#panopticon — Public Fediverse posts

"Special mentions" for Little Elm, Houston, and Texas City police for non-criminal investigation (ab)uses of Flock. https://www.eff.org/deeplinks/2026/05/more-license-plate-reader-mission-creep-school-residency-verification-background
#deFlock #HPD #Houston #HTX #TX #Texas #LittleElm #TexasCity #Flock #Misuse #AccessAbuse #Police #Panopticon #EFF #PoliceState #SurveillanceState #ALPR #ALPRs

"Special mentions" for Little Elm, Houston, and Texas City police for non-criminal investigation (ab)uses of Flock. https://www.eff.org/deeplinks/2026/05/more-license-plate-reader-mission-creep-school-residency-verification-background
#deFlock #HPD #Houston #HTX #TX #Texas #LittleElm #TexasCity #Flock #Misuse #AccessAbuse #Police #Panopticon #EFF #PoliceState #SurveillanceState #ALPR #ALPRs

"Special mentions" for Little Elm, Houston, and Texas City police for non-criminal investigation (ab)uses of Flock. https://www.eff.org/deeplinks/2026/05/more-license-plate-reader-mission-creep-school-residency-verification-background
#deFlock #HPD #Houston #HTX #TX #Texas #LittleElm #TexasCity #Flock #Misuse #AccessAbuse #Police #Panopticon #EFF #PoliceState #SurveillanceState #ALPR #ALPRs

"Special mentions" for Little Elm, Houston, and Texas City police for non-criminal investigation (ab)uses of Flock. https://www.eff.org/deeplinks/2026/05/more-license-plate-reader-mission-creep-school-residency-verification-background
#deFlock #HPD #Houston #HTX #TX #Texas #LittleElm #TexasCity #Flock #Misuse #AccessAbuse #Police #Panopticon #EFF #PoliceState #SurveillanceState #ALPR #ALPRs

"Special mentions" for Little Elm, Houston, and Texas City police for non-criminal investigation (ab)uses of Flock. https://www.eff.org/deeplinks/2026/05/more-license-plate-reader-mission-creep-school-residency-verification-background
#deFlock #HPD #Houston #HTX #TX #Texas #LittleElm #TexasCity #Flock #Misuse #AccessAbuse #Police #Panopticon #EFF #PoliceState #SurveillanceState #ALPR #ALPRs

Today buses, tomorrow classrooms.

#Surveillance #Panopticon #ICE #BusPatrol

#FBI #FLOCK #surveillance #panopticon

"The Federal Bureau of Investigation announced plans to buy nationwide access to a network of license plate readers, saying it will award contracts to one or more vendors that can offer 'near real time' information from cameras across the US. The proposed contract is for the FBI Directorate of Intelligence.

'To evaluate and manage threats to personal safety, property, and law enforcement, the FBI requires professional service firms that can provide License Plate Readers (LPRs) for tracking subjects on roads and highways over the US and its territories,' the FBI said in a Request for Proposals (RFP) published on May 14. The FBI said the winning bidder or bidders 'must provide law enforcement and/or commercial license plate reader data provided through the Contractor’s existing platform.' The system must cover 75 percent of locations, the FBI said."

https://arstechnica.com/tech-policy/2026/05/fbi-seeks-us-wide-access-to-license-plate-cameras-wants-data-in-near-real-time/

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

I think of this song when I have to go to that #Techno #Spy #Panopticon #Supermarket. Every time.

🧑‍🎤 #ElektronikGirlEpic / #EGE / #Woolies / #OzMusic <https://youtube.com/watch?v=FeZsdP2trO0>

I think of this song when I have to go to that #Techno #Spy #Panopticon #Supermarket. Every time.

🧑‍🎤 #ElektronikGirlEpic / #EGE / #Woolies / #OzMusic <https://youtube.com/watch?v=FeZsdP2trO0>

I think of this song when I have to go to that #Techno #Spy #Panopticon #Supermarket. Every time.

