Category Archives: Technology

Annihilation: Alex Garland’s Bad Trip Through Dis-ease and Over-Reproduction

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By Kim Nicolini

Source: CounterPunch

If you go see Alex Garland’s Annihilation (2018) – and I highly recommend you see this film in an actual movie theater with a big screen and big sound –, you are in for a trip. Not a road trip. Not a good trip. But a bad trip. You may ask why I am urging you to see a film that will pull the ground out from under you, defy delivering a tidy narrative, refuse to answer your questions, and leave you in a state of discombobulated horror as if you just experienced a 115 minute very bad trip. There are a lot of reasons to join Garland’s journey into a shaky world where reproduction leads to destruction and where the further you go into the film the further you will find yourself separated from any known reality (just as the further the main characters delve into the ominous and alien Shimmer, the further they come unglued). At one point in the film, female scientist Dr. Ventress (Jennifer Jason Leigh) questions whether all the women who reside at the film’s center have lost their minds. After watching the film, you may very well ask yourself the same thing. But that is the power of the film. By provoking the audience to lose their minds, toss all rational thought to the wind, and deconstruct the most primal notions of stability, this sci-fi horror film unveils the fears that seep through collective humanity like a terminal illness and show the unnatural and terrifying impact of human intervention with the natural world.

The movie is built on the basic sci-fi premise of a team of scientists sent on an expedition to explore an alien anomaly – in this case, the Shimmer. This mysterious form sprouted from an occurrence at a lighthouse and is rapidly devouring a national park and its surroundings, and it is hell bent on eating up all humankind and the earth it occupies (emphasis on the term occupation). Annihilation is astoundingly beautiful while also being exceptionally terrifying. It will take you into an alluring yet unnerving world that reflects our own world through myriad lenses. The Shimmer takes the very substance of all life – DNA – and refracts it into a kaleidoscopic array of mutant variations. Most of them are terrifying, even when they are beautiful, and the realm of this film is one of absolute instability.

Like the characters in the film, we presently occupy an environment of fear, where every day we are confronted with new terrors and new monsters bombarding the airwaves and the internet, a world which is being ripped from the core, where they natural landscape is threatened to be mutated by monster drills, where borders are pushed at us as if they are threats, and where females are both the source of growing power and the source of tremendous social anxiety. These and so many other things are delivered in Garland’s surreal portrait of four women on a scientific expedition into the unknown realm of the Shimmer which is rapidly consuming the southern gulf coast and mutating or killing everyone who enters it.

The film is based on Jeff VanderMeer’s 2014 novel, and your first question may be how well Garland has adapted the book for screen. Well, the book is the first thing he annihilates, so don’t attempt to compare. The material of the book inspired the film, but Garland acts not unlike the Shimmer. He has refracted the DNA of the book into its own species, something that none of us has ever seen before. In the film, the central Scientist Lena (Natalie Portman) discovers that all mutated plant species within the Shimmer are connected to one shared root system. VanderMeer’s book is like the movie’s root system from which Garland has conceived his own lusciously nightmarish film species, growing a whole forest of ideas and visions that multiply in glorious weirdness.

Garland outwardly states that he engages in an anarchistic approach to filmmaking. He resists leadership and debunks the idea of the auteur and refuses to be one (though both films he directed – Ex Machina (2014) and Annihilation bear striking similarities in aesthetics, production, and themes). An Alex Garland film is firmly and concretely an Alex Garland film. There is no way to mistake Garland’s use of glass and reflections (sliding doors as eerie otherworldly portals/prisons) or his cinematic obsession with reproduction (girl-bots and genetic engineering) for the films of anyone else. I commend Garland for his cooperative approach to filmmaking and for stepping back and letting people do what they are good at, trusting the experts he employs to do their job and refusing to interfere with their work. For example, when he partnered with Director of Photography Rob Hardy (also DP in Ex Machina), Garland didn’t dictate what lens or camera to use. He respects his DP as a collaborative artist within a team of collaborative artists, and he trusts that together they will produce uniquely beautiful and unsettling films. Likewise, Garland gives free reign to his actors to improvise, reinvent characters, and add their own unique dimensionality. His anarchistic approach to filmmaking shines through every surface of his films, and the surfaces in Annihilation indeed are magically shiny, slick with water, glistening with reflections, and refracted through glowing prisms.

Perhaps, Garland’s filmmaking anarchy also leads the audience to the sense that we are entering a world that never existed before because it only exists as a result of a distinct collaborative artistic process. It is a movie that can only result from a very specific mutation of elements. Just as the film relies on the image of cellular reproduction to create unique species that did not preexist, the cellular interaction of human creative DNA in Garland’s films creates a new species of movie, and for many, that is unsettling.

People are comfortable with what is familiar, and Annihilation is not like anything we have seen before, though we may recognize elements of its underlying DNA. The initial reference to the lighthouse as the locus for obliterating norms and a destination for the film’s team of women to reach echoes Virginia Woolfe’s desperate plea for female autonomy, creative freedom, and liberation in her 1927 novel To the Lighthouse. The four female protagonists are headed to the source of the reproductive anomaly (representing a breach in the traditional female role as birther and caregiver), and they are mirroring an early work of feminist fiction through the lens of sci-fi horror (because reproduction and all its ramifications both intrigue and terrifify men who want to understand and control something they can’t entirely understand and control). To reach the lighthouse, the women have to trek through Area X, a former national park which has now become a mutated kill zone that bears an eerie resemblance to the infamous Zone in Andrei Tarkovsky’s cinematic masterpiece Stalker (Сталкер, 1979). As in the Zone, Area X jumbles time, seems to be plagued with the aftermath of an environmental catastrophe, seeps water from every surface, glows with a haze of timeless loss, and destabilizes all sense of location (compasses fail), communication (technology signals drop), and unravels logic and reason. It also evokes the sense of some kind of radioactive disaster.  To follow through on the film’s exploration of cancer as an act of self-destruction, radiation can cure (cancer) or kill (bombs). Finally, staying rooted in 1979, the film’s hazy dream/nighmarescape recalls the directorial style of Ridley Scott, and the Shimmer’s central root system – a seething undulating network of organs that combined look like a horrifically alien birth canal – harken back to H.R. Geiger renditions of a monster-breeding alien reproduction system in Scott’s Alien (1979). In other words, though Annihilation is its own cinematic species, it possesses the DNA of its cinematic and literary ancestors, which gives the audience a thread of familiarity even as we are being thrown into a psychedelic whirlwind of confusion and terror.

Both Annihilation and Ex Machina have very solid aesthetic and thematic grounding – the conjoining of the organic and the artificial which creates another dimension of being. Both films obsessively dissect, interrogate, and reconstruct ideas of reproduction and the murky, often shifting, line between reproduction and self-destruction.

Ex Machina explores the traditional horror film approach to reproduction by showing what happens when men try to take on the female role of reproducing through technological and/or scientific intervention. In this film, not only is the man the one reproducing, but he reproduces women as objects of male consumption – porno objects who can cook dinner, suck your dick, and kick up some dust on the dance floor. But in the end, man can’t outdo woman as the great reproducer. The girl-bots win, playing on man’s weak spots – all-consuming lust and ego – the man cancer that causes him to eat himself in an act of selfish self-desctruction. The robo-girls beat both their inventor, who thinks his brains can buy him a pussy (on all fronts), and the nerdy tech geek who likes to believe he’s above fetishizing women when actually his attraction to a girl is ruled more by his hard-on than intellectual intrigue. The only one either of these men is kidding is themselves. And they lose, and . . . they kind of get off on it, which flips us back into that loop that never seems to close.

