’ve grown fond of its variations-on-a-theme approach to a simple, satisfying motif, for within this simplicity lies an emotional clarity that is thus enabled to shine through.
For most of the album’s duration, few issues stood out as terribly damning. The folk instruments are sorely missed within “Life & Death Are One”‘s repetitive avant-garde dissonance, and the first interlude, “Woven Into Threads,” is placed too early as the third song, but nevertheless, the album was overall an easy recommend. Emphasis on was, because the closing duo of songs changed matters for the worse. “The Pallid Mask” mirrors the increasing violence of the spoken words from “Sown on Earth,” but the speaker’s forceful delivery isn’t as believable and the song crawls to an insultingly short payoff that’s negligible in comparison. “Yesterday & Years Ago” has a more concrete, satisfying melancholy to it, but toothlessly meanders into yet more overlong spoken words without ever hitting its stride. Perhaps these songs might not offend as much were they spread out, but together they end the album on an extremely dour note that I’ve begun avoiding altogether on repeat listens. Each song builds towards a resolution that either disappoints or never even arrives, and in so doing rob the album as a whole of the resolution it deserved.
Perhaps the final word on this album isn’t as positive as I’d like, but I’m glad I found Ulvik. There’s a lot to like about the evocative dark folk and emotionally charged atmoblack that Ulvik brings to the table, and there are plenty of moments in Last Rites | Dire Omens that demonstrate why Ulvik is worth your time if this type of music appeals to you like it does to me. What a shame, then, that this album stumbles so hard at the finish line. There exists a differently organized or edited version of this album that I’d have gladly rated higher, but when an album ends on consecutive songs that so utterly miss the mark, it can’t be ignored.
Rating: Mixed
DR: 8 | Format Reviewed: 320 kbps
Label: Avantgarde Music
Websites: bandcamp | facebook
Releases Worldwide: May 24, 2024#25 #2024 #AltarsOfGrief #AtmosphericBlackMetal #AvantgardeMusic #BlackMetal #CanadianMetal #LastRitesDireOmens #May24 #Nechochwen #Neofolk #Panopticon #PostBlackMetal #Review #Reviews #Ulvik
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Trolls gonna #trollsmanship.
Our modern #culture is optimized to incentivize people to say the most out-of-pocket shit possible to get the ersatz spotlight of the panopticon.
Words are words.
This dude is projecting his own mediocrity and now everyone knows it, including the organization and teammates.
He doesn’t need to be proactively “cancelled”, he’ll just fade into obscurity like all mediocre dudes.
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The local community Facebook group is wild.
People keep anonymously posting footage from their Ring cameras and being like "this bald man in a red hoodie walked past my house at 11pm,i think he was casing my house!"
Then someone will respond saying that they got home from shooting at 3am and saw 5 teenage girls sitting in the park by themselves and it might be them!!
So I've just started posting this in the comments:
#crime #Criminology #CriminalJustice #panopticon #surveillance #SurveillanceState #RingDoorBell
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By El Cuervo
The sophomore album can be a make-or-break moment. Does a band double-down on what made their first release remarkable, or dilute its impact and fade into obscurity? The Deepening by Vemod is such a record, although comes so long after the debut that the band might as well be new again. 12 years is a long gap and a long time in which a band may reinvent itself. The Deepening finds these Norwegians deepening their own lore through a new take on their original black metal – but has the gap afforded their new sound quality too?
Despite hailing from the edge of Northern Norway, Vemod now find themselves musically closer to the specifically American brand of atmospheric black metal popularized over the last decade; think Wayfarer or Panopticon. “Inn i lysande natt” is the shortest main track and a microcosm of the album as a whole. The lead riff (besides being very cool) has a jangly tone and way of stringing together chords which remind me of a banjo, and the pulsing beat has the energy I would attribute to Western movies. Vemod don’t have the frosty feel I associate with Norwegian black metal, nor the fiery feel I associate with Icelandic. Instead, it’s warm, dusty, and weather-worn. As the melody develops in this song, a shredding guitar colors the layer above in a way I can only describe as like a cowboy galloping over empty plains. The music is substantially black metal, and there are no instruments typically used in Americana. But this image flows from the tone and feel.
