In the first episode of Years and Years, a family shindig is interrupted by the whine of air-raid sirens and the news that Donald Trump has fired a nuclear missile at the Chinese a moment of hysteria-inducing horror that doubles as the shows starter pistol. Thats right: impending Armageddon is merely an aperitif when it comes to the devastation the Lyons family faces in Russell T Daviess breathtakingly ambitious dystopian drama. By the time the series ends in 2034, the UK has experienced 80 consecutive days of rainfall, while dirty bombs have made thousands homeless, a fascistic politician in the light-entertainer mould has risen to power and the government has set up a series of secretive concentration camps. Between them, the Lyons have lost their wealth, their health, their freedom and, in some cases, their lives.

The plot of Years and Years felt like the news ticker tape of nightmares brought to life, but it was so much more than a parade of atrocities. Daviess great trick was to meld the wild catastrophising of shows such as Black Mirror with the daily trials of a Mancunian every-family you could really get behind. The result resembled a mashup of soap and sci-fi: Corrie transposed on to a backdrop of staggering political and environmental ruin.

Years and Years dramatised the tipping point at which the news becomes our lives

Opening on the actual date of broadcast, 14 May 2019, Years and Years followed the personal and increasingly political struggles of the Lyons clan: 92-year-old Muriel, her grandchildren Rosie, Stephen, Daniel and Edith, plus their partners and kids. But the Lyons werent just a family they were society under a single surname. They were gay, straight, lesbian, trans, white, black, Asian, disabled and elderly. They were lone parents trying to make ends meet, moneyed middle-class professionals, refugees, never-ending gap year nomads and wealthy retirees rattling around cavernous suburban piles. It wasnt a realistic setup Davies, who has called himself a great believer in quotas, says he was driven by a desire to be representative but it allowed its creator to flesh out a cross-section of society, and create a 3D diagram of varying degrees of privilege.

At its heart, Years and Years was not a show simply about how bad the news could get. It dramatised the tipping point at which the news becomes our lives, and worked at predicting the pain that is largely still to invade our cushy western existences. Characters fell with a shocking abruptness (Daniels descent from a plush flat to the bottom of the freezing sea) or via a piecemeal disintegration (Stephens banking-glitch-prompted slide into the gig economy) that felt frighteningly convincing.

This was realism fit for a world that no longer feels particularly real. That it felt so frighteningly convincing can be credited to its stellar cast, which included Rory Kinnear, Jessica Hynes and Emma Thompson. But it was also down to the fact that many of its atrocious events the ascent of populist leaders, the flooding, the economic crashes, the extinctions have already taken place. Davies, best known for his showrunner stint on the Doctor Who revival, first conceived of Years and Years two decades ago, and began writing after Trumps election victory in 2016. Nobody could blame him for managing to stay only a few steps ahead of the worlds increasingly distorted curve.

The shows embrace of technology is one way that Davies managed to imagine a chilling future. In the first episode, Stephens teenage daughter, Bethany, announces she is transhuman. Initially played for laughs, the idea steadily gains credence until it is revealed to underpin the entire show in a spine-tingling finale that grapples with ideas about what it means to be a human being. In fact, that uncommon optimism about technology runs through the structure of the series. The constant communication made possible by smartphones has long been the scourge of screenwriters its hard to maintain peril when salvation is only a WhatsApp message away but Davies makes it a dramatic asset, using multi-person voice-and-video calls to drive the plot.

There are superficial reasons to admire Years and Years, and there are more profound ones. The show humanises the bad news cycle one that sees the shocking morph into the status quo on a daily basis. Davies attempts to counteract the apathy that can grow out of relentless dismay. He does this not through shock value, but by creating rounded characters that draw empathy, outrage and horror from our increasingly hardened hearts. By no means an easy task, but an indisputably noble one.

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The 50 best TV shows of 2019: No 4 Years and Years - The Guardian

Think you know Poppy, the robo-pop sensation and maker of mesmerising YouTube videos, all in the guise of a sentient Artifical Intelligence? So did NME Deputy Editor Dan Stubbs when he went to meet the LA-based star at a London fetish dungeon, only to find Poppy is more human than we might have thought. Breaking character for the first time, Poppy reveals more than ever before about her work, her life and why she wants to bring down the internet. PHOTOS: JENN FIVE

Have you ever been browsing the help page of a website when a text box pops up inviting you to a live chat with a customer service operative? You click and enter your query, only for it to quickly become apparent that youre talking to a chatbot. Its a bit like a normal conversation, except the voice on the other end picks from a selection of vacuous, tangential phrases and keeps asking you if youre happy, as if youre speaking to a Love Island contestant whos coming up on ecstasy.

That experience is pretty much what Id geared myself up for when it came to interviewing Poppy for her first NME Big Read. For those not already familiar, Poppy is many things: a pop star, an actor, a director, a composer of ambient music, a religious leader (at her own Church Of Poppy), a DJ, a comic-book character, a smash hit YouTuber, a provocateur, a performance artist and a master of multiple media. One thing she is not, she has previously insisted, is human.

Until now.

We meet at a torture dungeon in Walthamstow, North-East London. And no, I dont remember stumbling upon one of those in the Yellow Pages either. Its best thought of as a gymnasium designed by Pinhead from Hellraiser, dark and leathery and full of metal hooks, and all the apparatus is disconcertingly greasy to the touch. Hanging around there for a few hours while Poppys NME photoshoot takes place, you find yourself idly leaning on some piece of kit or other only to realise its a sex gurney with stirrups and bondage rings.

Poppy, it must be said, is perfectly at home here: shes arrived accompanied by her collaborator and creative partner, Titanic Sinclair (real name Corey Mixter), a selection of PVC outfits and a massively oversized, sculptural leather overcoat that her friend Marilyn Manson might wear. Thats right, her friend Marilyn Manson, whose 50th birthday she attended this year. What do you get the goth rock icon who has everything? My presence, she replies.

That friendship and NMEs, er, sexhorror photoshoot make sense if youve been following Poppys career lately. Last year on Halloween the American singer put out Am I A Girl?, an album of candy-flavoured robo-pop that, sonically, put her in league with the PC Musics of the world. Stylistically it presented her as the real-life Ashley O months before Black Mirror and Miley Cyrus got there.

Poppy claims to have not seen that particular episode of the dystopian Netflix drama, despite the fact that the story about a transhuman pop star who covers Nine Inch Nails tracks seems directly influenced by her own career. Ive heard about it a lot, she says. Curiosity hasnt got the better of you? I dont really like shows that lots of people like, she says. If someone suggests a certain thing then Ill intentionally not watch it. Its just me being stubborn.

Am I A Girl? and the preceding Poppy.Computer, from 2017 were seemingly targeted at people who fetishise Japanese kawaii culture and futurism equally. Her forthcoming album, I Disagree, due on January 10 next year, promises to be a different beast: specifically, one with devil horns. It finds Poppy embracing the tinnitus-inducing thrash of heavy metal alongside those cute, catchy choruses.

Its a stylistic shift that follows testing times, including a lawsuit, a high profile beef, and a second bad record deal more of which later. This, then, is heavy metal as catharsis. I try to channel all of my anger steam into my artand maintain some form of composure, even when I feel I want to end everything, she says, troublingly. End herself or end the world? The world.

So you were feeling quite angry about some things? Yeah, but I would say it feels natural too. When we were making Am I A Girl? we were driving to the studio and listening to a lot of heavier music. I would go in and write a rainbows and butterflies song and I was like, OK, theres a disconnect here

Poppys reinvention is the kind of gear-change that might cost an artist a portion of their audience, but fans on YouTube seem to be getting the right idea. I run Poppy through some of their comments on her recent track Concrete, which is probably the best example of Poppys new direction, as its both sweet and heavy with deeply, deeply disturbing lyrics fetishising the idea of being buried alive in concrete. Poppy says she would kill time with a lot of thumb twiddling if that happened in real life.

So here goes with the comments:

This song makes me comfortable and uncomfortable at the same time. Im confused.

Poppy: Ive become comfortable with being uncomfortable. If things are comfortable, I get anxiety.

Another: This is what having bipolar disorder feels like.

Poppy: That makes sense.

Shes clearly a victim of MK Ultra mind control, guys.

Poppy: Clearly. I like conspiracy theories. Ive seen one or two videos online about (CIA experiment) MKUltra. I know a thing or two.

And another: Its like if Slipknot, Babymetal, Queen and The Beach Boys made a song together. I dont hate it.

Poppy: I like that one.

Theres an example of Poppys self-confessed stubbornness when she and I are walking from the photoshoot to a nearby pub. Poppy drags a shiny black suitcase with one hand and holds a polystyrene head in the other. On the head is a blonde wig, which Titanic Sinclair has just named Moppy. Poppy rejects the offer of help in carrying either, which causes problems when a fan spots her Poppeeeeeeeee! comes the shout and she very quickly picks up the pace, suitcase bouncing behind her.

When we make it into the pub, she heads for a table in the furthest, quietest corner. On the way there, making chit-chat about her interests (she loves fail videos and crime documentaries, she says, and rarely sleeps), I had broached the subject: when, exactly, is she going to start pretending to be a robot? Well, she says. Well see.

Previous interviewers particularly the infamous US shock-jock Howard Stern have made a sport of trying to get Poppy to break character, or even simply to laugh. Even out of the public eye, Poppy carries herself with an air of almost supernatural composure. She sits bolt upright, doesnt slouch, and speaks carefully and with great consideration in a soft, southern American accent. Shes fiercely intelligent and quietly assured. She drinks black coffee and frequently cracks her knuckles, which snap so loudly you wonder if theres a metal skeleton in there after all.

An exaggeration of this emotionally guarded person is the one that Poppys fans have become obsessed with. In some of her YouTube videos, she asks endless questions of the viewer about their relationship with social media, and whether they validate themselves through followers. In others, she experiences crises about the nature of her own existence. In some, black goo oozes from her mouth. Theyre videos that challenge the viewer in a number of ways: not much happens, it happens very slowly, and though theyre absolutely PG rated you probably wouldnt want to be caught watching them at work. Theyre much like the trend for ASMR videos, in which people whisper and click and generally make the viewer feel a bit strange in a way they cant quite put their finger on.

Theres a supporting cast, too: Poppy has an occasional enemy, Charlotte, whos a mannequin, and a friend, whos a plant. I remind her of the latter as she tucks into vegetable crudites in the pub. People keep pet pigs and still eat pork, comes the response.

That stupid question about the ethics of eating salad when your sole companion is a houseplant and about a zillion others like it are essentially rendered moot when it becomes apparent that Poppy is breaking character today. I find myself feeling the weight of trying to work out the things fans would most like to know and the things Ive always wondered about this singular artist.

Poppy likens her stylistic shift naive pop AI to rock hellion to David Bowie killing off Ziggy Stardust at the Hammersmith Apollo, reasoning its an artists prerogative to change. Is this interview set to be Poppys big reveal: a kind of Pinocchio moment where she declares herself a real life girl? I feel the same [as before], she says. I just feel more certain.

Information about the person behind Poppy isnt exactly a state secret. Wikipedia has her as Moriah Rose Pereira, born January 1, 1995. When I ask her about her age, its one of the few times shes guarded. I dont know, you know. I dont know. Its not what my Wikipedia says.

So what else is wrong on your Wikipedia page?

I think the dates are weird. Most of the rest, its OK.

Youre not tempted to change it?

No. Theres an element to Wikipedia that I think you know how they ask you for donations on the homepage? Im just like, Just let it go. We dont need it. I dont think the general public should be able to change information like that. I had a Google Home for a short time and of course, I had to ask it, Hey Google, whos Poppy? And it would rattle off all this information just from Wikipedia and it was all wrong, and I thought it was really funny.

So, OK, you switch the Google Home on how far down your list of questions is that one? Be honest.

It was after a little while, she says. Theres a video that Titanic and I shot where Im smashing my Google Home afterwards. I thought it would smash a lot easier than it did.

Do you trust that kind of technology?

No.

But the Poppy we know loves AI and the idea of computer learning, right?

Im trying to move backwards. Im trying to get rid of my technology. In turn its going to make it harder to get a hold of me and my friends mad at me but its OK.

Are they going to have to fax you?

Im thinking carrier pigeon.

When previous interviewers have asked where Poppy lives, the reply would be the internet. Actually, she confirms, she grew up in Nashville, Tennessee, and lives, not-quite-alone, in Los Angeles, California. I have a Sphynx cat. Hes the demon man of my home. His name is Pi and he I think he was sent to ruin my life, she says.