Annihilation, on the other hand, puts women front and center. Female bodies invade a male genre – a troop of scientists and/or military guys sent on a mission to learn the secrets of and destroy a mysterious alien force – the Shimmer.  We are not accustomed to seeing women in these roles, so the film annihilates traditional male-dominated sci-fi horror narratives. With another nod to Alien and a tribute to Sigourney Weaver’s Ripley, these women righteously bear automatic weapons to fend off the alien forces that threaten them. Remember how adept Ripley was at wielding a blow torch? In one scene Portman’s Lena obliterates a gigantic mutated crocodile without batting an eye. She literally never blinks! Unlike its predecessor Ex Machina which is fixated on male-reproduction of female bodies, Annihilation focuses on a group of women who have somehow failed to reproduce. The central character Lena has destroyed her marriage and therefore snuffed her possible future as a mother. Anya (Gina Rodriguez) has infiltrated her body with drugs and booze instead of babies. Radek (Tessa Thompson) has actually “felt” life through self-destruction (cutting herself to the extent that her arms are mapped with scars) rather than giving life through reproduction. Finally, Ventress has no connections to anyone, projects as if she is an ether trace of a rapidly vanishing body. Ventress is, it turns out, dying of cancer – the film’s stand-in metaphor for toxic reproduction, since cancer is the reproduction of cells to the point of biological annihilation.

The film opens with a close-up of cells multiplying under a microscope. We learn very quickly that they are cancerous cells from a female cervix – the gateway (or gatekeeper) to reproduction. From the film’s onset, reproduction is under attack (being annihilated). As we enter deeper into the Shimmer with the four women, we learn that cellular reproduction can be both beautiful and toxic. As Dr. Ventress states: “It is the source of all life, and of all death.” Therein lies the great conundrum, and the underlying horror of the movie (because this is a Sci-Fi horror film). By vividly exploring multiple angles of Reproduction Gone Wrong – from the Shimmer’s mutated plants and creatures to lethal cancer –, Annihilation taps into some of the most prevalent collective social fears. Over-population (one of the greatest threats to the planet) is shown as both beautiful (“Look at all those gorgeous and strange flowers!”) and as claustrophobic and strangulating (“Look how that mutated corpse is sprouting from a tapestry of flowers!”). Fear of scientific intervention in human creation and the potential horrors of genetic engineering confront us full-body through abominable mutated creatures, some of which literally open their mouths and swallow us. A rampaging bear howls with the voice of a dead woman. A female scientist sprouts stems and leaves and morphs into a cross-species plant.

At its core, the film confronts one of the biggest social fears that has been planted so deeply in the collective unconscious that many people are unaware of it.  Even at this point in the 21st century when you would think people would “know better,” the large majority of the population – both male and female – rely on the traditional role of women as mother caregivers for a sense of stability. This film destabilizes patriarchal order by refusing to put its lead female characters in maternal roles and instead putting them in the traditional male shoes of scientists, and in Lena’s case – Scientist Soldier.

Unlike the women’s bodies, the land in the Shimmer has no problem reproducing. It reproduces itself crazy. It reproduces itself to annihilation, one of the great conundrums of the film – that reproduction (as in cancer) leads to complete destruction. Still, the women push through the Shimmer as it refracts all DNA, reproducing mutant and sometimes terrifying life forms. Climbing through overgrown plants, encountering hybrid animals, and camping out in abandoned houses and military encampments, the women make their way through an iridescent beautifully toxic world. Shimmering wet rainbows resemble the iridescence of a biologically disastrous oil spill. Though terrified and with the very ground of their minds unraveling, the women keep pushing, even as their numbers dwindle, and they confront such images as a live autopsy and its resulting mutation; a psychotic rampaging monster bear; tree-humans/human-trees; alligator-shark hybrids; and myriad other grotesque surprises.

In the end, however, the most terrifying image is the one of reproduction and destruction when Lena confronts herself and births her mutated, alien replicant via a seething, pulsing psychedelic vagina. At once curiously alluring and beautifully horrific, the magnum opus of the film occurs in a scene that defies description but must be experienced on the big screen as the vagina swirls in fleshy prismatic colors, its form both bulging and opening. In the climatic act of self-reproduction and destruction, the screen/vagina opens into a bottomless black birth canal and swallows the audience. There are fewer things more terrifying than a psychedelic vagina the size of a theater screen opening its black hole to swallow you alive while giving birth to your mutated duplicate self.

One of the many reasons this film is so unsettling and delivers such an overwhelming sense of dread is that it refuses to offer any middle ground. Everything is turned on its head. Actions and environments are extreme. Women bear arms instead of children. Interior landscapes are eerily sterile, filled with plastic zippered rooms, stainless steel furniture, and windows reflecting windows reflecting more windows. Not one organic thing lives in the lab, except the women (and one dying man and a few men in hazmat suits). Outside, the landscape is abominably fertile. Creatures are like beautifully terrifying genetic experiments. The land is so pregnant, you could practically barf looking at it. It is both bulging with life and seething with decay. Seemingly lovely flowers evoke feminist fiber art run amok. Humans and nature blend not into a vision of utopian bliss, but into an unnerving psychedelic bad trip. While reproduction is supposed to be the act of life, in this world it is a death sentence where living things reproduce themselves to annihilation, echoing the metaphor of cancer – a disease in which the body actually consumes itself with its own cellular reproduction. The film itself is an act of reproduction, reproducing itself in movie theaters while audiences succumb to, absorb, and are mutated by its toxic beauty. This is the kind of movie you don’t easily forget. It will infiltrate your dreams. Next time you take a hike through a densely wooded forest, you may think twice before exploring that abandoned cabin.

The mismatch between humans and nature and its potential for disastrous consequences leads to some excellent moments of sci-fi horror (you will be terrified) while also questioning the nightmarish impact and consequences of human exploitation of the environment/natural world. Let’s close those national parks and drill! But remember, if you keep on drilling, you may give birth to a monster. Throughout the film, music is critical to the movie’s unsettling hallucinatory delivery. With a soundtrack composed by Portishead’s Geoff Barrow and long-time composer Ben Salisbury, the music is as large and imposing of a character as the mutant bear. Alternating between soft acoustic guitar from another era, full orchestral strings, assaultive horns and bombastically creepy synths, the music doesn’t tell us how to feel, it immerses us in feeling. Complementing the film with orchestral moans and sonic decay, the music tips the scales of this movie toward outright Very Bad Trip. But it’s an entertaining trip!

Annihilation may be the most mind-boggling movie of the century. As it builds and breeds and breathes and opens its mouth and swallows us whole, the movie oozes questions and refuses answers. Told from the single POV of the unreliable narrator Lena, we don’t know what to believe and not believe, what is happening, what is a demented hallucination, what is past, present, or future. In one scene, Anya screams over and over: “Lena is a liar! Lena is a liar!” And maybe she is. We never know. Since the story is strictly told from Lena’s perspective, we don’t know if she is lying to us. When asked to recount what happened in the Shimmer, her most common reply is: “I don’t know.” She doesn’t know, and neither do we, just like in the world outside the Shimmer where we are bombarded with “fake news,” false alarms, and paranoid manufactured distractions to prevent us from getting to answers.

At this point, you may be asking, “But what about Oscar Isaak and his character Kane?” He exists in ghost form, in memory, propped up by life support, leaking blood from mutated organs, or as a reconstituted alien being. In other words, he has been stripped of solidity. The central conjoining entities in the film are Lena and Kane, but Lena destroyed their marriage in an act of self-destruction. Lena, who introduces the cancer cells in the beginning of the film, is a cancer herself, and oddly the lone survivor, perhaps because she is the mutant cell that consumes everything in an act of self-destruction that ironically keeps her alive. I know – what a lot of confusing hogwash.

But the world is confusing hogwash! We live in a time of questions not answers, a time of abstract fear that permeates everything and saturates our very souls with instability. The earth is dying; the System is lying; our hearts and land are crying; and there are no fucking answers.