Vemod’s greatest strength, besides their unusual aesthetic, is their ability to construct and deconstruct their music. “Der guder dor” trundles through several minutes of atmospheric, melodic black metal before slowly stripping its guitars to expose low-key synths in a quiet space. The muted passage gradually layers with a drum roll, choral chants, and jangling guitar chords, building a moody atmosphere. A shredding guitar layer brings things back to a maximal approach. I’m left feeling satisfied at how The Deepening treats its songs as superstructures, which can be layered and delayered into different forms of themselves. Similar passages are notable on “True North Beckons” and the title track. What’s most admirable is how the heavy becomes the light (and vice versa); the passages are interwoven with these slow transitions so that they sound like two sides of the same coin, rather than a heavy passage becoming a separate light one. It belies a deft touch in Vemod’s songwriting hand.
I struggled with articulating why, despite its strengths, I don’t love The Deepening. My inability to easily do so reflects the fact that after numerous listens I didn’t have many notes to use. It has good melodies. Good riffs. Good atmosphere. Good emotive impact. But it lacks anything – positive or negative – outstanding. My thoughts are generally favorable but they’re few. If you’ve heard atmospheric black metal previously then you’ve heard things that sound like this. On reflection, I’d also argue that the preference for long songs is misguided and exacerbates the sense that the record isn’t all that it could be. 45 out of 48 minutes are split across just four tracks. While the songs satisfactorily flow between light and heavy as described above, the slowness of the transitions and tendency to stick with just a couple of key melodies per track means they can become repetitive. “Inn i lysande natt” has cool features but by its conclusion, I’m tired of its core melodic loop. It has interesting ideas but doesn’t progress these ideas sufficiently.
The closing of The Deepening, with 3.5 minutes of synths on its title track, encapsulates how I feel about the album overall. It’s strangely calm and warm for those already versed in black metal. I enjoy it because it’s well-produced and well-composed. Likewise, The Deepening sounds like the professional work of a prolific group that’s had time to cut its teeth and develop its sound. Those who enjoy this brand of atmospheric black metal could do a lot worse. But Vemod lack that sheen of real quality or ingenuity to elevate their work beyond this soft recommendation.
Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps
Label: Prophecy Productions
Websites: facebook.com/vemod | vemod.bandcamp.com
Releases Worldwide: January 19th, 2024#2024 #30 #AtmosphericBlackMetal #Jan24 #NorwegianMetal #Panopticon #Review #Reviews #TheDeepening #Vemod #Wayfarer
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By El Cuervo
The sophomore album can be a make-or-break moment. Does a band double-down on what made their first release remarkable, or dilute its impact and fade into obscurity? The Deepening by Vemod is such a record, although comes so long after the debut that the band might as well be new again. 12 years is a long gap and a long time in which a band may reinvent itself. The Deepening finds these Norwegians deepening their own lore through a new take on their original black metal – but has the gap afforded their new sound quality too?
Despite hailing from the edge of Northern Norway, Vemod now find themselves musically closer to the specifically American brand of atmospheric black metal popularized over the last decade; think Wayfarer or Panopticon. “Inn i lysande natt” is the shortest main track and a microcosm of the album as a whole. The lead riff (besides being very cool) has a jangly tone and way of stringing together chords which remind me of a banjo, and the pulsing beat has the energy I would attribute to Western movies. Vemod don’t have the frosty feel I associate with Norwegian black metal, nor the fiery feel I associate with Icelandic. Instead, it’s warm, dusty, and weather-worn. As the melody develops in this song, a shredding guitar colors the layer above in a way I can only describe as like a cowboy galloping over empty plains. The music is substantially black metal, and there are no instruments typically used in Americana. But this image flows from the tone and feel.
Vemod’s greatest strength, besides their unusual aesthetic, is their ability to construct and deconstruct their music. “Der guder dor” trundles through several minutes of atmospheric, melodic black metal before slowly stripping its guitars to expose low-key synths in a quiet space. The muted passage gradually layers with a drum roll, choral chants, and jangling guitar chords, building a moody atmosphere. A shredding guitar layer brings things back to a maximal approach. I’m left feeling satisfied at how The Deepening treats its songs as superstructures, which can be layered and delayered into different forms of themselves. Similar passages are notable on “True North Beckons” and the title track. What’s most admirable is how the heavy becomes the light (and vice versa); the passages are interwoven with these slow transitions so that they sound like two sides of the same coin, rather than a heavy passage becoming a separate light one. It belies a deft touch in Vemod’s songwriting hand.
