#tragedyofthecommons — Public Fediverse posts

@evawolfangel Durch die minimalen Kosten, ein Plagiat zu erstellen, sinkt leider auch der Marktwert originärer Arbeit. Und weil Plagiat und Original auf den ersten, zweiten und dritten Blick oft nicht zu unterscheiden sind, ist es nicht möglich, den höheren gesellschaftlichen Nutzen echter journalistischer Arbeit wertzuschätzen. Journalismus kann künftig nur noch funktionieren, wenn offengelegt wird, ob und wie #KI eingesetzt wird, und das nicht nur beim Schreiben der Texte. #TragedyOfTheCommons

@evawolfangel Durch die minimalen Kosten, ein Plagiat zu erstellen, sinkt leider auch der Marktwert originärer Arbeit. Und weil Plagiat und Original auf den ersten, zweiten und dritten Blick oft nicht zu unterscheiden sind, ist es nicht möglich, den höheren gesellschaftlichen Nutzen echter journalistischer Arbeit wertzuschätzen. Journalismus kann künftig nur noch funktionieren, wenn offengelegt wird, ob und wie #KI eingesetzt wird, und das nicht nur beim Schreiben der Texte. #TragedyOfTheCommons

Honestly, what do we do about scholars who announce the publication of their recent paper on email lists?

These spammers drive me crazy and I consider it as a digital version of the #TragedyOfTheCommons

Honestly, what do we do about scholars who announce the publication of their recent paper on email lists?

These spammers drive me crazy and I consider it as a digital version of the #TragedyOfTheCommons

RE: https://mastodon.social/@pafurijaz/115991659475358114

Digital #TragedyOfTheCommons

Ist Kollektiveigentum zum Scheitern verurteilt? - Stimmt es, dass ...? | ARTE

https://www.arte.tv/de/videos/123890-004-A/ist-kollektiveigentum-zum-scheitern-verurteilt/

"Der verbreitete Gedanke, dass Kollektiveigentum zum Scheitern verurteilt ist, hat sich fest in den Köpfen der Menschen verankert. Aber stimmt das überhaupt?"

#Eigentum vs #Commons / #Gemeingüter / #Allmende & #TragikDerAllmende / #TragedyOfTheCommons vs #GoverningTheCommons nach
#ElinorOstrom (erste Frau die 2009 den Alfred-Nobel-Gedächtnispreis für Wirtschaftswissenschaften erhielt)

Ist Kollektiveigentum zum Scheitern verurteilt? - Stimmt es, dass ...? | ARTE

https://www.arte.tv/de/videos/123890-004-A/ist-kollektiveigentum-zum-scheitern-verurteilt/

"Der verbreitete Gedanke, dass Kollektiveigentum zum Scheitern verurteilt ist, hat sich fest in den Köpfen der Menschen verankert. Aber stimmt das überhaupt?"

#Eigentum vs #Commons / #Gemeingüter / #Allmende & #TragikDerAllmende / #TragedyOfTheCommons vs #GoverningTheCommons nach
#ElinorOstrom (erste Frau die 2009 den Alfred-Nobel-Gedächtnispreis für Wirtschaftswissenschaften erhielt)

That haunting moment when you discover a cartoon was drawn by AI… and not a mustachioed illustrator named Greg using a Wacom tablet in a cabin in Vermont. Someday we’ll heal. 😔 #AIart #TragedyOfTheCommons

"So, instead of having a place where a lot of questions have been collectively answered satisfactorily, indexed, archived, and catalogued, we are choosing the method of individually asking the same questions over and over again. ... All the tokens, and energy, and GPUs, and training data, and models, are doing the same work twice. Or thrice. Or a billion times. "

#Technology #Internet #LLM #AI #StackOverflow #Community #TragedyOfTheCommons

https://crankysec.com/blog/the-commons/

We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.

And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!

Kenstrosity’s Fresh(ish) Finds

Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]

The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.

Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]

Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!

Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]

Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.

Thus Spoke’s Likeable Leftovers

Besna // Krásno [January 16th, 2025 – Self Release]

It was the esteemed Doom et Al who first made me aware of Slovakia’s post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage’s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.

Tyme’s Ticking Bomb

Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]

Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.

Iceberg’s Bleak Bygones

Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]

My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.

GardensTale’s Tab of Acid

I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]

When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!

Dear Hollow’s Gunk Behooval

Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]

Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.

Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]

Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.

Steel Druhm’s Detestible Digestibles

Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]

Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.

We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.

And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!

Kenstrosity’s Fresh(ish) Finds

Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]

The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.

Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]

Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!

Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]

Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.

Thus Spoke’s Likeable Leftovers

Besna // Krásno [January 16th, 2025 – Self Release]

It was the esteemed Doom et Al who first made me aware of Slovakia’s post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage’s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.

