2020 Vision (What Will You Wear To The New Civil War?)

image by Chad Essley

2020 Vision (What Will You Wear To The New Civil War?)

Lyrics written in 2020 by R.U. Sirius
Images by Chad Essley
1 actual recorded song and video by Phr!endz

 

Inscribed

I stole my aphorisms from a young girl named Tristan Tzara
I minored in comedy but I majored in horror
I reached my 100th year when I was 27
I was inscribed inside with a little hint of heaven

And I’m writing this prescription
From an anarchist jurisdiction
Which is just a slimy fantasy
Or wistful wisdom let it be

 

Idiocracy (The Documentary)

And the idiots rose up against The Farrow and cried
Tore off their masks and roared “Let my people die!”
And the Orange Messiah passed out pills and bleach
And everyone agreed “great again” was within reach

And they came with their guns
And even some with hair buns
And all the Karens and Jaspers
Were cheering from the rafters
And some nebbishy patricians
Were signing their petitions
To please their voter base
By appealing to their race

And as they caught and spread infection
Orange Messiah fucked with the election
And called the idiots to insurrection
Promised free Cheetos and police protection

And so the virus spread and spread
Until there were millions dead
And all the supply chains collapsed in dread
And couldn’t get the people fed
And that was just the early crisis
Idiocracy spread just like the virus
To every corner of the earth
And every nation sputtered and lurched

And the idiots rose up against the Farrow and cried
Tore off their masks and roared “Let my people die!”
And the Orange Messiah passed out pills and bleach
And everyone agreed “great again” was within reach

So kiss farewell to the well-mannered plutocracy
And wave hello to the global Idiocracy

Illusions Of Agency

The great society
The ideology
Culture theory
Timothy Leary

Plant a tree
Subversives on TV
Digital means free
Let’s try alchemy

R.U. Sirius
Act imperious
New edge freaks
All power to the geeks

Illusions of agency
Illusions of agency
Illusions of agency
Illusions of agency

The DNC
Crypto-anarchy
Spread a creed
Propaganda by deed

Wild schemes
My magazines
Guillotines
Control of the means

Hillary and Bill
The Triumph of the Will
A perfect peace pill
Mad skills

Illusions of agency
Illusions of agency
Illusions of agency
Illusions of agency

Spread a trope
Audacity of hope
Say nope to that joke
Demand better dope

Susan Sarandon
Charlie Manson
Hair of Samson
Dear Leader is handsome

Pontificator
Angry instigator
Be a player
Run for mayor

Illusions of agency
Illusions of agency
Illusions of agency
Illusions of agency

Transhumanism
Ideological schisms
Elon’s cybertruck
The belief in luck

Joseph Stalin
Marty Balin
Volunteers
Rock careers

Patty Hearst
Voodou curse
America first
Melania’s purse

Illusions of agency
Illusions of agency
Illusions of agency
Illusions of agency

Stay the course
Find the source
Use force
Express remorse

Bio-engineer
Manipulate through fear
Point and jeer
Let me steer

Blank Panther Party

The universe is made of Crayola
I lost the ‘70s thanks to payola
I was a member of the Blank Panther Party
Ripped on coke and Bacardi

I learned to multiplex before I could add
I was a murderess before I was sad
My micro-mini is way below my knees
I ain’t no goddamn tease

I hit the racetrack I was loaded with cash
Was feeling guilty and a wee bit rash
Bet all my fortune on a system crash
And now I’ve gotta dash

He couldn’t love him with his broken staff
Though he was clever and so good for a laugh
And now he’s telling me he’s learning a craft
He must be fuckin’ daft

 

Live Free Or Dye Your Hair Blue

(every other line is verse/chorus i.e. call/response, etc.)

What will you wear to the new civil war?
Live free or dye your hair blue
Who’s gonna be your new Tipper Gore?
Live free or dye your hair blue
Did you beat the militias to the gun store?
Live free or dye your hair blue
What will you wear to the new civil war?
Live free or dye your hair blue

Will it be televised virtual or raw?
What will you wear to the new civil war?
Will it be tearful fearful and more?
What will you wear to the new civil war?
They’ve got the bullets we’ve got the teens
What will you wear to the new civil war?
Scare ‘em up with pictures of guillotines
What will you wear to the new civil war?

His name’s Erik Prince and he’s not funky
Live free or dye your hair blue
Should we wear grunge or a wee bit punky?
Live free or dye your hair blue
Frilly shirts & scarves like those elegant junkies? (distant voice shouting … “it’s only rock and roll”)
Live free or dye your hair blue
What will you wear to the new civil war?
Live free or dye your hair blue

 

Mean Tweets

Meme Streets
Mean tweets
Viral life
Virtual strife

Stuck in time
Such a bind
Sick and tired
Upload my mind

Meme Streets
Mean tweets
Bored teens
On screens

No touch
Thanks much
Tik Tok
Is my crutch

Meme Streets
Mean tweets
Scorcese’s
Goin’ crazy

Mean trolls
Meme scolds
Disembodied
Assholes

Meme Streets
Mean tweets
Viral life
Virtual strife

Stuck in time
Such a bind
Sick and tired
Upload my mind

 

Deleuze Guattari Gnash & Jung

Deleuze Guattari Gnash & Jung
They weren’t having too much fun
Til Dylan came along in a big-ass truck
Sayin’’ “Hey who really gives a fuck?”

They all piled in pointing at him
Taking narcotics and drinking gin
Bob asked “who here plays guitar
Who else here is a fuckin’ star?
& if you don’t like blues harmonica
Get the fuck out my car”

Well they had to think of something
Deleuze started humming
Then Jung started dreamin’
And Gnash started schemin’

Bob said “that’ll have to do”
Guattari said “I ain’t no fool
Let’s cruise drunken through the burbs
Pretend that we’re the angry birds”

They saw the white men cooking chicken
That is when the plot did thicken
While Deleuze and Guattari screamed like birds
Dylan didn’t say a fuckin’ word

Soon the neighbors with their guns
Cried “go elsewhere with all your fun
We like Bob Dylan and we like puns
But we have no truck with Carl Jung”

And just to make them stay away
Said “Last week we fucked up Dr. Dre
And if you wanna see the dawn
Hey hey you you get offa my lawn”

(rept many times)
They said “hey hey you you get offa my lawn

 

Our Cruel Father Who Art Beheaded

Our cruel father who art beheaded
Shallow be thy almost long tail
Thy ghosts are feted no statues erected
& all the tasty treatises are pungent stale
You took a wish upon a star
Even your golf game was subpar
And there’s no remorse just one less source
Of crumblin’’ dice & slammed shut doors

Our cruel father
Lost his head
Who will bake
All the children bread
Who will run
The important biznesses
Who will count
All the lesser sicknesses

Our cruel father who art beheaded
Swallowed much too much for one man
Took his sadness to the blood bank
Now there’s nothing much left to brand
With all the sins the eater consumes
All the letting a million lilacs bloom
All the fantasies dreamed by the TV
All the tricks that say can you see

Our cruel father
Lost his head
Who will bake
All the children bread
Who will run
The important biznesses
Who will count
All the lesser sicknesses

 

Failed State

You made it great (again)
Failed state
Lots of hate
President Jape

It’s been a long time comin’
It’s been a long strange bummin’
All those sad cats lamely strummin’
And the stunners who were stunning
And the millions killed by our wars
And the millions locked behind bars
And all the really cherry cars
And we had all the movie stars
And Kesey with his funny bus
And all the factories shut & rusting
And H. Rap Brown who didn’t lie
Said violence is American as Apple pie
And Siddartha says it’s suffer then die
And all the sacred cows on the frier
And maybe you should just take a flyer
At what might motivate the buyer
All the chickens comin’ home to roost
And their favorite actor John Wilkes Booth
And the old ones acting so uncouth
Dignity today belongs to the youth

You made it great (again)
Failed state
Lots of hate
President Jape

 

Be Where When?

There’s nothing happening here
The sky isn’t clear
Bad weirdness big fear
When were we to be here
Now?

There’s nothing happening here
Chin up – Don’t grumble
The way the cookie crumbles
And civilization tumbles
Now?

There’s nothing happening here
They say be best is better
We’re all in this together
‘Cept those living out in the weather
Now?

Punters fighting punters
Owners sailing yachts
You can jump into the fire
But you better pack your Reeboks
Now

 

IGNORE

Ignore
Out of boredom or torpor
The trending thing is so soporific
& your beauty & the moonlight is so terrific
So ignore

Ignore
Every Marie Kondo urging you pep talk
Every ugly rumor about Johnny Depp
Just ignore

& when you’re stuck in traffic
Some MAGA wearing a leather jacket
Some argument that trades logic for static
Ignore

And if everybody else lost the plot
& you ask are they really alive or not
Just lay yourself down on the cot
Have some whiskey & a little pot
& ignore

 

Grimes & Me Make 3

There’s no place to roam
No place is much like home
Everybody must get scolded
Every business must get folded

Gonna go into space
Get some AI to take my place
Gonna change my race
Be psychotic and set the pace

Gonna steal Grimes
Take her to the highest climb
Musk will feel so punked
After Grimes sprouts their man junk

Gonna be gender free
Every scene will involve a threesome
Two of them will be me
The other one will be lovely gruesome

They Canceled Lenny Bruce

Do you remember when chaos was a state of play
Do you remember “punk rock is here to stay”
Do you remember when Sister Ray was très outré
When Bowie asked… “or even yesterday?”

