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Subterraen – In the Aftermath of Blight Review
By Thus Spoke
Sludge is a genre naturally able to bridge and wholly fill the gap between a rage that stretches towards hardcore, and a more pensive and somber emotionality more at home in doom, or post-metal. Therefore, when faced with Subterraen’s label of “Atmospheric Post-Sludge,” I knew this shapeshifting propensity would be amplified, particularly in the latter direction. Unfamiliar with the group before now, they instantly won me over ideologically with their ongoing theme that began with debut Rotten Human Kingdom. This theme, examination of the human condition from the perspective of our destruction of the natural world, and a defense of animal rights, is taken to its next logical step in In the Aftermath of Blight, which, as the name indicates, explores the nature of the damage humankind has inflicted on the earth, and looks ahead to the terrible legacy we leave. But enough about their concept, Subterraen are making music, which must carry its own weight.
In the Aftermath of Blight swings like a slow pendulum between malice and mourning, with much emphasis placed on ringing, blunted melodies that sharpen into focus for the most pathetic points and noticeably dissipate for the most angry. A healthy mixture of rough, barking screams and hardcore-esque shout-singing maintains an overall feeling of ennui and discontent, emphasized by the near-constant roiling and crashing of mid-tempo percussion. The atmosphere in question arises through fades into spacious, resonant plucking, humming bass, and the soft touches of synth that wrap guitars and vocals in warm abstraction at the edges of passages, if they aren’t warping and warbling all of their own accord, echoing the stringsmen’s notes. At the same time, the lurching, “womp” of pitch shifts as warm melancholic refrains slide into cold apathetic ones, giving even the melodic aspect just that little bit of satisfying bite. With a pleasing breadth from chilled-out to grungily gutsy, this all results in a very moody, vibey, extremely listenable record.
The best way to describe In the Aftermath of Blight is with the word “bleak”. There’s something indescribably sullen about the solemn stomping and washed-out melodic themes that dominate the centers of compositions (“Poisoned Waters,” “10:27”). But there’s also something indescribably plaintive about the more pointedly forlorn pieces that rise and float (“Paving the Way to Oblivion,” title track). And it’s the way that the latter frequently morph from the former—through atmospheric strumming (“Poisoned Waters”) or suddenly heart-wringing surges (title track)—that makes their relatively short lifespan and eventual passing into nothingness leave the listener feeling empty and downtrodden. This feeling seems entirely intentional, reflecting the lifeless, barren wasteland adumbrated throughout the album, and in its art. What at one moment is bitter at the next is blue (“Poisoned Waters,” “10:25,” title track), with languid, lamenting, stripped-back, and reverb-soaked refrains pulling wrath into woe (“Poisoned Waters”) and sometimes back out into stirring pathos (“Paving the Way to Oblivion,” “10:25”). Coming to a culmination in the first act of the closing title track, the tension between anhedonia and ardency manifests in a shifting interplay of melancholic melody and meanness whose hazy echo and ringing blankess leave a chill.
As strong as this impression can immediately be, Subterraen do little beyond what is necessary to make it. Comparisons to Yob, and Neurosis appeared in the promo material, and these are pretty much on the money. Perhaps too much so. The music is strong but without idiosyncrasy, managing to be solid and absorbing whilst playing, but fading too far into indistinctness when not. Similarly, there are stretches of In the Aftermath of Blight where things progress too slowly towards those finest, most beautiful, powerful, and impactful passages, that I now know are coming, and they pale beside them. The stirring refrains, woven through “Paving…”, arising in the back half of “Poisoned Waters,” and driving the title track are intelligently layered and satisfyingly steely with the help of dense sludgy chugging, and the balance of delicate atmospherics. The remainder is, as intimated, comparatively flat and dispirited; a vibe, to be sure, but one that appeals to a particular taste.