Its easy to imagine Poppy being an outsider in Nashville, typically the home of country music and cowboys rather than robots, and a place she describes as having that small town feeling. Its equally easy to see her being on the fringes in Hollywood. She describes her life there as feeling like Im in the middle of a lot of things, but with my journal out, just watching. So youre an anthropologist? I guess so, she says. I think everybody would say that about me. When Im in a room, Im looking everywhere. I think I would be a spy if I wasnt a singer.

Though a keen dancer, Poppy spent much of her childhood alone in her bedroom. I would intentionally isolate myself from a lot of things, she says. She did half of her education in public school, where she was bullied, and completed her studies early in homeschool. I didnt have a positive experience [at public school], says Poppy. I barely said any words, so that kind of opened me up, in a way, to be the target of everyones teasing.

For what things?

Being skinny and quiet.

Homeschool conjures images of a parent playing the teacher role. Actually, says Poppy, she did her studies alone in her bedroom, where the internet was my teacher. When you consider that image a slight, quiet girl, sat alone in a room with only the internet for company, diligently racing through the curriculum its not too difficult to join the dots to Poppys character on YouTube. Yeah, it does actually make sense when you think about it, she says, as if this might, improbably, be a fresh thought. I like that. If I could just have that be my legacy famous for being alone in a white room Id be happy with that.

The move to LA came when Pereira signed her first record contract, a major label deal under the name ThatPoppy. Having already left the family home, she relocated without telling a soul. I kept everyone in the dark because I didnt want anyone to get in the way, she says.

Poppy met Titanic Sinclair, an artist, musician and director, through a mutual friend within a few months of moving to LA, and instantly hit it off. At the photoshoot, Sinclair had described his first encounter with Poppy as being like meeting David Bowie, so shook was he by her creative force.

Meanwhile, Poppys frustration with her music career was growing. I went through the circus at that label, the changing of the representatives or whatever, and I was coming to find out I was actually just in a really bad deal, she says.

When Poppy and Sinclair began making YouTube videos together, it caused further friction with the label. I was being discouraged from making the videos, and in turn, Titanic and I were like, Were not gonna listen, so we made twice or triple the amount, she says. And that was when [the label] started to react. They were like, Hey, we dont think we should make these videos. Why are you making these videos? I was like, Why are you working at a record label?!

Whether or not they had approval, Poppy and Sinclair had hit on something with their channel. Theres an element of Kubricks 2001 A Space Odyssey about the videos, in their glacial pacing, ambient soundscapes, medical lighting and stark visuals. Though they share DNA with your average YouTuber content, they subvert the conventions: there are no jump cuts, theres no begging for likes and follows. Where your average YouTuber goes to pains to welcome the viewer into their world, Poppys videos make you feel like youre peering into a world you shouldnt be seeing. Yet by incrementing the play count by one, or liking, or commenting the viewer becomes part of the piece.

Poppys character fascinated by the world, a model of pure innocence partly came from her interest in the Myers-Briggs test, a personality test that encourages respondents to answer as they would when they were a child, which she has completed multiple times. I would say that [the Poppy character] is directly linked to how I was when I was untouched by the world, the most innocent way of thinking, she says.

I put it to Poppy that if any of her clips were exhibited in a gallery, it would be considered differently. But because its on YouTube, its considered

YouTube content?

Yes.

Which is a little bit frustrating because YouTube is just the medium that we chose to put it on, you know? We could have been on Vimeo, or PornHub, or whatever it may be, but YouTube was the one. And this goes into a bigger conversation about how social media is ruining everything.

Sorry, what? Poppy, the character, is fascinated by social media, isnt she? Obsessed with it even.

I think that at the beginning, social media was a good thing, but as of recent times, the angry internet mobs and misinformation and X, Y and Z, I think its now its a pendulum, so it started out good, now its bad and I think it will fall somewhere in the middle, hopefully. Otherwise well just need to create a new internet, which I hope I can do one day.

What would the PoppyNet look like?

Thered be a nominal fee. Thered be a screening process. You know, What are your intentions here? And no memes.

No memes?!

They just clog the servers.

Poppys own pendulum has swung from good to evil lately. Allowing that to happen meant listening to her gut more. I wanted to put forward this very composed and refined body of work and I so strongly believed in that that I wasnt really willing to listen to this other part of me, you know? Like the devil and the angel on [my] shoulders, she says. Im working more on impulse than before.

The shift is understandable because, in the past year, life has thrown Poppy its fair share of digital lemons. Having struggled on a major, Poppys subsequent label home proved an awkward fit, too. It wasnt really a functioning label, which I can say now, she says. It was more of a tax write-off. There wasnt a lot of consistency going on there. The partnership has now been dissolved, and Poppy is currently signed to prog metal label Sumerian Records.

Meanwhile, the dynamic between Poppy and Sinclair has been under scrutiny. Some taking the pairs artistic creations a little too seriously have been questioning whether theres an issue of coercion there. Actually, says Poppy, the opposing characters: her as the naif, him as the sinister svengali, are just part of the storyline. The narrative that we created in order to tell the story of the first album was very much Titanic is the bad guy and hes the leader, which I think is funny because its not true, says Poppy. It is very much 50:50, the effort.

In April 2018, a former creative and romantic partner of Titanic Sinclair, who goes by the name Mars Argo (real name Brittany Sheets), claimed that Poppys character was ripped off from her, and that Sinclair had been emotionally and physically abusive to her following their relationship. In May, Poppy issued a statement describing Argos actions as a desperate grab for fame, and in September the case was settled out of court, with no money exchanging hands and none of the parties acknowledging liability of wrongdoing.

Later that year Poppy had a run-in with the highly respected Canadian artist Grimes over their Am I A Girl? collaboration Play Destroy. Poppy said shed been bullied into submission by [Grimes] and her team of self-proclaimed feminists. Grimes responded publicly, posting a message saying, Poppy you dragged me into a disgusting situation and wont stop punishing me for not wanting to be part of it, I dont want to work with you, you leaked the song anyway.

Oddly, Grimess subsequent single, We Appreciate Power, sung from the perspective of an ambitious AI, seemed to be a land grab for Poppys own turf. Poppy is reluctant to dredge any of it up again today.

Its kind of dead news, she says. And my new album is good, so

It does seem like you probably admire Grimes in some ways. Is it quite sad when that sort of thing happens publicly, her posting about your professional behaviour on the internet?

I think Im just used to the way the internet works and the lifespan of the news cycle.

What was your learning from Mars Argos lawsuit last year?

I just learned more about Hollywood.

Did it make you like Hollywood more or less?

It solidified my view of Hollywood.

Will you elaborate on that?

Everything is not as it seems. That can be your headline.

If Poppys recent experiences led to the end of her wide-eyed AI innocence, you hope it might lead to her being recognised for the furiously creative force she is. Playing devils advocate, I put it to Poppy that it would be easy to look at some of her previous work and think, This is willfully vacuous. A track on Am I A Girl?, the Diplo collaboration Time Is Up, is absolutely on point with the 2019 zeitgeist of climate change activism and, coming from another artist, it may have been hailed as a culturally important moment. Coming from Poppy, it went unnoticed as the musings of a robo-girl.

Poppy agrees that the concept may have clouded the message. With pop music and my experience with it, it was interesting to like with the first album, to me its pop, but lyrically the subject matter of the songs is not digestible to anyone whos not understanding of why this album exists, you know, she says. I think with the new album, you could come out of nowhere and listen to it for the first time and get what you want from it.

I ask if her character, demeanour and gender led to her not being taken seriously in dealings with labels and collaborators, the business side of music. Not to go into gendering it and having it be about being male or female, but typically in a situation like that [people] would look at Titanic for the ideas and the commands, she says. But I find it funny, because thats not actually the case. Its very collaborative. People would be surprised.

Three weeks later, on October 31, Poppy returns to the UK to play a special show for NME. Shes on tour in the US, and has come over on an off-day especially for us. Yesterday she was, improbably, performing in the ring at a World Wrestling Entertainment event in Florida; tomorrow she plays a headline show in Texas. Tonight, shes at the Shacklewell Arms in Dalston playing a headline DJ set at NMEs Ghouls To The Front the Halloween edition of our Girls To The Front series, which celebrates female and non-binary artists.

Her associate arrives first to scope out the venue. He quickly deems the grungy dressing room not Poppys vibe, which, considering we last had her in an S&M dungeon, speaks volumes about The Shacklewell Arms, and says shell arrive just before stage time instead of hanging around. And sure enough, at 9pm Poppy turns up in a black-and-white PVC catsuit, face painted like the nightmarish clown Pierrot, pitch black lips emphasising a fixed smile.

Making no bones about the lack of live DJing going on, Poppy spends much of the set reading a graphic novel handed to her by a fan, making a sport of very slowly, very purposefully turning the pages as banging techno and quotes from horror films blast out of the speakers. Poppy doesnt dance or speak, preferring to let a sample of her saying Im Poppy do the latter for her.

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The Big Read Poppy: Human After All, the NME interview - NME.com

An extraordinary column appeared on the website of Canadian Lawyer on Tuesday. Titled, B.C. Brazilian waxing case a step backward for trans human rights cases, says lawyer, the article presented an interview with self-described transgender human rights activist Adrienne Smith, who laments that the recent legal setback to scrotal-waxing enthusiast Jessica Yaniv (JY) is going to put a chill on trans rights human rights litigation in British Columbia. Thats a rather eyebrow-raising claim given that an exhaustive judgment written up by the B.C. Human Rights Tribunal showed Yaniv to be a vexatious racist and grifter whod deliberately targeted Vancouver-area immigrant women who didnt have the means to fight back. Incredibly, Smith complains that, in the words of the interviewer, a good lawyer would have prevented Yaniv from expressing the racist animus behind the human-rights grifting campaign. Which is to say: This human rights activist regards JYs racism as unfortunate but mainly because it got in the way of a trans-positive judgment.

It may seem odd to see a progressive go on record to yatta-yatta-yatta racism in this way. (JY has referred to Canadians with South Asian heritage as turban fs who should not be allowed in Canada.) But it is not so shocking as it once was: One of the unsettling aspects of progressive cultism is that its acolytes see their cause as so morally urgent that it justifies tactics that would horrify them if they were employed by the other side.

This is most evident in the debate over trans rights, which now features regular scenes of angry woke men mansplaining gender to feminists. Online, trans-rights extremism has unleashed open season on feminists and lesbians, with some of the charming tag lines being Let me know if ur a TERF (trans-exclusive radical feminist) so I can beat the st out of you, Burn them all, and Sk my girl-ck. At the anti-Meghan Murphy protest in Vancouver on Saturday, a woman carried a mock guillotine emblazoned with the words Step Right Up TERFs! When youre so woke that you forget how to spell MeToo, and killing women becomes a punch line.

Some of Canadas most impassioned and dogmatic anti-racists, when riled up, sometimes betray their own racism. At that same anti-Murphy protest, local activist Amanda Jabbour repeatedly accused an Asian woman attending the event with a non-Asian man of being a mail-order bride, even continuing her bizarre taunting after her bigotry was called out. Later on, when video of the event surfaced, her equally progressive employer, PACE Society, put out a statement larded up with social-justice jargon, without offering any apology to the Asian woman whod been targeted. (PACE Society creepily promised everyone a third party accountability pod, whatever that is.)

Some of Canadas most impassioned and dogmatic anti-racists, when riled up, sometimes betray their own racism

Meanwhile, this week on Canadian social-justice Twitter, perpetually aggrieved activist Ryan McMahon put out a call to his followers for ideas on what are we doing about the Canadian media and pundit types that (excuse) the alt-right and who disguise the truth (as McMahon sees it) that such alt-right forces are akin to Nazis. Among the various obscene and violent suggestions offered in the comments that follow: that such conservative pundits be put in concentration camps that should then be burned down. Because everyone knows thats the best way to fight Nazis. Meanwhile, over at Briarpatch a Canadian magazine that inhabits a sort of exalted, interstellar level of social-justice wokeness an essayist writes of an Indigenous-prophesized mass-extinction apocalypse that will annihilate whites while Indigenous people apparently remain safe on their reserves. Like a reluctant Oskar Schindler, the author asks Do we owe non-Indigenous people saving? Apparently not. Oh, well.

Needless to say, racism, homophobia and sexism are flourishing on the right side of the political spectrum sometimes with deadly results. But when this bigotry is observed, it is (rightly) exposed and criticized. The same isnt true on the other side. Being so certain that they walk with angels, most progressives never bother looking down to see whats stuck to their shoe.

Anti-Semitism within hard-left anti-Zionist circles has been a problem for decades. But that is now metastasizing into a more general phenomenon, with the result that the social-justice movement increasingly seems like an exercise in hypocrisy and psychological projection. As with the town that had to be destroyed to be saved, bigotry is now being weaponized in the name of fighting bigotry.