I’m wearing deplatform shoes
I’ve got the fear monger blues
When you ain’t got somewhere
You got no choice to choose
And now I’m yesterday’s news
They canceled Lenny Bruce

I still have a glimmer of rascalinity
But now it’s one inch short of divinity
My jest is a million miles from infinity
I may be creepy crawling to morbidity

I’m wearing deplatform shoes
I’ve got the fear monger blues
When you ain’t got somewhere
You got no choice to choose
And now I’m yesterday’s news
They canceled Lenny Bruce

I used to chatter to the birds and bees
Grabbed the branches and climbed the trees
I’m picking fleas, man… all this disease
All that’s left now is to vomit and sneeze

I’m wearing deplatform shoes
I’ve got the fear monger blues
When you ain’t got somewhere
You got no choice to choose
And now I’m yesterday’s news
They canceled Lenny Bruce

At The End Of Their Tether

Everybody seems to have a Tarot deck
Everybody seems to be gasping for breath
Everybody says soon things will get better
Things will get better at the end of their tether

They tried to cast a magick dispel
But it reeked of swamp gas and victory marches
So they set aside years to work on the smell
And build a new cosmos from inside a shell

Then in a bubble the cosmos drifted
And they were left behind when winds shifted
Yet still they made plans — at least the men did
They opened some bars and bought some guitars

And it was all pretty basic
If only they’d faked it
They would have put paid
To that runaway cosmos
That now smelled like a rose
They got so goddamn close
To be just another
Average dead sucker

Everybody seems to have a Tarot deck
Everybody seems to be gasping for breath
Everybody says soon things will get better
Things will get better at the end of their tether

(Boomer Please) Buy My Apocalypse Songs

While you’re standing around
Waiting for your grandkids to drown
Or maybe catch fire
After you’re dead and retired
You may as well listen
Get high and get pissed
To my apocalypse songs
Yes listen to this shit

Boomer please
I’m down on my knees
Everything has gone wrong
Buy my apocalypse songs

I’ve got profiles in discourage
From The Airplane to the bees
Failed stories faded glories
All you need is flowers and beads
From Stealers Wheel to The Troggs
From glitter glam to 60s mods
And there was surely Pussy Galore
Stick around you won’t get bored

Boomer please
I’m down on my knees
Everything has gone wrong
Buy my apocalypse songs

Fake Fur

I know that outrage is de rigueur
So I’m at the rally in fake fur
I am human hear me purr
Do I dare to cause a stir?

The stars are out and preening
Tonight they’re seeking meaning
And they’re gazing at the ceiling
Gonna send the nation reeling

Do you dare to eat a peach?
Do you dare to sneak a peek?
While blazing at the beach?
Do you care to make a speech?

And I said “don’t get riled
Take a walk on the mild side”
I said “don’t get riled
Take a walk on the mild side”
Cause of all the things we must detest
Fake fur says it the best
So don’t get riled
Take a walk on the mild side

Flabbergasted

Well I used to be disgusted
And then I tried to be amused
But now I’m just plain flabbergasted
At the depth of the abuse
And I’m not singing ‘bout a bad date
And I’m not singing ‘bout ya 2 minutes hate
I’m looking at the new level of crazy
With their hands wrapped around our fate

Does anybody remember the quantified life?
(R. Plant voice) Does anybody remember laughter?
Does anybody remember the balcony speeches?
Does anyone remember bloodletting and leeches?
Does anyone remember the days before then?
Lugubrious meetings with remake-able men
& Little Brother is watching one and other
So mark your turf — Then run for cover

Year Zero

Thanks a lot
Pol Pot
Hot to trot
Forget me not

Year zero
What a hero
Nero’s fiddle
No Middle

The bride stripped bare
The pride sniffs the air
He should put it all out there
They’ll appreciate his flair
And he’ll show them that he cares
And that he’s so aware
The pride sniffs the air
When the bride strips bare

Is she chic — au contraire
She’s barely even there
He’s no great catch to be fair
And he hopes she doesn’t scare
He’s got toxic in the pocket
And he’ll break down if she mocks it
But he’ll always preserve a locket
Of her bride stripped bare hair

Thanks a lot
Pol Pot
Hot to trot
Forget me not

Year zero
What a hero
Nero’s fiddle
No Middle

The Stepfather of Our Country

He was the stepfather of his country
But he raised the kids as his own
He gave them ears of corn — oodles of porn
But when they bought bad cocaine they earned his scorn

& when they all got older
He turned them into soldiers
Strapping tote bags to their shoulders
filled with weapons of mirth
It was all rather cheery
He read them Dr. Leary
Until those silly numbskulls
Decided to give birth

That was just the final straw
This was just what killed their pa
“Birth & death stay from my door
What do you think the porn was for?
To make you each one onanistic
Now I’ll get a bit fascistic”

One by one he ate his grandkids
Chowed them down like gutted pigs
Except one who was schizophrenic
& could produce some anaesthetic
Together they drifted into a coma
Singing gleeful songs of soma

& thus a world was born & died
All because of a stepdads pride
It takes a village to make things fair
Fuckin’ stepdad didn’t care

Rebel Without A Mask

I was greasy in the ‘50s
Freaky in the ‘60s
My idea of ‘70s fun
Was “carry on my wayward son”
But all of that is in the past
I support the Ruling Crass
Did you think I’d wear a mask?
You don’t even have to ask

Cause I’m a rebel without a mask
James Dean with a modern task
I’m using up my remaining sass
To be a rebel without a mask

I’m with you if you’re with Q
So many red pills still to do
So many weird things but they’re true
I’ll spread the news to the young dudes
And if YouTube kicks me off
I’ll tell R.U. he’s going soft
Don’t you wanna question authority
Naked and maskless near the sorority?

Cause I’m a rebel without a mask
James Dean with a modern task
I’m using up my remaining sass
To be a rebel without a mask

 

Actual Apocalypse

Everyone’s a prepper now
Everyone’s a mutilated cow
Everyone is making vows
Everybody take a final bow

Actual apocalypse
It isn’t fun like watching Mad Max
it isn’t clever like Oliver Sacks or
Insanely great like Steve Jobs’ Macs

One mask is for the disease
One mask is for the smoke
One mask is for avoiding police
Last toke before we’re broken

Actual apocalypse
It isn’t fun like watching Mad Max
it isn’t clever like Oliver Sacks or
Insanely great like Steve Jobs’ macs

2020 this was the year
2020 the vision is clear
Gonna need four more beers
Drown the fire in my tears

Actual apocalypse
It isn’t fun like watching Mad Max
it isn’t clever like Oliver Sacks or
Insanely great like Steve Jobs’ macs

Ring around the platitudes
A pocket full of smug
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes
Ashes ashes

 

 

Head in the clouds, boots on the ground.

Self-hosted infrastructure is the first step toward voluntary apotheosis.

–Unknown

When people think of The Cloud(tm), they think of ubiquitous computing. Whatever you need, whenever you need it’s there from the convenience of your mobile, from search engines to storage to chat.  However, as the latest Amazon and Cloudflare outages have demonstrated all it takes is a single glitch to knock out half the Internet as we know it. 

This is, as they say, utter bollocks.  Much of the modern world spent a perfectly good day that could have been spent procrastinating, shitposting, and occasionally doing something productive bereft of Slack, Twitter, Autodesk, Roku, and phone service through Vonage.  While thinking about this fragile state of affairs in the shower this morning I realized that, for the somewhat technically inclined and their respective cohorts there are ways to mitigate the risks of letting other people run stuff you need every day.  Let us consider the humble single board computer, computing devices the size of two decks of cards at most, a €1 coin at the very least.  While this probably won’t help you keep earning a paycheque it would help you worry less about the next time Amazon decides to fall on its face.

Read more “Head in the clouds, boots on the ground.”

To Mainline the Pure Dope of Illuminatus!

An Interview with Illuminatus TV Showrunner Brian Taylor

 

by Prop Anon

 

 

In December 2019, Deadline announced that Illuminatus!, the legendary underground novel, was on its way to becoming a tv show with Brian Taylor, writer/director of the movies Crank, Gamer, Mom and Dad, and the tv shows Happy! and Brave New World, slotted as the showrunner.  

Like Wilson, Taylor has taken risks with his craft. Whether it was developing “the Rollercam,” an innovative camera technique used to film Crank with his creative partner Mark Neveldine, or beta-testing the Sony RED camera while filming the underrated sci-fi gem Gamer, Taylor welcomes the inclusion of what Discordians call “the random factor.”

Wilson would give props to the risks Taylor has taken. Choosing to be the showrunner of a story with as labyrinthine a plot structure as Illuminatus! may be Taylor’s biggest risk of all!

In his last movie, Mom and Dad, starring Nic Cage and Selma Blair, Taylor presented a film that moved fluidly across the comedy, horror, and drama genres. This tonal shift, as he called it, is not only a desired type of story smart audiences want these days. It is also something Robert Anton Wilson mastered. It takes great wit, irony, and heart to make conspiracy theories funny and Wilson, arguably, is the first ever to have done it. As Happy!proved, Taylor can present shocking material with an ironically raucous gaiety, adding to the feeling of high voltage electricity than runs through all his movies.

There is no doubt that he possesses the gonzo style of sex, violence, and humor found in Illuminatus! However, as the astute Wilson reader knows, he and Shea masterfully utilized those pulp elements to draw the reader in to tell them about individualist-anarchism, critical thinking, and comparative religion. I hope that Taylor and his team can capture these more “esoteric” elements of the story. Perhaps by doing so, they will have outwitted the Curse of Greyface and accomplished the long-term goal of Discordianism — to make the whole world Popes!

I spoke with Taylor on October 5, 2020, as the California wildfires burned through more land than has ever been recorded. As the world has been jettisoned into Chapel Perilous and the walls are tumbling down, I wanted the straight dope. When will we get to see the Illuminatus! tv show?

 

Robert Anton Wilson once said that his biggest professional regrets was not seeing any of his books made into TVs or films, so, when Deadline announced in Dec 2019, that Illuminatus! was going to be a tv show and you were going to be the showrunner RAW fans sent a ripple of frenzy rumbled through the RAW-sphere.

BT: The Wilson Estate also has been super supportive and really stoked with everything I brought to it. They were over the moon. They were like “Oh my god, he would have loved this,” which is really good to hear.

Is this going to be the first project where you are the showrunner?