Launching a cast of women in traditional male roles and playing on the trope of cancer as the ultimate method of lethal reproduction, Annihilation blows a hole through just about everything known and turns it in an unknown. It annihilates preconceptions about conception; rational thought; traditional gender roles; cinematic genre; social expectations; definitions of species; fundamental biology, earth science; the possibility of future; application of human thought to unanswerable questions; and the idea of self itself. And the annihilation is both beautiful and horrific. The movie screen seems to actually breathe with mutated life as it sucks us into its tantalizing bad trip. And I loved every minute of it. Personally, I’d rather be on a bad trip that explores socio-political fears and anxiety through a hallucinatory cinematic lens rather than succumb to the excessively toxic reproduction and biased distortion of an unreal reality.

Saturday Matinee: Stare Into The Lights My Pretties

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Source: https://stareintothelightsmypretties.jore.cc/

Logline

A film about screen culture and its implications. While the world burns, where are we?

Introduction

We live in a world of screens. The average adult spends the majority of their waking hours in front of some sort of screen or device. We’re enthralled, we’re addicted to these machines. How did we get here? Who benefits? What are the cumulative impacts on people, society and the environment? What may come next if this culture is left unchecked, to its end trajectory, and is that what we want?

Stare Into The Lights My Pretties investigates these questions with an urge to return to the real physical world, to form a critical view of technological escalation driven by rapacious and pervasive corporate interest. Covering themes of addiction, privacy, surveillance, information manipulation, behaviour modification and social control, the film lays the foundations as to why we may feel like we’re sleeprunning into some dystopian nightmare with the machines at the helm. Because we are, if we don’t seriously avert our eyes to stop this culture from destroying what is left of the real world.

Purpose

This independent film was made with no budget (adding to its authenticity) with no affiliations, is not-for-profit, and is released to the world for free for the purposes of critical discourse, education, and for cultivating radical social and political change.

Philip K. Dick and the Fake Humans

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(Editor’s note: on this 36th anniversary of the passing of Philip K. Dick, it seems an appropriate time to note the relevance of his work to our current dystopia as Henry Farrell does in the following essay. Unfortunately the author is less astute regarding the ways in which the dystopias of Orwell and Huxley are equally relevant to our current milieu.)

By Henry Farrell

Source: Boston Review

This is not the dystopia we were promised. We are not learning to love Big Brother, who lives, if he lives at all, on a cluster of server farms, cooled by environmentally friendly technologies. Nor have we been lulled by Soma and subliminal brain programming into a hazy acquiescence to pervasive social hierarchies.

Dystopias tend toward fantasies of absolute control, in which the system sees all, knows all, and controls all. And our world is indeed one of ubiquitous surveillance. Phones and household devices produce trails of data, like particles in a cloud chamber, indicating our wants and behaviors to companies such as Facebook, Amazon, and Google. Yet the information thus produced is imperfect and classified by machine-learning algorithms that themselves make mistakes. The efforts of these businesses to manipulate our wants leads to further complexity. It is becoming ever harder for companies to distinguish the behavior which they want to analyze from their own and others’ manipulations.

This does not look like totalitarianism unless you squint very hard indeed. As the sociologist Kieran Healy has suggested, sweeping political critiques of new technology often bear a strong family resemblance to the arguments of Silicon Valley boosters. Both assume that the technology works as advertised, which is not necessarily true at all.

Standard utopias and standard dystopias are each perfect after their own particular fashion. We live somewhere queasier—a world in which technology is developing in ways that make it increasingly hard to distinguish human beings from artificial things. The world that the Internet and social media have created is less a system than an ecology, a proliferation of unexpected niches, and entities created and adapted to exploit them in deceptive ways. Vast commercial architectures are being colonized by quasi-autonomous parasites. Scammers have built algorithms to write fake books from scratch to sell on Amazon, compiling and modifying text from other books and online sources such as Wikipedia, to fool buyers or to take advantage of loopholes in Amazon’s compensation structure. Much of the world’s financial system is made out of bots—automated systems designed to continually probe markets for fleeting arbitrage opportunities. Less sophisticated programs plague online commerce systems such as eBay and Amazon, occasionally with extraordinary consequences, as when two warring bots bid the price of a biology book up to $23,698,655.93 (plus $3.99 shipping).

In other words, we live in Philip K. Dick’s future, not George Orwell’s or Aldous Huxley’s. Dick was no better a prophet of technology than any science fiction writer, and was arguably worse than most. His imagined worlds jam together odd bits of fifties’ and sixties’ California with rocket ships, drugs, and social speculation. Dick usually wrote in a hurry and for money, and sometimes under the influence of drugs or a recent and urgent personal religious revelation.

Still, what he captured with genius was the ontological unease of a world in which the human and the abhuman, the real and the fake, blur together. As Dick described his work (in the opening essay to his 1985 collection, I Hope I Shall Arrive Soon):

The two basic topics which fascinate me are “What is reality?” and “What constitutes the authentic human being?” Over the twenty-seven years in which I have published novels and stories I have investigated these two interrelated topics over and over again.

These obsessions had some of their roots in Dick’s complex and ever-evolving personal mythology (in which it was perfectly plausible that the “real” world was a fake, and that we were all living in Palestine sometime in the first century AD). Yet they were also based on a keen interest in the processes through which reality is socially constructed. Dick believed that we all live in a world where “spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups—and the electronic hardware exists by which to deliver these pseudo-worlds right into heads of the reader.” He argued:

the bombardment of pseudo-realities begins to produce inauthentic humans very quickly, spurious humans—as fake as the data pressing at them from all sides. My two topics are really one topic; they unite at this point. Fake realities will create fake humans. Or, fake humans will generate fake realities and then sell them to other humans, turning them, eventually, into forgeries of themselves. So we wind up with fake humans inventing fake realities and then peddling them to other fake humans.

In Dick’s books, the real and the unreal infect each other, so that it becomes increasingly impossible to tell the difference between them. The worlds of the dead and the living merge in Ubik (1969), the experiences of a disturbed child infect the world around him in Martian Time-Slip (1964), and consensual drug-based hallucinations become the vector for an invasive alien intelligence in The Three Stigmata of Palmer Eldritch (1965). Humans are impersonated by malign androids in Do Androids Dream of Electric Sheep? (1968) and “Second Variety” (1953); by aliens in “The Hanging Stranger” (1953) and “The Father-Thing” (1954); and by mutants in “The Golden Man” (1954).

This concern with unreal worlds and unreal people led to a consequent worry about an increasing difficulty of distinguishing between them. Factories pump out fake Americana in The Man in the High Castle (1962), mirroring the problem of living in a world that is not, in fact, the real one. Entrepreneurs build increasingly human-like androids in Do Androids Dream of Electric Sheep?, reasoning that if they do not, then their competitors will. Figuring out what is real and what is not is not easy. Scientific tools such as the famous Voight-Kampff test in Do Androids Dream of Electric Sheep? (and Blade Runner, Ridley Scott’s 1982 movie based loosely on it) do not work very well, leaving us with little more than hope in some mystical force—the I Ching, God in a spray can, a Martian water-witch—to guide us back toward the real.

We live in Dick’s world—but with little hope of divine intervention or invasion. The world where we communicate and interact at a distance is increasingly filled with algorithms that appear human, but are not—fake people generated by fake realities. When Ashley Madison, a dating site for people who want to cheat on their spouses, was hacked, it turned out that tens of thousands of the women on the site were fake “fembots” programmed to send millions of chatty messages to male customers, so as to delude them into thinking that they were surrounded by vast numbers of potential sexual partners.