Despite anything said suggesting the contrary, I’m glad that Subterraen, and In the Aftermath of Blight found their way to me. Subtle, atmospheric, and poignant enough to feel like it fills a musical and emotional gap, even if it doesn’t blow the genre out of the water. It’s something you can stick on whilst musing wistfully on the state of the world. It might hit you harder than you expect.
Rating: Good
DR: 7 | Format Reviewed: WAV
Label: Frozen Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 12th, 2024#2024 #30 #Apr24 #DoomMetal #FrenchMetal #FrozenRecords #InTheAftermathOfBlight #Neurosis #PostMetal #Review #Reviews #Sludge #Subterraen #YOB
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Subterraen – In the Aftermath of Blight Review
By Thus Spoke
Sludge is a genre naturally able to bridge and wholly fill the gap between a rage that stretches towards hardcore, and a more pensive and somber emotionality more at home in doom, or post-metal. Therefore, when faced with Subterraen’s label of “Atmospheric Post-Sludge,” I knew this shapeshifting propensity would be amplified, particularly in the latter direction. Unfamiliar with the group before now, they instantly won me over ideologically with their ongoing theme that began with debut Rotten Human Kingdom. This theme, examination of the human condition from the perspective of our destruction of the natural world, and a defense of animal rights, is taken to its next logical step in In the Aftermath of Blight, which, as the name indicates, explores the nature of the damage humankind has inflicted on the earth, and looks ahead to the terrible legacy we leave. But enough about their concept, Subterraen are making music, which must carry its own weight.
In the Aftermath of Blight swings like a slow pendulum between malice and mourning, with much emphasis placed on ringing, blunted melodies that sharpen into focus for the most pathetic points and noticeably dissipate for the most angry. A healthy mixture of rough, barking screams and hardcore-esque shout-singing maintains an overall feeling of ennui and discontent, emphasized by the near-constant roiling and crashing of mid-tempo percussion. The atmosphere in question arises through fades into spacious, resonant plucking, humming bass, and the soft touches of synth that wrap guitars and vocals in warm abstraction at the edges of passages, if they aren’t warping and warbling all of their own accord, echoing the stringsmen’s notes. At the same time, the lurching, “womp” of pitch shifts as warm melancholic refrains slide into cold apathetic ones, giving even the melodic aspect just that little bit of satisfying bite. With a pleasing breadth from chilled-out to grungily gutsy, this all results in a very moody, vibey, extremely listenable record.
The best way to describe In the Aftermath of Blight is with the word “bleak”. There’s something indescribably sullen about the solemn stomping and washed-out melodic themes that dominate the centers of compositions (“Poisoned Waters,” “10:27”). But there’s also something indescribably plaintive about the more pointedly forlorn pieces that rise and float (“Paving the Way to Oblivion,” title track). And it’s the way that the latter frequently morph from the former—through atmospheric strumming (“Poisoned Waters”) or suddenly heart-wringing surges (title track)—that makes their relatively short lifespan and eventual passing into nothingness leave the listener feeling empty and downtrodden. This feeling seems entirely intentional, reflecting the lifeless, barren wasteland adumbrated throughout the album, and in its art. What at one moment is bitter at the next is blue (“Poisoned Waters,” “10:25,” title track), with languid, lamenting, stripped-back, and reverb-soaked refrains pulling wrath into woe (“Poisoned Waters”) and sometimes back out into stirring pathos (“Paving the Way to Oblivion,” “10:25”). Coming to a culmination in the first act of the closing title track, the tension between anhedonia and ardency manifests in a shifting interplay of melancholic melody and meanness whose hazy echo and ringing blankess leave a chill.
As strong as this impression can immediately be, Subterraen do little beyond what is necessary to make it. Comparisons to Yob, and Neurosis appeared in the promo material, and these are pretty much on the money. Perhaps too much so. The music is strong but without idiosyncrasy, managing to be solid and absorbing whilst playing, but fading too far into indistinctness when not. Similarly, there are stretches of In the Aftermath of Blight where things progress too slowly towards those finest, most beautiful, powerful, and impactful passages, that I now know are coming, and they pale beside them. The stirring refrains, woven through “Paving…”, arising in the back half of “Poisoned Waters,” and driving the title track are intelligently layered and satisfyingly steely with the help of dense sludgy chugging, and the balance of delicate atmospherics. The remainder is, as intimated, comparatively flat and dispirited; a vibe, to be sure, but one that appeals to a particular taste.
