i'm on the computer

 Just finished: One Day, Everyone Will Have Always Been Against This by Omar El Akkad. I don't know what else to say about this scathing, perfect little book beyond that I wish I could make everyone in so-called Western civilization sit down in a chair with their eyes forced open, Clockwork Orange-style, until they'd read it. Until they make this atrocity fucking stop. It's one impassioned cry in the midst of genocide but it's a very powerful cry.

The Dragonfly Gambit, A.D. Sui. I have mixed feelings about this novella, which is a military sci-fi about a pilot, sidelined after a career-ending injury, who plots an elaborate revenge against the empire that blew up her planet. I first encountered the author at the same event where I first encountered Suzan Palumbo, and this could be a paired reading with her book Countess, only I read Countess first and preferred it. Which is not to say that this book isn't good, because it really is, but it's a bit inevitable to compare two anti-colonialist lesbian revenge fantasy space operas that end in tragedy that came out the same year, y'know?

My main criticism is that it suffers from the same issue that a lot of space opera suffers from, which is that there's a big universe and a limited cast of characters, doing all the things. The genre wants scrappy underdogs with interpersonal drama, but it also wants its protagonists in positions of power, which you can do in longer-form work but is challenging in a first-person novella. The Third Daughter is very hands-on, and it's implied that Mother is as well, but at least the former is ludicrously incompetent for someone running a massive empire. Which is to say that if you've blown up someone's planet, you probably shouldn't promote three young people, all of whom are childhood friends, from that planet into critical military positions. Especially if you're going to fuck at least two of them.

That said, I like the romance in this one more, if you can call it a romance; it's wonderfully toxic. And the ending is a gutpunch.

Currently reading: Undrowned: Black Feminist Lessons From Marine Mammals by Alexis Pauline Gumbs. This continues to be excellent. One thing that I think is really cool about it, among the many things that are cool about it, is that she's decided to capitalize the word Black in all instances, not just where it applies to humans. Which has the intended effect of anthropomorphizing the creatures she writes about in a way that identifies them as the racialized Other, and thus part of the struggle for liberation. Look, this is poetry about marine biology, I'm going to basically love everything about it.

Lost Arc Dreaming by Suyi Davies Okungbowa. I just started this one last night but we have a future Lagos that is mostly underwater, save for five skyscrapers. Which is a cool enough concept that I'll overlook that the book starts with both a dream sequence and the main character dressing for work. I'm into the worldbuilding so far.

By no one's request, I have downloaded Law & Order Toronto: Criminal Intent season 2 so that I can watch it so you don't have to.

This one is bad. Like, I normally like my trash TV but it's possible for a pop culture product to be actively harmful and the season opener, "White Squirrel City," is definitely that. It's also an incredible microcosm of our cultural moment.

Which is to say, a few years ago the cops cleared a tent encampment at Bickford Park. Residents were violently displaced, their possessions confiscated, and either forced to go elsewhere, minus their belongings, or shoved into insufficient temporary shelter. This is a major cause of death for homeless people.* Then, to film the copaganda show, they set up a fake tent encampment in the same place where the city had evicted real ones.

So it's one of those situations where even if it had been Great Art, the price of creation would have been outweighed by the moral violation. That said, it's also bad art.

Here is an article from the excellent Grind magazine about all of the things wrong in this episode. The author says it better than I could, and also points out its most egregious flaws, leaving me to nitpick and mock the minor ones.


( spoilers )

 Podcast Friday Saturday. Whoops, no one told me that yesterday was Friday. I should have known based on it being called "Good Friday" and the previous day having been Thursday, but to be quite honest I am very tired.

Anyway. This week's podcast that you simply must listen to is the season finale of AURORA AWARD-NOMINATED PODCAST Wizards & Spaceships "AI and Transhumanism ft. Robert J. Sawyer." The renowned sci-fi author talks about the existential threats posed by GenAI and the deep rot and grift at its core. 

As you know, Bob, I have strong, spicy, and controversial opinions on this topic and in particular on why, even though no one asked for this, even though GenAI is not a profitable business for anyone and is threatening to tank the global economy when its speculation bubble bursts, it is still being rammed down our throats. While there are more obvious and immediate threats—the genocide in Gaza, the mass deportations of immigrants and citizens and persecution of trans people in the former US—GenAI to me is a microcosm of the lie at the heart of the liberal democratic order. It improves no one's lives and adds nothing good to the world and yet we are all being forced to believe that it is inevitable. Sawyer's righteous rant is the counterbalance to that narrative that you need right now.

P.S. does anyone want more art history posts from me? I mean you're getting them regardless, but I'm curious to know.

God help me I'm going to hold forth on art history again. This is mainly instigated by a friend elsewhere, who challenged my statement that the aesthetics of AI are inherently fascist. I respect his challenge, and I want to respond with something other than "vibes" so I'm going to go off half-cocked and attempt to draw an historical parallel with the OG fascist movement.

I know more a little more than a normal amount about Italian art. I would argue that it peaked not in the Renaissance but in the Baroque era (source: vibes), but Italian artists have been chasing that high ever since, as has every other artist in the Western world. You can't really blame them.





Don't get me wrong, I stan my gay king Michelangelo. But I find Gentileschi a far more interesting artist. Sue me.

( more about art )

So what does this have to do with AI and why I think, based on my vibes, that AI is fascist? It goes back to the pattern I suggested in both Italian Futurism and Russian Constructivism. An avant-garde art movement meets a nascent political movement, the former gleefully attaches to the latter, only to be betrayed when the latter comes to power in favour of more conservative aesthetics. 

And this is what I witness happening in the visual iconography of modern-day fascism. Let's take a trip down the rabbit hole to, say, 2014-2016. What's the ascendent visual style of the alt-right? It's janky, ugly-on-purpose, constructed with the most basic tools available, edgy and debauched. It's creative—evil, yes, but it's doing something different and exciting, so much so that it escapes containment. In 2025, what is the visual style of fascism? Slick, corporate, but unnerving. Too perfect in that Uncanny Valley way. More beholden to Thomas Kinkade than to Matt Furie. It feels off, because its proponents want the symbolism of power without a particular deep interest in the structure and the foundations of the aesthetic. An arcade of Roman columns that, when you turn sideways, is nothing more than a Western movie film set facade, all plywood that whole time. 

Fascists are simple creatures; they want art that they can understand, none of that high-falutin' Jew degenerate modernist stuff. The problem is that artists, left alive long enough, will tend to change and innovate. They'll fall in love with the art of other cultures. They'll create community. Fascists want art without artists; art that doesn't show the brushstrokes or enable bohemian lifestyles, art that is frictionless and vapid. It's fitting to me that one of the plagiarism machines is called DALL-E because Dalí would have genuinely approved. Mussolini would have wet his pants over AI's potential, at once forward-looking and reactionary, relying on regression to the mean in all things. 

Just like the Futurists of yore, the unruly and radical propagandists of 4chan have been abandoned by the same forces they put in power. Their innovation is no longer necessary. They're not even worth subjecting to the Night of the Long Knives.

The ugliness of this aesthetic doesn't even breach the top three reasons to always oppose AI, obviously. That's the environmental holocaust that it unleashes, the use of the technology to target apartment buildings in Gaza or immigrants in the former USA, the mass unemployment it threatens to unleash, and the wholesale theft of creative work. But it's also ugly in the way that the art of totalitarian regimes tends towards ugliness, bereft of a culture of experimentation that makes for great art. And that's why I think it's fascist rather than simply boring.