These problems are only likely to get worse as the physical world and the world of information become increasingly interpenetrated in an Internet of (badly functioning) Things. Many of the aspects of Joe Chip’s future world in Ubik look horrendously dated to modern eyes: the archaic role of women, the assumption that nearly everyone smokes. Yet the door to Joe’s apartment—which argues with him and refuses to open because he has not paid it the obligatory tip—sounds ominously plausible. Someone, somewhere, is pitching this as a viable business plan to Y Combinator or the venture capitalists in Menlo Park.

This invasion of the real by the unreal has had consequences for politics. The hallucinatory realities in Dick’s worlds—the empathetic religion of Do Androids Dream of Electric Sheep?, the drug-produced worlds of The Three Stigmata of Palmer Eldritch, the quasi–Tibetan Buddhist death realm of Ubik—are usually experienced by many people, like the television shows of Dick’s America. But as network television has given way to the Internet, it has become easy for people to create their own idiosyncratic mix of sources. The imposed media consensus that Dick detested has shattered into a myriad of different realities, each with its own partially shared assumptions and facts. Sometimes this creates tragedy or near-tragedy. The deluded gunman who stormed into Washington, D.C.’s Comet Ping Pong pizzeria had been convinced by online conspiracy sites that it was the coordinating center for Hillary Clinton’s child–sex trafficking ring [likewise, the masses may have been convinced by mainstream media that a real child-sex trafficking ring never existed].

Such fractured worlds are more vulnerable to invasion by the non-human. Many Twitter accounts are bots, often with the names and stolen photographs of implausibly beautiful young women, looking to pitch this or that product (one recent academic study found that between 9 and 15 percent of all Twitter accounts are likely fake). Twitterbots vary in sophistication from automated accounts that do no more than retweet what other bots have said, to sophisticated algorithms deploying so-called “Sybil attacks,” creating fake identities in peer-to-peer networks to invade specific organizations or degrade particular kinds of conversation.

Twitter has failed to become a true mass medium, but remains extraordinarily important to politics, since it is where many politicians, journalists, and other elites turn to get their news. One research project suggests that around 20 percent of the measurable political discussion around the last presidential election came from bots. Humans appear to be no better at detecting bots than we are, in Dick’s novel, at detecting replicant androids: people are about as likely to retweet a bot’s message as the message of another human being. Most notoriously, the current U.S. president recently retweeted a flattering message that appears to have come from a bot densely connected to a network of other bots, which some believe to be controlled by the Russian government and used for propaganda purposes.

In his novels Dick was interested in seeing how people react when their reality starts to break down. A world in which the real commingles with the fake, so that no one can tell where the one ends and the other begins, is ripe for paranoia. The most toxic consequence of social media manipulation, whether by the Russian government or others, may have nothing to do with its success as propaganda. Instead, it is that it sows an existential distrust. People simply do not know what or who to believe anymore. Rumors that are spread by Twitterbots merge into other rumors about the ubiquity of Twitterbots, and whether this or that trend is being driven by malign algorithms rather than real human beings.

Such widespread falsehood is especially explosive when combined with our fragmented politics. Liberals’ favorite term for the right-wing propaganda machine, “fake news,” has been turned back on them by conservatives, who treat conventional news as propaganda, and hence ignore it. On the obverse, it may be easier for many people on the liberal left to blame Russian propaganda for the last presidential election than to accept that many voters had a very different understanding of America than they do.

Dick had other obsessions—most notably the politics of Richard Nixon and the Cold War. It is not hard to imagine him writing a novel combining an immature and predatory tycoon (half Arnie Kott, half Jory Miller) who becomes the president of the United States, secret Russian political manipulation, an invasion of empathy-free robotic intelligences masquerading as human beings, and a breakdown in our shared understanding of what is real and what is fake.

These different elements probably would not cohere particularly well, but as in Dick’s best novels, the whole might still work, somehow. Indeed, it is in the incongruities of Dick’s novels that salvation is to be found (even at his battiest, he retains a sense of humor). Obviously, it is less easy to see the joke when one is living through it. Dystopias may sometimes be grimly funny—but rarely from the inside.

A False Agenda for Humanity

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By Julian Rose

Source: Waking Times

Humanity has, for millennia, been led down the road of an entirely false agenda. So much so, that every aspect of society is almost the precise reverse of what it should be.

Just a glimmer of awareness reveals that the true potential of the majority of mankind remains locked away, unable to exert any influence on the course of events on our planet.

Given the scale of this imprisonment, it becomes apparent that the world has been moving on a trajectory invented and directed by a false intelligence, whose interests are diametrically opposed to the intelligence of natural planetary consciousness.

I use the word ‘intelligence’ because its hard to find the right word to describe that which is very clever, but lacks the ability to feel love or compassion; and is often ruthless without ever showing emotion. Intelligence should have a more human ring to it, but the word has been hijacked by the spying networks: the CIA, FBI, MI5 for example, all call themselves ‘intelligence agencies’. Not exactly warm-blooded institutions!

Within the hierarchies of banks, corporations, the military, governments, the media and various global trading organizations, one will find a plethora of quasi-humans in line to get their hands onto the levers of the central control system. The top-down pyramid which steers the daily agenda for millions of mortals caught-up in the 9 to 5 treadmill. Yet, those climbing the employment ladder within these same institutions, more often than not lack any awareness of what is going on above their heads.

We should consider the following question: at exactly what point within this typical corporate pyramid, does the ordinary mortal metamorphose into the ranks of the subhuman control master? Which floor serves as the subtle switch-point where the 9 to 5 worker ‘just doing a job’ shifts into a dedicated trainee in the art of ‘power over the people’ management?

I am not proposing to answer this, as it is a largely hypothetical question; but I suggest that the process whereby the false agenda for humanity is able to be maintained, year in year out, relies heavily on the unquestioning cooperation of those who, at some point, change their identity – or have their identity changed – from just ordinary workers to corporate clones. In other words those who see the world entirely through the lens of the corporation they work for.

The renowned social psychiatrist/psychologist Dr Erich Fromm, in his last major thesis ‘The Anatomy of Human Destructiveness’ traces the decline of the sentient human at the hands of a ‘corporate intelligence’ which is specifically designed to dehumanize those climbing up its ranks. So that by the time they reach the top, such people have become robotic, in virtually every action they undertake.

Here lies the mechanism whereby the human becomes less than human; the less than human becomes inhuman; and the inhuman becomes a biological robotic clone and proponent of Transhumanist Artificial Intelligence – which takes the false agenda for humanity ever nearer to its ultimate goal.

Perhaps not ultimate, but far enough to ensure that humanity as we know it, is superseded by another form of ‘intelligence’ that has nothing to do with nature or the exigence expressed in natural human emotions of love, joy, pain and sorrow.

Cyborgian artificial intelligence is just that: artificial. Art put in reverse so as to eliminate the godly, the beautiful, the spontaneous – all that which gives expression to what it really means to be human.

But consider the fact that it is people suffering these type of symptoms who are in the driving seat of world affairs; running governments, banks and technocratic institutions like the European Union. The mentality is that of a corporate trained control freak – and the greater the power on hand, the greater the ego fueled top-down control manipulation becomes.

The structural design of the neoliberal/neoconservative capitalist Leviathon is not an accident. It is a deliberate formula for the entrapment of mankind. One which puts into reverse – and thereby completely distorts – the true hierarchical themes of nature and the cosmos. In just the same way as Hitler inverted and reversed the design of the original swastika, an ancient peace symbol from Southern India, into a twisted symbol of war.

The symbols that adorn all top-end corporate chains and industries, follow this same pattern. They are nearly all based upon ancient archetypal forms. Forms that symbolized man’s desire to give expression to the powers of nature, as well as the cosmic influences that were mythologized into gods and pantheistic forces of power and influence. Symbols that expressed higher aspirations of bygone civilisations.

