Moved To Sundaifm

2. During this part of the War Period, this character’s hairstyle would not be considered shocking, but it would be viewed as garish and nonconformist.

3. A contemporary music performer known for a melancholy style of music and a gothic and dramatic aesthetic. The title of the work probably comes from one of her songs. However, her aesthetic and attitude has little in common with that in this work, being much more conventional and less garish.

4. A member of the contemporary band “My Chemical Romance”, also notable for a “gothic”, melancholy, and macabre aesthetic

5. i.e. the speaker considers him to be handsome and attractive; despite the pornographic material later in this work, the word “f_______” is here used only as an expletive.

6. Vampires as romantic figures had been increasing in popularity over this period, with a trend away from malicious monsters towards seductive but more benevolent figures, romanticized by their capability of being terrible.

7. Strangely, despite the characterization of this character as a Satanist, “witch” should here be characterized as having meaning similar to “wizard” and not “idolater”, “sorceress”, “maleficar”, or other practitioner of what we today recognize as “witchcraft”. The background material to this work constantly faced accusations of being satanic by an uneducated reactionary public to whom the difference between technology, wizardry and witchcraft was not meaningful (”witch” was sometimes even considered a female equivalent to “wizard”!), which completely failed to diminish its popularity.

8. It is important to understand that “goth” as an aesthetic, counterculture or subculture had a completely different meaning in the contemporary period than it does today – what remains similar is the love of the melancholy, the macabre, the dramatic, the romantic, and contempt for conventionalism. In the mid-to-early-late War Period, “Gothic” people were associated with contempt for morality, certain types of sexual display (usually of a shocking and sometimes fetishistic type), various forms of concupiscence, and a fairly significant connection to the occult and even to outright Satanism, though the latter was all but universally an affectation (this is true of most Mid War Period satanism). See contrast on p 321, The Gothic Movement In the Catholic Church. Moreover, the “gothic” aesthetic as described by this character is a stunted and over-the-top form that has also been corrupted by the counterculture-commericalism that was universal in the Late War Period.

9. A clothing store mostly specializing in counterculture-commercialized and faddist apparel. Critics accused it of being a mercantile vulture that fed by turning more honest and vivacious countercultures into fads.

10. It was almost unheard-of for women in the Mid or Late War Period to wear corsets, but they appeared in the Gothic subculture (which itself heavily borrowed from sources such as Victorian-era clothing, including mourning dress). However, what Enoby is describing is probably not actually a true corset, but a “corset top”, which is essentially a laced bodice. Either would be worn with neither chemise nor overblouse.

11. Probably a nondraped skirt that barely passes her wrist.

12. Hose, stockings, or tights in the form of a wide-open mesh

13. Probably not actually military issue boots; these were tall, heavy black leather boots with lacing all the way up.

14. This character’s outfit would be considered inappropriate for school in the Late War Period, but not shocking to Late War Period mores except by its garishness.

15. Originally meant students at a university-preparatory school; with the extremely high percentage of students seeking to attend university in the Late War Period, this came to mean a subculture of young people who adopted a highly conventionalistic and professionalistic attitude and sought admission to the prestigious and traditionalistic universities in the Eastern United States, often without academics being their true passion. Such people were often viewed as social climbers and sometimes attracted contempt from both their less-professionally-oriented peers and from those who were true intellectuals. 

16. Also known as “giving the finger”; a very rude gesture in the War Period as it is in ours.

18. This phrase went through considerable popular memetic mutation (as did the entire tract): “It was _______ <weather> so I felt ________. A lot of _______ stared at me. I ________ them.” See extra material 34c.

1. First, that this is about My Immortal, fairly obvious from the start. Okay, meme time.

2. Second, that this is characterized as a future English literature class’s textbook footnotes a la our time period’s school texts of Shakespeare works, which, haha, seeing that framed as if this future literature class would be so far removed from our understanding of culture as to need these notes and yet would still be in a literature class formatted similarly to ours, especially combined with the idea that My Immortal would be considered typical “literature,” that’s funny, right?