🧑‍🎤 #ElektronikGirlEpic / #EGE / #Woolies / #OzMusic <https://youtube.com/watch?v=FeZsdP2trO0>

I think of this song when I have to go to that #Techno #Spy #Panopticon #Supermarket. Every time.

🧑‍🎤 #ElektronikGirlEpic / #EGE / #Woolies / #OzMusic <https://youtube.com/watch?v=FeZsdP2trO0>

I think of this song when I have to go to that #Techno #Spy #Panopticon #Supermarket. Every time.

🧑‍🎤 #ElektronikGirlEpic / #EGE / #Woolies / #OzMusic <https://youtube.com/watch?v=FeZsdP2trO0>

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

Citation for those who want to learn more:

https://techcrunch.com/2026/04/17/zoom-teams-up-with-world-to-verify-humans-in-meeting/

#Zoom #SamAltman #Biometrics #Panopticon

Exi(s)ting Without Exit in Contemporary India: “Hum Hain Ki Hum Nahin?”
https://onceinabluemoon2021.in/2026/04/25/existing-without-exit-in-contemporary-india-hum-hain-ki-hum-nahin/
#Article19UnderAttack, #Article21Betrayed, , #Section79Abuse, , #DPDPASurveillance, #Panopticon, #Archipelago, #OrwellianIndia,
#HumHainKiHumNahin, #ExistingWithoutExit, #DecentralizeResistance, #CensorshipIndia, #DigitalAuthoritarianism, #RightToDissent, #NoExitIndia, #VoiceOfDissentSilenced, #ResistOrDisappear, #DemocracyInDanger, #PeopleVsPower,

@enverdemichelis @ChieseBrutte

Sicuro che non sia il #panopticon ?

https://it.wikipedia.org/wiki/Panopticon

Today's 📷🎥 office for #DeHelling 📍 Utrecht: #Sunken + #Panopticon

Today's 📷🎥 office for #DeHelling 📍 Utrecht: #Sunken + #Panopticon

Today's 📷🎥 office for #DeHelling 📍 Utrecht: #Sunken + #Panopticon

Today's 📷🎥 office for #DeHelling 📍 Utrecht: #Sunken + #Panopticon

@Ulrich_the_elder 🎯

I had to make sure that the evidence was on the peertube, but Larry Ellison spilled the beans. They want the panopticon & the whole "gen-AI" congame was a cover for that.

https://communitymedia.video/w/bSKBRDAnpoDkFp2VD48abC

#LarryEllison #Oracle #panopticon #AI #surveillance

"When the state openly admits it wants its eyes on you at all times, how do citizens fight back? In this episode of 'In Solidarity', Matthew Linares sits down with @jim, Executive Director of the @openrightsgroup. We cut through the Silicon Valley PR to expose the terrifying reality of the modern surveillance state."

#UKPol #BigTech #Surveillance #Panopticon #Enshittification

https://www.opendemocracy.net/en/podcasts/in-solidarity-podcast/ai-panopticon-surveillance-jim-killock-open-rights/

@UlrikeHahn
> as Bluesky grows ... a company that performs sentiment analysis on social media activity about brands could easily create a whole-network index

DataFarming much? E tu, BS?

This is one of many unsavoury reasons why the ATProto network absolutely depends on a central 'firehose', designed to give any intermediary that operates a Relay a global view of the network.

The ATmosphere is a panopticon, *by design*.

(1/2)

#DataFarming #BlueSky #ATProto #panopticon

@_elena @mat

#panopticon #gambling #polymarket #gamblification

No surprise.
#acab #panopticon
https://www.theguardian.com/australia-news/2026/mar/18/nsw-police-overusing-highly-intrusive-legal-powers-to-monitor-phones-and-computers-national-watchdog-finds

Re-reading the agelesslinux.org website just makes me wonder if 501c3 organizations will move from places stupid enough to implement identity verification...

Big tech is trying so hard to please the oligarchy, by forcing identity into all things. So the #panopticon #tormentnexus can control everything in the name of protecting the children.