BT: Well, I was basically the showrunner on Happy! I guess for the purpose of this interview, it’s a good reminder that this show is not set up yet. Just because I’m developing it doesn’t mean that anybody will buy it or that it will ever be made. We hope so. This is a big ambitious swing. Making Illuminatus! is not like making Fleabag or something. This is a big fucking show. It’s a major work, a globe-spanning super ambitious piece of television. I felt the same way when Grant (Morrison) and I got a chance to take a shot at Brave New World. There’s been a lot of versions of Brave New World, but Illuminatus! not everybody can crack. Illuminatus! is not just sitting there waiting to be made. It’s an incredibly layered, abstract, and ambitious piece of literature. In order to honor that and honor its spirit the tv show must be just as subversive, just as chaotic, and just as impossible to pin down.

In terms of the time period of the story. Would you place it in the 1970s, like it is in the book, or would you update it and place it in present day?

BT: I think you have to make it contemporary. Why not? If you take out the names and dates, the book feels almost like it could have come out yesterday. Everything in it is more relevant now than it was then. I would have loved to hear Robert comment on what’s going on today. One of the major tenets of Discordianism is breaking down what they thought was a shared truth that was actually a lie. We were all living in a reality that we all agreed was real, but it actually wasn’t. Their idea of using subversive pranks to break down the idea of truth, to show the illusion that everybody’s living under and bring a sense of chaos to all of it was amazing. Sadly, that idea has been co-opted by the very authoritarians that Robert Anton Wilson would have hated. Promoting a type of chaos has become the active strategy of authoritarianism, starting in Russia and continuing here with Trumpism. The idea is to just completely break down and destroy the sense of shared truth. I wonder what Wilson would have thought about that.

How far along are you in the development process of the new Illuminatus! then?

BT: We’ve cracked how to bring it into the present day. That’s the main thing. How do you take these characters like Hagbard and move them into 2020, and then have that be relevant and potent. I think we’ve cracked all of that. We know what the pilot would be. We kind of know the shape of the first season and where we’d like it to go. I think it should be a three-season piece, where each season would roughly follow one book of the trilogy.

One thing that we learned doing Happy! was that shows metastasize and build themselves. We started out on Happy! with Grant (Morrison’s) comic book. That took us through about an episode and couple of scenes, which took us past the comic book. Then it was like, “Now where are we going?” And you’re in uncharted territory. Whereas I don’t think we are going to overtake the scale of this book and run out of material. But I do think that it’s going to have a way of metastasizing and becoming something different. How do you talk about Leprosy Mu (the biological warfare agent that gets loose during the novel) in a post-Covid world?

Production-wise, how far along is the show in terms of getting to the first table read?

BT: We are still in a stage where we’re looking for a partner. We need a network. We need somebody who is willing to take a chance on this thing. Obviously, it’s a complicated time to set up a show this ambitious, but it is also a good time to work on a project like this. You can basically build out the entire thing so that when it’s time to roll cameras you’re ready to go. It feels like that type of show to me because it is so global, and it really wants to hop around from location to location… it would need to be cross-bordered production. So, you’d want to go to Texas and shoot all of Texas. Then go to New York and shoot all of New York. Etc.

So, you’ve worked with some great actors.  Michael C Hall, Nic Cage, Chris Meloni, Jason Statham, Patton Oswald and, of course, the great Glenn Howerton. Have you approached any of them about appearing in Illuminatus!?

BT: Yeah, when we have the network and it’s more a go, a lot of those names you just mentioned are people I’d want to get involved. And those are all really smart people and people who would get the book and be inspired by it. There are some actors that would react with “Ah just send me the script because I don’t want to read all that.”

Illuminatus! is not the most inviting text. You want people who are really on the page. People who get it and love it. If you are doing something that’s really complicated like this, trying to make something different, you need everyone to be on the same page. Especially when it comes to television, which is exponentially more difficult to make well than movies. I didn’t realize that until I got into it. The amount of work involved in showrunning  and how quickly it comes at you… there’s nothing that can really prepare you for that.  It makes directing a movie feel like a cruise. It’s like an avalanche of stuff coming at you on a daily basis. And it’s all you can do to keep up, if you are trying to do something really ambitious — and Happy! was ambitious and this is even more so. One thing you figure out quickly is that you gotta have people helping you. You gotta have people involved that really get it and are not fighting against you all the time but who are helping it be better. On Happy!, the number one guy like that was Meloni. He deeply got the sense of humor of that show. So, it was like having an extra producer, an extra writer and director on set all the time who was just pushing it, not just to be better, but to be what it should be.

Sometimes you get the guest director come in — the show has a weird tone, weird sense of humor and material — so some directors and even actors would come in and not get it. They didn’t get the sense of humor, they didn’t get the irony, and they didn’t get the tone. It’s just like we were talking about. It’s that meta-modern idea of embracing all tones simultaneously. A lot of guys don’t know how to do that…they’re just used to one thing. It’s amazing how one person can come into the mix who just doesn’t get what you’re doing and the whole thing can come grinding to a halt. So when you have a situation where everyone gets it, it takes on this momentum and becomes really fun despite how difficult it is. Something like Illuminatus!… you have to have people who just deeply get it.

Yeah, you are perhaps going to have to have some sort of vetting process that involves lots of acid and strobe lights. How did the book hit you the first time you read it. Were there weird synchronicities around reading it?

BT: I was not one of those guys who read it as a teenager. I came upon that book later in life when my artistic sensibility was already established.One of the main feelings that I had reading Illuminatus! was this sort of revelatory feeling that this is where all this shit comes from. This is the seminal piece. This is the seed. Like everybody got everything from this book.

 

I always used to tease Grant (Morrison)…like when American Gods came out, I was like “Grant did you get any royalties on that? Somebody else is making The Invisibles.” When you read Illuminatus! you’re like “oh shit man, this is the original! This is where The Invisibles came from. This is where everything came from!” A lot of things that I look for as an artist and a lot of my sensibilities were formed by that book without even knowing about it because it influenced so many things that influenced me. And there is that psychedelic quality that the book has where you just fall into it. When you read the book, you feel like a different person. It definitely has more of an effect on your life than a book normally does. It kind of takes you over a little bit, and when you’re finished reading it, there’s this period of coming out of it that which feels like you are coming out of a dream and back into reality. You realize that that book was taking you someplace else. But because it’s Illuminatus! and its Robert Anton Wilson, you think, “Well, I think I’m not coming out of reality, but maybe I was coming out of something else.”

One other thing. Illuminatus! is just so smart and funny. I found that I just missed him, and the world misses him. I’ve seen these interviews where he talked about the things he looked forward to and where he thought the world was going, and there was this whole alternate, intellectual, metaphysical kind of thought in the 90s about where things were going. The Terrence McKenna school — we are going to find a way to get free of these monkey bodies and we’re going to find a way to enter other dimensions and we’re going to expand intelligence and extend life. We’re going to break free of a lot of these things that have held us monkeys back for thousands of years.

There’s a sadness when you hear him talking about that now because it didn’t happen. The world now is even more fucked up than when he wrote Illuminatus! It just seems like we’ve been completely incapable of breaking free of that stuff. We’re still fighting the same pathetic cultural wars, the same primitive religious wars, despite our best angels pushing us forward to get better. The vast majority of humanity is just this epic failure. It’s sad. In a way, you miss him but it’s also like I’m glad he didn’t live to see this. Selfishly, I want him here because I want to hear his perspective. I want him to put it in a context that isn’t so scary and sad because he just kind of had a way of doing that.

Orson Welles once said that when Hemingway died there was a period of about ten years where nobody spoke or wrote about Hemingway in America, but then suddenly Hemingway came back. Welles concluded with, “I think it’s mainly true that writers go into total eclipse right after their death.” So perhaps there are these gestation periods, and the world is now ready to start hearing the message of RAW. I mean the whole fucking planet is collectively going through Chapel Perilous right now. We are living in Illuminatus! right now. 

I really hope there’s a network out there that is smart enough and brave enough to pick this show up.

BT:  I think it’s going to be a really special show. It would be one of the greatest things I could hope to do. Grant and I were really excited to take a crack at Brave New World, but at the end of the day that sort of became very much a studio thing. It didn’t really express the punk rock mad energy that we thought Huxley deserved. Huxley was another one. He is up there on the Mt. Rushmore with Wilson. I think he deserved more. But that’s Hollywood. Sometimes things just get dulled down.

Coming out of Brave New World with Grant, I am not going to let that happen with Illuminatus! It’s better not to make it at all than to make the compromised version with no teeth. If we’re going to make it, it would have to be something that would make Robert proud. It has to be something that strives to have that type of impact and embraces the spirit of the material. If it can’t be that then I really believe it’s not worth the time to do it. Let the book stand. The book is always going to be great. So that’s the challenge. The challenge is… we’re going to do it and we’re not going to let it get polluted. We want to try to give this to people to mainline the pure dope of Illuminatus! Let’s see if we can pull it off. If we can, then it will be amazing!

 

Grant Morrison Surveys the Situation In “The Age of Horus”

 

Interview by Prop Anon

For those familiar with Mondo2000.com, Grant Morrison needs no introduction. Over the course of his long career, Morrison, and his generation of punk rock warlords, busted through the doors of the lagging comics industry — sorely in need of some power chord clarity and imaginative story lines — and proceeded to take readers on new paths of literary discovery. Morrison’s genius use of tropes, his subversions and inversion of same, are so much fun to read. It’s all there, the light and the dark.

Times are dark. Since the last time I interviewed Morrison, in 2017, Trump and his idiotic minions have rolled out the red carpet for the angel of death. Morrison knows what’s at stake. However, don’t ask him for specific details about the daily plays of politricks. There is little need. The ebullient Scotsman continues to trek the antipodes of the mind, dropping gems and jewels like Chester Copperpot (from The Goonies), educating readers how to vibe right and live like rock stars during a possible apocalypse.

In this interview we discuss his newest television show Brave New World which features an Artificial Intelligence, named Indra, that feeds on human brains to survive. Morrison also provides an update on the progress on his The Invisibles tv show, as well as his insights into Robert Anton Wilson, magick, the Aeon of Ma’at.

Enjoy!

Brave New World recently aired this past July on Peacock. The project involved you, Brian Taylor — your partner on Happy! and then David Weiner, correct?