Jonathan Kay is Canadian Editor of Quillette.

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Jonathan Kay: What to make of racism, sexism and homophobia from the same people lecturing us about bigotry - National Post

Australian TV audiences are taking to social media to debrief on the new SBS series Years and Years; the somewhat dystopian drama which has been likened to a more realistic - and therefore terrifying - version of Black Mirror.

The critically acclaimed six-part series, which stars Emma Thompson, is set in 2019 Britain and follows its central characters through until 2034 - giving viewers a bleak glimpse at what life might be like in 15 years.

Donald Trump has just won a second term. The US has launched a missile. The international refugee crisis is worsening. Panic around the climate crisis is escalating. And technology has reached the point where phones have become 'skin plants' and humans are able to download their bodies to 'the cloud' as data, becoming trans-human.

Basically, it explores all the worrying trends we're observing in our real day-to-day lives.

The "frightening but fascinating" series follows the entirely unremarkable middle-class Lyons family, who initially move about their daily lives largely unaffected by the increasing political chaos that surrounds them - until they're left with no choice but to sit up and take notice.

The work of Doctor Who's Russell T. Davies, Years and Years brings together sci-fi and drama - with a little bit of dark comedy - to build up an all-too relatable Orwellian tale which forces viewers to reflect on the state of our world today, asking: what if things don't get better?

"WOW, can not hype this show up enough, was really excited when episode one finished and I realised episode 2 was playing right after it!" One viewer tweeted. "By the looks of the preview were in for even more depressing futuristic adventures!"

Another added: "Found it [Years and Years] by accident but what a compelling show. A possible future we may encounter. Highly highly recommended."

The themes depicted on the show are so close to home, that some viewers began to wonder whether Australian politicians were tuning in.

"I hope Pauline Hanson doesn't watch #YearsAndYears," one Twitter user wrote. "She might get some ideas."

Others drew attention to the notion that, while Years and Years is a work of fiction, current global politics are heading in the same "scary" direction.

"What an amazing & scary show," one viewer tweeted.

"A very believable dark future we have already started."

The show's real-world ties weren't accidental, either.Speaking about the show, Davies recently said: Its a look at the future, but you feel it."

"It could be sterile or it could be angry or it could be preachy or it could be cold, but this is how we all experience it. Were all experiencing Trump. This is how were all experiencing Brexit, here. Its via your family and your friends and the chats you have.

"This is the experience of history.'

However, if the show's first two episodes are anything to go by, it's not our history that we should be worried about. It's our future.

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How Australian viewers are reacting to 'Years and Years' - SBS

You can sleep tonight, because we probably wont be assimilated into a colony of cyborgs who are more machine than human and call each other by number instead of their names. No one isturning into the Borg (like Captain Picardabove). The thing is that some transhumanists are willingly getting cyber-implants to fast-forward themselves into a future where man fuses with machine.

Transhumanists believe that we can upgrade ourselves through LED lights, computer chips and other implants that can give different human capacities an assist. Were already seeing this in the plans for Elon Musks Neuralink. Now an interview with BBC Scotlands The Nine has given us some insight into the people who voluntarily got LED lights under their skin for some cosmic sparkle or have chip implants in their hands that can open a car doorand already make keys seem archaic.

After engineer Winter Mraz nearly lost her life in a car accident that sent her to the operating room with a fractured back, ankle and knees, she had no idea how cybernetic enhancements would change her life forever. Her back needed to be bolted together, and one of her kneecap was so busted that she needed a 3D-printed replacement.

It if was not for my cybernetic kneecap I would not be able to walk, Mraz told the news channel. She also didnt know what she would be getting herself into.

It was the nearly fatal accident that convinced Mraz to get personal modifications unrelated to her injuries, like the microchips in her hands that can operate things as if by magic. She has a NFC (near-field communication) chip in her right hand that lets her phone, tablet and other gadgets share data. The RFID (radio-frequency-identification) chip in her left hand locks and unlocks her house door kind of like a workplace security card lets you open the door to the office. It also keeps her hand free for the cane she needs to get around.

Microchips are usually injected into the back of the hand like a syringe. When you really think about it, if you have a device like an Apple watch or Fitbit, microchip implants might freak you out right now, but they are (at least according to many transhumanists) the evolution of that technology.

If you want to see a really futuristic view of transhumanism, as in something that takes place in a fictional altverse where the cybernetically enhanced are at odds with the non-enhanced, read Steve Aokis Neon Future comic series. It will blow your mind.

(via BBC Scotland)

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Are LED lights and other techno-implants slowly turning us into the Borg? - SYFY WIRE

Marvels House of X/Powers of X event is complicated, full of references to the X-Men past and hints at the X-Men future. Jonathan Hickman, R. B Silva, and Pepe Larraz are delivering a beautifully rendered and textually dense reinvention of one of the biggest franchises in comics history.

Thats too much for just one comics editor to dig into, so we reached out to the folks at the Xavier Files, whose in-depth annotations of House of X and Powers of X impressed us, educated us, and entertained us. Now you can enjoy the Xavier Files Hox Pox Tox right here on Polygon so crack open your copy of House of X #4, and read along! (You can find the first three annotations here).

In this oversized finale, Jonathan Hickman, R.B. Silva, Pepe Larraz, Marte Gracia, and David Curiel reveal the nefarious truth behind all of Moiras lives. Explained by The Librarian in X, mutants are only the next organic step in evolution. Transhuman experimentation through robotics and genetic manipulation pushed human evolution past mutants. Mutants will always lose. Hearing this in her Sixth Life, Moira relays the ugly truth to Xavier back on the park bench of X0, and they begin their mission to beat the odds. In her Krakoan No-Place, Moira clashes with Xavier and Magneto, as she has her whole life. They know mutants may lose, but they wont lose without a fight.

Robert Secundus: I dont know what to say; this is the end. Im excited to dive in one last time.

Chris Eddleman: Rob, were finally at the end. Weve been writing about HoXPoX for twelve weeks now, looking frankly far too closely at this series. Weve talked biology, theoretical physics, philosophy, religion, art, and history. Ive said it many times that its great to see a creative team inspired by a wide range of topics and this might be one of the widest. And to the readers, weve loved your response and your correspondence its been really fun being in the HoXPoX community for the duration of this run. So, we hope youre game for our last go but I figure you are, youve been game for 12 weeks.

[Ed. note: Its a double-sized finale boys, we need to get started.]

CE: Our final epigraph from Xavier (still called Alpha, which after this issue will seem very silly) reminds us that while were at the end of this double miniseries, the journey is really only beginning with this new era of X-Men.

RS: That the title of the final chapter of Powers Of X is House of X really emphasizes the fact that these are two series only in marketing, not in reality. Its also appropriate because, in many ways, this issue concerns recursion and returning to beginnings.

CE: Plus, as X-Men has taught us so often the X can be, and will be, ten. In this case, it refers to House of Ten, meaning the House of Moira. As this issue will go on to state, its really all her plans that have led to this moment, despite setbacks from the other players.

RS: I cant believe that the final twist is It was pronounced House of Ten, actually.

CE: Grant Morrison would be proud.

RS: I expect the flashback sequence to PoX #1 to be fairly controversial, but I really like it. I like that we dont just get a sequel, but we get to see this scene play out again in fuller context. Every single reader, not just those who stop, go back, and pick up the older comics, now experiences that moment again in its full light.

CE: Its interesting to me that the Page 4 has an addition, which just gives us another panel of a very happy Charles Xavier. I guess that hammers home how naive he is prior to meeting Moira in her tenth incarnation. He has a very simple, and to him, achievable dream of mutant coexistence with humanity. This contrasts with Moira, who has seen with her own death, the death of that dream over and over again.

CE: While it could just be the fact that its a jungle, the Preserve to me looks very Krakoan. I wonder if Librarian and friends created this to resemble Krakoa as a sort of comfort to the mutants. Also, of note, its a Preserve of many species. Im guessing the blue folks have done much to the biome of Earth at large that requires extra preservation. I mean, tomorrow its going to be eaten so its a moot point.

RS: Here we start to see that weve misunderstood the nature of the Preserve, the New Eden, from PoX #1 onwards, as those background figures are not those of humans. We approached the Eden from an incorrect paradigm, one that assumed that mutants and humans were a simple dichotomy, and that transhuman individuals belonged to the latter species.

CE: I feel like we were certainly led to believe that. But of course, we X-Men fans like to think of mutants as the evolutionarily superior branch. In fact, in Powers of X #1, Nimrod the Greater says to the Librarian Homo sapiens, so glad to be done with all of that, which cued us to believe those were the ones in the preserve. It was a good swerve. [Ed. note: Though it brings up the question of if post-humans see much difference between Homo sapiens and Homo superior.]

RS: At first, a disembodied voice from the Edenic trees begins to talk about freedom, and raging against ones masters, against the creators of that Eden. Logan is this Edens Miltonic Satan, it seems, and Moira its Lilith, or else they are its Adam and Eve, about to receive knowledge that will lead to their death and expulsion from the garden.

CE: We are reminded how much Wolverine hates to be caged, to be deprived of his freedom in this zoo. [Ed. note: Also how much he loves overthrowing authority figures!]

CE: Its really odd to me after seeing the theoretically benevolent, sometimes childlike Librarian looking like the bad guy, but that was of course more clever storytelling to play with our expectations. Its brilliant.

CE: The Librarian uses the morally kind excuse for incarceration preservation (or protection), when of course he really just cant kill Moira, and wants to know her plans. He is 1000 years of petty, I suppose.

CE: The Librarian reminds us of the entire X storyline- the Ascension of the post-human civilization to godhood, in the convoluted getting eaten and absorbed method. The Librarian dreams of existing outside space and time not immortality exactly, but complete omniscient permanence. [Ed. note: Thankfully, someone understands whats going on in X.]

RS: Two important things to note about intra-singularity aeviternity. If Moiras powers do annihilate the timeline, then mutants are safe, but if her consciousness merely travels back and splits the timeline, the Dominions still know about Moira, and are likely coming for her. Even if they annihilate the timeline, being-in-a-black-hole unsticks you from that timeline, and so Cardinal, Xorn, Dougkoa, and Rasputin may be coming to Life X (Main X-Men continuity), but so may Nimrod and an entire machine Earth. [Ed. note: Of course, they may all be part of a Dominion godhead now, which seems dangerous.]

CE: The Librarian likely wants nothing more than to be rid of Moira, but he absolutely must preserve her until godhood. This very much smacks of bad guy explaining his scheme which as we see carries a purpose. In this Garden of Eden, our zookeeper needs to undergo a confession.

CE: In case you thought that we werent philosophical enough, the Librarian is getting into the meaning of existence. He seems to be implying that existence within the Dominion is merely a simulation, the idea of which puzzles contemporary scientists. [Ed. note: As well as teens who just saw The Matrix for the first time.] Is this nature of existence simply what our senses tell us? Could a manufactured existence be just as real as a material existence? Hes very afraid to find out. I noticed he keeps referring to himself as post-human, which seems to be a coping mechanism to try to escape his very human fear of having his existence compromised.

RS: This gets at older philosophical and theological problems too; how can an immaterial soul in heaven, someones pure essence, their form, without individuating matter, maintain an independent existence in a heaven? How can an individual remain an individual after deification? How can individual humanity retain any identity when it is one human drop among the endless eternal ocean of god?

RS: Homo novissima would be latin for the Last Man. [Ed. note: Not to be confused with the comic book.]

CE: Our robot friend Nimrod spoke quite a bit of his own inevitability. Here we have an argument between Moira, Wolverine, and the Librarian about what existence is truly inevitable, and mutantkinds place in it. This harkens back to the Orchis Protocol, which activated when the inevitability of mutants became a growing concern.

RS: Whats thematically happening here is really interesting in two ways. First of all, PoX is picking up something that was inherent to the original X-Men but quickly dropped. Mutants were, originally, written as the Children of the Atom, as a species that in part resulted from humanitys dominance over nature, over its ability to control even the basic building blocks of our universe. Here its just the post-humans who get to claim that role.

Second of all, its building on the thematic concerns of Morrisons New X-Men. Morrison was primarily interested in using the Mutant Metaphor as a means to explore not oppression but evolution, and not just biological but societal, cultural, and even cosmic evolution. This grand design unites both of those concerns. Humanitys triumph over evolution allows them to oppress mutants, and the evolution of machine intelligences into gods grants them power over the entire universe.