Have you ever wondered about like cave paintings?  Like, “What were they doing?  These don’t…  look very good,” -chuckles- In fact, almost every cave painting has Spaghetti Lines, which are webs of lines drawn over-top images, which you can see here.

-picture changes to a grayscale image of a deer standing in tall grass-

And here’s an example of natural Spaghetti Lines in nature, but we’ll get to that in a second.

-picture changes to a photo paleolithic drawing of a mammoth.  Alongside the photo is a tracing of the drawing, to clarify the lines-

The second weird thing is like sometimes animals are given extra body parts, like here the mammoth has two trunks.  And here, there’s a drawing of an antelope or a deer, it looks like, that seems to have two heads.

For a long time, people would assume like maybe the Spaghetti Lines were just some kind of paleolithic graffiti, and maybe the animals were these kind of religious creatures that they had mythologized.  But then, in 1993, a German scholar went into this cave in southern France, and it changed everything.

Unlike the other caves he had been to, this one was very poorly funded, so it had no artificial lights, and he had to be guided in by a local farmer, with nothing but a flickering lantern to guide his way.  Here is how he described the experience. 

He said, “M. Lapeyre finished his story and wanted to move on.  I encouraged him to remain and to slowly swing his lantern back and forth a few feet from the cave wall.  As he moved the light, I saw the colors of the tectiform begin to shift.  When the lamp arced to the left, the blacks faded, the browns became red and the red intensified.  When the light moved to the right, the pattern reversed, creating a shifting color scheme. Moreover, the engraved lines under and around the tectiform became animated.  Suddenly, the head of one creature stood out clearly.  It lived for a second, then faded as another appeared.  The spaghetti lines were no longer a confused two-dimensional pattern.  Rather, they became a forest or a bramble patch that concealed and then revealed the animals within. By firelight, a secret of the cave painters was exposed.  In the space of a few moments, I saw cuts and dissolves, change and movement.  Form appeared and disappeared.  Colors shifted and changed.  In short, I was watching a movie.”

Understood this way, the antelope with two heads, under the dance of the firelight, is an antelope going from grazing to checking for predators.  And the mammoth with two or three trunks becomes a mammoth in motion, swinging his trunk.

There’s something beautiful to me about knowing that hundreds of thousands of years ago, ancient humans descended into the depths to watch movies.

Okay, so: you know how there are people who collect currency (the traditional, paper-and-coins type)?

And for some people, the specific thing they collect is “bills with unusual serial numbers”:

https://rarest.org/stuff/dollar-bills

So if you find a $1 bill with a serial number like “010101010″, a collector might be willing to pay $50 for that bill.

In general, currency is “fungible”, which just means interchangeable. If I loan you a $1 bill today, and you pay me back tomorrow with a different $1 bill, same difference, that’s an equal exchange.

But if you find a person who specifically thinks Bills With Weird Serial Numbers are a neat thing they like having – they’ll pay extra for the weird $1 bill. And they wouldn’t be willing to swap it for some other $1 bill with just any non-remarkable serial number. It is a Non-Fungible Bill.

…to the collector, anyway. Not to anybody else! You can’t take it to the grocery store and say “please give me $50 worth of groceries for this $1 bill because the serial number is interesting.”

(Although, hey…if you had a way to convince lots of people that (a) all of them should turn into collectors and (b) every single random serial number is a special one they should pay extra for…that sure would be a way to make a lot of money, huh?)

Non-Fungible Tokens are the same idea, but with cryptocurrency.

Bitcoins have ID numbers. (Same with any other crypto token – I’ll just use Bitcoin as our example here.) If you can find a collector who likes Bitcoins with weird ID numbers, maybe they’ll pay you 50 Bitcoin for it?

…okay, it turned out nobody cares about Bitcoin ID numbers for their own sake.

But! The ID can be used in a URL.

This is where the art comes in.

You upload an image to that URL. Then you tell people “look, if you buy this token from me, it’s like you’re buying the image! Art collections are fun and interesting, right? Someone give me 50 Bitcoins now.”