GM: Yes, David came in at a time when the project had stalled a little and he was able to turn it around. Me and Brian started it with the original pitch. The network liked Happy! so they asked if we wanted to pitch for Brave New World, which they were trying to develop with Amblin. We won the gig out of a bunch of other potential writers, mainly because we insisted on treating the World State as a decent working model of utopia, rather than a classic dystopia in the mold of Elysium or Metropolis or 1984. We worked on a few iterations of the script, and then Brian got really busy on Happy! season 2. So, I kind of stayed with it when David Weiner came aboard as the showrunner on Brave New World. He totally revamped and overhauled it. He’s a very smart guy and came from a theatre background and he focused on the emotional stuff, the quirky relationships between the lead characters. My contributions are especially apparent in the high-concepts and the world-building — you know: how does the naming system work? How does the society run? Why isn’t it mechanized? Why isn’t it industrialized? Why are there no private cars and only public transport?

I worked out every detail of that, and then I worked with David on a new version of the pilot script. And he brought together a bunch of amazing writers to flesh the whole thing out. Of the eleven writers in the writer’s room, eight of them were women.

Lenina Crowne has a really hard time in the book, as she is always being slapped around by a sociopathic, Shakespeare-quoting, sex-negative John the Savage. So, the notion was — let’s do something more modern and radical. In terms of my magical practice, this ties Brave New World to my thoughts about the Aeon of Ma’at, the Goddess of Truth, Balance and Harmony.

In the book, Lenina is treated quiet badly and comes to a grim end, so I thought let’s make her the central character of this new version. The Savage Lands depicts a childlike level of society; John is tied to his mother and has very little agency. The World State has progressed to teenage; with its non-stop music and parties and strict social demarcation into easily-identifiable ‘tribes’. The idea was to have Lenina begin to work with the Indra to build a truly ‘adult’ utopia… which would lead us into season 2…

I’ve seen critics complain about the Brave New World sex scenes not being sexy but that was the point we were making! There’s even a major scene of intimacy between John and Lenina that deliberately exists in contrast to the shallow hedonism of the orgies. In this world, sex is more like a social duty, or it’s like sport. It doesn’t involve the guilt and the excitement, the transgression and the passion that we associate with sex at all.

So, I think all of that stuff that I really like in it is asking how does this world work? How and why? And what do they get from it and how different does it feel from our world. At the same time, David was asking how to do human beings as we understand them as they live and interact in a world with these limitations or parameters and how do we show that in a way that Huxley didn’t. So, I think the combination of everyone who worked on it made the project really rich and interesting. It’s not like the comics where it’s just me and an artist, or a letterer and colorist as the equivalent of a pop group. This was like being on a football team. It was a big team. A lot of the writing that reaches the screen is not what you put on the page necessarily. It’s what passes through the team filter and the show runner’s re-drafts that makes it onto the screen. So, it’s much more like you are on a team, which I really enjoyed.

That’s cool man. I just watched the pilot and noticed a running image of your work: The human centipede.

GM: (laughing) You know I haven’t seen Human Centipede. I can’t watch horror movies.

LOL. Well my guess is that those forms of one long continuous being, which looks like a centipede, is your visual description of a self, moving through time, which you said you learned in Kathmandu in 1994 as how things actually are. How does this experience still interact with your life?

GM: We can’t see any direction in time. We can’t see back, and we can’t see forward. We can remember back and imagine forward, but that’s it. We’re trained to feel like ‘individuals’ so we don’t actually see ourselves as the extended processes that we are, shapeshifters who transform through decades from small, plump baby things to large and horny muscular teenagers, to hard-working, middle age adults, and finally desiccated seniors dying on beds. If we sped that up and showed one human life over ten minutes, it would be a body horror werewolf transformation more outrageous and horrifying than any seen onscreen.

But to me it’s like the color of the sky, it’s so self-evident that to see a bird fly past the window is to imagine its skipping solid trail through the medium of time.  In time we are all connected, there’s just no denying that. There’s nothing mystical about any of this. I’m talking about stuff that is simply real.

Imagination can give you the ability to look backwards and forward. So, when you run it backwards, think how your grown-up mature body was once smaller, less massive, less capable of interacting with the environment – that’s real. Run it back to the beginnings of life on earth ad it’s clear that we all are one thing. A singular organism made of many parts, just like a human body with its billions of individual skin cells – which die and fall from the body every day.

So, what does that mean? If people learned this in school, if we understood and accepted, we were all the same fucking thing(!) it might help prevent the collapse into mad division that’s occurring, just now. It’s just a matter of perspective that could change everything.

But the organism we’re part of might be sick, who knows? When cells in a body turn against one another and the system that supports them starts breaking down, it’s cancer…

You had the gnostic experience. To just hear it or read it is one thing but when you have the experience that seems to be the most convincing thing.

GM: Well, it seems to become self-evident. It’s really like someone turns your head around in Plato’s cave and you realize that there’s a light and someone’s doing shadow figures with their fingers. Once you’ve seen it, you’ve seen it. And it’s ‘Oh, of course’! Of course! There’s no denying it. But I guess to have that experience is its own confirmation. It’s like living by the sea all your life, then having to explain that to someone living inland who’s never seen the ocean and doesn’t believe an ocean could exist because they’ve never seen one.

To me it can be confirmed intellectually by just thinking about time and how you are embedded in time. You know you had to be six years old to be here. So, where the hell is ‘being six’? Well, being six exists in a time direction that you can’t see or point to, but it’s still there. To misunderstand that is equivalent to flying from Los Angeles to London then, after touching down at Heathrow, insisting that Los Angeles no longer exists!

And once you’re truly aware of time as the medium through which we transmit our physical signal, then there is no denying that your personal track winds its way back into your mum and she goes back to her mum and it all goes back to that single dividing cell 3 and a half billion years ago. To me, that’s just basic mechanical shit. That’s not mysticism. I’m not interested in ghosts and spirit worlds. If I’m going to have transcendence, I want to be able to touch it.

Swervin’ back to Brave New World. One other thing I liked about that show was the AI system called Indra which must be a reference to the concept of Indra’s Net.

GM: And as you know the drug in the show is Soma, which is Huxley’s creation. I just figured if Huxley named the drug Soma… if he had predicted AI, which is one thing he didn’t predict, I think he would have stuck with the Sanskrit and called it Indra.

Indra was my notion for explaining a lot of stuff that didn’t make sense in Huxley’s book. Why are there Epsilons? Why does the World State need a labor force? The book is about the consequences of capitalist mass production, mass consumption, mass destruction, because Huxley had moved to Hollywood and he’d seen the consumer society in full flood and witnessed the world of glamorous unreality — the talkies — which was happening. The whole thing is his attempt to deal with the impact of Ford and Hollywood. As I said, the one thing he didn’t think of was AI. So, the question became how could you make sense of a lot of the things he didn’t make sense of? 

And the idea came up of having a computer network that ran on human brains. We have all those neurons and all that capacity there. So instead of having a central server, the computer is a distributed network that runs on the brains of everyone in the World State. That was designed to solve the problem created by Elon Musk and Stephen Hawking who were both terrified that AI was going to rise up and take over, steal our jobs, and occupy our homes in a kind of immigration nightmare gone sci-fi.

So, I thought, what if you made a computer network that required human brains to run on? It wouldn’t make sense to kill us. It wouldn’t want to kill us. But what it might do is organize us more efficiently. So that might explain a lot of the stuff Huxley didn’t bother to deal with.

The network starts to self-organize and it creates this homeostatic caste system, like a hive. It stratifies people and what it gives them in return is happiness. In Brave New World, the ultimate commodity is happiness. There’s no love, no money, but if you could make everyone happy even if they’re up to their necks in shit, then you’ve won. That was the idea. To create a computer network that doesn’t want to kill people. So, the reason why there are Epsilons — the reason people do jobs and manual labor, is because the computer needs its components to be fit and healthy. Rather than mechanize them, with everyone just slobbing out, it needs citizens to be super fit. So, they are always having sex, they are always playing sport, they are always working. They have pointless jobs that encourage them to be fit and healthy. That was the idea. The Indra network solved a lot of problems and I think it was one of the elegant additions to Huxley’s original.

Then who created the network in the story? Who gave birth to the AI?

GM:  Well, that was the original ten Controllers who started the World State. In Huxley’s book, there’s an anthrax pandemic that kills 2/3 of the world population and there’s only a couple of billion or whatever left. And everyone else gets together and forms a world scientific, anti-religious state because the killer plague was largely caused by political and religious conflict. So suddenly the World State arises to ensure that people won’t screw up so badly ever again. In our version, America is the only country that secedes from the World State. In Huxley, the Savage lands is just a Santa Fe reservation, a pueblo culture. In this version, the Savage Lands is all of North America. The idea was to imagine America 300 hundred years after the fall. People are sick, and the environment is fucked and there’s been six presidents in the last five months, and it costs three thousand dollars to buy a Mars Bar! America’s decision not to join the World State has brought the country to the brink of ecological, economical, and societal collapse. In this version, I think we got a richer background than even the original.

 

 

Let’s talk about The Invisibles tv show. Do you want to be the show runner? How much of a say are you going to have over the final product of The Invisibles?

GM: Honestly, as much as I can, but I would never want to be a showrunner. I just don’t want to do that job. You have to dedicate your entire life to the show. I’m kind of too old and I do too many other things to want to concentrate on one idea for the years it can take to make a TV show. So, I’m always going to have to work with someone. It worked so far with Happy! where Patrick MacManus and Brian Taylor did the heavy-lifting production-wise, and with Brave New World, David Weiner was a great collaborator.

With The Invisibles, it’s closer to home for me and I’m trying to keep as much of a grip on the material until that moment of having to hand it over to someone else and accepting that it will change. I think because it’s so unique to me and some of the ideas in it haven’t appeared anywhere else, there is a little bit more control. But yeah man, I’m three drafts in on the script and I like to think it’s getting better all the time. I still can’t talk about who it’s with now. It’s not with UCP, which it was at one point. Beyond that, it’s going well. It’s been fun. I’ve just been enjoying learning how to write in a different way. I love doing this now. Imagining an actor saying the lines and what it might look like. It’s giving me a completely different buzz from the comic stuff.