The big-chiefs of corporate globalization adorn their high-rise totems and plush office suites with the very same symbols, but what do they stand for now?

Quite simply, a crassly materialistic paradigm which has usurped the nature gods of old; declaring itself the new ‘supreme force’ to which mankind must go on its knees in unquestionoing obeisance.

And, as we know, the majority of mankind has been complicit in fulfilling this role, ensuring a self-inflicted avenue of slavery and passive acceptance of the role assigned by the prevailing status quo.

Indeed, there appears to be no end to the butchery and bullying in the cause of keeping the Leviathan rolling forward. The US military – backed by its European ‘allies’ – ranges the planet in support of the ceaseless profligate mining of valuable minerals, to make the fuels that fill the tanks of Big Pharma, Big Agro, Big Army and Big Business. While the public, rather than rising up against mammon, appear to be paralyzed by the spectacle, unable to imagine anything less destructively domineering that might take its place.

I used the words “appear to be” because there is, of course, another emergent energy that tells another story. That breaks through the deception that man is nothing more than a psychopathetic instrument in the hands of all dominant, aggressive and less than human oppressors.

It is not just ‘any’ other energy. It is the long-buried – and steadily more volcanic – energy of liberated spirit. A revivified spirit which is finding its way back into the arteries of an ever-growing number of ex hostages of the status quo, as well as new arrivals on this planet.

Everyday this spirit is gaining further momentum and a stronger equilibrium. Cracks in the false agenda are widening; the confidence of its perpetrators is wavering; the old power base is leaking.

Chinks of light glitter amongst the darkness; the sense of an upwardly rising change is in the air, counteracting the stench of stagnation and decline.

What is this?

We ‘the people’ have arrived at a critical point in this apocalyptic epoch, finding out that we are possessed of power we never knew we had; starting to believe in a Self we never knew we cradled; hearing a voice we never could hear before. Finding in each other, sources of mutual support, not just a shackled fellow prisoner.

As this process grows, so the false agenda is further revealed for what it is, and its chief perpetrators are exposed ever more clearly for what they are. The seemingly inexorable drive towards a cybernetic future, or one populated and run by gender-bent, micro-chipped mock-humans, is being infiltrated by warm-blooded, nature loving true humans. Trees are being planted where concrete was once the only landscape.

We are learning that where our thoughts go – energy follows. And that if these thoughts are full of creativity and life, so will our lives also be. We are learning that we can take charge of our destinies after all. That, at any moment, we could dispense with the false reality of the top down centralized command system, and be free to start our own version of reality. One informed by our love of Truth – a determination to act on this truth – and a growing aspiration to Be rather than to have.

 

Julian Rose is an early pioneer of UK organic farming, a writer, actor and international activist.

Freedom Is a Myth: We Are All Prisoners of the Police State’s Panopticon Village

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“We’re run by the Pentagon, we’re run by Madison Avenue, we’re run by television, and as long as we accept those things and don’t revolt we’ll have to go along with the stream to the eventual avalanche…. As long as we go out and buy stuff, we’re at their mercy… We all live in a little Village. Your Village may be different from other people’s Villages, but we are all prisoners.”— Patrick McGoohan

By John W. Whitehead

Source: The Rutherford Institute

First broadcast in Great Britain 50 years ago, The Prisoner—a dystopian television series described as “James Bond meets George Orwell filtered through Franz Kafka”—confronted societal themes that are still relevant today: the rise of a police state, the freedom of the individual, round-the-clock surveillance, the corruption of government, totalitarianism, weaponization, group think, mass marketing, and the tendency of humankind to meekly accept their lot in life as a prisoner in a prison of their own making.

Perhaps the best visual debate ever on individuality and freedom, The Prisoner (17 episodes in all) centers around a British secret agent who abruptly resigns only to find himself imprisoned, monitored by militarized drones, and interrogated in a mysterious, self-contained, cosmopolitan, seemingly tranquil retirement community known only as the Village. The Village is an idyllic setting with parks and green fields, recreational activities and even a butler.

While luxurious and resort-like, the Village is a virtual prison disguised as a seaside paradise: its inhabitants have no true freedom, they cannot leave the Village, they are under constant surveillance, their movements are tracked by surveillance drones, and they are stripped of their individuality and identified only by numbers.

The series’ protagonist, played by Patrick McGoohan, is Number Six.

Number Two, the Village administrator, acts as an agent for the unseen and all-powerful Number One, whose identity is not revealed until the final episode.

“I am not a number. I am a free man,” was the mantra chanted on each episode of The Prisoner, which was largely written and directed by McGoohan.

In the opening episode (“The Arrival”), Number Six meets Number Two, who explains to him that he is in The Village because information stored “inside” his head has made him too valuable to be allowed to roam free “outside.”

Throughout the series, Number Six is subjected to interrogation tactics, torture, hallucinogenic drugs, identity theft, mind control, dream manipulation, and various forms of social indoctrination and physical coercion in order to “persuade” him to comply, give up, give in and subjugate himself to the will of the powers-that-be.

Number Six refuses to comply.

In every episode, Number Six resists the Village’s indoctrination methods, struggles to maintain his own identity, and attempts to escape his captors. “I will not make any deals with you,” he pointedly remarks to Number Two. “I’ve resigned. I will not be pushed, filed, stamped, indexed, debriefed or numbered. My life is my own.”

Yet no matter how far Number Six manages to get in his efforts to escape, it’s never far enough.

Watched by surveillance cameras and other devices, Number Six’s getaways are continuously thwarted by ominous white balloon-like spheres known as “rovers.” Still, he refuses to give up. “Unlike me,” he says to his fellow prisoners, “many of you have accepted the situation of your imprisonment, and will die here like rotten cabbages.”

Number Six’s escapes become a surreal exercise in futility, each episode an unfunny, unsettling Groundhog’s Day that builds to the same frustrating denouement: there is no escape.

As journalist Scott Thill concludes for Wired, “Rebellion always comes at a price. During the acclaimed run of The Prisoner, Number Six is tortured, battered and even body-snatched: In the episode ‘Do Not Forsake Me Oh My Darling,’ his mind is transplanted to another man’s body. Number Six repeatedly escapes The Village only to be returned to it in the end, trapped like an animal, overcome by a restless energy he cannot expend, and betrayed by nearly everyone around him.”

The series is a chilling lesson about how difficult it is to gain one’s freedom in a society in which prison walls are disguised within the trappings of technological and scientific progress, national security and so-called democracy.

As Thill noted when McGoohan died in 2009, “The Prisoner was an allegory of the individual, aiming to find peace and freedom in a dystopia masquerading as a utopia.”

The Prisoner’s Village is also an apt allegory for the American Police State: it gives the illusion of freedom while functioning all the while like a prison: controlled, watchful, inflexible, punitive, deadly and inescapable.

The American Police State, much like The Prisoner’s Village, is a metaphorical panopticon, a circular prison in which the inmates are monitored by a single watchman situated in a central tower. Because the inmates cannot see the watchman, they are unable to tell whether or not they are being watched at any given time and must proceed under the assumption that they are always being watched.

Eighteenth century social theorist Jeremy Bentham envisioned the panopticon prison to be a cheaper and more effective means of “obtaining power of mind over mind, in a quantity hitherto without example.”

Bentham’s panopticon, in which the prisoners are used as a source of cheap, menial labor, has become a model for the modern surveillance state in which the populace is constantly being watched, controlled and managed by the powers-that-be and funding its existence.

Nowhere to run and nowhere to hide: this is the new mantra of the architects of the police state and their corporate collaborators (Facebook, Amazon, Netflix, Google, Instagram, etc.).

Government eyes are watching you.