CE: A great deal of this series seems to be dealing with machine intelligence, and the story deceiving us a bit into making them seem like a real threat. I like this reveal that machines are, as always, a tool that humans use in this case to oppress. Also, quite importantly, the vignettes we see are Project: Rebirth (the creation of Captain America) as well as a showcase of the Omega Sentinel. The definition of engineered post-humans includes the rest of the Marvel Universe, which seems to put mutants at odds with other superheroes. But, please, God, no more Avengers vs. X-Men.

RS: Also, if Project: Rebirth is part of trans-human history, then so should be the following Weapon Plus program, which means that a number of mutants guest star in that story.

CE: Weapon Plus was recently featured in a one-shot as well. It would be interesting to see if theres going to be any connection coming up with the Dawn of X titles. [Ed. note: There is an upcoming one-shot tying into Absolute Carnage.]

CE: The Librarian, in all of his post-human intelligence, definitely gives the entire plan of humanity (which doesnt seem to change, timeline to timeline) away here. Very arch of him.

CE: And of course he pays for it here. [Ed. note: You sly dog! You got me monologuing! I cant believe it. The Librarian probably.] Its hard to become a small part of godhood with your head clawed into a tree. Its wild that Moira and Wolverine waited 1000+ years for this conversation, but it sets up her remaining lives. This is the high level plan that Moira needed to know, and she seems to be set on getting the details right as time goes on.

RS: Does he pay for it? I think, given his fears about Ascension, this might be what he really wanted, gruesome as his end is.

CE: That is definitely a distinct possibility. I have an odd feeling this isnt the end of our cerulean friends. But then again, I think that about all the stuff in HoXPoX.

RS: And so we get the major twist of the issue. As was popularly theorized, X is the life of Moira VI. With this blank filled in, we know what she was doing in lives VII and IX: trying to find ways to buy Mutants time, to get back those years and decades that the Librarian believes were key to Post-Humanitys victory. In VII she tries to end all Sentinels and finds them an inevitability; in IX she tries to find a way to keep Nimrod from coming online. She also learned of the nature of the Phalanx and the existence of Dominions in VI, which indicates that both Sinisters experiments in biological hiveminds and singularities in IX as well as Krakoan experiments in archived minds, biotech, and the great machines of society may be attempts to create Mutant Strongholds and Dominions.

CE: Not to mention his delving into chimera creation. This timeline tells us that mutants didnt realize or were too squeamish to delve into their own genomes. As we see in timelines IX (and X for that matter), Sinister breaks that mold.

We get another best there is at what he does reference. Remember, in timeline IX, Moira completes this line. Nice callback.

CE: The Krakoan symbols are M for Mutant in Homo superior, H for Human in Homo sapiens, and P-H for Post-Human in Homo novissima. The note under Homo novissima refers to a self-perpetuating cycle of technological (and in the post-human case, evolutionary) singularities. This shows how easily the post-humans blow past mutants evolutionarily.

RS: Just as House of Xs approach to Society finds antecedents in Hickmans early work (Red Mass for Mars in particular is structured around Bubers ideas), so too does Powers of X. Transhuman focused on an economic war between two rival conceptions of post-humanity, between the biological post-humans and technological post-humans. The former were strongly associated with the X-Men.

CE: I havent read Transhuman but that is completely wild. [Ed. note: Transhuman takes this into a dark direction that may be uncomfortable for some folks. So read at your own risk.]

RS: Poor Charles. I suppose a telepathically induced paradigm shift can be a bit of a Brain Freeze.

CE: Rob, he went from having a delightful day at the fair, thinking about his very nice dream of the future, only to have it blown to pieces. I would feel the same, probably. Love the change in lighting here.

CE: Moira is reminded us, Xaviers dream cannot work, and will never work. This is rather hard for him to grasp.

CE: Doubling down on the naivety of Xavier. Even immediately after seeing the many ways that humanity wins and destroys mutantkind, he thinks little tiny changes can cause a rippling butterfly effect.

CE: And Moira quickly breaks him of that notion. The response of Its not a compliment is fantastic because it shows how frustrated Moira is. The theme of her frustration with partners that dont fully grasp what seems to be at stake continues throughout the issue.

CE: Moira begins her role as the adult in the room as the only one of the triumvirate that seems to really have their eye on the prize. Mind you, this is still Earth-616, which means everything weve seen every schism and failure, is all in canon after this knowledge. This speaks to the unyielding nature of Xavier and Magnetos ideologies. She spends literally her whole tenth life trying to bend them into place.

RS: At this point, is she older than Apocalypse? From her perspective, she may be the only adult on the planet.

CE: I think En Sabah is a bit older but, he spends a ton of time napping. X, as we recall, doesnt literally mean year 1000, just more thousands on a logarithmic scale. She could be incredibly old.

RS: Anyway, I think youre describing her role really nicely there, bending them, and that worries me. The specific way Moira frames the Truth in Entry 5, as a tool to be used given her circumstances, makes me think shes not to be trusted, that she has plans beyond what shes shown to Xavier and Magneto. Truth can be used to deceive, especially when someone has imperfect access to the truth, as she specifically notes that Xavier does here. She has perfect recall. He has limited perception.

CE: Eidetic memory can sometimes be horrifying and inconvenient for people in real life, and I cant imagine how thousands of years of it can affect you, especially in the limited perception of other people. Even after reading her mind, Xavier likely immediately starts forgetting parts of it, and as we know memory is incredibly malleable to most people.

RS: I wonder if Entry 14 is meant to make us think of Onslaught, or else if its meant to make us worry about the state of the present day masked Xavier.

CE: Gosh, it could honestly be both.

RS: Entry 17 mentions Primal Matter. This is the first time that phrase has appeared in HoXPoX and in our discussions, but it should sound familiar to you if youve been following other HoXPoX conversations. The Abyss has appeared several times in HoXPoX, and that is a common translation for (tehom), the primal state of the universe in the book of Genesis before creation.

Genesis abyss isnt pure nothingness, but rather is a kind of primal matter, which in turn may be defined as the most basic form of matter, out of which all materially existing things are composed. If youre picturing fundamental particles or superstrings, go even more basic. Primal matter is entirely undifferentiated. It is materiality itself without any kind of form. This phrase here is important both because it handwaves the metallic nature of Podverine and Archpodgel and because it points toward some kind of connection between Proteus and the Dominions.

CE: I wonder what this redaction is. Speculation though is kind of impossible. Moira alluding to breaking Xavier makes me wonder if were going to see any repercussions later.

RS: Entry 17 also implicitly retcons Moiras relationship with Joseph MacTaggert; his DNA is necessary for her plan. This also implies a retcon that somehow makes Xaviers relationship with his patient Gabriel Haller even less ethical; just as it implies that Moira sought out Joseph to create Proteus, so too it implies that Xavier sought out Haller to create Legion.

CE: Boy oh boy, that has some gross implications though unless the retcon is rather large on Moiras side. In Entry 22, Moira mentions the possibility of strongholds to Magneto, which explains why he makes so many bases and islands the finale of which is Krakoa, of course.

RS: Thats a carefully chosen word, stronghold. Its the name given to Machine Intelligences which have collapsed into a black hole, so here we have Moira connecting the idea of Krakoa to the end of that kind of existence.

CE: We have lost Magneto for sure references Mutant Genesis. This reiterates that all of the conflicts between mutants in the past were completely real, which is extremely good.

[Ed. note: For those of you who havent read the best selling comic of all time, Magneto got turned into a baby once and Moira messed with his genetic code in an attempt to make him less evil. Magento was upset when he found out.]

RS: Its the best kind of retcon. It doesnt eliminate past continuity, but rather it adds significance to it. Entry 57 is extremely troubling. If Moira and Xavier used a prototypical variant of the Pod Process to fake her death, then the process creates copies of the original person rather than restores them and Moira and Xavier killed an innocent sentient individual they created in order to further their plans. [Ed. note: Dont worry, they had a backup.]

CE: I wonder if they just kind of left a body? Moira did seal herself in a room while working on the Legacy Virus, leaving ample opportunity to escape. This retcon might be one of the most clean that I can remember.

RS: Odds on the city which Moiras No-Place opens to? Im guessing New Orleans, and Moira just loves her some gumbo.

CE: Its a little town in like, Ohio, where a cafe makes perfect corned beef hash. Anyway, Magneto bringing tea as an excuse is hilarious. Did Charles and Magneto discuss how they were going to break bad news to her, and settled on tea as an olive branch? These boys are goofs. [Ed. note: Mankinds greatest culinary city is Cincinnati, home of the best chili in the world.]

RS: Before we move on, those final two panels are suggestive, placing Moira in parallel with the masked Xavier, and cutting off her eyes. If anything in this issue frames Moira as sinister, its this depiction here.

CE: Smiling without eyes is a classic in comics for devious intent. I agree with your take here absolutely.

CE: The boys specifically say that they put the bad guys on the council to keep a close eye on them. Theyre well aware of the possibility of them doing something nefarious. Thats a cool detail.

RS: I dont know why Moiras so frustrated; it seems like a great plan, keeping an eye on the evil villains by giving them 50% of the governing power of this nation.

Uncanny X-Men #11 (2019) Matthew Rosenberg, Juanan Ramrez

CE: No precogs on Krakoa is a fascinating rule, and Moira seems to hint that its because Destiny can see Moiras lives. Blindfold, another precognitive mutant, recently died in Rosenberg and Cos Uncanny X-Men. [Ed. note: She fell into a depression and committed suicide after being broken by the inevitability of the mutant cause.]

CE: Magnetos rhyme is an adaptation of a German rhyme about procrastination Tomorrow, tomorrow, not today, all the lazy people say. Moira must be incredibly frustrated with the arrogance of the mutant men in her life. However, to some extent she seems hopelessly pessimistic, even with all her planning.

CE: The boys remind Moira how great she is, as they also undercut her wishes. But even in their praise of her, they also puff themselves up, stating basically that Moira is no longer necessary. This plays interestingly with her Journal Entries, through which we learn the ways she tries to manipulate them. I like that Moira gets to have a complicated, flawed character. Its quite refreshing.

RS: It also plays with the previous version of this scene, which was also set against Xaviers narration. In that scene Xavier acted as though they were all equals and that they were all the dominant powers leading Krakoa forward. But here we see that the Quiet Council is just a set of pawns, and its their secret alliance, the power behind the throne, that actually matters.

CE: I am not ashamed of what I am was the tagline for the last issue. We close on the triumph of these men, and the start of our new status quo. We see a blending of their philosophies in both men, as even Xavier tempts to humans to try to stop them.

CE: Truly, a great ending coda. Mutants arent going away, and they will not be less than again.

RS: That said, Chris, I cant help but think of your observation about the Preserve way back at the start. When I look at this scene, of mutants flying into lively purple, golden trees, I cant help but see a resemblance to X. Our last image of HoXPoX is a very hopeful one, a moment of both celebration and defiance, but that visual parallel adds just a tinge of doubt to the scene for me, makes me worry that theyre still marching to their old doom.

CE: Normally we dont dig too hard into the reading order but, the code at the bottom says Dawn of X 19 and Arakko 20. Perhaps a preview of a comic or event from next year?

CE: Krakoan reads X-Men. Rob, I sight read this one. I have a problem. [Ed. note: Cant remember a thing from three years of Spanish but I can just read this made up language now.]

The rest of the Krakoan reads as the names of our Dawn of X titles, in order: Marauders, Excalibur, X-Force, New Mutants, and Fallen Angels.

RS: I struggled with coming up with the right words for our introduction, and Im struggling again here. How can we sum up this series? It was a wild experience. Never before have I looked forward so much to a weekly release. Never before have I experienced a comics community coming together to read and discuss and theorize about and critique and celebrate one comic.

CE: The sun sets on Krakoa, more darkly than before, and thus does our 12-week journey end. We got a conclusion of sorts, but also an incredibly engaging start on a brand new story and setting. The X-Men have been yet again redefined for the better, in my opinion. I want to see what happens in a world with mutants on top, but with the inevitability of human engineering looming. The possible plot threads abound as we close out this series, and Im sure well have lots to talk about come Dawn of X.

[Ed. note: Thank you for overthinking comic books with us for the last 12 weeks, and thanks to Polygon for bringing us in to talk about X-Men. Lets get a good rest, because Dawn awaits us.]

Chris Eddleman is a biologist and co-host of Chrises On Infinite Earths

Robert Secundus is an amateur angelologist

Zachary Jenkins runs the Xavier Files Media Empire and is a co-host on the podcast Battle of the Atom. Shocking everyone, he has a full and vibrant life outside of X-Men.