Note that the file doesn’t need to be personalized, or unique, or anything like that:

You can upload literally any file at that URL

You can upload someone else’s art

You could upload the same file to 20 different URLs, and sell 20 different NFTs of the same art

You could load the page for a token someone else owns, download the file, and directly re-upload it to the page for a token you own

The whole server could go down, and the URL from your token could be a 404 error for the rest of forever

So if you’re thinking “this sounds like a stupid deal that makes no sense” – you’re right! You are understanding the situation perfectly. This is total stupid nonsense. For the buyer.

For the person who owns some Bitcoins, and would like an easy way to turn them into even more Bitcoins? This is a fantastic racket.

Pay me a ton of tokens – or, preferably, the US$ equivalent of tons of tokens – for this single token I have! It’s totally actually worth that much, I promise.

Also, go ahead and Venmo me $50 for every random $1 bill in my wallet. This is a great deal for you.

And if you believe all that…I’ve got a bridge to sell you.

Sidenote: the “environmentally unfriendly” part isn’t about material, it’s about energy. Producing and exchanging cryptocurrency takes an obscene amount of computing power, which uses an obscene amount of electricity. And it’s not a special thing about NFTs – it’s how all cryptocurrency works.

(A comparison I saw recently is, at the current rate, “people mining Bitcoin” for 1 day uses about the same amount of energy as “powering every commercial building in the United States” for 2 months.)

Sidenote 2: pretty sure the reason so much NFT art is ugly is, most of the Actual Artists have thought about it for 5 seconds and realized it’s a big racket. (Or been warned off it by other Actual Artists.) And the people who want to buy Actual Art are commissioning the artists directly, same as always.

Short answer: because it was designed that way. On purpose.

Long answer: for a currency to have any useful value, the amount and production has to be limited somehow.

(Which makes sense, right? If we tried to pay people in leaves, nobody would go to work for 15 leaves an hour, not when they could go for a hike and pick 15 leaves off the trees in 15 seconds.)

Precious metals – gold, silver, copper – have been popular for all of recorded history, because the limiting factor is “this material is physically difficult to dig out of the ground.”

With US dollars, the limit is part “bills are printed with complicated techniques that you need special equipment to pull off” and part “it’s illegal to for anyone except the government to print new dollars, and we will take you to jail if we catch you at it.”

With cryptocurrency, it’s all digital, so there’s no naturally-rare mineral involved. And it’s decentralized, so nobody has the authority to claim “we are the Bitcoin Police and we can take you to jail if you do this wrong.”

If you want it to work, you have to come up with some artificial limit, and then build that directly into the base code.

I’m not any kind of expert in the technical details here, so please nobody get too picky about it…but the general idea is, the blockchain will only spit out a new coin in response to a computer running calculations.

And for every new coin, it demands more calculations than the last one.

If you could still get a new Bitcoin by, say, “not using the internet for a day, have your computer use that power for mining instead,” then nobody would spend thousands of dollars to exchange for one Bitcoin, right? Anybody who wanted one would just take a day off Tumblr to mine it themselves.

Basically, there’s no reason to buy a Bitcoin for a dramatically higher price than it would cost you to mine a Bitcoin.

And the mining process keeps requiring more power, so:

First you can’t do it with just spare processing power from your main device, you need to buy a new one that’s fully dedicated to mining if you want to keep up

The extra power usage is enough to put a notable spike in your electric bill

One computer won’t do it anymore, you need two

Then four

Then eight

You have a warehouse full of computers

You have the electric bill that it takes to power a warehouse full of computers

Plus the storage rental costs of the warehouse space

The internet bill to keep all your computers in touch with the blockchain

The air-conditioning bill that it takes to keep the warehouse from just flat-out melting

Ongoing maintenance costs

Replacement parts

Not just any parts, you are buying up high-quality graphics cards and computer chips that can do the fastest processing

So much that it’s contributing to a global computer-chip shortage (this is not an exaggeration; Wall Street Journal source, Tech Republic source)

And the power demands are so high that defunct power plants are being re-activated to fill them (also not an exaggeration; Ars Technica source)

And the processing requirements just keep going up and up and up….

When the exchange rate for Bitcoin is at $10,000, that implies “the cost of the equipment, maintenance, and power bills to mint 1 Bitcoin is now so high that people would rather pay $10,000 cash than deal with it.”