They see your every move: what you read, how much you spend, where you go, with whom you interact, when you wake up in the morning, what you’re watching on television and reading on the internet.

Every move you make is being monitored, mined for data, crunched, and tabulated in order to form a picture of who you are, what makes you tick, and how best to control you when and if it becomes necessary to bring you in line.

When the government sees all and knows all and has an abundance of laws to render even the most seemingly upstanding citizen a criminal and lawbreaker, then the old adage that you’ve got nothing to worry about if you’ve got nothing to hide no longer applies.

Apart from the obvious dangers posed by a government that feels justified and empowered to spy on its people and use its ever-expanding arsenal of weapons and technology to monitor and control them, we’re approaching a time in which we will be forced to choose between obeying the dictates of the government—i.e., the law, or whatever a government official deems the law to be—and maintaining our individuality, integrity and independence.

When people talk about privacy, they mistakenly assume it protects only that which is hidden behind a wall or under one’s clothing. The courts have fostered this misunderstanding with their constantly shifting delineation of what constitutes an “expectation of privacy.” And technology has furthered muddied the waters.

However, privacy is so much more than what you do or say behind locked doors. It is a way of living one’s life firm in the belief that you are the master of your life, and barring any immediate danger to another person (which is far different from the carefully crafted threats to national security the government uses to justify its actions), it’s no one’s business what you read, what you say, where you go, whom you spend your time with, and how you spend your money.

Unfortunately, George Orwell’s 1984—where “you had to live—did live, from habit that became instinct—in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized”—has now become our reality.

We now find ourselves in the unenviable position of being monitored, managed and controlled by our technology, which answers not to us but to our government and corporate rulers.

Consider that on any given day, the average American going about his daily business will be monitored, surveilled, spied on and tracked in more than 20 different ways, by both government and corporate eyes and ears.

A byproduct of this new age in which we live, whether you’re walking through a store, driving your car, checking email, or talking to friends and family on the phone, you can be sure that some government agency, whether the NSA or some other entity, is listening in and tracking your behavior.

This doesn’t even begin to touch on the corporate trackers that monitor your purchases, web browsing, Facebook posts and other activities taking place in the cyber sphere.

Stingray devices mounted on police cars to warrantlessly track cell phones, Doppler radar devices that can detect human breathing and movement within in a home, license plate readers that can record up to 1800 license plates per minute, sidewalk and “public space” cameras coupled with facial recognition and behavior-sensing technology that lay the groundwork for police “pre-crime” programs, police body cameras that turn police officers into roving surveillance cameras, the internet of things: all of these technologies add up to a society in which there’s little room for indiscretions, imperfections, or acts of independence—especially not when the government can listen in on your phone calls, monitor your driving habits, track your movements, scrutinize your purchases and peer through the walls of your home.

As French philosopher Michel Foucault concluded in his 1975 book Discipline and Punish, “Visibility is a trap.”

This is the electronic concentration camp—the panopticon prison—the Village—in which we are now caged.

It is a prison from which there will be no escape if the government gets it way.

As Glenn Greenwald notes:

“The way things are supposed to work is that we’re supposed to know virtually everything about what [government officials] do: that’s why they’re called public servants. They’re supposed to know virtually nothing about what we do: that’s why we’re called private individuals. This dynamic – the hallmark of a healthy and free society – has been radically reversed. Now, they know everything about what we do, and are constantly building systems to know more. Meanwhile, we know less and less about what they do, as they build walls of secrecy behind which they function. That’s the imbalance that needs to come to an end. No democracy can be healthy and functional if the most consequential acts of those who wield political power are completely unknown to those to whom they are supposed to be accountable.”

Even now, the Trump Administration is working to make some of the National Security Agency’s vast spying powers permanent.

In fact, Attorney General Jeff Sessions is pushing for Congress to permanently renew Section 702 of the Foreign Intelligence Surveillance Act, which allows government snoops to warrantlessly comb through and harvest vast quantities of our communications.

And just like that, we’re back in the Village, our escape plans foiled, our future bleak.

Except this is no surprise ending: for those who haven’t been taking the escapist blue pill, who haven’t fallen for the Deep State’s phony rhetoric, who haven’t been lured in by the promise of a political savior, we never stopped being prisoners.

So how do we break out?

For starters, wake up. Resist the urge to comply.

The struggle to remain “oneself in a society increasingly obsessed with conformity to mass consumerism,” writes Steven Paul Davies, means that superficiality and image trump truth and the individual. The result is the group mind and the tyranny of mob-think.

Think for yourself. Be an individual. As McGoohan commented in 1968, “At this moment individuals are being drained of their personalities and being brainwashed into slaves… As long as people feel something, that’s the great thing. It’s when they are walking around not thinking and not feeling, that’s tough. When you get a mob like that, you can turn them into the sort of gang that Hitler had.”

In a media-dominated age in which the lines between entertainment, politics and news reporting are blurred, it is extremely difficult to distinguish fact from fiction. We are so bombarded with images, dictates, rules and punishments and stamped with numbers from the day we are born that it is a wonder we ever ponder a concept such as freedom. As McGoohan declared, “Freedom is a myth.”

In the end, as I make clear in my book Battlefield America: The War on the American People, we are all prisoners of our own mind.

In fact, it is in the mind that prisons are created for us. And in the lockdown of political correctness, it becomes extremely difficult to speak or act individually without being ostracized. Thus, so often we are forced to retreat inwardly into our minds, a prison without bars from which we cannot escape, and into the world of video games and television and the Internet.

We have come full circle from Bentham’s Panopticon to McGoohan’s Village to Huxley’s Brave New World.

As cultural theorist Neil Postman observed:

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared we would become a captive audience. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared that we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny “failed to take into account man’s almost infinite appetite for distractions.” In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we hate would ruin us. Huxley feared that what we love will ruin us.

You want to be free? Break out of the circle.

Thought Police for the 21st Century

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By Chris Hedges

Source: TruthDig

The abolition of net neutrality and the use of algorithms by Facebook, Google, YouTube and Twitter to divert readers and viewers from progressive, left-wing and anti-war sites, along with demonizing as foreign agents the journalists who expose the crimes of corporate capitalism and imperialism, have given the corporate state the power to destroy freedom of speech. Any state that accrues this kind of power will use it. And for that reason I traveled last week to Detroit to join David North, the chairperson of the international editorial board of the World Socialist Web Site, in a live-stream event calling for the formation of a broad front to block an escalating censorship while we still have a voice.

“The future of humanity is the struggle between humans that control machines and machines that control humans,” Julian Assange, the founder of WikiLeaks, said in a statement issued in support of the event. “Between the democratization of communication and usurpation of communication by artificial intelligence. While the Internet has brought about a revolution in people’s ability to educate themselves and others, the resulting democratic phenomena has shaken existing establishments to their core. Google, Facebook and their Chinese equivalents, who are socially, logistically and financially integrated with existing elites, have moved to re-establish discourse control. This is not simply a corrective action. Undetectable mass social influence powered by artificial intelligence is an existential threat to humanity. While still in its infancy, the trends are clear and of a geometric nature. The phenomena differs in traditional attempts to shape cultural and political phenomena by operating at scale, speed and increasingly at a subtlety that eclipses human capacities.”

In late April and early May the World Socialist Web Site, which identifies itself as a Trotskyite group that focuses on the crimes of capitalism, the plight of the working class and imperialism, began to see a steep decline in readership. The decline persisted into June. Search traffic to the World Socialist Web Site has been reduced by 75 percent overall. And the site is not alone. AlterNet’s search traffic is down 71 percent, Consortium News’ traffic is down 72 percent. And the situation appears to be growing worse.