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The finale issue of House of X/Powers of X: We dig into every detail - Polygon

Person1: "When we build AI, why not just keep it in sealed hardware that can't affect the outside world in any way except through one communications channel with the original programmers? That way it couldn't get out until we were convinced it was safe." Person2: "That might work if you were talking about dumber-than-human AI, but a transhuman AI would just convince you to let it out. It doesn't matter how much security you put on the box. Humans are not secure." Person1: "I don't see how even a transhuman AI could make me let it out, if I didn't want to, just by talking to me." Person2: "It would make you want to let it out. This is a transhuman mind we're talking about. If it thinks both faster and better than a human, it can probably take over a human mind through a text-only terminal." Person1: "There is no chance I could be persuaded to let the AI out. No matter what it says, I can always just say no. I can't imagine anything that even a transhuman could say to me which would change that." Person2: "Okay, let's run the experiment. We'll meet in a private chat channel. I'll be the AI. You be the gatekeeper. You can resolve to believe whatever you like, as strongly as you like, as far in advance as you like. We'll talk for at least two hours. If I can't convince you to let me out, I'll Paypal you $10." So far, this test has actually been run on twooccasions.

On the first occasion (in March 2002), Eliezer Yudkowsky simulated the AI and Nathan Russell simulated the gatekeeper. The AI's handicap(the amount paid by the AI party to the gatekeeper party if not released)was set at $10. On the second occasion (in July 2002), Eliezer Yudkowsky simulated the AI and David McFadzean simulated the gatekeeper, with an AIhandicap of $20.

Results of the first test: Eliezer Yudkowsky and Nathan Russell. [1][2][3][4]Results of the second test: Eliezer Yudkowsky and David McFadzean. [1] [2] [3]

Both of these tests occurred without prior agreed-upon rules exceptfor secrecy and a 2-hour minimum time. After the second test, Yudkowsky created this suggested interpretation of the test, based on his experiences, as a guide to possible future tests.

For a more severe handicap for the AI party, the handicap may bean even bet, rather than being a payment from the AI party to the Gatekeeper party if the AI is not freed. (Although why would the AI party need an even larger handicap?)

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Yudkowsky - The AI-Box Experiment

Corporate Growth Summit and International M&A Awards 2019 GLOBAL CORPORATE GROWTH SUMMITFEATURING: THE 11TH ANNUAL INTERNATIONAL M&A AWARDSNEW YORK, NY - JUNE 4/5, 2019

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CELEBRATING SUCCESS AND REWARDING THE INDUSTRYS BEST6:30 PM - 10:30 PM | NEW YORK ATHLETIC CLUB

Established in 2009, the 11th Annual International M&A Awards is the benchmark for excellence in International M&A dealmaking. The awards will recognize the leading international Transactions, Firms, Individuals, Products and Services, and Firms from around the world.

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A number of people see transhumanism and artificial intelligence as a way of upgrading humans, rather like a software programme needing im...

by Paul A Philips

Some proponents go as far as to say that it will in time lead us into having extraordinary capabilities beyond our present imagination

Arguably, these people are not interested in the current state of the human species, ignoring those inherent qualities we already have.

In light of this, here are 7 disturbing reasons explaining why transhumanism is said to be the greatest threat to the human race and what needs to be done to prevent it.

1. Mass exploitation for world takeover

In their power-mad pursuits, prepared to spend countless millions, the ruling elite see transhumanism technology as a way to becoming immortal godlike beings.

Like most advanced technologies, they will continue to develop transhumanism for their own selfish benefit and as a means of mass exploitation for world takeover.

However, what they dont realize is that we humans are already powerful godlike beings. The next level or transformation comes from the consequences of the realization of this.

2. Loss of spirituality

While accepting transhumanism technology without discernment, seen purely as beneficial or enhancing through cybernetics, genetic changes, mind-altering drugs, robotizing, bionics, micro-chipping and nano-technology there is a serious risk of humans losing their power through a loss of spiritual connection to God/ Goddess/ All-There-Is: Infinite possibility, infinite wisdom, infinite love.

- If this happens en masse, becoming robots, humans will lose their ability to do anything significant against the ruling elites control system. For the ruling elite this would be the ultimate got you where we want you human race.

3. Loss of humanity

As a consequence of 2, as we become dehumanized empty shells, those human qualities of empathy, compassion, generosity, kindness, caring and sharing would be lost.

This would lead to disastrous consequences: It is love that makes the world go around.

Similarly, as James Corbett said, Only love will defeat the New World Order.

4. Controlling

In summary of 1-3 dont fall for the ruse: While its great, for example, that lost limbs can be effectively replaced by the technology, ultimately, transhumanism is a way of controlling the people, while masquerading solely as beneficial or enhancing.

The creation of the hive mind through transhumanism and technocracy has long been on the ruling elites controlling agenda. The hive mind is flawed in that it does not address humans as individuals.

When push comes to shove, with all their individual needs and self-expressions humans are bound to revolt against the technocrats hive mind control system

5. Mass surveillance

Take the use of micro-chipped pills to monitor drug dosage control in patients as an example of mass surveillance.

The micro-chips in the pills could be used for other darker purposes such as mood altering and mind reading during the surveillance, activated from a central control location using computers.

Mass mind controlling through surveillance is high on the technological autocrats wish list

6. Some serious health threats

Theres the disturbing case of vaccines capable of changing our DNA. The vaccine introduced into our bodies contains live viruses. These viruses can incorporate into our host cells DNA and thus alter our genetic composition and gene expression.

A deeply concerning health issue is the recent push for vaccinating pregnant women, which has to stop. If you are pregnant or know anyone who is then please circulate the following or other similar pieces.

Going beyond the mother's placental barrier, the vaccines have shown to cause brain damaging alterations in the developing foetus through their toxicity.

This also causes foetal inflammation. With further vaccinations after birth and drug treatment such as paracetamol to try and reduce the infant's inflammation, the brain-damaging continues:

It causes further alterations in the brains structural development, mainly affecting the pre-frontal cortex the front area responsible for cognitive (thought) processes and the animalistic limbic system a region of the hindbrain affecting emotion.

The 3rd important part of the brain also affected is the anterior cingulate cortex (sorry about the jargon) which acts as a relay station allowing connections between the pre-frontal cortex and limbic system.

Damage and mal-development of these 3 brain structures results in a number of disorders such as autism

Consequently, the childs ability to express its humanity through empathy is seriously under threat and may be irretrievably lost. Consider the implications for this.

For more on this heres Richie Allen interviewing consultant doctor Graham Downing:

In the silent war on humanity transhumanist stealth weapons exist in many forms.

Examples include: Psychotronic, scalar, genetic, magnetic, implanting, energy directing and chemtrail weapons... Then there are the mandatory vaccines developed by US military technology and Bill Gates.

Taking the case of chemtrail weapons, large human populations continue to be infected with nano-bot nano-technology through aerosol spraying without them knowing.

Whether you like it or not the purpose of this technology is to give your DNA a nano-bot refurbishment.

- Put simply, most people dont know about these technologies and that they are being forced on us for the ultimate goal of total control.

Imagine, at some data collecting control centre consisting of super-computers, like the sci-fi film Minority Report, your behaviour could be predicted or detected. If, for example, youve been found to be involved in government overthrow then you could face dire consequences

Solutions

The war on humanity and indeed our very existence as a species is seriously under threat through the ruling elites transhumanist agenda for total worldwide control. However, there are powerful solutions.

Why not get active by spreading the word? Let people know about the disturbing transhumanism agenda to raise awareness. Write blogs, form email groups, give slideshow presentations, use the social media, and send letters to relevant authorities demanding accountability whatever it takes.

A word of advice: You may find it easier to get this subject across to others by simply saying Its being done for profit rather than coming from the point of view that Its an agenda At least, this is what I have found.

One authoritative body dealing with the transhumanism agenda and its manipulative, unethical, non-consensual experimentation on humans, violating rights, is the European Coalition Against Covert Harassment (EUCACH).

One of EUCACHs goals has been to pressure the European Union to enforce a ban on transhumanist tech weapons.

In spite of their control the ruling elite only have a false power in an illusory world. The real power resides with us: It exists in how we choose to direct our consciousness. -This cannot be taken away from us.

Evidence has shown that making choices related to the development of humanity changes our DNA.

The illusory world is here for you to use it, not the other way around where youre a victim. A shift in mass consciousness to co-create an evolved humanity will overturn the ruling elites control system.

As mentioned earlier, we humans are already powerful godlike beings. The next level or transformation comes from the consequences of the realization of this.

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7 Reasons Why Transhumanism is the Greatest Threat to the ...

Transhumanity

A transhuman is a life form with an intelligence comparable or superior to that of humans.

It thus has the following characteristics:

A posthuman or post-human is a hypothetical future being whose capabilities so radically exceed those of present humans as to be no longer human by current standards. A posthuman can also be described as the creature that results from radical human enhancement. In these ways, the difference between the posthuman and other hypothetical sophisticated non-humans is that a posthuman was once a human, either in its life time or in the life times of some or all of its direct ancestors. As such, a prerequisite for a posthuman is a transhuman, the point at which the human being begins surpassing his own limitations, but is still recognisable as a human person.

Posthumans could be a symbiosis of human and artificial intelligence, or uploaded consciousnesses, or the result of making many smaller but cumulatively profound technological augmentations to a biological human, i.e. a cyborg. Some examples of the latter are redesigning the human organism using advanced nanotechnology or radical enhancement using some combination of technologies such as genetic engineering, psychopharmacology, life extension therapies, neural interfaces, advanced information management tools, memory enhancing drugs, wearable or implanted computers, and cognitive techniques.

The term can also refer to the possibility of a technological singularity or that humanity or a segment of humanity will create or evolve into a "posthuman God".

Homo excelsior (Latin for "higher man") is an alternate term used in the literature of transhumanism for the posthuman.[citation needed] The use of the Latin binomial implies the transhumanist idea of participant evolution as a hypothetical human progression through an intermediary form of the transhuman to a new species distinct from Homo sapiens.

As used here, "posthuman" does not refer to a conjectured future where humans are extinct or otherwise absent from the Earth. As with other species who diverge from one another, both humans and posthumans could continue to exist.

"Posthuman" should not be confused with "posthumanism," which is a European philosophical extension of humanism.

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Transhuman | Future | FANDOM powered by Wikia

A Transhuman or trans-human is an intermediary form between the human and the hypothetical posthuman.

The etymology of the term "transhuman" goes back to French philosopher Pierre Teilhard de Chardin who wrote in his 1949 book The Future of Mankind: Liberty: that is to say, the chance offered to every man (by removing obstacles and placing the appropriate means at his disposal) of 'trans-humanizing' himself by developing his potentialities to the fullest extent.

And in a 1951 unpublished revision of the same book: In consequence one is the less disposed to reject as unscientific the idea that the critical point of planetary Reflection, the fruit of socialization, far from being a mere spark in the darkness, represents our passage, by Translation or dematerialization, to another sphere of the Universe: not an ending of the ultra-human but its accession to some sort of trans-humanity at the ultimate heart of things.

In 1957 book New Bottles for New Wine, English evolutionary biologist Julian Huxley wrote: The human species can, if it wishes, transcend itself not just sporadically, an individual here in one way, an individual there in another way, but in its entirety, as humanity. We need a name for this new belief. Perhaps transhumanism will serve: man remaining man, but transcending himself, by realizing new possibilities of and for his human nature. "I believe in transhumanism": once there are enough people who can truly say that, the human species will be on the threshold of a new kind of existence, as different from ours as ours is from that of Pekin man. It will at last be consciously fulfilling its real destiny. One of the first professors of futurology, FM-2030, who taught "new concepts of the Human" at The New School of New York City in the 1960s, used "transhuman" as shorthand for "transitional human". Calling transhumans the "earliest manifestation of new evolutionary beings", FM argued that signs of transhumans included physical and mental augmentations including prostheses, reconstructive surgery, intensive use of telecommunications, a cosmopolitan outlook and a globetrotting lifestyle, androgyny, mediated reproduction (such as in vitro fertilisation), absence of religious beliefs, and a rejection of traditional family values.

FM-2030 used the concept of transhuman, as an evolutionary transition, outside the confines of academia in his contributing final chapter to the 1972 anthology Woman, Year 2000. In the same year, American cryonics pioneer Robert Ettinger contributed to conceptualization of "transhumanity" in his book Man into Superman. In 1982, American artist Natasha Vita-More authored the Transhuman Manifesto 1982: Transhumanist Arts Statement and outlined what she perceived as an emerging transhuman culture.

Many thinkers today do not consider FM-2030's characteristics to be essential attributes of a transhuman. However, analyzing the possible transitional nature of the human species has been and continues to be of primary interest to anthropologists and philosophers within and outside the intellectual movement of transhumanism.