Despite anything said suggesting the contrary, I’m glad that Subterraen, and In the Aftermath of Blight found their way to me. Subtle, atmospheric, and poignant enough to feel like it fills a musical and emotional gap, even if it doesn’t blow the genre out of the water. It’s something you can stick on whilst musing wistfully on the state of the world. It might hit you harder than you expect.
Rating: Good
DR: 7 | Format Reviewed: WAV
Label: Frozen Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 12th, 2024#2024 #30 #Apr24 #DoomMetal #FrenchMetal #FrozenRecords #InTheAftermathOfBlight #Neurosis #PostMetal #Review #Reviews #Sludge #Subterraen #YOB
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Subterraen – In the Aftermath of Blight Review
By Thus Spoke
Sludge is a genre naturally able to bridge and wholly fill the gap between a rage that stretches towards hardcore, and a more pensive and somber emotionality more at home in doom, or post-metal. Therefore, when faced with Subterraen’s label of “Atmospheric Post-Sludge,” I knew this shapeshifting propensity would be amplified, particularly in the latter direction. Unfamiliar with the group before now, they instantly won me over ideologically with their ongoing theme that began with debut Rotten Human Kingdom. This theme, examination of the human condition from the perspective of our destruction of the natural world, and a defense of animal rights, is taken to its next logical step in In the Aftermath of Blight, which, as the name indicates, explores the nature of the damage humankind has inflicted on the earth, and looks ahead to the terrible legacy we leave. But enough about their concept, Subterraen are making music, which must carry its own weight.
In the Aftermath of Blight swings like a slow pendulum between malice and mourning, with much emphasis placed on ringing, blunted melodies that sharpen into focus for the most pathetic points and noticeably dissipate for the most angry. A healthy mixture of rough, barking screams and hardcore-esque shout-singing maintains an overall feeling of ennui and discontent, emphasized by the near-constant roiling and crashing of mid-tempo percussion. The atmosphere in question arises through fades into spacious, resonant plucking, humming bass, and the soft touches of synth that wrap guitars and vocals in warm abstraction at the edges of passages, if they aren’t warping and warbling all of their own accord, echoing the stringsmen’s notes. At the same time, the lurching, “womp” of pitch shifts as warm melancholic refrains slide into cold apathetic ones, giving even the melodic aspect just that little bit of satisfying bite. With a pleasing breadth from chilled-out to grungily gutsy, this all results in a very moody, vibey, extremely listenable record.
The best way to describe In the Aftermath of Blight is with the word “bleak”. There’s something indescribably sullen about the solemn stomping and washed-out melodic themes that dominate the centers of compositions (“Poisoned Waters,” “10:27”). But there’s also something indescribably plaintive about the more pointedly forlorn pieces that rise and float (“Paving the Way to Oblivion,” title track). And it’s the way that the latter frequently morph from the former—through atmospheric strumming (“Poisoned Waters”) or suddenly heart-wringing surges (title track)—that makes their relatively short lifespan and eventual passing into nothingness leave the listener feeling empty and downtrodden. This feeling seems entirely intentional, reflecting the lifeless, barren wasteland adumbrated throughout the album, and in its art. What at one moment is bitter at the next is blue (“Poisoned Waters,” “10:25,” title track), with languid, lamenting, stripped-back, and reverb-soaked refrains pulling wrath into woe (“Poisoned Waters”) and sometimes back out into stirring pathos (“Paving the Way to Oblivion,” “10:25”). Coming to a culmination in the first act of the closing title track, the tension between anhedonia and ardency manifests in a shifting interplay of melancholic melody and meanness whose hazy echo and ringing blankess leave a chill.