“He is seen, but he does not see; he is the object of information, never a subject in communication”*…

We’ve looked before at digital regimes that seem a little too close for comfort to Jeremey Bentham‘s notion of the Panopticon. Surveillance has continued to intensify. 404 Media’s Jason Koebler and Joseph Cox bring us up to speed…

It’s nearly impossible not to be watched these days. It can start right at home with your neighbors and their Ring cameras—a company that sold fear to the American public and is now integrating AI to turn entire neighborhoods into networked, automated surveillance systems. 

Head out a bit further and you’ll likely be confronted by Flock’s network of cameras that not only track license plates, but also track people’s movements with detailed precision. And as the Trump administration raids cities across the U.S. for undocumented immigrants, tech giants like Palantir are powering tools for ICE, including one called ELITE that helps the agency pick which neighborhoods to raid.

To better understand what exactly we’re looking at in this dystopian hellscape, 404 Media’s Jason Koebler and Joseph Cox joined r/technology for an AMA. 

Understandably, people are worried about violations of their privacy by companies and the government. And many wonder, is there any way to go back once we’ve released all this AI-powered, surveillance tech?…

The (lightly edited for clarity) transcript is a bracing– but critically-important– read: “From Flock to ICE, Here’s a Breakdown of How You’re Being Watched,” @jasonkoebler.mastodon.social.ap.brid.gy and @josephcox.bsky.social in @404media.co.

* “Bentham’s Panopticon [at top] is the architectural figure of this composition. We know the principle on which it was based: at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells, each of which extends the whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemned man, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery… He is seen, but he does not see; he is the object of information, never a subject in communication. – Michel Foucault, Discipline and Punish: The Birth of the Prison

###

As we feel seen, we might recall that it was on this date in 2000, that the dot.com bust effectively began. Between 1995 and its peak five days days earlier, on March 10, 2000, investments in the Nasdaq Composite stock market index rose from 1,006 to 5,048—a 400% gain fueled by the conviction that the internet would render every prior valuation framework obsolete. It did not.

On March 13, 2000, news that Japan had once again entered a recession triggered a global sell off that disproportionately affected technology stocks. Soon after, Yahoo! and eBay ended merger talks and the Nasdaq fell 2.6%; still, the S&P 500 rose 2.4% as investors shifted from strong performing technology stocks to poor performing established stocks. The market held steady on the 14th. Then, on this date 26 years ago, the broader market begin to drop… and kept dropping. By the end of the stock market downturn of 2002 (the “second chapter” in the correction that began in 2000), stocks had lost $5 trillion in market capitalization since the peak. At its trough on October 9, 2002, the NASDAQ-100 had dropped to 1,114, down 78% from its peak. It took 15 years for the Nasdaq to regain its March, 2000 peak.

source

“He is seen, but he does not see; he is the object of information, never a subject in communication”*…

We’ve looked before at digital regimes that seem a little too close for comfort to Jeremey Bentham‘s notion of the Panopticon. Surveillance has continued to intensify. 404 Media’s Jason Koebler and Joseph Cox bring us up to speed…

It’s nearly impossible not to be watched these days. It can start right at home with your neighbors and their Ring cameras—a company that sold fear to the American public and is now integrating AI to turn entire neighborhoods into networked, automated surveillance systems. 

Head out a bit further and you’ll likely be confronted by Flock’s network of cameras that not only track license plates, but also track people’s movements with detailed precision. And as the Trump administration raids cities across the U.S. for undocumented immigrants, tech giants like Palantir are powering tools for ICE, including one called ELITE that helps the agency pick which neighborhoods to raid.

To better understand what exactly we’re looking at in this dystopian hellscape, 404 Media’s Jason Koebler and Joseph Cox joined r/technology for an AMA. 

Understandably, people are worried about violations of their privacy by companies and the government. And many wonder, is there any way to go back once we’ve released all this AI-powered, surveillance tech?…

The (lightly edited for clarity) transcript is a bracing– but critically-important– read: “From Flock to ICE, Here’s a Breakdown of How You’re Being Watched,” @jasonkoebler.mastodon.social.ap.brid.gy and @josephcox.bsky.social in @404media.co.