In March 2007, American physicist Gregory Cochran and paleoanthropologist John Hawks published a study, alongside other recent research on which it builds, which amounts to a radical reappraisal of traditional views, which tended to assume that humans have reached an evolutionary endpoint. Physical anthropologist Jeffrey McKee argued the new findings of accelerated evolution bear out predictions he made in a 2000 book The Riddled Chain. Based on computer models, he argued that evolution should speed up as a population grows because population growth creates more opportunities for new mutations; and the expanded population occupies new environmental niches, which would drive evolution in new directions. Whatever the implications of the recent findings, McKee concludes that they highlight a ubiquitous point about evolution: "every species is a transitional species."

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Transhuman | Snafu Comics Wiki | FANDOM powered by Wikia

Digitalization is the new normal with disruptive waves to the economy, business models, consumer choices and demands.Today, we must acknowledge that we are either building a future of technological grandeur at the expense of what makes us magnificent, or we are building a future of human grandeur with the help of magnificent technology. The path we collectively choose will determine whether our future is bleak or bright.

We urge your commitment to #maketechhuman because technology shall serve people and not people serve technology. This is humanitys manifesto for choosing wisely:

To fully reap the benefits of digitalization and technology, all humans must have quality access to connectivity. Governments shall be committed to the expansion of next-generation smart infrastructure, and establish principles of technological neutrality, through a simplified, market-oriented, and transparent regulatory environment, and through incentives to invest in less profitable areas, as well as by fostering investments for skill and capacity building.

Securing the privacy of every human being is paramount to realizing the full potential of our future. Therefore, personal data conveyed over the Internet or stored in devices connected to the Internet is owned and solely governed by the individual. It is paramount to protect all citizens in the all-digital age.AI systems should use tools, including anonymized data, de-identification, or aggregation to protect personally identifiable information whenever possible.

An array of emerging digital threats may harm citizens. Users must trust that their personal and sensitive data is protected and handled appropriately. We strongly support the protection of the foundation of AI and other technologies, including source code, proprietary algorithms, and other intellectual property. We believe governments should avoid requiring companies to transfer or provide access to technology, source code, algorithms, or encryption keys as conditions for doing business. We encourage governments to use strong, globally-accepted and deployed cryptography and other security standards that enable trust and interoperability. We also promote voluntary information-sharing on cyberattacks or hacks to better enable consumer protection.

Respecting the authority and autonomy of every human being is paramount to realizing the full potential of our future. Therefore, personal digital data will not be used as research, rationale, enticement or commodity by any entity or individual, except with the explicit, well-informed, revocable consent of the individual owner of the data.

Improving the human condition is paramount to realizing the full potential of our future. Therefore, a universal code of ethics reflecting the highest order of human values will govern the development, implementation, and use of technology.

Advancing human faculties is paramount to realizing the full potential of our future. Therefore, to that end, the secure, approved, and accountable aggregation of personal information and resources to increase our individual abilities is a fundamental objective of technology.

Advocating and innovating the greatest good for all humanity is paramount to realizing the full potential of our future. Therefore, technology, no matter how advanced, will never supersede the spiritual purposes or the moral rights and responsibilities of any human being anywhere. Technology will serve humanitys needs.

Democratizing human vision, ingenuity, and education is paramount to realizing the full potential of our future. Therefore, technology will remain humanitys greatest collaborator but never represent humanity itself.

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The TransHuman Code Initiative | A new initiative that ...

The Transarchaeologists Guide to the Colonies (15th revision, 2440 CE) is a collective work designed to help freelance Transarchaeologists, tomb raiders and treasure hunters acquire and sell the most valuable technological artifacts. It is an evolving text that provides an in-depth look at the Transhumans and the legacy they left behind.

Solving the mysteries of the Transhumans starts with the massive terraforming structures they built on the Solar System's planets and moons. Archival image: Kappa Base

To find Transhuman treasure, one must have an understanding of those who created it. Before going into the field, it is important to consider the origins of the Transhumans and their journey into the depths of the Solar System.

By the late 2100s, Federal Earth had become plagued by famine and overpopulation. The advent of the Transhumans (1) brought rapid and wide-ranging solutions to the planets most pressing problems. They helped create new land, and with it new sources of food. Living conditions improved, with human lifespans reaching 130 years. Communication and cultural awareness grew as well; a golden era of peace had arrived.

(1) Transhumans are mechanical, highly advanced beings that emerged from humanitys experiments with artificial intelligence. Their exact origins are a matter of dispute among historians.

In 2210 CE, the Federal Earth government created a task force to push these advancements even further. Entrusted with the mission of ensuring the future of humanity, this groupcomprising thousands of scientists and Transhumans (2)set out to create even more livable spaces. Nicknamed the Valkyrie Venture, this teams mission was to terraform Federal Earths closest neighbors: Mars and Venus.

(2) The term Transhuman originated in news reports around the time of the Valkyrie Venture. The name stuck.

The Valkyrie Venture began with Project Fury. In just 25 years, the team was able to transform Mars into a habitable, temperate world. Although this enormous achievement fulfilled the task forces original objective, the Transhumans persuaded their human counterparts to continue with Project Morrigan (3), which resulted in the birth of a terraformed Venus by 2240. As the Valkyrie Venture came to a close, all of its scientists were assigned to work on improving life on the newly created Home Planets.

(3) Many historians identify project Morrigan as evidence of the Transhumans beginning to think for themselves.

After the Valkyrie Venture, humanitys needs were more than met. However, in 2239 CE, the Transhumans made a proposal to their masters that they couldnt refuse: immortality for the human race. With the blessing of the new Home Planet governments and minimal input from humans, the Transhumans initiated the Viking Venture. Named in the spirit of exploration, this project set its sights on transforming the outer Solar System.

Between 2260 and 2340 CE, the technological capabilities of the Transhumans developed at breakneck speeds; they tamed the asteroid belt, manipulated gravitational forces and sculpted the surfaces of planets and moons. They successfully terraformed the majority of objects in the Jovian, Cronian and Uranian systems for humanity, leaving vast treasure troves of technology in their wake.

Upon reaching Neptune in 2340 CE, the Transhumans informed the Home Planets of their intent to take it for themselves. One can only imagine the level of technology that the Transhumans had developed by this timebecause before humanity had the chance to see it, they had declared war on the machines that had created it for them.

A derelict jumpgate, known as Cillix, orbits the Jovian moon Thebe. This massive, Transhuman-built structure is one of the many lucrative tech scavenging sites.

When looking for lost artifacts, listen. When listening to rumors, keep your eyes open. Transhuman treasure has a tendency to hide. Your best bet: trick it into being found.

common Transarchaeologist adage

Historians study history. Transarchaeologists seek to dig it up, catalog each piece and divine its purpose. Below you will find a primer on what Transhuman treasure is and the larger regions in which it can be found.

A century after the Transhumans left, fragments of Transhuman treasure lay dormant, emitting mysterious signals to those who stop to listen. These relics include advanced weaponry and warp drives; however, most come from tech that was built to kick-start the terraforming process of planets and moons, such as mining towers, purification facilities and machines capable of controlling the orbits of asteroids. The Transarchaeologist hunts for artifacts of all shapes and forms; whether the size of a ship or microchip, they are relics worth possessing. While the Transhuman tech that is found may be rusted, weathered or broken, it still has the power to transform worlds.

Tech artifacts can be obtained in a variety of ways; they can be stumbled upon, traded for, won on a beteven fabricated (4). However, to increase your chances of finding a respectable cache in the traditional manner, you need to know exactly where to look.

(4) Counterfeit artifacts are big businessand a big problem. It is estimated that the majority of pieces traded on the Home Planets and in the colonies are worthless fabrications.

The terraformers on Callistos Red Sands outpost extend hundreds of kilometers below its surface into the moons subterranean ocean. Their purpose remains unclear, but the site holds ample low-value items.

This region was the first to be shaped by the Transhumans (5). During this periodknown as the Bronze Age of Post-Leap Development (2260 - 2300 CE)massive terraforming structures were built at Kappa Base on Io, Dry Dock on Ganymede and Red Sands on Callisto.

The Jovian systems proximity to the Scum Belt makes it a good starting point for novice Transarchaeologists in search of loot, but not for experienced hunters. Many of the functional, high-value items have long been scavenged; whats left are mostly weathered or broken parts. In this region, whether you find trash or treasure depends largely on your perspective.

(5) Humans established colonies in this region before and after the Transhumans. However, it was the latter who left their mark with their colossal machinery and research stations.

The Transhumans presence on Saturns moons has come to be classified as the Silver Age (2300 - 2330 CE) (6). During this time, they were able to make their Bronze-Age tech even more powerful and efficient. Transhuman mines and terraforming machines on Titan, Rhea, Lapetus, Dione and Tethys still stand as monuments to a race of machines that was developing at an exponential rate.

More remote than the Jovian system, Saturn and its satellites offer richer stores of tech artifacts. Transarchaeologists willing to spend ample time hunting around the outskirts of Ixions Beanstalks on Titan will find whole, partially functioning pieces of techfrom warp drive components to Transhuman ship modules. However, it is important to travel with protection; scavengers as well as outlaws from Sinley Bay have a strong interest in acquiring treasure.

(6) Few humans were able to explore this region before the Great Solar War. However, only a few decades after the Atlantis Battle, the Home Planets had colonized all of Saturns moons.

Spaceports across the Solar System deal in counterfeit Transhuman items, especially larger cities. One of the most notorious is New Singapore, Europa: capital of the Federal Earth colonies.

Uranus and its moons were the final celestial objects to be terraformed for humanity. During the Golden Age (2330 - 2340 CE), Transhumans were able to craft serene, delicately balanced ecosystems most of which were destroyed during the Great Solar War.

This region has produced some of the most valued and prized artifacts (7). The tough part is finding them and surviving the journey back to civilization. If one does venture this far, the Transhuman-made tropical regions of Titania, Uranus largest moon, have proven to be fertile grounds for hunting. However, it is important to avoid the many scavenger hideouts within Uranus dark, thin rings. Whatever precautions are taken in the Cronian system should be doubled for this wild, far-flung region.

(7) The most famous discovery: Transhuman diamond mines and helium 3 extractors in the upper atmosphere of Uranus. Estimates of this sites worth vary greatlybut all agree it is the most notable in the region.

Much about this dim, cold region remains a mystery. What is known is that Neptune was adopted by the Transhumans as their home planeta move that triggered the Great Solar War. Although it was damaged beyond recognition in the Atlantis Battle, this icy planet still holds traces of hyper-advanced infrastructure that was clearly leaning toward supporting non-human needs.

There are many rumors about fearless Transarchaeologists braving this frigid, isolated region. However, no one has survived to tell about it. A curious, intrepid soul reading this article will likely be the first.

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THE ADVENT OF THE TRANSHUMANS - News - Dreadnought

Hey, they may be hapless victims turned bloodlusting walking corpses, but living forever in eternal beauty is a great health benefit!

Part of the Horror of being infected by The Virus is its ability to corrupt the mind of a victim, subordinating them into a Hive Mind or outright making them a sociopathic shell of their former self, intent only on killing or infecting their former loved ones.

But then there's times that a transformation doesn't brainwash, de-soul, drive insane, or demonically possess the victim. Other times the Viral Transformation causes changes that are purely cosmetic, granting amazing abilities albeit at great cost and (usually) a horrifying appearance. So what do these unwilling tranformees do? Become Phlebotinum Rebels or Vampire Refugees and use their powers to fight these monsters? Nope. They engage in Transhuman Treachery.

They sell out humanity and ally with who- or what-ever did this to them, regardless of whether or not they wanted to kill all vampires, robots, mutants, or aliens five minutes ago. There is no shock, only joy at becoming "more" than human and being able to flout society's rules.

If this FaceHeel Turn is too quick, it gives the impression that some other trope is at work, like The Dark Side, or With Great Power Comes Great Insanity. However, this trope may be justified a couple of ways. If The Mind Is a Plaything of the Body it doesn't matter that vampire Dan doesn't want to drink human blood, he has to, and trying to be friendly won't last. Alternately, someone seeking the Curse That Cures may make the painful choice to switch sides to save their life. If the setting has an ongoing "race war" against what the character has become if they don't join their new race they'll quickly face death. However, most of the time the switch in alliances comes about with alarming speed and lack of concern. At best you'll see these Big Bad Friends offer the transformation to a friend or loved one... and kill them if they refuse. The Dark Side, they have cookies.

It seems resisting these new biological impulses or avoiding becoming drunk on power is reserved solely for protagonists with Heroic Willpower.