As strong as this impression can immediately be, Subterraen do little beyond what is necessary to make it. Comparisons to Yob, and Neurosis appeared in the promo material, and these are pretty much on the money. Perhaps too much so. The music is strong but without idiosyncrasy, managing to be solid and absorbing whilst playing, but fading too far into indistinctness when not. Similarly, there are stretches of In the Aftermath of Blight where things progress too slowly towards those finest, most beautiful, powerful, and impactful passages, that I now know are coming, and they pale beside them. The stirring refrains, woven through “Paving…”, arising in the back half of “Poisoned Waters,” and driving the title track are intelligently layered and satisfyingly steely with the help of dense sludgy chugging, and the balance of delicate atmospherics. The remainder is, as intimated, comparatively flat and dispirited; a vibe, to be sure, but one that appeals to a particular taste.
Despite anything said suggesting the contrary, I’m glad that Subterraen, and In the Aftermath of Blight found their way to me. Subtle, atmospheric, and poignant enough to feel like it fills a musical and emotional gap, even if it doesn’t blow the genre out of the water. It’s something you can stick on whilst musing wistfully on the state of the world. It might hit you harder than you expect.
Rating: Good
DR: 7 | Format Reviewed: WAV
Label: Frozen Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 12th, 2024#2024 #30 #Apr24 #DoomMetal #FrenchMetal #FrozenRecords #InTheAftermathOfBlight #Neurosis #PostMetal #Review #Reviews #Sludge #Subterraen #YOB
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I've just seen the episode of Extraordinary Attorney Woo that involves a visit to a temple. (I think the temple is still featured in the next episode, but I haven't seen this one yet.)
The Zen lineage I'm in actually comes from Korea. As I recall, the subtitles were talking about making homage to Kshitigarbha, but that's the Sanskrit name of the Bodhisattva called Jijang in Korean. He is the Bodhisattva of the underworld, death, and transitions.
I do feel an affinity for Jijang. Maybe because of my propensity to walk through hell for the benefit of my partners. :catthinking:
Oh, Attorney Woo used the proper form for bowing during the ceremony.
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I've just seen the episode of Extraordinary Attorney Woo that involves a visit to a temple. (I think the temple is still featured in the next episode, but I haven't seen this one yet.)
The Zen lineage I'm in actually comes from Korea. As I recall, the subtitles were talking about making homage to Kshitigarbha, but that's the Sanskrit name of the Bodhisattva called Jijang in Korean. He is the Bodhisattva of the underworld, death, and transitions.
I do feel an affinity for Jijang. Maybe because of my propensity to walk through hell for the benefit of my partners. :catthinking:
Oh, Attorney Woo used the proper form for bowing during the ceremony.
-
I've just seen the episode of Extraordinary Attorney Woo that involves a visit to a temple. (I think the temple is still featured in the next episode, but I haven't seen this one yet.)
The Zen lineage I'm in actually comes from Korea. As I recall, the subtitles were talking about making homage to Kshitigarbha, but that's the Sanskrit name of the Bodhisattva called Jijang in Korean. He is the Bodhisattva of the underworld, death, and transitions.
I do feel an affinity for Jijang. Maybe because of my propensity to walk through hell for the benefit of my partners. :catthinking:
Oh, Attorney Woo used the proper form for bowing during the ceremony.
-
I've just seen the episode of Extraordinary Attorney Woo that involves a visit to a temple. (I think the temple is still featured in the next episode, but I haven't seen this one yet.)
The Zen lineage I'm in actually comes from Korea. As I recall, the subtitles were talking about making homage to Kshitigarbha, but that's the Sanskrit name of the Bodhisattva called Jijang in Korean. He is the Bodhisattva of the underworld, death, and transitions.
I do feel an affinity for Jijang. Maybe because of my propensity to walk through hell for the benefit of my partners. :catthinking:
Oh, Attorney Woo used the proper form for bowing during the ceremony.