Tyme’s Ticking Bomb

Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]

Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.

Iceberg’s Bleak Bygones

Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]

My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.

GardensTale’s Tab of Acid

I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]

When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!

Dear Hollow’s Gunk Behooval

Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]

Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.

Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]

Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.

Steel Druhm’s Detestible Digestibles

Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]

Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.

The premise of The High Cost of Free #Parking, Shoup’s 800-page magnum opus, is as simple as it is provocative: car parking is nearly always too cheap.

Estimates vary, but each additional parking space adds as much as $20,000, $50,000, or $80,000 to the cost of a project, based on whether it involves a surface lot, above-ground garage, or below-ground garage, respectively.

Donald #Shoup
#Shoupista
#Tragedyofthecommons
https://www.worksinprogress.news/p/the-prophet-of-parking?mc_cid=191e61c0ba&mc_eid=a76d1ec1dd

The premise of The High Cost of Free #Parking, Shoup’s 800-page magnum opus, is as simple as it is provocative: car parking is nearly always too cheap.

Estimates vary, but each additional parking space adds as much as $20,000, $50,000, or $80,000 to the cost of a project, based on whether it involves a surface lot, above-ground garage, or below-ground garage, respectively.

Donald #Shoup
#Shoupista
#Tragedyofthecommons
https://www.worksinprogress.news/p/the-prophet-of-parking?mc_cid=191e61c0ba&mc_eid=a76d1ec1dd

The #TragedyOfTheCommons as portrayed by the 10 foot wide #BikeLane and the 15 foot leash... 🤔🤬🤩

How Will We Solve The World’s Water Wars?; An Ancient Spanish Court Offers One Answer
--
https://www.theguardian.com/commentisfree/article/2024/jul/26/water-war-world-spain-crisis-los-angeles-cairo-valencia <-- shared media article
--
#water #hydrology #waterresources #watermanagement #tragedyofthecommons #Valencia #Spain #TribunaldelesAigües #TribunalofWaters #climatechange #drought #watercourt #court #justice #aquacide #farming #agriculture #urban #watercrisis #watershortage #waterconflict #irrigation #waterschappen #subak #canal

How Will We Solve The World’s Water Wars?; An Ancient Spanish Court Offers One Answer
--
https://www.theguardian.com/commentisfree/article/2024/jul/26/water-war-world-spain-crisis-los-angeles-cairo-valencia <-- shared media article
--
#water #hydrology #waterresources #watermanagement #tragedyofthecommons #Valencia #Spain #TribunaldelesAigües #TribunalofWaters #climatechange #drought #watercourt #court #justice #aquacide #farming #agriculture #urban #watercrisis #watershortage #waterconflict #irrigation #waterschappen #subak #canal

@freeopensource @studi0

<!-- written in "i" like italic irony -->

#tragedyOfTheCommons

While installing #freeCAD on this #ubuntuStudio LTE setup I realized again that the result of the commons are really tragic. After downloading and installing that #freeopensource program from the repo in a glimps of an eye, opening it for a first time my mind was confronted with a simple first page without popups, advertisement of more addons to buy or little dogs that jump around whipping with their tail.

I have to admit, I'm confused, my tictoc trained mind that can't concentrate for more than 45 seconds anymore has no clue what to do and went into kernel panic mode.

help!

#alt4you GIF of a guy looking quite confused.
#justsayin

#studi0

@freeopensource @studi0

<!-- written in "i" like italic irony -->

#tragedyOfTheCommons

While installing #freeCAD on this #ubuntuStudio LTE setup I realized again that the result of the commons are really tragic. After downloading and installing that #freeopensource program from the repo in a glimps of an eye, opening it for a first time my mind was confronted with a simple first page without popups, advertisement of more addons to buy or little dogs that jump around whipping with their tail.

I have to admit, I'm confused, my tictoc trained mind that can't concentrate for more than 45 seconds anymore has no clue what to do and went into kernel panic mode.

help!

#alt4you GIF of a guy looking quite confused.
#justsayin

#studi0

Sunday Paper - Analytical Democratic Theory

Ostromizing democracy (04 May 2023): Cory Doctorow's post explores the concept of "Ostromizing" democracy, highlighting criticisms from self-described "libertarian elitists" who argue that democracy is inherently flawed and propose alternatives such as market-based governance or limiting voting rights based on economic knowledge. Doctorow critiques these views and promotes Analytical Democratic Theory as a systematic study of effective collective decision-making. He contrasts this with [...]

https://islandinthenet.com/?p=113055

Ostromizing democracy (04 May 2023): Author Cory Doctorow's (@pluralistic) post explores the concept of "Ostromizing" democracy, highlighting criticisms from self-described "libertarian elitists" who argue that democracy is inherently flawed and propose alternatives such as market-based governance or limiting voting rights based on economic knowledge. Doctorow critiques these views and promotes Analytical Democratic Theory as a systematic study of effective collective decision-making. He contrasts this with flawed ideologies like the "Tragedy of the Commons" and highlights the importance of evidence-based analysis in political science and governance.

