Cȯsꭑọ ∴ ọꭑƨȯƆ @cosmiccitizen@schelling.pt

And so my judgment of this media project is that it's a piece of propaganda for an elite project that launders the appearance of mass participation into a celebration of institutional dominance in the year 2020. I use this term carefully -- it is the most *conservative* piece of art that I think I've ever seen. It promotes and celebrates an outright denial of the radical social eruptions that happened all around it.

As such, this piece makes me think of late Victorian or Edwardian propaganda

"We're stronger together"
"We have more in common than our differences"
"Everyone has a unique and valuable story to tell"

Fucking BULLSHIT. People went fucking NUTS in 2020. The most tempered, polite people I knew were going full-fascist in 2020, and every public space became a showdown between middle-upper class anarchists and the revolutionary vanguard of biopolitics. Service workers were worked to the fucking bone.

THERE WERE RIOTS IN THE STREETS
THERE WAS A GLOBAL PANDEMIC

And the thing that grinds my gears the most about this is that the big interactive project -- which was supposed to be a PORTRAIT of AMERICA -- was being recorded in 2020, and yet all that we got was PABLUM.

I think that future generations would really benefit from understanding what 2020 was like! I think that it's going to be really hard to explain to people in the future how we were thinking and interacting in 2020! And yet all that we get from this product is heavily curated TRIPE.

Everybody got a slice of the grift -- painters got thousands to paint Corporate Memphis murals, NGOs got thousands to host community events, educational consultants got thousands to create fake and stupid lesson plan templates -- and because it had all of the clarity and direction of a feeding frenzy, none of it contributed any vision to the ultimate product. What we got was the most bland, cathedral-flavored left-of-center pablum imaginable. "We're stronger together," etc. etc.

The whole thing was funded by a big grant from Target, and you can definitely tell because there's a bunch of shit in this project that smells strongly of American non-profit grift. Take this, for example:
https://www.amacad.org/news/pbs-project-partnership-announcement
By the time a big non-profit is paying a "big name" (big in the world of American 21st C. poetry, I guess) to do something aas useless as a "crowdsourced poem," I want you to think about a nature documentary where hundreds of hyenas feed on a single kill. Feeding frenzy

I put quotes around "national" because most everything was in NYC, naturally.

The thing that really grinds my gears about all of this is that by 2020 we all knew the problems with the Web 2.0 project that this represented:
- all of the standard critiques of reality TV and "authenticity" apply
- all the standard critiques of platforms and epistemic bubbles apply
And lo and behold, PBS paid this production company a gigaton of cash to make a bland, inoffensive, and thesis-driven piece of shit

The basic concept was that PBS would pay a production company to host a website where people would "crowdsource" template-based videos about what it means to be an American in 2020. As if people don't have other, superior platforms to share their perspectives without constraints. Then PBS paid this production company to edit together some of the garbage into some thematic episodes. And also, because this is supposed to be interactive, they half-assed some "national" events and murals.

Future generations will not be able to make sense of the way we have all memory-holed 2020. I have like three particular grievances that will never get a proper airing, and one of the most unique ones is about PBS American Portrait. It might be the thing that totally distanced me from public media in the US.

What is PBS American Portrait? It is the most 2011 project you've ever heard of -- and yet it wasn't created 2020.

Let the mirrors do the thinking.

I FUCKING LOVE PEIRCEAN BRAINROT

moving through water involves lots of counter-intuitive dynamics. Like at some level I figure that I'm gliding inside a buoyant zone just below the water, and my "propulsion" is made by reaching out and grabbing water in front of me and then shoving it below and behind me. But there's lots of little complications from this that I don't yet have a vocabulary to appreciate.

Trying to get into swimming. As a kid my parents didn't have the means so I've always struggled with it. I've had 2 weeks of pretty consistent practice. Trying to get better at the front crawl for now because that's the stroke that seems most rewarding to me.
I can usually approach exercises with some pretty intuitive attention to my form and a few simple rules-of-thumb ("move the weight on the shortest path," "use the shortest lever arm") but swimming is weird because ...

Dark, volcanic rage. Numb, disorienting catharsis.

Signed, someone who has sincerely designed multiple typefaces for an alternate alphabet for English

The best thing about getting into CS Peirce is that you start recognizing other Peirceans because we all start making batshit meta-symbols like this:

Some Samsung exec in the smartfridge division worked 100-hour weeks trying to "do something with AI" and ended up with this.

By redefining the goal of the Abraham H Parnassus Fund from "educate people in this particular place" to "hashtag resisting whatever Ingroup has targeted as Oppression," the Fund has given itself a vertiginous expansion of freedom. This, in turn, requires that the Fund must vastly expand its operations to include voluminous quarterly reviews in which all directors must regularly write their own objectives and define their own metrics -- or failing that, the Fund has to hire Metrics Consultants.

Anyway human flourishing is vastly more important than plant life and I'm gobsmacked this has become an operational problem in the dense urban cores of the developed world.