Would you ever consider directing?

GM: Nah, again. I don’t want to. Although having said that, I do have one short film to my name – I was asked to write and direct a short film as part of the 42 One Dream Rush project in 2010. The brief was that it had to be just 42 seconds long and based on a dream. David Lynch did one; Kenneth Anger, Asia Argento, and a bunch of other genuine directors and alternative artists, so I was in decent company. My film is an end-of-the-world epic called ‘The 42-Second Minute’ which is just a close-up on a clock! That’s my entire directorial resume right there. That’s enough for me on IMDB.

In December 2019, Deadline announced that your partner on Happy! Brian Taylor was going to be the showrunner for Robert Anton Wilson and Robert Shea’ Illuminatus! as a TV show.

There seem to all these great stories of my youth now being made into television shows

GM: I think there’s a bunch of challenging stuff coming out and these shows add to that. I think people are looking for new myths to help us make sense of the curious times we’re in. I think you need those kinds of stories and works that are coming at our problems from all angles. Think of the opening of Illuminatus! and it’s though the eyes of a squirrel and through George Dorn and a bunch of other characters. There’s a multi-prismatic viewpoint of the world. And I think the minute they can start capturing that sort of thing in TV, showing it through the eyes of all kinds of different characters with different viewpoints and different world view and reality tunnels, it will be pretty interesting.

It’s the fractalization of the media — that’s what made it all possible. There was a time you just couldn’t get away with any of this. I remember a time I was pitching Doom Patrol to Warner’s and their response was that this is ‘wackadoodle’ and now it’s one of their best and most successful shows. And it’s totally based off the stuff that me and Richard Case did with that comic 30 years ago. Stuff people told me would never be adapted, could never be adapted. I think that the success of things like Doom Patrol, or Umbrella Academy or The Boys shows the way that people’s imaginations have been expanded by more fantastic or quirky shows, opening the doors to wilder and more personal stuff.

Speaking of this new myth and ethos, for a few years now you have been speaking about the Aeon of Ma’at. Is this the strongest current you see in humanity these days?

GM: It’s still a subcurrent at the moment, as the patriarchal Aeon of Osiris bows out kicking and screaming but I think it’s the only one that gives us any chance of survival right now. It’s not like this is the dawning of the age of Aquarius. For me these ideas are interesting metaphors; they’re filters, and I find that if I apply this particular filter suggested by Kenneth Grant and Crowley it allows me to see things in a different relationship, which is very creatively rewarding if nothing else.  Viewing the world through the filter of these Thelemic notions, what’s happening right now all around us suddenly becomes not only obvious but almost predictable.  

It’s important to emphasize that this is not something to ‘believe’ in. This is a metaphor and not a belief system. But new metaphors can change whole cultures as we know from our history.

Crowley said that the general tenor of the last six thousand years of human civilization could be summed up by the personalities of a family of Egyptian gods. And the first two thousand years up to the birth of Christ, this was the Age of Isis, the Mother Goddess, where people were hunter/gatherers or early agrarians living off the land, relying on ‘Mother Earth’, the seasons and the tides. So, the next Aeon from Christ onward is the Aeon of Osiris, the dying and resurrected god. Osiris is also the law giver and he brings with him the written word, so now ideas can be enshrined in books and books can outlast generations and they take on the aura of gods themselves.

God himself is present in the works of the Bible. God himself is present in the Quran. So certainly, there’s this programming code language, the instructional Dad language, which can take people over just from reading a book and turn them into agents of the Dad god’s expansionist, controlling agenda. This is when Nature goes from provider to something that exists to be tamed and exploited. That’s the Aeon of Osiris.

Following Osiris, comes this fiery breakdown, the child Horus is the son of Osiris and he’s every jihadi, every warrior, every rock star reformer, every young man who sees as his sacred mission the tearing down of structures, the questioning of rules. It’s punk rock, “I gotta tear it all down.” But running in tandem with that, according to Kenneth Grant, is the shadow Aeon of Ma’at, Horus’ sister and she’s the goddess of truth and balance and harmony and all that Wonder Woman stuff.

For me, having gone through the Abyss of Daath in the Thelema structure of initiation — having undergone that in a really experiential and exhausting way, I found myself in the Qabbalistic sphere of Binah, and the entire world suddenly looked very different and made sense in different configurations which re-energized the work I’d been doing.  

So, I decided to accept that the Aeon of Ma’at was coming down fast and I tried to align all my thinking with that, which provided me with a new bunch of metaphors and ways of framing the world. Imagine all this division and deconstruction was just a corridor we’re passing through. All the fractioning and separation —that’s typical of Horus. We can see the hand of Horus in the modern-day tearing down of monuments and statues. He’s kicking the fuck out of formerly stable systems all around the world. That’s exactly what you would expect of this spirit that Crowley said manifested first in 1913. But for me, I think he made his presence felt quite clearly on 9/11.

You can easily organize the evidence to suggest that there is an Aeon of Horus occurring now. Where systems are being taken down, where everything’s being questioned and audited, and the past is subject to major revision. So, there’s also some fun to be had in thinking “Ok, if this is actually playing out in some symbolic fashion, then what might the Aeon of Ma’at look like, artistically?’

And to me it looks like the rise of marginalized voices, it looks like more women coming into the discourse. It looks like trans people coming into the discourse. It looks like all the opportunities for groups who were disempowered by the Patriarchy, who couldn’t speak before to have their say.

Ma’at – what would her signature disease be? Well it might be a distributed network, a viral malady that could attack all of humanity. What would happen if she emptied the houses of the old gods as a show of possibility? You remember at the height of the first lockdown, all the churches were empty, all the sports stadiums were empty, all the mosques were empty, all the temples were empty. So, the Dad god had nowhere to go.

In Britain, I know, and I’m sure in America, there was a strange uprising of praise for care workers. People would go out every Thursday here and bang on pots and pans and basically thank the nurturing spirt, this caring spirit, for its very existence. It was a very religious, ritualistic thing that we were all doing. That’s Ma’at right there. Then there’s mother nature with hurricanes tearing down borders, storms ravaging everyone’s homes. It all suddenly makes sense in a new context if you use the filter of Ma’at to look at the world. For me, I’ve found some creative applications for it, like in Brave New World and the Wonder Woman comic that I’ve done.

Let’s talk about Magick. How does one get better at it?

GM: By doing it on a regular basis! It’s like a martial art or a musical talent. If you dedicate yourself to learning and practice, if you read other magician’s accounts, if you pay attention, then you start to notice details that the less engaged will miss and this allows you to do things that other people may regard as magical or even supernatural. Just like a stage conjurer, or a great guitarist, or a gifted actor or artist can do. It’s just about really paying attention and doing the work to see what happens. It’s just a way of looking at things in a fresh light and then working with this augmented version of reality in ways that can appear supernatural. One of magic’s main attractions involves bringing things into being, from the conception or thought all the way to solid materiality. Making the insubstantial tangible.

But there’s also a whole other thing. Magic is about deliberately inducing unusual states of consciousness. Some of these states of consciousness have been called gods because they feel super organized and positive, and some of them can be called demons because they feel chaotic, violent, hateful and perverted or whatever. That’s part of magic. It’s as simple as how can you create different states of consciousness? Magic uses spells or rituals, some developed over many centuries, to stimulate specific focused states of consciousness, whether demonic or angelic or god like. Psychedelics and hallucinogens have been used by shamans for the same purpose.

And the written word along with the expression of it are all magic. In the sense that words themselves hold such tremendous power.

GM: If you can limit the language you can reduce the scope of a conjuror. George Orwell warns us about that in the appendices to 1984. If you restrict the language, if you make it impossible to express abstract ideas, then you put boundaries on people’s ability to think creatively or communicate certain concepts. It does work. Words shouldn’t have the kind of power and meaning that we attribute to them but most of us grew up in the Aeon of Osiris, where words have been really important and fundamental to human progress. Words mean the law, words mean the Bible, or the Constitution, words define the divine rules by which we abide. The 10 Commandments.

As any writer can tell you; words are just things that dance around when you play with them. They can mean all kinds of different things. They bring with them the distortions of interpretation where the words of Christ – ‘love your enemies’ – can be twisted to motivate bloody genocidal Crusades. I think Wilson was trying to undermine people’s fear of the perceived authority and power of words as things in themselves.

For sure. There are some big words that have been added to the dictionary over the last 20 years, specifically Beyonce’s ‘bootylicious.’

GM: Well exactly, there you go man. But still I don’t exactly know what it’s describing, but I can almost taste it!

Adding on the to the notion of words and symbols being charged with magic, they have also been charged through the increasing amounts of propaganda over the course of the 20th Century and into today. Isn’t that something that RAW is constantly reminding readers, that propaganda is real, and lots of it feeds off your base emotions, like anger and fear. Most people don’t recognize that cuz they haven’t seen the FNORDS!

GM: It’s more like people’s sense of the immense energy compressed into certain words. It’s not the word itself – as Wilson reminds us ‘fuck’ is a ‘bad’ word but it doesn’t sound much different from ‘folk’, a ‘good’ word, and it means the same as ‘coitus’, another ‘good’ word. So where exactly does the wickedness and dirtiness of ‘fuck’ reside?

Words become fetishized for reasons good or bad and the more fetishized they are, the more taboo they become, which confers an aura of outlaw sexiness that attracts some people to them.

Lenny Bruce, George Carlin, Bob Wilson himself, all made a point of saying that words should not be given this kind of power because once they have this power, they can become fetishized and weaponized. If you de-power a word then it can’t be used to trigger other people in the same reliable way, but we’re just not in that phase, with the dislocated politics of culture right now. I think people got it right to take down some of these structures right now and perhaps it’s okay to retire certain radioactive, abusive terms as long as we make sure we’re creating new words in other areas.