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New paper explains why females are prone to #autoimmune diseases
80% of #patients with autoimmune diseases are #female. There is evidence suggesting that it's females’ double complement of #Xchromosome that puts them at such heightened risk for autoimmune diseases. Female cells have two X #chromosomes, whereas males have one X chromosome and one #Ychromosome (at least in mammals).
A system that shuts down one of two X chromosomes is targeted by auto-antibodies. https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/ -
New paper explains why females are prone to #autoimmune diseases
80% of #patients with autoimmune diseases are #female. There is evidence suggesting that it's females’ double complement of #Xchromosome that puts them at such heightened risk for autoimmune diseases. Female cells have two X #chromosomes, whereas males have one X chromosome and one #Ychromosome (at least in mammals).
A system that shuts down one of two X chromosomes is targeted by auto-antibodies. https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/ -
New paper explains why females are prone to #autoimmune diseases
80% of #patients with autoimmune diseases are #female. There is evidence suggesting that it's females’ double complement of #Xchromosome that puts them at such heightened risk for autoimmune diseases. Female cells have two X #chromosomes, whereas males have one X chromosome and one #Ychromosome (at least in mammals).
A system that shuts down one of two X chromosomes is targeted by auto-antibodies. https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/ -
New paper explains why females are prone to #autoimmune diseases
80% of #patients with autoimmune diseases are #female. There is evidence suggesting that it's females’ double complement of #Xchromosome that puts them at such heightened risk for autoimmune diseases. Female cells have two X #chromosomes, whereas males have one X chromosome and one #Ychromosome (at least in mammals).
A system that shuts down one of two X chromosomes is targeted by auto-antibodies. https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/ -
New paper explains why females are prone to #autoimmune diseases
80% of #patients with autoimmune diseases are #female. There is evidence suggesting that it's females’ double complement of #Xchromosome that puts them at such heightened risk for autoimmune diseases. Female cells have two X #chromosomes, whereas males have one X chromosome and one #Ychromosome (at least in mammals).
A system that shuts down one of two X chromosomes is targeted by auto-antibodies. https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/ -
Eighty percent of patients with #autoimmunediseases are female. These diseases are one of the top 10 leading causes of death for women under 65, and cases are increasing annually worldwide. There is evidence suggesting that it's females’ double complement of X #chromosomes that puts them at such heightened risk for autoimmune diseases. Female cells have two X chromosomes, whereas males have one X chromosome and one Y chromosome (at least in mammals). https://arstechnica.com/science/2024/02/female-propensity-for-autoimmune-diseases-tied-to-x-chromosome-inactivation/
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2024 c'est ne plus en pouvoir des gens maestros du déni : « Ça m'étonnerait que ce soit le COVID parce que je l'ai eu pour une 3e fois il y a juste 3 semaines ». Ce propos en dit tellement long sur votre refus de vous renseigner. Autant que sur votre propension à transmettre.
(2023 c'était : « Ça m'étonnerait que ce soit le COVID parce que mon [seul] antigénique est négatif. »)Et vous additionnez des lésions dans votre corps, indubitablement… Nous savons ce que vous direz en 2025. 😞
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Sure. I got through it. I achieved 100% viability of Kadara, but I feel no sense of accomplishment whatsoever. I hate the whole planet so much I’m not sure I’ll ever be able to play this game again after this playthrough. I’m talking sick-to-the-pit-of-my-stomach and periodic-bouts-of-PTSD-rage hate. The kind of hate that ruins a game forever.
It’s not just the disgusting and vile bottom-feeding characters that dominate the landscape. It’s not just the sloppy level design and buggy missions, some of which are impossible to complete because of outstanding bugs. It’s not even the propensity of the game to cheat when the player is performing too well on #InsanityMode…
It’s the complete lack of linearity to progression and difficulty scaling—you go nowhere nowhere nowhere for the whole of Kadara, not earning any AVP or XP worth mentioning the entire time, trapped on this plateau of tedium without reward or purpose until you’ve finally suffered through the whole goddamn miserable waste of a planet, and chosen a side between either a traitor or a backstabber. It’s not even a morally ambigupus choice. The only moral choice isn’t available to the player.