The last years of your life suck: In his post public lands advocate and travel quest junkie Scott Jones (@rscottjones) highlights the potential challenges and realities of aging, emphasizing the importance of planning for the later stages of life. But not in the way you would expect. He discusses how retirement may not always live up to expectations and cautions against deferring experiences and goals for a future that may not be as enjoyable. Scott stresses the need to prioritize experiences and accomplishments earlier in life, recognizing that the quality of life in older age may not be as idealized. He advises against excessive focus on material possessions and urges individuals to plan for adequate care and resources while also maximizing meaningful experiences throughout their lives. Dang! I am twenty years too late!

On Writing on Web: Software developer, Amit Gawande (@amit) reflects on the current state of online writing, noting an imbalance between writers and readers, with many posts going unnoticed in the vast digital landscape. I have reflected on this issue as well, and just like Amit, I observe a lack of meaningful engagement and appreciation for quality content amid the proliferation of writers and platforms. Amit raises doubts about the purpose and impact of writing publicly in a crowded online environment where genuine connections and organic discovery seem increasingly challenging.

https://islandinthenet.com/sunday-paper-analytical-democratic-theory/

#AmericanDemocracy #AmitGawande #AnalyticalDemocraticTheory #CoryDoctorow #ElinorOstrom #RetirementPlanning #ScottJones #TragedyOfTheCommons #Writing

Why humanity continously fails to address climate change, from a game theory perspective.

Source: https://mdpi-res.com/d_attachment/sustainability/sustainability-04-01776/article_deploy/sustainability-04-01776.pdf?version=1424776899

#ClimateChange #ClimateCrisis #TragedyOfTheCommons #ElinorOstrom #GameTheory

Why humanity continously fails to address climate change, from a game theory perspective.

Source: https://mdpi-res.com/d_attachment/sustainability/sustainability-04-01776/article_deploy/sustainability-04-01776.pdf?version=1424776899

#ClimateChange #ClimateCrisis #TragedyOfTheCommons #ElinorOstrom #GameTheory

@mbbroberg the #TragedyOfTheCommons was what @daedalus discussed in his excellent newsletter #thecrux. He describes that "The work of Ostrum and her peers shows that there are plenty of examples of people successfully managing common-pool resources without it inevitably becoming a tragedy."

@mbbroberg the #TragedyOfTheCommons was what @daedalus discussed in his excellent newsletter #thecrux. He describes that "The work of Ostrum and her peers shows that there are plenty of examples of people successfully managing common-pool resources without it inevitably becoming a tragedy."

〝Once again we find ourselves enacting a tragedy of the commons: short-term economic self-interest encourages using cheap A.I. content to maximize clicks and views, which in turn pollutes our culture and even weakens our grasp on reality.〞
https://www.nytimes.com/2024/03/29/opinion/ai-internet-x-youtube.html

#AI #genAI #socialMedia #platforms #content #media #tragedyOfTheCommons #regulation

〝Once again we find ourselves enacting a tragedy of the commons: short-term economic self-interest encourages using cheap A.I. content to maximize clicks and views, which in turn pollutes our culture and even weakens our grasp on reality.〞
https://www.nytimes.com/2024/03/29/opinion/ai-internet-x-youtube.html

#AI #genAI #socialMedia #platforms #content #media #tragedyOfTheCommons #regulation

Here we go. S1E1!

Chad Whitacre is head of open source at Sentry, an application and performance monitoring software maker that moved to a business source license for its products in 2019, and then to a functional source license in November 2023. In this episode, he discusses the #tragedyofthecommons vs #enclosure, open source vs open products, #BSL vs #FSL and the story of "The #Codecov kerfuffle." #OSS #softwarecommons #opensource #opensourcesustainability #podcast

https://itopsquery.podbean.com/e/chad-whitacre-sentry/

Here we go. S1E1!

Chad Whitacre is head of open source at Sentry, an application and performance monitoring software maker that moved to a business source license for its products in 2019, and then to a functional source license in November 2023. In this episode, he discusses the #tragedyofthecommons vs #enclosure, open source vs open products, #BSL vs #FSL and the story of "The #Codecov kerfuffle." #OSS #softwarecommons #opensource #opensourcesustainability #podcast

https://itopsquery.podbean.com/e/chad-whitacre-sentry/

Musk telling advertisers they could F* themselves if they didn't want to advertise on X was interesting. As Twitter falls, the Fediverse will expand more quickly.