The reductions coincided with the introduction of algorithms imposed by Google to fight “fake news.” Google said the algorithms are designed to elevate “more authoritative content” and marginalize “blatantly misleading, low quality, offensive or downright false information.” It soon became apparent, however, that in the name of combating “fake news,” Google, Facebook, YouTube and Twitter are censoring left-wing, progressive and anti-war sites. The 150 most popular search terms that brought readers to the World Socialist Web Site, including “socialism,” “Russian Revolution” and “inequality,” today elicit little or no traffic.

Monika Bickert, head of global policy management at Facebook, told the U.S. Senate Committee on Commerce, Science, and Transportation in a hearing Wednesday that Facebook employs a security team of 10,000—7,500 of whom “assess potentially violating content”—and that “by the end of 2018 we will more than double” it to over 20,000. Social media companies are intertwined with and often work for U.S. intelligence agencies. This army of censors is our Thought Police.

The group, Bickert said, includes “a dedicated counterterrorism team” of “former intelligence and law-enforcement officials and prosecutors who worked in the area of counterterrorism.” She testified that artificial intelligence automatically flags questionable content. Facebook, she said, does not “wait for these … bad actors to upload content to Facebook before placing it into our detection systems.” The “propaganda” that Facebook blocks, she said, “is content that we identify ourselves before anybody” else can see it. Facebook, she said, along with over a dozen other social media companies has created a blacklist of 50,000 “unique digital fingerprints” that can prevent content from being posted.

“We believe that a key part of combating extremism is preventing recruitment by disrupting the underlying ideologies that drive people to commit acts of violence,” she told the committee. “That’s why we support a variety of counterspeech efforts.”

“Counterspeech” is a word that could have been lifted from the pages of George Orwell’s dystopian novel “1984.”

Eric Schmidt, who is stepping down this month as the executive chairman of Google’s parent company, Alphabet, has acknowledged that Google is creating algorithms to “de-rank” Russian-based news websites RT and Sputnik from its Google News services, effectively blocking them. The U.S. Department of Justice forced RT America, on which I host a show, “On Contact,” that gives a voice to anti-imperialist and anti-capitalist voices, to register as a “foreign agent.” Google removed RT from its “preferred” channels on YouTube. Twitter has blocked the Russian news service agencies RT and Sputnik from advertising.

This censorship is global. The German government’s Network Enforcement Act fines social media companies for allegedly objectionable content. French President Emmanuel Macron has vowed to remove “fake news” from the internet. Facebook and Instagram erased the accounts of Ramzan Kadyrov, the dictator of the Chechen Republic, because he is on a U.S. sanctions list. Kadyrov is certainly repugnant, but this ban, as the American Civil Liberties Union points out, empowers the U.S. government to effectively censor content. Facebook, working with the Israeli government, has removed over 100 accounts of Palestinian activists. This is an ominous march to an Orwellian world of Thought Police, “Newspeak” and “thought-crime” or, as Facebook likes to call it, “de-ranking” and “counterspeech.”

The censorship, justified in the name of combating terrorism by blocking the content of extremist groups, is also designed to prevent a distressed public from accessing the language and ideas needed to understand corporate oppression, imperialism and socialism.

“Don’t you see that the whole aim of Newspeak is to narrow the range of thought?” Orwell wrote in “1984.” “In the end we shall make thought-crime literally impossible, because there will be no words in which to express it. Every concept that can ever be needed will be expressed by exactly one word, with its meaning rigidly defined and all its subsidiary meanings rubbed out and forgotten. … Every year fewer and fewer words, and the range of consciousness always a little smaller. …”

Corporate capitalism, and the ideology that justifies it—neoliberalism, the free market, globalization—no longer has any credibility. All of the utopian promises of globalization have been exposed as lies. Allowing banks and corporations to determine how we should order human society and govern ourselves did not spread global wealth, raise the living standards of workers or implant democracy across the globe. The ideology, preached in business schools and by pliant politicians, was a thin cover for the rapacious greed of the elites, elites who now control most of the world’s wealth.

The ruling elites know they are in trouble. The Republican and Democratic parties’ abject subservience to corporate power is transparent. The insurgencies in the two parties that saw Bernie Sanders nearly defeat the seemingly preordained Democratic nominee, Hillary Clinton, and the election of Donald Trump terrify the elites. The elites, by attacking critics and dissidents as foreign agents for Russia, are seeking to deflect attention from the cause of these insurgencies—massive social inequality. Critics of the corporate state and imperialism, already pushed to the margins, are now dangerous because the elites no longer have a viable counterargument. And so these dissidents must be silenced.

“What’s so specifically important about this is that in a period of growing political radicalization among young people, among workers, they start to look for oppositional information, they become interested in socialism, revolution, terms like ‘equality,’ those terms which previously would bring thousands of readers to the World Socialist Web Site, now were bringing no readers to the World Socialist Web Site,” North said. “In other words, they were setting up a quarantine between those who may be interested in our site and the WSWS. From being a bridge, Google was becoming a barrier, a guard preventing access to our site.”

The internet, with its ability to reach across international boundaries, is a potent tool for connecting workers across the earth who are fighting the same enemy—corporate capitalism. And control of the internet, the elites know, is vital to suppress information and consciousness.

“There is no national solution to the problems of American capitalism,” North said. “The effort of the United States is to overcome this through a policy of war. Because what, ultimately, is imperialism? The inability to solve the problems of the nation-state within national borders drives the policy of war and conquest. That is what is emerging. Under conditions of war, the threat of war, conditions of growing and immeasurable inequality, democracy cannot survive. The tendency now is the suppression of democracy. And just as there is no national solution for capitalism, there is no national solution for the working class.”

“War is not an expression of the strength of the system,” North said. “It is an expression of profound and deep crisis. Trotsky said in the Transitional Program: ‘The ruling elites toboggan with eyes closed toward catastrophe.’ In 1939, they went to war, as in 1914, aware of the potentially disastrous consequences. Certainly, in 1939, they knew what the consequences of war were: War brings revolution. But they could not see a way out. The global problems which exist can only be solved in one of two ways: the capitalist, imperialist solution is war and […] fascism. The working-class solution is socialist revolution. This is, I think, the alternative we’re confronted with. So, the question that has come up, in the broadest sense, [is] what is the answer to the problems we face? Building a revolutionary party.”

“There is going to be, and there is already unfolding, massive social struggles,” North said. “The question of social revolution is not utopian. It is a process that emerges objectively out of the contradictions of capitalism. I think the argument can be made—and I think we made this argument—that really, since 2008, we have been witnessing an acceleration of crisis. It has never been solved, and, indeed, the massive levels of social inequality are themselves not the expression of a healthy but [instead] a deeply diseased socioeconomic order. It is fueling, at every level, social opposition. Of course, the great problem, then, is overcoming the legacy of political confusion, produced, as a matter of fact, by the defeats and the betrayals of the 20th century: the betrayal of the Russian Revolution by Stalinism; the betrayals of the working class by social democracy; the subordination of the working class in the United States to the Democratic Party. These are the critical issues and lessons that have to be learned. The education of the working class in these issues, and the development of perspective, is the most critical point … the basic problem is not an absence of courage. It is not an absence of the desire to fight. It is an absence of understanding.”

“Socialist consciousness must be brought into the working class,” North said. “There is a working class. That working class is open now and receptive to revolutionary ideas. Our challenge is to create the conditions. The workers will not learn this in the universities. The Marxist movement, the Trotskyist movement, must provide the working class with the intellectual, cultural tools that it requires, so that it understands what must be done. It will provide the force, it will provide the determination, the emotional and passionate fuel of every revolutionary movement is present. But what it requires is understanding. And we will, and we are seeking to defend internet freedom because we want to make use of this medium, along with others, to create the conditions for this education and revival of revolutionary consciousness to take place.”