As a for instance, when I was a kid there were no words to describe certain aspects of my own experience. I’ve been non-binary, cross-dressing, ‘gender queer’ since I was 10 years old, but the available terms for what I was doing and how I felt were few and far between. We had ‘transsexual’ and ‘transvestite’ both of which sounded like DSM classifications rather than lifestyle choices! I didn’t want to be labelled as medical aberration because that’s not how it felt, nor was it something cut-and-dried and done. I didn’t want to ‘transition’ or embody my ‘female’ side exclusively, so I had no idea where I fit in.

Terms like ‘genderqueer’ and ‘non-binary’ only came into vogue in the mid-90s. So kids like me had very limited ways of describing our attraction to drag and sexual ambiguity. Nowadays there’s this whole new vocabulary, allowing kids to figure out exactly where they sit on the ‘color wheel’ of gender and sexuality, so I think it’s OK to lose a few contentious words when you are creating new ones that offer a more finely-grained approach to experience.

When we make the jump to a non-Roman-alphabet-based emoji language for purposes of radio telepathic communication, things will change once more.

This conversation of neutralizing the charge from taboo words is also a premise of RAW’s Ishtar Rising, which you wrote the introduction of the newest reprinting of the book by Hilaritas Press. Also, in that book, Wilson explores the mythical trope of the underground journey, something explored and unpacked in nearly all his books.

Joseph Campbell has some cool stuff to say about the Underground Journey, mainly that in all his studies of world myths he had observed two types of underground journey stories. One type was when the underground swallows up a poor soul like the whale did to Jonah. When this happens, the sole purpose of the seeker is to just survive the ordeal and return to the surface in one piece. The second type of journey through the underground occurs when the hero or heroine must descend into the depths and kill a monster. Campbell mentions one myth where the hero must slay a dragon then drink its blood to gain its power and move on and continue their quest. Campbell associates this killing of the dragon and drinking its blood as an integration of our shadows into our psyches. By integrating these elements of ourselves we then gain the sort of personal power needed to live a joyful and energetically engaged life.

GM: Yeah, and the story of the underground journey in Britain often involves someone finding a cave where he sees all of King Arthur’s knights asleep just waiting for the time of England’s greatest need when they will have to rise up and fight the final battle against evil. So that’s a more passive version of the story. Someone goes in and finds these sleeping warriors. That’s the personal power, that’s the higher self that will arise when you need it most.

Wilson has a dark side version of this exact legend at the end of Illuminatus with the undead Nazi battalions awaiting their orders to rise from Lake Totenkopf and reclaim the world!

What advice do you have for the magicians out there who have a story to tell and want to storm the reality studio?

GM: Tell a different story. Tell a fresh story that speaks to its times and the people around you. A story that offers possibilities, exit strategies, rather than apocalypse and ruin. I can’t see that there’s anything else…

In the Wonder Woman book I’m doing, for instance, I’ve actively avoided writing the boy hero story that’s so ubiquitous as to seem inescapable —  the familiar story of the One, the champion, the Joseph Campbell monomyth thing that drives so many Hollywood movies and YA stories. We’ve seen it. The Lion King. The callow youth loses mom or dad, or his comfortable place in the tribe, and he has to fight his way back to save the kingdom from its corrupt old leader, before claiming the captive princess and becoming the new king and… ad infinitum. The Circle of Life if it only applied to boys. I thought, where is the mythic heroine’s story? In Ishtar Rising, Wilson talks about the myth of Inanna, and how she goes down into Hell and has to give up everything of herself to gain the wisdom and experience she can bring back to her tribe. Privileging the network rather than the sovereign individual.

And so, as I thought about the differences between the hero’s and the heroine’s journey, it gave me a bunch of different modes to work in. Finding ways to avoid telling the boy hero story again was quite liberating. It just gave me a bunch of new ideas, an interesting new way of telling stories that didn’t rely on the framework of the hero’s journey that Campbell talks about.

Playing the devil’s advocate here. Today there is a lot of fervor around identity, and there is one strong of thought that people can never truly understand what it is like walking in the shoes of others. Some may ask why a white man would seek to tell the story of a woman, from her perspective, instead of just sticking to what he knows, being a man. 

How authentically real is that character or story, etc.?

GM: It’s important to air these feelings for debate. I must admit, with all respect, that I completely disagree with the idea that we cannot understand one another.

Firstly, there’s a major obvious problem about coming at things from this perspective — if fundamentally, we cannot truly know or have any meaningful opinion on what it feels like to be X, then we may as well stop listening to anything anyone else has to say about their personal experience, on the basis that it can only be irrelevant to our specific lives!

If I can never truly understand you without walking in your shoes and vice versa, what’s the point of listening or talking to anyone about our experience? What’s the point of writing stories, or protesting, or making art if experience cannot by its nature be communicated and understood by anyone who has not shared the experience of the artist, or the writer?

I think we all know it doesn’t really work that way in the real world. We don’t need to be a thing to have some understanding of how it operates. People can be great veterinarians without personally experiencing the day-to-day inner lives of dogs and cats. I can read Solzhenitsyn and shed empathic tears for the inmates of the Gulag without having to reprise their exact experience.

To think otherwise might be, I suspect, a symptom of narcissism painted into its inevitable corner, its private echo chamber – destructive, divided, atomized, individualistic to the point of self-abnegation – and indicative of late stage Osiris pathology.

And you know, we actually do understand one another in so many ways. We can imagine what it’s like to live someone else’s life –— or we can have our imaginations enflamed by well-told tales of other people’s lives and thrill to the ways they resonate exactly with our own lived experience. As a writer, I know this to be true.

We’ve been observing one another’s behavior and drawing conclusions since the dawn of humanity. People aren’t so complicated or new that the basic functions remain a mystery. All our plays, poems, songs and stories are a record of our attempts to understand ourselves and one another. The fact that Greek drama or Shakespeare still speaks to us is evidence that basic human nature has remained fairly consistent for thousands of years.

We figured one another out a long, long time ago.

And ultimately, I’ll say again, we are all the same organism. What we’re seeing is ring fingers fighting with thumbs, eyelashes screaming that eyebrows can never understand them! To point that out is probably an anathema in this current time of narcissistic inflation but it will be understood as a fact of nature in the end.

Maybe I’m wrong and we’re all fucked because humans are a kind of cancer-creature and our only purpose is to destroy each other and all other lifeforms on our planet… there’s still time for Agent Smith to be proved right!

I think everyone should have to imagine what it’s like to be someone else. We can all learn from one other but that means communicating; that means starting with the assumption we do have a common basis for genuine understanding even if our specific circumstances can never be repeated or totally understood by anyone other than ourselves. We all hurt, we all feel joy, we all get turned on, or scared. We all experience loss, and lack of self-worth and feel badly treated by the world at times.

And I understand why everyone should talk and tell stories from their own position you know but it’s also very useful – and a major human talent –  to imagine how other people feel and consider how the world might look through their eyes.  

And you do that by staying informed, listening to voices even when you disagree with them –—and by employing empathy and imagination to put yourself in their place as best as you’re able.

These are difficult times. I’m not a guru. I don’t know what to say to make it all better. There’s seven in a half billion people and it often seems they all fucking hate each other! Yet they all want everyone else to agree with their tiny, restricted, localized points of view. And they’ve all got a piece of ground to defend against perceived foes. I get it, but ultimately, we’re all one thing, one massive organism that’s going through difficult growing pains at the moment, so maybe we need to start thinking about what makes us alike, rather than different.

I hope so

GM: Well, this is part of the boiling process. Capitalist consumer culture has clearly reached its limits and we either advance to a more efficient, stable, less suicidal and aggressive engagement with other people and our environment or we go extinct as a species, taking all the whales and tigers and gorillas with us, before we even figured out how to talk to them and hear their stories! There are few options remaining.

The current questioning, the judgmental audit of where we are and how we got here, is a Horus thing. We can only hope we sublimate from here via Ma’at into something more nurturing and sustainable.

It is a hot moment. Temperatures are rising, Artic ice caps are melting at an alarming rate, and people may be unconsciously registering all that, and doing a horrible job at it. Instead of dealing with one’s own sense of panic, constriction, and fear it looks like many people are just running hot.

GM: I feel like every word we say is now a potential indictment, you know. The last malignant thrashing of the passing Aeon of Osiris. The echoes of the Inquisition, accusations of ‘wrongthink’, the return of Original Sin, the demonic glee taken in any stumble or falter from the approved path seems almost mediaeval. It’s terrifying. The potential for misunderstanding is almost infinite and its almost fated that we will struggle to abide by rules that grow ever more authoritarian and specific every day. Again, all that feels to me like the last ferocious attempts at asserting its fading power by the Osiris energy of the last 2000 years, now gone rotten and unsustainable but trying harder to keep everything and everybody under increasingly deranged levels of control in every area of our lives.

Writers and artists can find more reasons to stop their expression than ever before it seems. The voice of criticism and judgement is easier to find these days, just doom scroll through various social media sites and it’s all over the place.

GM: I regard it all as new input. As tough as it is, there’s an excitement. It’s making me think, it’s making me question myself and my assumptions, it’s making me write different things. I love ideas that challenge my thinking — even if I don’t agree with them in the end.

 

What are your thoughts on Simulation Theory these days?

GM: I was reading New Scientist recently and one of the correspondents on the letters page threw out this random idea that really resonated with me.  The writer was saying that if we live in a simulation then perhaps the world in the past was not as detailed or as high fidelity as it we experience it now! There have been upgrades, developments. In computer game terms, think of the difference between Space Invaders and Red Dead Redemption 2!

And I thought, wow, wouldn’t that be funny if, you know, those medieval painters with the flat landscapes and no perspective, what if they were accurately representing an earlier, more simplistic iteration of our simulated reality? What if they were simply portraying what the world actually looked like in the early stages of the simulation! What if these artists were recording what they saw and that’s how it looked?