In any case, I’m so glad it’s over because I never want to step foot on that stinking filth-pit ever again.
Aw shit I still have Drack’s goddamn loyalty mission to deal with. Fuck!
#MassEffectAndromeda #MassEffect #InsanityMode #SciFi #Gaming #XboxSeriesX #Xbox
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Amis de #Paris !
Aujourd'hui c'est le grand #bal de l'#AERI, et on y sera vers 17h (heure SNCF) avec le #Poulet !
Viens donc découvrir la thèse du Prof Hassan Balelo a propos de la grande question "Que faire d'un poulet lorsqu'il présente une forte propension à l’agressivité envers ses congénères ?"N'oubliez pas vos stylos, et surtout prenez vos papiers (pour prendre des notes), le poulet sera saigné car les mots filent.
Retrouvez le taezer de ce cours spectaculaire : https://tube.interhacker.space/w/kw2NuhCnjQfc8xDGBaGV2r
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Il linguaggio della guerra
Un ottimo articolo di Annamaria Manzoni su un importante argomento già trattato in passato su Veganzetta e purtroppo ancora attualissimo al giorno d’oggi: la degradazione del nemico umano per “ridurlo” a semplice Animale (ultimo gradino della nostra scala gerarchica dei senzienti) e in quanto tale poterlo perseguitare, colpire, sterminare senza remore morali. Ancora una volta la discriminazione specista degli Animali ci mostra il suo volto violento e funzionale alla nostra enorme propensione alla devastazione e al dominio, a partire proprio dallo stesso concetto distorto di Animale usato anche nei conflitti umani per insultare o degradare il nemico.
#gaza #israele #animaliguerra #specismo -
Il linguaggio della guerra
Un ottimo articolo di Annamaria Manzoni su un importante argomento già trattato in passato su Veganzetta e purtroppo ancora attualissimo al giorno d’oggi: la degradazione del nemico umano per “ridurlo” a semplice Animale (ultimo gradino della nostra scala gerarchica dei senzienti) e in quanto tale poterlo perseguitare, colpire, sterminare senza remore morali. Ancora una volta la discriminazione specista degli Animali ci mostra il suo volto violento e funzionale alla nostra enorme propensione alla devastazione e al dominio, a partire proprio dallo stesso concetto distorto di Animale usato anche nei conflitti umani per insultare o degradare il nemico.
#gaza #israele #animaliguerra #specismo -
#annonce #spectacle #prixlibre
Ce soir on est sur #Paris avec le Poulet !
De passage après une tournée bretonne, on se pose à la capitale, mais on a pas de lieu pour jouer. Si vous connaissez un lieu cool, on est chauds. Sinon go #apéro !