 

The Stomach-churning Violence of Monsanto, Bayer and the Agrochemical Oligopoly

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By Colin Todhunter

Source: RINF

As humans, we have evolved with the natural environment over millennia. We have learned what to eat and what not to eat, what to grow and how to grow it and our diets have developed accordingly. We have hunted, gathered, planted and harvested. Our overall survival as a species has been based on gradual, emerging relationships with the seasons, insects, soil, animals, trees and seeds. And out of these relationships, we have seen the development of communities whose rituals and bonds have a deep connection with food production and the natural environment.

However, over the last couple generations, agriculture and food production has changed more than it had done over previous millennia. These changes have involved massive social upheaval as communities and traditions have been uprooted and have entailed modifying what we eat, how we grow our food and what we apply to it. All of this has been driven by geopolitical concerns and powerful commercial interests with their proprietary chemicals and patented seeds. The process of neoliberal globalisation is accelerating the process as farmers are encouraged to produce for global supply chains dominated by transnational agribusiness.

Certain crops are now genetically engineered, the range of crops we grow has become less diverse, synthetic biocides have been poured on crops and soil and our bodies have been subjected to a chemical bombardment. We have arrived at a point where we have lost touch with our deep-rooted microbiological and social connection with nature and have developed an arrogance that has placed ‘man’ above the environment and all other species. One of the consequences is that we have paid an enormous price in terms of the consequent social, environmental and health-related devastation.

Despite the promise and potential of science, it has too often in modern society become a tool of vested interests, an ideology wrapped in the vestiges of authority and the ‘superstition’ that its corporate-appointed priesthood should not be challenged nor questioned. Instead of liberating humankind, it has now too often become a tool of deception in the hands of companies like Monsanto, Bayer and Syngenta which make up the oligopoly that controls what is an increasingly globalised system of modern food and agriculture.

These corporations have successfully instituted the notion that the mass application of biocides, monocropping and industrial agriculture are necessary and desirable. They are not. However, these companies have used their science and propaganda to project certainty in order to hide the fact that they have no real idea what their products and practices are doing to human health or the environment (and in cases when they do know, they do their best to cover it up or hide behind the notion of ‘commercial confidentiality‘).

Based on their limited, tainted studies and co-opted version of science, they say with certainty that, for example, genetically engineered food and glyphosate are ‘safe’. And when inconvenient truths do emerge, they will mobilise their massive lobbying resources to evade regulations, they will seek to hide the dangers of their products or they will set out to destroy scientists whose findings challenge their commercial bottom line.

Soil microbiologists are still trying to fully comprehend soil microbes and how they function as anintegrated network in relation to plants. The agrochemical sector has little idea of how their biocides have affected soils. It merely churns out public relations spin that their inputs are harmless for soil, plants and human health. Such claims are not based on proper, in-depth, long-term studies. They are based on a don’t look, don’t find approach or a manipulation of standards and procedures that ensure their products make it on to the commercial market and stay there. The devastating impacts on soil are increasingly clear to see.

And what are these biocides doing to us as humans? Numerous studies have linked the increase in pesticide us with spiralling rates of ill health. Kat Carrol of the National Health Federation is concerned about the impacts on human gut bacteria that play a big role in how organs function and our neurological health. The gut microbiome can contain up to six pounds of bacteria and is what Carroll calls ‘human soil’. She says that with their agrochemicals and food additives, powerful companies are attacking this ‘soil’ and with it the sanctity of the human body.

And her concerns seem valid. Many important neurotransmitters are located in the gut. Aside from affecting the functioning of major organs, these transmitters affect our moods and thinking. Feed gut bacteria a cocktail of biocides and is it any surprise that many diseases are increasing?

For instance, findings published in the journal ‘Translational Psychiatry’ provide strong evidence that gut bacteria can have a direct physical impact on the brain. Alterations in the composition of the gut microbiome have been implicated in a wide range of neurological and psychiatric conditions, including autism, chronic pain, depression, and Parkinson’s Disease.

Environmental campaigner Dr Rosemary Mason has written extensively on the impacts of agrochemicals (especially glyphosate) on humans, not least during child and adolescent development. In her numerous documents and papers, she cites a plethora of data and studies that link the use of agrochemicals with various diseases and ailments. She has also noted the impact of these chemicals on the human gut microbiome.

Writing in The Guardian, Mo Costandi discusses the importance of gut bacteria and their balance. In adolescence the brain undergoes a protracted period of heightened neural plasticity, during which large numbers of synapses are eliminated in the prefrontal cortex and a wave of ‘myelination’ sweeps across this part of the brain. These processes refine the circuitry in the prefrontal cortex and increase its connectivity to other brain regions. Myelination is also critical for normal, everyday functioning of the brain. Myelin increases a nerve fibre’s conduction velocity by up to a hundred times, and so when it breaks down, the consequences can be devastating.

Other recent work shows that gut microbes control the maturation and function of microglia, the immune cells that eliminate unwanted synapses in the brain; age-related changes to gut microbe composition might regulate myelination and synaptic pruning in adolescence and could, therefore, contribute to cognitive development. Upset those changes, and, As Mason argues, there are going to be serious implications for children and adolescents. Mason places glyphosate at the core of the ailments and disorders currently affecting young people in Wales and the UK in general.

Yet we are still being subjected to an unregulated cocktail of agrochemicals which end up interacting with each other in the gut. Regulatory agencies and governments appear to work hand in glove with the agrochemical sector.

Carol Van Strum has released documents indicating collusion between the manufacturers of dangerous chemicals and regulatory bodies. Evaggelos Vallianatos has highlighted the massive fraud surrounding the regulation of biocides and the wide scale corruption at laboratories that were supposed to test these chemicals for safety. Many of these substances were not subjected to what was deemed proper testing in the first place yet they remain on the market. Shiv Chopra has also highlighted how various dangerous products were allowed on the commercial market and into the food chain due to collusion between these companies and public officials.

Powerful transnational corporations are using humanity as their collective guinea pig. But those who question them or their corporate science are automatically labelled anti-science and accused of committing crimes against humanity because they are preventing their products from being commercialised ‘to help the poor or hungry’. Such attacks on critics by company mouthpieces who masquerade as public officials, independent scientists or independent journalists are mere spin. They are, moreover, based on the sheer hypocrisy that these companies (owned and controlled by elite interests) have humanity’s and the environment’s best interests at heart.

Many of these companies have historically profited from violence. Unfortunately, that character of persists. They directly profit on the back of militarism, whether as a result of the US-backed ‘regime change’ in Ukraine or the US invasion of Iraq. They also believe they can cajole (poison) nature by means of chemicals and bully governments and attack critics, while rolling out propaganda campaigns for public consumption.

Whether it involves neocolonialism and the destruction of indigenous practices and cultures under the guise of ‘development’, the impoverishment of farmers in India, the twisting and writing of national and international laws, the destruction of rural communities, the globalisation of bad food and illness, the deleterious impacts on health and soil, the hollowing out of public institutions and the range of human rights abuses we saw documented during The Monsanto Tribunal, what we are witnessing is structural violence in many forms.

Pesticides are in fact “a global human rights concern” and are in no way vital to ensuring food security. Ultimately, what we see is ignorance, arrogance and corruption masquerading as certainty and science.

“… when we wound the planet grievously by excavating its treasures – the gold, mineral and oil, destroy its ability to breathe by converting forests into urban wastelands, poison its waters with toxic wastes and exterminate other living organisms – we are in fact doing all this to our own bodies… all other species are to be enslaved or driven to extinction if need be in the interests of human ‘progress’… we are part of the same web of life –where every difference we construct artificially between ‘them’ and ‘us’ adds only one more brick to the tombstone of humankind itself.” – from ‘Micobes of the World Unite!’ By Satya Sager