Suddenly I saw the history of art in a whole new light! I thought how cool it would be if the cave paintings at Lascaux represented caveman reality perfectly – that’s how the simulated world really looked in an early development of the simulation when we were all just stick figures with antlers and the animals were sketchy semi-abstracts…

I love that idea; that the simulation is becoming more complex and well-rendered as it goes along – and we can see where it’s been.

It almost seems like it will become harder to break the Matrix as it becomes more refined, nuanced and easier to mistake for reality. It is interesting looking at the Simulation theory with the idea of calling it a metaphor for the same thing that the Gnostics came up with.

GM: Yeah, the idea that the universe is a counterfeit created not by god but by some sort of underling of god… that was the gnostic idea. It’s not so much about breaking the Matrix, I feel it’s more about learning to work with it. In the movie, once Neo figures out how it works, he becomes a magician, a superhero. The counterfeit world in the movie seems much more fun than the real one.

 Can magic be a useful tool for navigating VR and AR in IRL?

GM: Yeah, because magic is just about adding meaning or enchantment to the environment and to your life. Magic spices up everything; it’s like hot sauce! Once you add magic, the universe comes to life and starts to dance with you. If you choose to be an exploiter, a black magician, it’s more like a lap dance but otherwise it’s a tango! As I’ve said before, it’s easy to add magic to things. If you decide a certain stone could use some magic power, then carry it with you long enough and it will become first a good luck talisman and will finally accrue the significance and meaning of a Holy Grail if it’s given enough time and attention. So, the more meaning you can add to experience, the more magical it will seem. It’s not difficult or ‘occult’ at all. Magic makes everything more exciting, rich and alive and that’s its job. The more magic you can create around something the more special your interaction with it will feel.

 

Help Chelsea Raise Funds To Resist A Grand Jury Subpoena

Donate to her legal fund here. Statement from the Chelsea Resists Support Committee

 

Latest update March 5, 2019:

The Chelsea Resist committee has started a website where you can get more tools to help spread the word.

From the Chelsea Resists Legal Fund page:

Chelsea Manning has been summoned to appear and give testimony before a federal grand jury. While the exact nature of the grand jury is unknown, signs indicate it is related to her 2010 disclosures of information about the nature of asymmetric warfare to the public. Following in the footsteps of scores of other activists, Chelsea is challenging the grand jury subpoena, and therefore risks being placed in jail for for up to 18 months if she is found “in contempt” of court.

Chelsea risked so much for public good, and has been through a lot of hardship. Let’s show her solidarity together and let the State know their punitive harassment won’t be tolerated.

What are grand juries?

Grand juries are used to establish “probable cause” that a felony offense has been committed. Prosecutors run the proceedings behind closed doors, without a judge or defense attorney present. Basically, the whole process is rigged to favor indictment of the individual accused of a crime. They have also been used historically to oppress and frighten targeted groups, in particular, people perceived as dissidents and activists.

Why Resist a grand jury?

Due to their secretive nature and limitless subpoena power, the government has utilized grand jury processes as tools for garnering information about movements by questioning witnesses behind closed doors. Since testimony before grand juries is secret, grand juries can create fear by suggesting that some members of a political community may be secretly cooperating with the government. In this way, grand juries can seed suspicion and fear in activist communities.

From the Chelsea Resists support committee statement:

Since her release in 2017, Chelsea has become a prominent public speaker, emboldening countless activists who resist fascism, white supremacy, and transphobic bigotry.

Read more “Help Chelsea Raise Funds To Resist A Grand Jury Subpoena”

A Conversation with Projekt Seahorse a.k.a. Aaron Moun10

Projekt Seahorse will be performing at the next Raw Thought at the DNA Lounge from 9pm-2am on March 8th!

Dance, play with robots, watch a beautiful shamanic dancer perform (Lael Marie) or just chill in artist Grumpy Green’s super special Psychedelic Chill Room (an immersive art installation).

DJs include: Melotronix, Tha Spyryt, Ailz, & Cain MacWitish – with visuals by Projekt Seahorse and shamanic dance by Lael Marie – all at our March 8th Raw Thought at the DNA Lounge in San Francisco! TICKETS

Watch a highlight clip of Projekt Seahorse performing with Raw Thought DJ Tha Spyryt.

By Lisa Rein

The Edirol V-4

Projekt Seahorse a.k.a. Aaron Moun10 is known for his analog mixed-media art, which he performs live in real time. We interviewed him about his techniques and process in creating his real time masterpieces.

Lisa Rein: So how do you make your visuals? Is everything analog? Are there any digital components? How does it work?

Projekt Seahorse: I’m like a live band. I’m running everything from 4-6 different VHS players and two DVD players and two laptops, all into a video mixer, and then I’m sequencing all of it live.

LR: So your using that old video mixer?

PS: Yes I’m mixing it all live to the energy of whatever music artist I’m working with.

LR: So it’s still analog mixing then, when you are using that video mixing board?

PS: Yes. Analog mixing in real time.

LR: Neato. What kind of video mixing board is it?

PS: Well, right now I’m using an Edirol V-4. But normally, what I’m used to using is this old Panasonic from like 1982. It’s called the “MX 50” – and this is how ABC, CBS, NBC, ESPN all used to edit their videos. Before digital came in.

A Panasonic MX 50A

PS: So, I coordinate and sequence everything in a live atmosphere.

LR: How do the laptops fit in then? I see them there as you are working.

PS: I use a 2006 or 2007 Dell, which is actually the first laptop that I’ve ever owned. I still use that. It’s only ever been online like two or three times so it still works great. That runs like the very first version of Resolume on it. And then I also run this 2013 Macbook Air. That’s just begging to be put down – but I can’t put it to rest yet.

LR: Are there some digital clips that you are running from the computer? What’s the computer doing then, if you’re doing all of the mixing with the video mixer?

PS: I’ll use this software called “Arena.” And then a I have a bunch of clips stored on my computer. Some of them are VHS clips and some of them are digital clips.

LR: So, these are good clips that are good to mix in with everything. As opposed to clips you que up on VHS or DVD? So there ARE some digital clips. But they are still being mixed in with the analog mixer.

PS: The digital portions appease promoters. If it were up to me I wouldn’t use them at all.

LR: Are you saying the computers are partly for show? Because people freak out when there’s no computer?

PS: Affirmative.

LR: And that is still analog output to the projector, right? From the mixer – even if you are blending in digital sources?

PS: From the computer to my mixer is digital to analog conversion. And then, from the mixer – coming out of the mixer, I go analog back to digital. (Since the projectors prefer digital input.)

Shamanic Dancer Lael Marie dances as Projekt Seahorse immerses her in his video art projection. (Click to see a short video 🙂

LR: So Lael Marie will be performing with you for the first time at our Raw Thought show on March 11. I’ve seen you guys perform together during a practice session and she’s absolutely amazing; and the two of you together are quite impressive. How did you ever find her?

PS: We met at a party and she’s always looking for new progressive projects and events where she can dance, so I told her about Raw Thought.

LR: Yes she mentioned she was always looking for interesting collaborations, and said this was a dream come true for her, as she had been looking for a projectionist to collaborate with for a while. (I’ll have an interview with her up later this week!)

PS: Werd.

Read more “A Conversation with Projekt Seahorse a.k.a. Aaron Moun10”

The President Addresses The Nation

The President Addresses The Nation

R.U. Sirius January 8, 2019

I see them all lined up at the border
killers, gangsters, rapists…

Ravers with drugs
Bugs with diseases
Mr. Freeze
Chupacabra
Old Sandinistas
Bolton just told me there’s Zapatistas
Angry strippers who use the name Rita
Members of ISIS carrying Pita

vampire bats
gals wearing pussy hats
Soros’s minions of liberal fat cats
Knee takers carrying baseball bats

Masked Antifas throwing rocks
Vicente Fox
Honduran children with chicken pox

IRS agents have joined the throng
Octavio Paz arm-in-arm
With Robert de Niro and Erica Jong
Mueller supporters who know I’ve done wrong
Emiliano Zapata on the back of King Kong
Streisand singing that stupid song

Hillary Clinton is down there too
Professor Chomsky and his radical jews
Even the truthers are turning on me
Why can’t I just make a decree
This is a national emergency

Yes there are monsters south of our border
I need a wall against this disorder
Dictator or prison – that’s how I see it
Yes it’s an emergency soon I will decree it

ASD PSP Update: What We Know About Law Enforcement Use of Facial Recognition Software with Body Cameras – Including Amazon’s “Rekognition”

An Interview with Tracy Rosenberg (Executive Director, Media Alliance & Co-coordinator, Oakland Privacy.org)

By Lisa Rein & Tracy Rosenberg of the Aaron Swartz Day Police Surveillance Project

New! We’ve just updated our Muckrock Templates for Filing Requests re: Surveillance Equipment.) Use these handy templates to request information on the existence of any and every known piece of surveillance equipment. Works for Police (city) AND Sheriff (county).

Tracy Rosenberg & Lisa Rein will be discussing the Aaron Swartz Day Police Surveillance Project, its templates, latest results from Sacramento & many other cities in California at this month’s Raw Thought Salon on March 8th – from 7-9pm.

Then stay from 9pm-2am to dance and hang out in artist Grumpy Green’s super special Psychedelic Chill Room (an immersive art installation). DJs include: Melotronix, Tha Spyryt, Ailz, & Cain MacWitish – with visuals by Projekt Seahorse – all at our March 8th Raw Thought at the DNA Lounge in San Francisco! TICKETS

Facial recognition software allows cops to feed in images of people and look them up in real time. For instance at a protest or any kind of public gathering. One of the new planned technical innovations is to put the software onto the body cameras many police now carry, turning cops into walking facial recognition programs.

Tracy Rosenberg holds up a sign at the T-Mobile/Sprint merger protest in Fresno, California, on January 15, 2019.

Lisa Rein: Hi Tracy! Thanks for helping me give folks an update about what we know now about facial recognition.

Tracy Rosenberg: No problem.

LR: So, you were telling me that, currently, to your knowledge, no city has yet to put body cameras with facial rec out on “the street?”