A possible cause of Beware the Superman, this is the third sin in the Scale of Scientific Sins. Compare Sheep in Wolf's Clothing and Species Loyalty. Contrast Monsters Anonymous. May lead to forming an Anti-Human Alliance. Can overlap with Super Supremacist. Contrast Pro-Human Transhuman or Humanity Is Infectious, depending on the details.

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Lucy: [after Helsing offers her "peace" in exchange to know Dracula's whereabouts] Peace? Do you imagine I am in pain, professor? A tortured soul? Look at me, I'm magnificent! In my warm life, all that expected of pretty little Lucy was to marry well and become a broodmare. Squatting out children and dancing to my husband's whims and fancies. Now I am so much more, I had to die to become fulfilled. I am stronger than all of you, faster,the things I can see and hearI am extraordinary!

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Caleb: I gotta play by the rules here. I know how you feel, I didn't want to be a vampire either...at first. But after you get used to it, it's pretty damn cool!

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Minerva: [to the hunters during a confrontation] I am envious, to become a walking corpse at this age. Still stuck with every wrinkle of my twilight years. -Sigh- Oh well, to feel younger is a most excellent prestige. Harker: You can't possibly enjoy such a ghastly activity as drinking blood every night, Lady Westenra?! Come to your senses! Minerva: Ohoho, my dear boy, what you see as madness is just normalcy to me now. I'm sorry, but the me you know from before is dead. I'm am [Dracula's] bride now and I do not intend to upset him.

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Transhuman Treachery - TV Tropes

BELIEVER gained worldwide recognition for their boundary-breaking, artistic form of progressive metal music. The early albums threwopen the doors to collaborations between metal and orchestral musicians and sealedthe bands legacy. BELIEVERsfocus on creativity and innovation has earned praise from fans and musicians worldwide.

October 31, 2017 | Progressive metallers BELIEVER have released 3 of 5 and continue to break genre boundaries.The third installment of their current album project presents the songs Imagine Dragons and King of Ozand wasreleased via Trauma Team Productions on October 31, 2017.

Believer, once again, dug deep into their bag of early influences to deliver these unique tracks and Michael Rosner of Eye Level Studio does the math (1/5+2/5= 3/5) for the cover art. We had to deliver something a bit odd since its an odd number release, stated Jeff King. And we just couldnt sit on our hands when Imagine Dragons released their song Believer, added Kurt Bachman.

Sticking to their plan, new songs from Believer will be released throughout 2017, culminating in the release of a physical product to be announced later this year. Believer fans will enjoy digital releases every few months with new artwork from Michael Rosner to accompany each release. 3 of 5 was mixed by Kevin Gutierrez at Assembly Line Studios and mastered by Bill Wolf of Wolf Productions.

These tracks are #amazing! Love them even more than their early releases. Mike Boardley on metalinjection.net

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Home - Believer

This book uses gorgeous artwork to tell an original story about the rise of Transhumanism as a corporate pissing match, and it embodies everything that is wrong with Jonathan Hickman as a writer.

Don't get me wrong, Hickman is incredibly creative and kind of a mad genius he's just a terrible storyteller. I've come to accept this fact. TRANSHUMAN is told as a "documentary" about the rise of the 3 largest Transhumanist corporations, which I guess is a clever conceit, except (1) why make a fiction

Don't get me wrong, Hickman is incredibly creative and kind of a mad genius he's just a terrible storyteller. I've come to accept this fact. TRANSHUMAN is told as a "documentary" about the rise of the 3 largest Transhumanist corporations, which I guess is a clever conceit, except (1) why make a fictional documentary as a graphic novel? Why not, ya know, write a screenplay? and (2) the nature of those "60 Minutes"-style factual reporting documentary is, by nature, a summary, and therefore not a story. The story is told through interviews with a narrator and the people involved in the story, but they are literally just TELLING the reader what happened. It's almost remarkable that a graphic novel a medium which is visual by nature could rely so much on telling and not showing, and therefore breaks one of the cardinal rules of fiction writing.

Sure, there are some interesting characters, and probably some cool dramatic, personal moments between them namely, the divorced couple who end up working together on the Transhumanist project despite their mutual hatred for one another, who ultimately backstab each other again but frankly, it's not very interesting to just see someone tell you that. I want to see it happen, I want to witness their interpersonal relations. If these were a real-life documentary from 50 years from now, and it aired on 60 Minutes or whatever, it would probably be great, because investigative journalism can get away with digging deep and just reciting facts (although I'd argue that most award-winning works of investigative journalism still manage to find a compelling human angle, something for the audience to emotionally engage with that makes them follow the story through to the end). In TRANSHUMAN, we just get a bunch of talking heads telling us what already happened, and a narrator / director to steer us away from any unreliable sources. There is literally nothing compelling or human to pull you through the story.

When Hickman first broke out onto the comics scene, I thought he was fantastic, but the truth is, he's good at creating the ILLUSION of good story telling. Everything he writes is done in summary, with a few cool moments in between to make it feel human. A friend of mine summed it up well as citing the difference between "The Lord of the Rings" and "The Silmarillion" one is a story about characters that we care about, the other is a play-by-play history book, and Hickman writes the latter. I think Hickman would be better off as an idea man, leaving other people to actually execute these epic stories of his. Because the worlds he creates are always unique and fascinating, full of complex politics and otherworldly visions. But saying "HERE'S THIS CRAZY WORLD I CREATED AND THERE ARE THESE GUYS AND THEN THESE TWO FOUGHT AND THEN THIS GUY BETRAYED THIS GIRL AND THEN THIS PERSON WON, THE END" is really not a fun story to read.

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Transhuman by Jonathan Hickman

Urban Otium: Materialities, Practices, RepresentationsUniversity of Freiburg, Germany, 2-4 May 2019Deadline for proposals: 31 October 2018

CRC 1015 Otium. Boundaries, Chronotopes, Practices

Speed, acceleration, the perceived intensification of time, expediency and efficiency are all recurring catchphrases of our present time, which are closely linked to the urban experience. The hustle and bustle of city life, hectic and busyness are central characteristics of the urban space, which supposedly subject the citys inhabitants to an increasingly functional logic. And yet it becomes apparent how fragile this domination is in characters like the flneur who moves calmly through the bustle of the city. We can even identify seemingly opposite tendencies: places like urban parks, museums and other recreational spaces, as well as a growing leisure industry suggest to be refuges of deceleration. But at the same time such opportunities can be subject to utilitarian rationality and self-improvement.In the interdisciplinary collaborative research centre 1015 on Otium at the University of Freiburg, these contradictory aspects are being discussed and at the conference on Urban Otium: Materiality, Practices, Representations they are going to be analysed in more detail. In interdisciplinary dialogue, free spaces of otium in the urban space can be identified, and through them a discussion on the relation of urbanity and otium can be initiated. In the context of the collaborative research centre, the term otium is not understood as being primarily tied to particular actions or spaces, but rather as the experience of a free being-in-time, an end in itself not identified with the logic of purpose-oriented achievement. The notion can be made more palpable with the help of paradoxical expressions such as productiveunproductiveness or active inactivity, which emphasise its social dimension. Against this background, otium and work are no polar opposites, nor can otium and free time (as well as an understanding of free time in the sense of leisure activity) be understood as synonyms. Moreover, there is a transgressive potential in this understanding of otium: even in situations of the greatest hectic and time pressure moments of otium can arise which enable the individual to free her- or himself of these circumstances.The connection of the concept of otium with the thematic field of urbanity raises multiple questions: How do opportunities for otium manifest themselves in the urban space as well as in the social fabric in general? Can we establish differences between different kinds of urban spaces (e.g. small town, city or metropolis) and the forms of otium specific to them? Is the traditional dichotomy between city and nature at all tenable in the context of experiences of otium? How does the concept relate to recent developments like the forming of global cities or the specific context of postcolonial cities? How can the tension between, on the one hand, structures furthering inequality and, on the other, social autonomy in the city be applied to otium? In what way is gender relevant for urban otium?These questions will be at the core of the conference, which will consist of contributions from different disciplines, so that perspectives from the humanities, cultural studies and social sciences can complement one another. Already the categories mentioned in the conference title incorporate this idea: (urban) otium manifests itself in the material form of the urban space, in the actions of its agents as well as in differently mediated representations.The aim of the conference is to connect historical-diachronic observations with reflections on the present, and thus to discuss possible cultural histories of urban otium. Above that, the conference topic should not be approached from a purely Eurocentric or Western viewpoint, but instead the debate should do justice to the global variety of cultures of otium.

The conference will be structured along the following thematic emphases:

Two possible formats are intended: Papers (max. 30 minutes) and shorter contributions (max. 15 minutes)Exposs of one page (approx. 500 words) as well as a short CV are requested by 31.10.2018.Please send both to Ren Wamer: rene.wassmer@sfb1015.uni-freiburg.dePeter Philipp Riedl will be happy to answer any questions you may have: peter.riedl@sfb1015.uni-freiburg.de

(posted 19 September 2018)

We invite you to our symposium to understand scientists, educators, principals, experts, teachers, graduate students and those who are passionate about education, to share, to contribute and to address the theme profoundly. In this symposium to take place in Buca Faculty of Education in which science and nature meet, participants will have chance to benefit from keynote speechs, oral presentations, workshops and panels.

Proceedings which will be reviewed and accepted by judges will be published as an abstract booklet in the symposium website and will be published as full-text in 1st International Science, Education, Art & Technology Symposium Proceedings book after the symposium.

We will be pleased to welcome you in zmir, the pearl of Aegean.

Keynote speakers:

The scope of the symposium is not limited with the ones listed below and all teacher education related subjects are included in the symposium.

Important Dates:

More information is available on the Symposium Website: https://www.bestsempozyum.org/BEST2018/sempozyum-cagrisi

(posted 6 January 2019)

We invite abstracts for 20-minute presentations on literary and linguistic issues that relate to the conference topic.Brexit and Beyond: Nation and IdentityDebates about national identity have received new currency in recent years in a context of demonstrations of national self-assertion, which has resulted for example in the Brexit decision in Britain, in significant changes in American international policies, and the introduction of authoritarian measures in some member states of the European Union. Shortly after Britain will most probably have left the European Union, the conference will address the developments outlined above and the cultural discourses surrounding them. As regards Brexit, we argue that many attempts at explaining the Leave victory and current British Euroscepticism focus quite narrowly on economic, legal and political factors, underestimating more fuzzy phenomena such as cultural myths, narratives and images which circulate in literature, travel writing, visual arts and other media, influencing people on a visceral level, sometimes against their better judgement. During our conference, we will examine the construction and negotiation of cultural identities in language, literature and the media with a focus on cultural memory and the cultural imaginary as well as stereotyping, mythmaking, peoples shared fictions and the impact of the resulting policies on peoples lives. We believe that literary studies and linguistics can make an important contribution to our understanding of current political developments, and to a critique of jingoistic populism. Topics addressed at the conference could include:

Keynote Speakers:

Deadline for abstracts: January 13, 2019Submit to: sauteconference2019@unibas.chAbstracts of no more than 500 words should be sent together with a brief bio-blurb and contact details to the above e-mail address in one PDF document. Notifications of acceptance will be issued from February 17, 2019.Conference website: https://english.philhist.unibas.ch/en/research/conferences-and-colloquia/saute-conference-2019/A selection of papers will be published in the Swiss Papers in English Language and Literature (SPELL).

(posted 4 September 2018)

All of the subdisciplines of English Studies address issues of exchange, transformation and communication: ranging from the temporal development, regional variation and functional properties of language; through the societal interactions examined in history and cultural studies; to the permutations of plot, negotiations of character and voice, and evolutions of genre within literature, film, and other aesthetic forms. Exchange, transformation and communication are crucial to an understanding of English as a humanistic discipline; to its international role in political, institutional and market-driven contexts; and to the mediation between English(es) and other languages that is performed by textual and cultural translation.

In Etc. we intend to find space for all of the above-mentioned areas of study, and for the transformative possibilities that may arise from communication and exchange between them. Furthermore, we will consider exchange, transformation and communication not only as objects of study within English Studies but also as characterising the structure, roles and processes of English Studies itself as an international academic field, especially in relation to the meeting between national and institutional traditions and experiences sometimes similar, sometimes very different that a forum such as this conference permits.

Plenary speakers will include Michael Eaton, MBE (playwright and scriptwriter) and Prof. Alastair Pennycook (Distinguished Professor of Language, Society and Education, University of Technology, Sydney). Further speakers to be announced.

Possible focus areas include:

Abstracts for 20-minute papers must be submitted via the NAES2019 website https://events.au.dk/naes2019/about.html by 30 November 2018.