* “Bentham’s Panopticon [at top] is the architectural figure of this composition. We know the principle on which it was based: at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells, each of which extends the whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemned man, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery… He is seen, but he does not see; he is the object of information, never a subject in communication. – Michel Foucault, Discipline and Punish: The Birth of the Prison

###

As we feel seen, we might recall that it was on this date in 2000, that the dot.com bust effectively began. Between 1995 and its peak five days earlier, on March 10, 2000, investments in the Nasdaq Composite stock market index rose from 1,006 to 5,048—a 400% gain fueled by the conviction that the internet would render every prior valuation framework obsolete. It did not.

On March 13, 2000, news that Japan had once again entered a recession triggered a global sell off that disproportionately affected technology stocks. Soon after, Yahoo! and eBay ended merger talks and the Nasdaq fell 2.6%; still, the S&P 500 rose 2.4% as investors shifted from strong performing technology stocks to poor performing established stocks. The market held steady on the 14th. Then, on this date 26 years ago, the broader market begin to drop… and kept dropping. By the end of the stock market downturn of 2002 (the “second chapter” in the correction that began in 2000), stocks had lost $5 trillion in market capitalization since the peak. At its trough on October 9, 2002, the NASDAQ-100 had dropped to 1,114, down 78% from its peak. It took 15 years for the Nasdaq to regain its March, 2000 peak.

source

“He is seen, but he does not see; he is the object of information, never a subject in communication”*…

We’ve looked before at digital regimes that seem a little too close for comfort to Jeremey Bentham‘s notion of the Panopticon. Surveillance has continued to intensify. 404 Media’s Jason Koebler and Joseph Cox bring us up to speed…

It’s nearly impossible not to be watched these days. It can start right at home with your neighbors and their Ring cameras—a company that sold fear to the American public and is now integrating AI to turn entire neighborhoods into networked, automated surveillance systems. 

Head out a bit further and you’ll likely be confronted by Flock’s network of cameras that not only track license plates, but also track people’s movements with detailed precision. And as the Trump administration raids cities across the U.S. for undocumented immigrants, tech giants like Palantir are powering tools for ICE, including one called ELITE that helps the agency pick which neighborhoods to raid.

To better understand what exactly we’re looking at in this dystopian hellscape, 404 Media’s Jason Koebler and Joseph Cox joined r/technology for an AMA. 

Understandably, people are worried about violations of their privacy by companies and the government. And many wonder, is there any way to go back once we’ve released all this AI-powered, surveillance tech?…

The (lightly edited for clarity) transcript is a bracing– but critically-important– read: “From Flock to ICE, Here’s a Breakdown of How You’re Being Watched,” @jasonkoebler.mastodon.social.ap.brid.gy and @josephcox.bsky.social in @404media.co.

* “Bentham’s Panopticon [at top] is the architectural figure of this composition. We know the principle on which it was based: at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells, each of which extends the whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemned man, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery… He is seen, but he does not see; he is the object of information, never a subject in communication. – Michel Foucault, Discipline and Punish: The Birth of the Prison

###

As we feel seen, we might recall that it was on this date in 2000, that the dot.com bust effectively began. Between 1995 and its peak five days days earlier, on March 10, 2000, investments in the Nasdaq Composite stock market index rose from 1,006 to 5,048—a 400% gain fueled by the conviction that the internet would render every prior valuation framework obsolete. It did not.

On March 13, 2000, news that Japan had once again entered a recession triggered a global sell off that disproportionately affected technology stocks. Soon after, Yahoo! and eBay ended merger talks and the Nasdaq fell 2.6%; still, the S&P 500 rose 2.4% as investors shifted from strong performing technology stocks to poor performing established stocks. The market held steady on the 14th. Then, on this date 26 years ago, the broader market begin to drop… and kept dropping. By the end of the stock market downturn of 2002 (the “second chapter” in the correction that began in 2000), stocks had lost $5 trillion in market capitalization since the peak. At its trough on October 9, 2002, the NASDAQ-100 had dropped to 1,114, down 78% from its peak. It took 15 years for the Nasdaq to regain its March, 2000 peak.