I struggled with articulating why, despite its strengths, I don’t love The Deepening. My inability to easily do so reflects the fact that after numerous listens I didn’t have many notes to use. It has good melodies. Good riffs. Good atmosphere. Good emotive impact. But it lacks anything – positive or negative – outstanding. My thoughts are generally favorable but they’re few. If you’ve heard atmospheric black metal previously then you’ve heard things that sound like this. On reflection, I’d also argue that the preference for long songs is misguided and exacerbates the sense that the record isn’t all that it could be. 45 out of 48 minutes are split across just four tracks. While the songs satisfactorily flow between light and heavy as described above, the slowness of the transitions and tendency to stick with just a couple of key melodies per track means they can become repetitive. “Inn i lysande natt” has cool features but by its conclusion, I’m tired of its core melodic loop. It has interesting ideas but doesn’t progress these ideas sufficiently.
The closing of The Deepening, with 3.5 minutes of synths on its title track, encapsulates how I feel about the album overall. It’s strangely calm and warm for those already versed in black metal. I enjoy it because it’s well-produced and well-composed. Likewise, The Deepening sounds like the professional work of a prolific group that’s had time to cut its teeth and develop its sound. Those who enjoy this brand of atmospheric black metal could do a lot worse. But Vemod lack that sheen of real quality or ingenuity to elevate their work beyond this soft recommendation.
Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps
Label: Prophecy Productions
Websites: facebook.com/vemod | vemod.bandcamp.com
Releases Worldwide: January 19th, 2024#2024 #30 #AtmosphericBlackMetal #Jan24 #NorwegianMetal #Panopticon #Review #Reviews #TheDeepening #Vemod #Wayfarer
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"Beyond Orwell" (2021) documentary
length: 27:51 (or 30:00, with 2 minutes 9 seconds of you time at the end)
https://invidious.fdn.fr/watch?v=tTgH_-ohys8
#cyberpunk #solarpunk #punk #cyoa #ttrpg #slavery #freedom #surveillanceState #panopticon #tv #selfie #privacy #winners #losers #totalitarianism #hardTotalitarianism #orwell #1984 #fear #softTotalitarianism #trump #kardassian #matrix #desire #consumerism #conspicuousConsumption #voluntarySimplicity #corporations #passive #active #vice #virtue #peripheralVision -
#TheMetalDogArticleList
#MetalInjection
14 Black Metal Bands That Embrace Other Genres
A list for when black metal die-hards fall victims to ennui.https://metalinjection.net/lists/14-black-metal-bands-that-embrace-other-genres
#BlackMetal #MetalInjection #DesacrationRitual #TheAxisOfPerdition #Panopticon #Slidhr #MareCognitum #Schammasch #HarakiriForTheSky #Fen #FallsOfRauros #Pyriphlegethon #Wolvencrown #IsolationInInfamy #Abyssal
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#TheMetalDogArticleList
#MetalInjection
14 Black Metal Bands That Embrace Other Genres
A list for when black metal die-hards fall victims to ennui.https://metalinjection.net/lists/14-black-metal-bands-that-embrace-other-genres
#BlackMetal #MetalInjection #DesacrationRitual #TheAxisOfPerdition #Panopticon #Slidhr #MareCognitum #Schammasch #HarakiriForTheSky #Fen #FallsOfRauros #Pyriphlegethon #Wolvencrown #IsolationInInfamy #Abyssal
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#TheMetalDogArticleList
#MetalInjection
14 Black Metal Bands That Embrace Other Genres
A list for when black metal die-hards fall victims to ennui.https://metalinjection.net/lists/14-black-metal-bands-that-embrace-other-genres
#BlackMetal #MetalInjection #DesacrationRitual #TheAxisOfPerdition #Panopticon #Slidhr #MareCognitum #Schammasch #HarakiriForTheSky #Fen #FallsOfRauros #Pyriphlegethon #Wolvencrown #IsolationInInfamy #Abyssal
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#TheMetalDogArticleList
#MetalInjection
14 Black Metal Bands That Embrace Other Genres
A list for when black metal die-hards fall victims to ennui.https://metalinjection.net/lists/14-black-metal-bands-that-embrace-other-genres
#BlackMetal #MetalInjection #DesacrationRitual #TheAxisOfPerdition #Panopticon #Slidhr #MareCognitum #Schammasch #HarakiriForTheSky #Fen #FallsOfRauros #Pyriphlegethon #Wolvencrown #IsolationInInfamy #Abyssal
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#TheMetalDogArticleList
#MetalInjection
14 Black Metal Bands That Embrace Other Genres
A list for when black metal die-hards fall victims to ennui.https://metalinjection.net/lists/14-black-metal-bands-that-embrace-other-genres
#BlackMetal #MetalInjection #DesacrationRitual #TheAxisOfPerdition #Panopticon #Slidhr #MareCognitum #Schammasch #HarakiriForTheSky #Fen #FallsOfRauros #Pyriphlegethon #Wolvencrown #IsolationInInfamy #Abyssal
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Here’s a new #OutsideParties devlog post outlining the audio system behind these recordings.
