about the popular argument that not using AI is a privilege, or that not using a smartphone is a privilege, or other high-tech. i feel a bit triggered by the word privilege there. i do know how quitting tech-dependencies require time, confusion, curiosity, learning, and how not anyone can currently afford that in their current context.

but it is not new that fascism will exploit the one who can't afford to resist. liberal identity politics often puts the focus on the individual experience: they can't afford to resist because of their own conditions, as if asking them to resist was close to a negation of their identities. what triggers me is that then we're close to making it a fatality in our discourses that there isn't any liberation possible, by describing the oppressed as powerless, in a self-fulfilling prophecy.

but lower classes resisting exploitative dependencies can and has been done collectively. i think the change of word from talking about (personal) privileges or (collective) resistance, change the discourse! Because it doesn't look like isolated answers but rather like: making unions to refuse and boycott certain tech at work, organizing collective radical pedagogy sharing, creating coalition to lobby against new chains of tech-dependencies being forced upon us.

ah yea the pipeline

study academic/science
-> academia is an authoritative competitive elitist ivory tower financed by big knowledge without anchors to popular lived experience

study art (interested by freer mode of expressions)
-> art is made out of gate-kept scenes that act like cultural bubbles that speaks to each others without permeability to popular lived experiences

work as a graphic designer / developer (interested by making applied stuff that can be used by others)
-> design is a liberal service where you self-exploit yourself or collectives until exhaustion and where the subversive potential of what you do is forever constrained by who has money to pay you

leave art and design, and start doing education and activism (interested by radical and intimate knowledge sharing and direct mode of resistance)

while doing education and activism i end up using: academic essay writing, trans-disciplinary art methods, self-made graphic design and custom digital tool development.

move away from what constrained your expression of something that felt true or honest but keep the learning of what changed you or something idk

why are people desiring to be granted the queer title so much?

actually sincere question from a transsexual lesbian who never decided, or desired, to be perceived as queer, but got that automatically attached to me (irremovable, even if i wanted too) through simply being who i am.

i'd love to have like anti big-tech RAVES

* whole communications is out of big tech social networks
* physical poster crafted without adobe, AI, google, etc
* secret place communicated to peers through gossiping network
* lots of free zine on why and how to resist big tech but also about craft and learning and doing differently
* activists groups can be present, place to gossip about local actions
* clear statements of: no AI, stop datacenters, resist techno-fascim
* no big tech sign that mean stuff like: apple or google smartphone with cloud sync are forbidden to take picture (don't upload each others)
* inclusivity, you don't need to be a nerd or geek, you just need to see there is a problem
* diversity, not every propositions is the same between abolitionism, hacking, repurposing, reducing, teaching, disobeying, whatever
* DIY culture for everything sound system, DJ gear, etc, etc
* blast hardcore sound walls cringe pop banger anything but this is not an electronic art festival with bourgeois good taste it's a rave

a collective organic rehearsal for a mainstream culture of tech resistance, what could it means to be together and party between people who hate AI and don't use it, to try to ditch apple google microsoft and relearn new community solutions when we can, to humbly deconstruct our tech dependencies

Hey, there are a few desks available in our shared artistic studio space in Bruxelles, called Meyboom!

We are also lowkey a community and you get the immense privilege to gossip at lunch with people like @marieverdeil, @salomemacquet, and my former collectif @osp (including @vinciane, @ccllaarraa, @Ludi), @olivierbertrand, @lenamonot, and so much more incredible people that aren't on fedi.

Most of us have desk practice so like graphic design... but we are trying to gather more diversity: podcast crafters, performers, teachers, activists, scenographers, writers, DJs, choregraphers, archivers... and you?
Meyboom is also a space that became 'accidentally very queer' lol

More info here: https://meyboom.space/pages/New%20Cohabitants.html

Picture is from our last 'serious apero' the monthly community meetings where we organise the space and community together (it's some work). We are like 30 in total?

i want to blast that song at 100% volume in a Datacenter occupation as DJ FUCK AI I CAN DO IT MYSELF where are my neo-craft-punks in the crowd!!! put your hands up in the air if you love to know little facts!!! put your hands in the air if you love to do stuff!! teach each others & take care you all <3

hey beautiful i heard you love rave punk and also hmm.. FUCK AI and shit

well... as ducky said few years ago

I CAN DO IT MYSELF

haha can you? <3

https://www.youtube.com/watch?v=E4G9dxKmKn8

@gwil i want you to girlsplain me every edgy opinions you have about this

the "fediverse", the "atmosphere", ok baby have you ever went to the "parc" to "touch some grass" ? it's also social and local and interoperable (you can be there for walk, or party, or sport and still gossip with each others).

ok im being a cynical brat i know but i wanna understand why sometimes protocol battles matters and also who's winning by providing the most computationally-abstracted model of freedom lol and why it's not escapism through problem-solving instead of looking at stuff that always made community with actual human like idk situatedness and in-groups with shared values, exciting subcultures, gossiping and intimacy, trust over privacy, and most importantly where are the funny & cool people and all those bangers

can someone explain to me the "problems" that ATProtocol people tried to "solve" in comparison to ActivityPub like if i'm 12 years old

i've been thinking about linking my mastodon to my personal website (it becomes its own page) where my feed is copied as static file and use mastodon hashtags with checkboxes to filter my post by categories: like personal blogging, queer discourse, tech discourse, silly stuff, community questions, etc. i don't want dynamic stuff because i like the flat-file archive it creates and the context translation (from social network back to personal space) it operates. anyone done something similar or has cute examples?

things i could see comes out as project would be like:

* helping, teaching a local activist/craft community with tech infra, server or custom tools
* workshop based practices open outside of design and art niches, like teaching alt tech to kids, familly, neighboorhood, etc
* tool making and social protocol making, zines and documentation for daily tech use: file sharing, map navigation, note taking, social networking, ...
* infrastructure walk guided visiting (datacenters, surveillance camera, antenna, grid, water, etc etc)
* protest and fight back coordination against big tech, coalition making and cultural, laws, economical understanding around tech

@gwil how easy is it to make a school you think? i believe in radical pedagogy enough to see myself do that a good part of my live

welcome to the school of "let's use computers together for (local) communities!!! (and be angry about all of this sometimes)"

i think we should have some type of class or study for people who do things with computers and technology that isn't strictly programing but also explicitly detach from the whole art/design thing.

like we use tools from sociology, politics, local communities, linguistics, ecology, feminism pedagogy, etc to collectively do project with or against computers or technology (what programing lacks) but also be allowed to distance ourselves from the cultural scenes and niches of design, publishing, poetic computing, net art, contemporary art. as those have a tendency to build a career as either a service in a liberal sense, creating cycles of exhaustion, and impossibility to create new systems of technological use while dependent of a cursed competitive economical system. or for the art, leading to a codified overly-aesthetisized meta of validity that consider what's outside of it as naive or uneducated, and what's in quickly become trendy-abstracted codes talking to themselves un-anchored from our everyday techno reality, isolated like in a bubble from what we live.

what i mean simply using the technology critically for others around us? and it's not art (a meta), its not design (a service), it's not programing (a skill). it's more practicing, resisting, making and commoning the tech as a finality in itself? #thought

i looove how this new era of gen-z social-media-native movies tells stories. like backroom, obsession but also the amazing digital circus. its so delicious so pop so uncanny... the normalized presence of the horror, not as an effect, not even as a genre, but simply as an emotion needed today to talk about things. the very clear oversimple scenario that can fit in a tweet or square image, in which the ratio of insane versus amount of words has been maximized to squeeze out its strong energy, no compromise. the realism of the story (in a millennial sense) is merely a cost they're ready to pay whenever needed, no we don't need explanation yes we can forget things and yes everything can happen anytime without story coherence if it make sense on a meme-emotion level, as if it comes from a "me when" or "what if" template. yet nothing from that impact-maxing clarity and horror-fun contrast is executed straight forward, it's doing micro-twist of expectations all the time that complexify the topic, like posting a thread of posts that slightly contradicts each other or goes into different directions, including their user made answers, feeling like discourses with a sincere idk but hear me out, while building a story for the account. first time i strongly felt that was with i saw the tv glow. you go girl reality is like that.

🛌🔍

"URGENT" i "NEED" to "SLEEP" in "BERLIN" on the night of the 7-8 (friday to saterday).

bonnus point if i can hang out with you and have somewhere to land on friday when i arrive in the morning.

in exchane i can hang out with you (insane)

#blogging

which, also just like gender or language imply a part of willingness, of pretend.

if i listen to something a friend is saying like i am a purely rational gramatician, decoding every words for its dictionary definition, i might loose the true meaning of the sentence itself, because meaning in words also is contextual and cultural.

that's why even after watching hundreds of horror movies, which mostly wouldn't scare me anymore, i still love to play pretend like if i'm teenager going to watch something forbidden. full both of naive wonder and fear for the unknown. in the same way than if i start a dramatic romantic comedy well i might have some ice cream, a bad day, or an emotional crisis. exactly like in the real world, the horror of a situation sometimes lie in the willingness or condition you put on yourself to actually see it.

a bit like if horror movie are so much belonging to their own genre, that they can't be isolated artworks, they exist in echoes of similarity and strangeness to the other horror media of that particular sub-genre or era. think of found-footage style, or zombies (our potentiality to become thoughtless) or vampires (the violence of desires), or the one of the forbidden room of a (haunted) house often unlocked by a woman or a child (the restricted access of societal mental or physical spaces). or in terms of methods, the jump-scare, the playfulness of (lack of) sounds, of personality contrasts in characters, of uncannyness or deja-vu, of camera movement, of chasing scenes, and all of that.

for some of those movies it's really like they exist in conversations to one another, breaking or amplifying the horrors by the repeating or betraying the codes.
like you can do with gender or language.

all of that to hint how the horror of a media of genre isn't something purely sensory. even in (some) slashers or gore movies. sometimes horror is actually more ambient or deep or latent than the raw images of the media itself. just like gender or language, the horror lives in a mix of individual and collective codified constructions. it makes it both intimate and systemic.

as an horror movie fan, there is this thing that slightly annoy me with people who don't often watch horror, that as soon the movie is finished there is an immediate need for ranking the scary factor of it, often to say that in the end it wasn't really scary (as they thought it would be).

horror to me is interesting because it's a genre misunderstood for a sensation. and it's a very codified genre, in which most movies, even the more artsy experimental ones, heavily rely on characters tropes and cinematographic codes . which is also often why the tasteful film lovers often dislike horror because they associate the their overdone up-cycling of codes and methods as something superficial, generic, that lacks of depth, creativity or reasoning. when codes start being shared by a mass of media it can easily become vulgar. but it's also why i am so fascinated with horror as a genre, in the same way i nurture a singular relationship with gender or language.

horror becomes powerful by repeatedly creating senses of familiarity through the uses of codes, then breaking it. which makes it incredibly contextual: an "effective" horror movie mostly is so because of the horror meta or momentum of that time, and audience expectations.