source

“He is seen, but he does not see; he is the object of information, never a subject in communication”*…

We’ve looked before at digital regimes that seem a little too close for comfort to Jeremey Bentham‘s notion of the Panopticon. Surveillance has continued to intensify. 404 Media’s Jason Koebler and Joseph Cox bring us up to speed…

It’s nearly impossible not to be watched these days. It can start right at home with your neighbors and their Ring cameras—a company that sold fear to the American public and is now integrating AI to turn entire neighborhoods into networked, automated surveillance systems. 

Head out a bit further and you’ll likely be confronted by Flock’s network of cameras that not only track license plates, but also track people’s movements with detailed precision. And as the Trump administration raids cities across the U.S. for undocumented immigrants, tech giants like Palantir are powering tools for ICE, including one called ELITE that helps the agency pick which neighborhoods to raid.

To better understand what exactly we’re looking at in this dystopian hellscape, 404 Media’s Jason Koebler and Joseph Cox joined r/technology for an AMA. 

Understandably, people are worried about violations of their privacy by companies and the government. And many wonder, is there any way to go back once we’ve released all this AI-powered, surveillance tech?…

The (lightly edited for clarity) transcript is a bracing– but critically-important– read: “From Flock to ICE, Here’s a Breakdown of How You’re Being Watched,” @jasonkoebler.mastodon.social.ap.brid.gy and @josephcox.bsky.social in @404media.co.

* “Bentham’s Panopticon [at top] is the architectural figure of this composition. We know the principle on which it was based: at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells, each of which extends the whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemned man, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery… He is seen, but he does not see; he is the object of information, never a subject in communication. – Michel Foucault, Discipline and Punish: The Birth of the Prison

###

As we feel seen, we might recall that it was on this date in 2000, that the dot.com bust effectively began. Between 1995 and its peak five days days earlier, on March 10, 2000, investments in the Nasdaq Composite stock market index rose from 1,006 to 5,048—a 400% gain fueled by the conviction that the internet would render every prior valuation framework obsolete. It did not.

On March 13, 2000, news that Japan had once again entered a recession triggered a global sell off that disproportionately affected technology stocks. Soon after, Yahoo! and eBay ended merger talks and the Nasdaq fell 2.6%; still, the S&P 500 rose 2.4% as investors shifted from strong performing technology stocks to poor performing established stocks. The market held steady on the 14th. Then, on this date 26 years ago, the broader market begin to drop… and kept dropping. By the end of the stock market downturn of 2002 (the “second chapter” in the correction that began in 2000), stocks had lost $5 trillion in market capitalization since the peak. At its trough on October 9, 2002, the NASDAQ-100 had dropped to 1,114, down 78% from its peak. It took 15 years for the Nasdaq to regain its March, 2000 peak.

source

“He is seen, but he does not see; he is the object of information, never a subject in communication”*…

We’ve looked before at digital regimes that seem a little too close for comfort to Jeremey Bentham‘s notion of the Panopticon. Surveillance has continued to intensify. 404 Media’s Jason Koebler and Joseph Cox bring us up to speed…

It’s nearly impossible not to be watched these days. It can start right at home with your neighbors and their Ring cameras—a company that sold fear to the American public and is now integrating AI to turn entire neighborhoods into networked, automated surveillance systems. 

Head out a bit further and you’ll likely be confronted by Flock’s network of cameras that not only track license plates, but also track people’s movements with detailed precision. And as the Trump administration raids cities across the U.S. for undocumented immigrants, tech giants like Palantir are powering tools for ICE, including one called ELITE that helps the agency pick which neighborhoods to raid.

To better understand what exactly we’re looking at in this dystopian hellscape, 404 Media’s Jason Koebler and Joseph Cox joined r/technology for an AMA. 