…okay, this is a little oversimplified – there’s also gambling and speculating involved. Say, you think oil prices are about to go up, maybe you pay a little more than the current rate, figuring the power costs of mining are about to get more expensive and you’ll come out ahead. Or say Elon Musk said something mean about a coin you have, maybe you sell all your tokens for a lower price, figuring it’s better to get out now than wait for it to crash even farther.

But you can see how they’re generally connected. Nobody would pay around $10,000 if the production cost was around $10.

One more link (which explains some of the same things in different words, in case mine aren’t working for everyone):

Here Is The Article You Can Send To People When They Say “But The Environmental Issues With Cryptoart Will Be Solved Soon, Right?”

And, finally, let’s tie this back to NFTs:

Another thing you need for your currency to work: it has to be useful for something other than “gambling on the price.”

It can’t just be something you endlessly swap for other currencies and hope the exchange rate works in your favor! There have to be places that say “we will take this in exchange for Tangible Goods And Services.”

Bitcoin has this, at least a little bit. Most places aren’t lining up to accept it, but it’s been around long enough to build up some credibility, so there are a few.

If I started a new cryptocurrency tomorrow where the cost of mining the first token was $10K, nobody would bother. Because it has no credibility, no staying power, no way to ever convert that currency into actual stuff.

To be clear, people are launching new cryptocurrencies all the time.

Most of them aren’t even trying to be useful, they’re just pump-and-dump schemes. Meaning the founders pump up people’s interest with “ScamToken will be the next Bitcoin, don’t miss this amazing opportunity, convert your $$$ into ScamToken now while it’s cheap!” Then they dump all their tokens, selling them to all the people they’ve convinced to buy. It isn’t long before the hype fades, the cold reality of “we can’t do anything with this” sets in, and the buyers are left with wallets full of tokens nobody new will buy, while the founders walk away with the $$$.

But some people are playing a longer game. They don’t want their currency to get “an afternoon’s worth of excitement from hyped-up crypto speculators” and then immediately flop. They want it to be useful for actually buying something, so it has a legitimate basis for getting some actual, stable value in the long run.

Or, failing that…they want it to appear to be useful for buying something. So it looks more credible. So the excitement lasts longer. So you reach outside the circle of “people who follow crypto for its own sake” and get the attention of “people who don’t care about crypto at all, but who do care about whatever Something you’ve convinced them your token will buy.”

So, hey: how big, do you think, is the market of people who care about digital art?

That’s another aspect of the crypto/NFT scam: you need to understand how cryptography and economics works and all the connecting parts between them. If someone levels a critique against them, crypto bros can always come out of the woodwork with another level of this whole construct and likely catch the complainer off guard with something they don’t know about or aren’t confident in.

The thing is though, most crypto bros are marks and also don’t understand how this works, instead they are psychologically committed to think that crypto is great because otherwise they lost a house worth of money for nothing but an ugly lion picture. The rest of them are true scammers, know exactly how this works, and rely on the complexity of it all to keep their marks in the dark.

That’s really dangerous! Almost nobody knows how this works! Legislators don’t know how crypto works, these people still don’t understand how facebook could possibly make money! And we expect them to regulate it?

It’s even worse though. Crypto exchanges are currently going mainstream, and wallstreet people are thinking about expanding their portfolios into crypto as well. I mean, why not? Bullshit investment instruments that serve no real purpose, that no normal person can understand and that are woefully underregulated is their whole deal! As soon as that happens the current crypto bro scammers will probably be edged out by the entrenched scam industry, i.e. the international financial sector.

Once that happens, it will practically be impossible to regulate crypto in any way. If finance has a tool to make money off, it will use its considerable influence over the political system that is stays that way.

That’s why I think it’s so important to make fun of crypto and NFTs now. It’s not just because it’s fun to laugh at those idiots (even though it really is fun). The narrative on crypto still hasn’t solidified. The average person has basically only heard of it and probably thinks it’s some kind of new techy invention that will revolutionise the economy (just like previous techy inventions that revolutionised the economy - at least that’s what the story is) and that some people got really rich off it. That might be good, right?