TR: That’s right. So far, it’s just an idea being talked about and explored. As with much of law enforcement use of facial recognition software, it is isolated and spotty, but we are seeing more and more. The threat is very real.

For body cameras carrying the software, there is no police department yet doing it. However, Axon-Taser, which dominates the police body camera market after acquiring their primary competitor VieVu last year, says they are exploring and proactively put in place a new corporate ethics board in the hopes of stemming the expected public uproar.

http://www.govtech.com/public-safety/If-Facial-Recognition-Comes-to-Body-Cameras-How-Will-Government-Respond.html

And when SF-based Assembly member Phil Ting tried to include a ban on facial recognition software being attached to police body cameras in his legislation (AB748) to make body camera videos available as public records, law enforcement fought very hard and was eventually able to force the removal of that clause from what eventually became law. That was virtually unreported by the press in their coverage of the law and it was a big deal.

The most prominent facial recognition software producer, of course, is Amazon with their “Rekognition” product, which they have been shopping around to municipal police departments and to ICE. A public records act request by the ACLU revealed that two police departments were takers, the Orlando PD and the Washington County Sheriffs Department in Oregon.

https://www.washingtonpost.com/news/the-switch/wp/2018/05/22/amazon-is-selling-facial-recognition-to-law-enforcement-for-a-fistful-of-dollars/?utm_term=.444adcfbb642

Both are engaged in “pilot projects” (as is also the case in Alameda which we’ll discuss below).

Orlando paused their pilot program briefly in response to public scrutiny, but has now started it up again.

https://www.orlandoweekly.com/Blogs/archives/2018/10/18/city-of-orlando-launches-second-test-of-amazons-facial-recognition-software

LR: What other implementations are on the horizon in the facial recognition space?

Read more “ASD PSP Update: What We Know About Law Enforcement Use of Facial Recognition Software with Body Cameras – Including Amazon’s “Rekognition””

Interview with Raw Thought Artist Grumpy Green About Their Life, Love & Art

Come to Raw Thought on March 8th (from 9pm-2am) & see Grumpy Green’s super special Psychedelic Chill Room (an immersive space for both dancing & chilling).

DJs include: Melotronix, Tha Spyryt, Ailz, & Cain MacWitish – with visuals by Projekt Seahorse – all at our March 8th Raw Thought at the DNA Lounge in San Francisco! TICKETS

By Lisa Rein

As we begin the interview, Grumpy’s cat, “Freddie Mercury” knocks over some brushes in water in a water bottle all over a piece of beautiful artwork sitting on the living room table.

“It’s okay,” Grumpy says. “I’ve already scanned it.”

Aha! Great opportunity for me: “Hey if that’s garbage to you now would you please sign it and give it to me?” They promise to sign it and let me take it with me. It’s the creature in black, above, at the beginning of this article.)

Lisa Rein: So tell me about your radio show.

Grumpy Green: It’s on S.P.A.Z. radio.

LR: That’s an Internet Station?

GG: Yeah it’s on SPAZ.org, it’s an anarchist collective and they stream radio from Guadalajara, from Portland, from Amsterdam, and from all over the world. Every broadcast comes from a different location. It’s also available via pirate radio in San Francisco, but not yet in Oakland. (Coming soon.) In San Francisco it’s at 103.5.

LR: Awesome. And this will be your first show this Sunday?

GG: Yes! Our show is called #LiveAmmunition and it’s every Sunday from 2pm to 5pm.

LR: Are your shows recorded if folks miss the live ones?

GG: Yes. The next day, at 8am in the archives. (Link to Sunday, Jan 6, 2019 show)

LR: Great! I will link to it!

GG: It’s me (Grumpy) my other friend Traveiza and our other friend Chi Hai. They are all DJs and really incredible artists, and we all bring a little bit different flavor to club music.

We started recently, just in the underground music scene, playing shows together. And we started tag teaming DJ sets. Like we’ll do back to back and each do two songs. We started doing it just for fun a few months ago and we just all worked so well together. This opportunity came up to do the radio show and we decided to do it altogether, and bring on local queer and trans and really give a platform to the Oakland underground scene, specifically the queer underground scene.

 

LR: Is there an instagram just for the show?

GG: Yes. It’s just the name of our show is “@LiveAmmunition” We also do an advice segment for people that wanna call in.

LR: How did you come up with “Grumpy Green?”

GG: Well my last name is “Green.” And “Grumpy” is something that my ex-partner – I guess my first real relationship – they would always call me “Grumpy,” but as a way to kind of point out when my mental illness was acting up. Because I have Borderline Personality Disorder and I have really intense mood swings, which is why I smoke so much weed, because it really helps me stay like baseline. Otherwise I feel like 50 things a day and I’ll be like crying and then I’ll be like “ha ha ha ha” – just like really crazy. But we would fight a lot, and whenever I’d get upset he would try to be like “da da da, you’re being Grumpy.”

And a while after we broke up and decided I didn’t want to go by my birth name any more, and it started out just for my art. But I don’t go by my birth name ever ever now. Because I feel very dysphoric about it. So it started out as just like a pseudonym for my artwork, but it was sort of a reclamation and acknowledgement of my mood disorder and mental illness, but being like “I’m fucked up, but that is beautiful.”

From “Lucid Dreams”

Read more “Interview with Raw Thought Artist Grumpy Green About Their Life, Love & Art”

Cindy Cohn & Cory Doctorow & Annalee Newitz Discuss “The End of Trust”

(Left to Right) Annalee Newitz, Cory Doctorow, Cindy Cohn.

By Lisa Rein.

Video: YouTubeInternet Archive

Audio: Internet Archive

I was lucky enough to get a last minute ticket to see Annalee Newitz interview Cory Doctorow (Science Fiction Author, BoingBoing, Special Advisor for the EFF) and Cindy Cohn (Executive Director, Electronic Frontier Foundation) a few weeks ago in the SF mission to promote McSweeney’s new “The End of Trust” publication – which is now available for pre-order.

Annalee Newitz: “When discussing Social Justice Issues, Corporate Malfesence, The Government Breaking the Law to Look Into Our Private Lives, and I know that at EFF, one of the main responses to these kinds of problems has been litigation. It has been to go to the courts. And I’m curious to hear why you think that is a good tactic because we have many tactics at our disposal. There’s direct action. There’s calling our congress critters. There’s all sorts of ways that we can influence the political process. So, why the law. Why the courts? And how can ordinary people participate?”

Cindy Cohn: “The first reason is that there’s a fundamental constitutional question at the centerpiece regarding how we are going to interact with our technology, that can make all the other questions easier.

The second reason is that all of the direct actions that you might want to take in order to exercise your self-governance and have your voice heard, requires some kind of legal protection, right? And when we talk about “direct action,” the reason that you can do direct action and not end up with a very long jail sentence is because, in the United States, compared to other places around the world, is because the Constitution says you can. All the hackers who EFF represents, who tell us all the things about the security problems and the surveillance – if we don’t get the law right, they’re not going to be able to do that. So, I often say that about EFF that we’re kind of the plumbers of freedom. We’re trying to get the obstacles out of the way, so that all the other things you can do to exercise your rights in the digital world can really flow freely.

And so, I think for both of those reasons, EFF was grounded in the law. But also, at this point, we build technology. We have an action center. We support a lot of people that do a lot of direct action. We support a lot of people that need to protect themselves, that do direct action, and all sorts of other things. So although we are firmly grounded in the law, and that’s my background, the organization has really trying to grown to build a lot of different tools in our toolbox to deal with these problems.

Cory Doctorow: “Yeah. I think it’s easy to forget just how powerful states are. They have a lot of resources. And in a fight where you are trying to say, use cryptography to be free, in a state that is illegitimate. You have to use cryptography and the privacy tools associated with it absolutely perfectly, as do, everyone you communicate with, and never make a mistake.

And when you get tired or distracted, you don’t get to call in another you to spell you off and manage your operational security for you. While you’re distracted or taking care of your kids or dealing with the flu. And your adversary from the state, has three shifts of people that can watch you. Right? And when one of them gets a little tired, and gets screen burn and needs to take 15 minutes off to go to the bathroom, they can swap someone else in.

So in the long run, your ability to use cryptographic tools to defend yourself against an illegitimate state. You’ll always lose, right? Because you need to make one mistake. They have to find one mistake you made. They get to make lots of mistakes provided they can still catch that one mistake you made. And then they get to roll up you and all your friends and take you to jail and torture you and so on.

And so, without a legitimate state, the utility of cryptography is to allow you to just have a space in which you can organize to make your state legitimate. But unless you can attain that kind of democratic accountability. Unless you can attain that kind of legitimacy, you’re always gonna lose…

Larry Lessig, take a drink (audience laughs), is one of the great cyber lawyers, and he devised all the areas in which we can act to change the world into four categories. Four directions. We can do code. We can do law. We can do norms, and we can do markets. And they all feed back into each other. And EFF does all of these things. We sometimes advise businesses who are building up stakeholders for good policy. We sometimes do activist intervention where we try to convince people that they should expect more and demand better.

Link to the Book Excerpt in Wired by Bruce Schneier – “Surveillance Kills Freedom By Killing Experimentation” by Bruce Schneier. From the upcoming “The End of Trust” – now available for pre-order here.

Here is a complete list of authors:

Edward Snowden
Jenna Wortham
Cindy Cohn
Sara Wachter-Boettcher
Cory Doctorow
Reyhan Harmanci
Hamid Khan
Ken Montenegro
Myke Cole
Ethan Zuckerman
Elizabeth Stix
Ben Wizner
Malkia Cyril
Jennifer Kabat
Alvaro Bedoya
Gabriella Coleman
Camille Fassett
Virginia Eubanks
Jacob Silverman
Julia Angwin
Trevor Paglen
Soraya Okuda
Thenmozhi Soundararajan
Douglas Rushkoff
Bruce Schneier
Dave Maass
Madeline Ashby
Edward F. Loomis
Jenny Odell
Carson Mell
Chelsea Hogue
Joanna Howard

 

(Left to Right) Annalee Newitz, Cory Doctorow, Cindy Cohn.