Understandably, people are worried about violations of their privacy by companies and the government. And many wonder, is there any way to go back once we’ve released all this AI-powered, surveillance tech?…

The (lightly edited for clarity) transcript is a bracing– but critically-important– read: “From Flock to ICE, Here’s a Breakdown of How You’re Being Watched,” @jasonkoebler.mastodon.social.ap.brid.gy and @josephcox.bsky.social in @404media.co.

* “Bentham’s Panopticon [at top] is the architectural figure of this composition. We know the principle on which it was based: at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells, each of which extends the whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemned man, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery… He is seen, but he does not see; he is the object of information, never a subject in communication. – Michel Foucault, Discipline and Punish: The Birth of the Prison

###

As we feel seen, we might recall that it was on this date in 2000, that the dot.com bust effectively began. Between 1995 and its peak five days earlier, on March 10, 2000, investments in the Nasdaq Composite stock market index rose from 1,006 to 5,048—a 400% gain fueled by the conviction that the internet would render every prior valuation framework obsolete. It did not.

On March 13, 2000, news that Japan had once again entered a recession triggered a global sell off that disproportionately affected technology stocks. Soon after, Yahoo! and eBay ended merger talks and the Nasdaq fell 2.6%; still, the S&P 500 rose 2.4% as investors shifted from strong performing technology stocks to poor performing established stocks. The market held steady on the 14th. Then, on this date 26 years ago, the broader market begin to drop… and kept dropping. By the end of the stock market downturn of 2002 (the “second chapter” in the correction that began in 2000), stocks had lost $5 trillion in market capitalization since the peak. At its trough on October 9, 2002, the NASDAQ-100 had dropped to 1,114, down 78% from its peak. It took 15 years for the Nasdaq to regain its March, 2000 peak.

source

Folks,
More buttons arrived. Sadly, inspired by recent news. Created in hope to unite us by our values.

Comes in black and dark red. Gif options available :blobcatreach:

AND: Can anyone give me a feedback on Alt texts? I'm not sure I'm doing it right and I'd like to fix it now while there isn't much content to fix :blobcatcoffee: no bots are allowed to comment (pls, ffs)

https://backyardtinker.bearblog.dev/cataminated/

#Button #Badge #IndieWeb #SmallWeb #NoSurveillance #Panopticon #AgeVerification #PixelArt

Human beings are very creative about how they create a surveillance state.
#panopticon #foucault #surveillance #police #state #sociology #anthropology #writer

https://survivorliteracy.com/2026/03/04/35-the-panopticon-4/

CNN: "....The cameras were only one part of a much more complex system, some of whose details were first reported by The Financial Times, that allowed Israel to build one what one Israeli source familiar with the matter called an AI-powered “target production machine” capable of processing massive amounts of data. ..."

#ai #panopticon #war #iran #bigbrother

https://www.theguardian.com/commentisfree/2026/mar/02/ban-children-social-media-biometic-data-surveilled

#socialmediaban
#privacy #panopticon

I ask Claude how Michel Foucault might consider the parable of the 2 valleys.

👉 https://philosophics.blog/2026/02/26/comrade-claude-7-foucault/?utm_source=masto&utm_medium=social

I also realise that I lose at least an hour a day just managing my blog posts and social media, as I'd regained that time recently due to spotty internet connectivity owing to a snowstorm in New England.

#philosophy #psychology #Foucault #power #politics #parable #ai #claudeai #blog #podcast #institutions #selfregulation #metaphor #panopticon #truth #society #language #freedom #change

Panopticon by Miles Johnston

#illustration#art #bnw #panopticon #portrait #profile #MilesJohnston #Johnston

Panopticon by Miles Johnston

#illustration#art #bnw #panopticon #portrait #profile #MilesJohnston #Johnston

Panopticon by Miles Johnston

#illustration#art #bnw #panopticon #portrait #profile #MilesJohnston #Johnston

Panopticon by Miles Johnston

#illustration#art #bnw #panopticon #portrait #profile #MilesJohnston #Johnston

Discord cuts ties with Peter Thiel-backed verification software after its code was found tied to US surveillance efforts

https://fedia.io/m/[email protected]rld/t/3500598