There are a lot of questions:

* Will we get all the negative activity as well?
* Is moderation going to become much harder?
* Will things become more bifurcated, as more instances have reasons to block another instance?
* What are the things we can do to keep the Fediverse from become a meme stream, filled with hate and lies?
* Most importantly, how do we accomplish those things without treading on free speech?

Those are some of the questions that spurred us to speed up our Fediverse plans.

#fediverse #future #freespeech #liberty #tragedyofthecommons #twitter

The Problem with SUVs: they kill pedestrians more easily https://youtu.be/nYyutqP48ok #tragedyofthecommons

#ElinorOstrom's 8 Principles for Managing A Commmons | On the Commons

Turns out that the #TragedyOfTheCommons was just a wankfest by a racist, dreaming how he'd fuck over everyone else. Actual commons, as researched in #NobelPrize winning work by Dr. Ostrom, work as we thought they used to in the UK before the assholes brought in #Enclosure

https://www.onthecommons.org/magazine/elinor-ostroms-8-principles-managing-commmons/

#ElinorOstrom's 8 Principles for Managing A Commmons | On the Commons

Turns out that the #TragedyOfTheCommons was just a wankfest by a racist, dreaming how he'd fuck over everyone else. Actual commons, as researched in #NobelPrize winning work by Dr. Ostrom, work as we thought they used to in the UK before the assholes brought in #Enclosure

https://www.onthecommons.org/magazine/elinor-ostroms-8-principles-managing-commmons/

#patentesfarmacéuticas #tragedyofthecommons https://pluralistic.net/2023/10/19/solid-tumors/#t-cell-receptors Doctorow lo vuelve a hacer. Imprescindible

Back to Green Party conference, and a fringe session "Our shared commons - from land to sea", with guest speakers naturalist Nadia Shaikh and economist Guy Standing.

An important point made by Standing is that the very idea of a 'tragedy of the commons' is an ahistorical nonsense.

#GreenParty #GPC23 #NadiaSheikh #GuyStanding #Commons #TragedyOfTheCommons

The Tragedy of the Tragedy of the Commons
The man who wrote one of environmentalism’s most-cited essays was a racist, eugenicist, nativist and Islamaphobe—plus his argument was wrong

https://blogs.scientificamerican.com/voices/the-tragedy-of-the-tragedy-of-the-commons/

#TragedyOfTheCommons #Eugenics #Commons #Economics #Environment

The Tragedy of the Tragedy of the Commons
The man who wrote one of environmentalism’s most-cited essays was a racist, eugenicist, nativist and Islamaphobe—plus his argument was wrong

https://blogs.scientificamerican.com/voices/the-tragedy-of-the-tragedy-of-the-commons/

#TragedyOfTheCommons #Eugenics #Commons #Economics #Environment

The argument that small jurisdictions shouldn't enact expensive measures to combat climate change because their contributions to the global pollution load are so small they'll have little to no effect, has just been struck a blow by a court in Montana. I wrote about what that means for the #TragedyOfTheCommons, especially as it relates to #ClimateChange, the #environment, and #Canada

https://open.substack.com/pub/inksmudge/p/a-victory-for-the-fight-against-climate?r=1r23uw&utm_campaign=post&utm_medium=web

The argument that small contributions to the global atmospheric carbon load is not sufficient to affect the trajectory of climate change was shot down in Montana last week. In her ruling, Judge Seeley said, “Each additional ton of [greenhouse gas] emitted into the atmosphere exacerbates the impact on climate.”

Here's my take on the ruling.

#ClimateChange #Environment #TragedyOfTheCommons

https://open.substack.com/pub/inksmudge/p/a-victory-for-the-fight-against-climate?r=1r23uw&utm_campaign=post&utm_medium=web

#AI #GenerativeAI #AISafety #Commons #TragedyOfTheCommons: "The commons here is society’s capacity to absorb the impacts of AI without tipping into disaster. Any one company can argue that it would be pointless to limit how much or how fast they deploy increasingly advanced AI — if OpenAI doesn’t do it, it’ll just be Google or Baidu, the argument goes — but if every company acts like that, the societal result could be tragedy.

“Tragedy” sounds bad, but framing AI as a tragedy of the commons should actually make you feel optimistic, because researchers have already found solutions to this type of problem. In fact, political scientist Elinor Ostrom won a Nobel Prize in Economics in 2009 for doing exactly that. So let’s dig into her work and see how it can help us think about AI in a more solutions-focused way."

https://www.vox.com/future-perfect/2023/7/7/23787011/ai-arms-race-tragedy-commons-risk-safety