The #Playdate (“K5 Panopticon Receiver” in the game) is not meant to be a literal shortwave radio… but something mysterious that’s akin to that. I want it to feel real, #ARG-style.
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@digitalcourage @bba Yay, can’t wait. Good luck with it :)
And while you’re waiting, why not watch my keynote – The Camera Panopticon – from #BigBrotherAwards in *checks notes* 2014… _NINE YEARS AGO_ 👀
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— Well, finally, […]
Une belle histoire de résistance face au capital, dans les mines du Kentucky ❤️Panopticon - Black Soot and Red Blood
https://thetruepanopticon.bandcamp.com/track/black-soot-and-red-blood
#Panopticon #Kentucky
#AtmosphericBlackMetal #BlackAtmo #AtmoBlack #BlackMetal #Black #Metal #Folk #FolkBlack #Country #PluieDeHashtags -
— Well, finally, […]
Une belle histoire de résistance face au capital, dans les mines du Kentucky ❤️Panopticon - Black Soot and Red Blood
https://thetruepanopticon.bandcamp.com/track/black-soot-and-red-blood
#Panopticon #Kentucky
#AtmosphericBlackMetal #BlackAtmo #AtmoBlack #BlackMetal #Black #Metal #Folk #FolkBlack #Country #PluieDeHashtags -
— Well, finally, […]
Une belle histoire de résistance face au capital, dans les mines du Kentucky ❤️Panopticon - Black Soot and Red Blood
https://thetruepanopticon.bandcamp.com/track/black-soot-and-red-blood
#Panopticon #Kentucky
#AtmosphericBlackMetal #BlackAtmo #AtmoBlack #BlackMetal #Black #Metal #Folk #FolkBlack #Country #PluieDeHashtags -
— Well, finally, […]
Une belle histoire de résistance face au capital, dans les mines du Kentucky ❤️Panopticon - Black Soot and Red Blood
https://thetruepanopticon.bandcamp.com/track/black-soot-and-red-blood
#Panopticon #Kentucky
#AtmosphericBlackMetal #BlackAtmo #AtmoBlack #BlackMetal #Black #Metal #Folk #FolkBlack #Country #PluieDeHashtags -
I'm at a colloquium at the Sorbonne, and someone put in their slideshow about non-financial reporting a picture of a "panopticon". #ESG #financeDurable #EU
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I'm at a colloquium at the Sorbonne, and someone put in their slideshow about non-financial reporting a picture of a "panopticon". #ESG #financeDurable #EU
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I'm at a colloquium at the Sorbonne, and someone put in their slideshow about non-financial reporting a picture of a "panopticon". #ESG #financeDurable #EU
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"When claims of truthfulness and authenticity are implicit in documentary theatre and film, the audience should remain vigilant."
https://vigilanz.hypotheses.org/3969
Lily Climenhaga on "Milo Rau and the Performative Panopticon"
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I made a remark about baby goats and now I'm thinking about the internalisation of oppression, the panopticon and how capitalism hobbles our very souls. Again.
Once we have #FullLuxuryQueerSpaceCommunism, once we have Banks' #Culture, once ALL HUMANS EVERYWHERE are truly free, these times will be seen as little better than feudalism.
#ACAB applies to our Inner Cop too.
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If the wrong people might always be listening, would it affect what you say?
Escape the panopticon.
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https://not.neroeditions.com/la-mia-vita-fuori-di-me/
«Molti mi conoscono, ma quella persona non sono io»: dalla «persona» al «profilo»: come siamo finiti nel panopticon del neuropotere?
#politica #identificazione #narcisismo #piattaforme #media -
Amazon supermarket will roll out fancy new smart cart when it opens - Enlarge / Amazon has provided an educational video explaining how to use a grocery cart when it is ... more: https://arstechnica.com/?p=1691554 #supermarkets #smartstores #panopticon #smartcarts #amazongo #shopping #biz&it #policy #amazon #retail