Si vous ne connaissez pas le #Poulet :
C'est un cours inaugural comico-rap, dans lequel le Prof Hassanbal (c'est pas chère) tentera de répondre à la question :"Que faire d'un poulet lorsqu'il présente une forte propension a l'agressivité envers ses congénères?" -
echinoids have been found in archaeological sites in southern England from Palaeolithic, Neolithic, Bronze, and Iron Ages, through Romano-British to Anglo-Saxon times, indicating that humans have long had a propensity for collecting these fossils #fossilhunting
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echinoids have been found in archaeological sites in southern England from Palaeolithic, Neolithic, Bronze, and Iron Ages, through Romano-British to Anglo-Saxon times, indicating that humans have long had a propensity for collecting these fossils #fossilhunting
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Adapt or become #fodder for
AI's algorithms, before we become extinct & too lazy tocare.AI will turn us all into robots,
if "X" has its way, inserting chips into our brain.Perhaps AI will finally bring world peace, destroying man's propensity for grandiosity, religiosity,
squelching evil & barbarity#vss365 #smallpoems #prompt #writer #writingcommunity #writing
#writingprompts #art #fediart #mastoarṭ #mastoartist -
Adapt or become #fodder for
AI's algorithms, before we become extinct & too lazy tocare.AI will turn us all into robots,
if "X" has its way, inserting chips into our brain.Perhaps AI will finally bring world peace, destroying man's propensity for grandiosity, religiosity,
squelching evil & barbarity#vss365 #smallpoems #prompt #writer #writingcommunity #writing
#writingprompts #art #fediart #mastoarṭ #mastoartist -
Adapt or become #fodder for
AI's algorithms, before we become extinct & too lazy tocare.AI will turn us all into robots,
if "X" has its way, inserting chips into our brain.Perhaps AI will finally bring world peace, destroying man's propensity for grandiosity, religiosity,
squelching evil & barbarity#vss365 #smallpoems #prompt #writer #writingcommunity #writing
#writingprompts #art #fediart #mastoarṭ #mastoartist -
Adapt or become #fodder for
AI's algorithms, before we become extinct & too lazy tocare.AI will turn us all into robots,
if "X" has its way, inserting chips into our brain.Perhaps AI will finally bring world peace, destroying man's propensity for grandiosity, religiosity,
squelching evil & barbarity#vss365 #smallpoems #prompt #writer #writingcommunity #writing
#writingprompts #art #fediart #mastoarṭ #mastoartist -
@bhahne @jensorensen Thanks for sharing, I’ve never heard it named before. We see the same phenomenon from irresponsible right-wing parties in Europe as well. Being able to refer to it by the name “Murc’s Law” is helpful!
Taken to the extreme, this propensity to blame the other side for your own bad behaviour is like the following amazing comic by Matt Bors: “Fault Right”.
https://thenib.com/fault-right/
#Fault #Right #MattBors #TheNib #Nazi #Nazism #MurcsLaw #Politics
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@bhahne @jensorensen Thanks for sharing, I’ve never heard it named before. We see the same phenomenon from irresponsible right-wing parties in Europe as well. Being able to refer to it by the name “Murc’s Law” is helpful!
Taken to the extreme, this propensity to blame the other side for your own bad behaviour is like the following amazing comic by Matt Bors: “Fault Right”.
https://thenib.com/fault-right/
#Fault #Right #MattBors #TheNib #Nazi #Nazism #MurcsLaw #Politics
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@bhahne @jensorensen Thanks for sharing, I’ve never heard it named before. We see the same phenomenon from irresponsible right-wing parties in Europe as well. Being able to refer to it by the name “Murc’s Law” is helpful!
Taken to the extreme, this propensity to blame the other side for your own bad behaviour is like the following amazing comic by Matt Bors: “Fault Right”.
https://thenib.com/fault-right/
#Fault #Right #MattBors #TheNib #Nazi #Nazism #MurcsLaw #Politics
-
@bhahne @jensorensen Thanks for sharing, I’ve never heard it named before. We see the same phenomenon from irresponsible right-wing parties in Europe as well. Being able to refer to it by the name “Murc’s Law” is helpful!
Taken to the extreme, this propensity to blame the other side for your own bad behaviour is like the following amazing comic by Matt Bors: “Fault Right”.
https://thenib.com/fault-right/
#Fault #Right #MattBors #TheNib #Nazi #Nazism #MurcsLaw #Politics
-
@bhahne @jensorensen Thanks for sharing, I’ve never heard it named before. We see the same phenomenon from irresponsible right-wing parties in Europe as well. Being able to refer to it by the name “Murc’s Law” is helpful!
Taken to the extreme, this propensity to blame the other side for your own bad behaviour is like the following amazing comic by Matt Bors: “Fault Right”.
https://thenib.com/fault-right/
#Fault #Right #MattBors #TheNib #Nazi #Nazism #MurcsLaw #Politics