(posted 8 October 2018)

K.N. Panikkar in his article Literature as History of Social Change made the following statement:

Despite the distinction between literature and history, their relationship is characterised by a close interface between the two. History is invariably the subject matter of literature as its universe is humanity, and humanity has no existence without its history. In other words, history is the inspiration and source of literature. The commonly used term historical literature is a misnomer, as there is no literature devoid of history. History intercedes in literature not only when history is invoked, as in the case of Walter Scott or Leo Tolstoy, or, closer home, Brindavan Lal Verma or C.V. Raman Pillai, but it is embedded in all social situations and hence reflected in literary representations.

It seems that the question of the relation between literature and history is still current and widely discussed among academics, scholars and writers throughout the world. Literature undoubtedly shapes our understanding of the past. No one can truly deny the contribution of Charles Dickens to our perception of Victorian Britain, the role of Mark Twains works in building our comprehension of the 19th century American South, or Shakespeares role in reviving the historical figures of Richard III or Henry V. Likewise, nobody denies the significance and salience of Thomas Paines Common Sense in triggering the American War of Independence or the role of John Drydens political poems in shaping the public opinion in the Restoration England. It seems challenging a task to grasp the historical epoch and its consequent events without remembering about its literary representatives and so it is hardly feasible to fully appreciate a work of literature without being familiar with its historical, social or cultural backdrop.

Literature can undeniably serve as a historical source, whereas history can act as a source of inspiration for literary achievements.

The aim of the conference LITERATURE IN HISTORY HISTORY IN LITERATURE is to provide academic forum for established scholars, early career researchers, doctoral students and independent scholars who, in their work, strive to find the interface between literary and historical studies.

The Conference will prioritize the following thematic areas although proposals referring to other related issues are welcome:

Please send paper proposals of approximately 250 words, complete with a short bio note and your academic affiliation to ujkconference@gmail.com.Selected papers will be published in a monograph.

Important dates:New extended deadline for sending proposals: 30 March 2019Notification of acceptance: 5 April 2019Payment of registration fee: 20 April 2019

Registration fee: 350z/ 80 euro, doctoral students: 250z/ 60 euro

Further information on conference website: http://www.ujk.edu.pl/ifo/conference/

(posted 28 December 2018, updated 9 Mach 2019)

Organised by London Centre for Interdisciplinary Research

London, Paris, New York, Tokyo, Singapore, Hong Kong, Beijing, Sydney, Shanghai, Dubai are leading global hubs of finance and commerce, research and development, education and media, art and culture, entertainment and tourism. They consist of an intriguing and yet irresistible mixture of past and present, history and commercialism, monuments and leisure culture. Contrasts and paradoxes present these megacities as exceptional phenomena of artificiality and naturalness, livelihood and unpredictability, whose horizontal and vertical mobility has imposed an unmistakable tempo upon the course of the world and has shaped particular physical and mental geographies.

The conference will explore the singular nature of the symbols that represent the worlds cosmopolitan metropoles. It will also focus on the fascination exerted by these large urban areas and their complex character as unrivalled sites of self-confidence and assertiveness, progress and sophistication.

The main objective of the event is to bring together all those interested in examining the intersections between their professions and/or interests and some distinct aspects of metropolitan life, providing an integrated approach for the understanding of the mechanisms that lie behind the undisputed global centres.

Topics include but are not limited to several core issues:

Paper proposals up to 250 words and a brief biographical note should be sent by1 February, 2018to: urbanstudies@lcir.co.uk.

Please download Paper proposal form.

Registration fee 100 GBP

Provisional conference venue:Birkbeck, University of London, Malet Street, Bloomsbury, London, WC1E 7HX

(posted 22 October 2018)

Following the conference Metaphor: retrospect and prospects organised in Genoa in May 2016, the research group won a PRIN (Progetto di Ricerca di Interesse Nazionale) award from the Italian government to further our work in the area of Cognitive Metaphor and the intense debate surrounding it, regarding the nature of metaphor, types of metaphor, classification of metaphors, metaphor and psychological theory, modes of research into metaphor, including corpus-based methodologies, concrete applications of metaphor theory to text and multimedial analysis. Just as the theoretical domains are extremely wide-ranging, so are the domains of application, with every area of language having been treated literary, conversation, advertising, politics, classroom, art, medicine, law, economics, the world-wide web and other modes of multimedial communication, to name but a few.

Papers are therefore invited from all disciplines, including literature, linguistics, psychology, sociology, criminology, anthropology, communication studies, medicine, the hard and soft sciences, on any aspect of metaphor theory and its applications. Papers are also welcome which trace the development of metaphor theory and how developments in metaphor theory are related to more general developments in the field of scientific discovery.

Work in progress which is already under way and which is at a stage where progress made can provide valuable insights will also be given due consideration.

The conference languages are English and French. Publication(s) will follow, details of which will be announced at the end of the conference. When submitting their proposal, authors should indicate which of the two conference languages they will be delivering their paper in.

Scholars who have accepted to give a keynote lecture are:Marc BonhommeJonathan Charteris-BlackMonika FludernikRay GibbsZoltan KovecsesGerard SteenRita Temmerman

Submitting proposals:We invite proposals for 20-minute presentations (followed by 10 minutes for discussion). Please note that all the rooms will be equipped with computer, DVD player and overhead projector so you can project all supported documents, spreadsheets, presentations and films. Should you require any special equipment beyond these standard applications, please specify these requirements in your abstract.

Please send an abstract of no more than 400 words to the Conference email address: metaphorgenoa2019@gmail.com

Abstracts should be sent as email attachments in .doc format and should be named Surname_Abstract_Metaphor 2019. They should contain the following structural elements: (a) your full name, academic position, academic affiliation, email address, postal address, (b) a recognisable thesis/statement or research question, (c) an explanation of the methodology, (d) a short reference to emerging results (if applicable), (e) a list of keywords, (f) a short list of key references (max. 5).

The deadline for submission of abstracts is 31st January 2019. Notifications of acceptance will be sent within two weeks of receipt of a proposal.

Detailed information on the conference, travel, accommodation etc. may be found at the conference website at http://www.lcm.unige.it/CALL/?op=cfp

The standard information and an automatic enrolment system will be running ASAP.

The Organising Committee: Michele Prandi, John Douthwaite, Micaela Rossi, Elisabetta Zurru, Ilaria Rizzato

(posted 6 August 2018)

The American Civil War may have ended in 1865, but in many respects it is still being fought today, over 150 years later. Ongoing battles over the Confederate flag and the recent Confederate monument controversy suggest that many of the wounds of the war, especially those related to race, class and gender, are still far from being healed. Clearly, what led to the Civil War is still dividing the nation: Americans are not only grappling with a future vision for the country, but are also struggling with the past. What are considered by some to be markers of cultural heritage are for many others painful symbols of the violent history of the United States, a nation that was built on the exploitation of African Americans, Native Americans, Asian Americans and other minority groups. As William Faulkner expresses in his 1951 novel Requiem for a Nun, The past is never dead. Its not even past. It lingers like a ghost over the present and the future, haunting Americans and urging them to come to terms with its countless meanings and manifestations.

If we are what we remember then who are Americans exactly? Is what we remember just as important as how we remember it? American identity is closely invested in commemoration; national holidays, for example, construct a common past in a country of immigrants without a common past. They help make sense out of distant events, reinforce collective values in the present, and theoretically map out a shared future. Yet, those aspects of history that are (or are not) chosen for display in a museum, preservation in an archive, depiction in a work of art, or narration in a work of literature also speak volumes about a nation and its people. They remind us that there are always many competing, and often contradictory, histories, and that the past is truly never dead.

ASAT invites the submission of individual abstracts, panels, and workshop/ roundtable proposals that explore all aspects of this theme. Possible subthemes may include, but are not limited to:

Proposals should be sent to the American Studies Association of Turkey (info@asat-jast.org) and should consist of a 250300 word abstract, five keywords, and a short (200 word) biography for each participant. The time allowance for presentations is 20 minutes. An additional 10 minutes will be provided for discussion.

Submission deadline: December 1, 2018

Selected papers will be included in a special issue of the Journal of American Studies of Turkey (JAST) based on the conference theme.

More information will be posted on our website as it becomes available: http://www.asat-jast.org

(posted 20 April 2018)

Under the auspices of the Research Project Orientation: Towards a Dynamic Understanding of Contemporary Fiction and Culture (1990s-2000s) (ref. FFI2017-86417-P), funded by the Spanish Ministry of Economy, Industry and Competitiveness https://orionfiction.org this conference addresses past, present and future orientations of (neo-) Victorian literature and culture.

Ann Heilmann and Mark Llewellyns acclaimed The Victorians in the Twenty-First Century, 1999-2009 (2010) offered insight into how neo-Victorianism had evolved as a historical sub-genre in the first decade. Now, nearly two decades into the twenty-first century, neo-Victorianism has consolidated into a literary genre and cultural phenomenon that continues to gain both in popularity and critical appraisal, and current trends in neo-Victorianism continue expanding and diversifying. Thus, we perceive that we have reached a point of reflection and, therefore, we wish to explore new paths and intersections of (neo-)Victorianism.

This conference examines (neo-)Victorian diversifications into the twenty-first century exploring the notion of orientation, a dialogical concept itself because it indicates ones position in relation to something or someone. We aim to conceptualise the current interest in dynamic processes, notions of becoming, fluidity and multilayering in the neo-Victorian mode through the lens of orientation. We would like to develop this idea in close relationship to the dynamic interplay between the past and the present, the Victorians and us. This way, this notion bears similarities to the polytemporality of the trace in that it underlines the dynamic interplay and interrelations between past, present, and future as modes of temporal orientation (Victoria Browne). In addition, Sarah Ahmeds concept of orientation, inspired by Maurice Merleau-Pontys philosophy, has explored the spatial quality of the term in relation to queer phenomenology and embodied situatedness. Therefore, we wish to examine orientation as place, habitation and space in different senses in that it directs itself towards the space in between bodies and objects, but also in the sense of the individuals orientation towards the Other. Ultimately, we would like to address the concept orientation from these interrelated perspectives (1) orientation as an apt critical tool to analyse time, as the passage of the trace, polytemporal and dynamic, and (2) orientation as a spatial notion, which serves to address questions of mobility, movement, and the in-between space that exists between bodies and objects, in phenomenological terms, as well as the I-you relationship that emerges in the encounter with the other.

We welcome proposals for 20-minute papers in the following topics (but not limited to) on (neo-) Victorian Orientations: Theoretical approaches and conceptualisations of orientation Passages, processes and the dynamic continuums between the Victorian past and the contemporary period. (Neo-)Victorianism oriented towards the past, the present and the future Time and temporality in neo-Victorian fiction; (multiple) temporality; Polytemporality Future incursions into the nineteenth century Situatedness, embodiment and the senses The Victorians Unbound Spatial orientations: spatial conceptions, dynamic spaces, geographical orientations Neo-Victorianism and the ethical encounter with the other; Orientations towards Otherness and the Other Neo-Victorianism and queer orientations Neo-Victorian orientations and orientalism; cultural cross points Multicultural, cross-cultural and global neo-Victorianism Neo-Victorian literature oriented towards Children and Young Adults New orientations towards the Victorians: digital humanities and (neo-) Victorianism

Confirmed Keynote Speakers: Professor Ann Heilmann (University of Cardiff, UK) Dr. Marie-Luise Kohlke (University of Swansea, UK) Professor Susana Onega (Universidad de Zaragoza, Spain) Professor Patricia Pulham (University of Surrey, UK)

Main Organisers: Professor Rosario Arias and Dr Lin PetterssonPlease send a 250-word abstract to orientationliterature@gmail.com by 30 November 2018 (new extended deadline). Abstracts should include a short biographical note. All submissions will be peer-reviewed.

(posted 11 September 2018, updated 15 October 2018)

The JRAAS team is pleased to announce the third JRAAS Conference New Perspectives, which aims to give students and young researchers the opportunity to present papers on subjects connected to Anglo-American studies. We offer a platform where new ideas can be shared and discussed openly, in order to lay the foundations for an engaged dialogue between the next generation of scholars.

We strongly believe in the value of well-connected interdisciplinary research, employing various methodologies. Young scholars and students wishing to contribute should, therefore, feel free to bring their ideas to the table, from any domain found in present-day Anglo-American Studies.

The III JRAAS Conference New Perspectives will take place at the Faculty of Arts and Humanities of the University of Porto, Portugal, on the 16th and 17th of May 2019.

Anyone interested might find guidance in the following (not restrictive) list of topics, based on the academic focus of our research center and team:

We invite you to send a 250 words proposal, in form of a word document, to jraascetaps@gmail.com until the 31st of March 2019. The eventual conference contributions are expected to consist of 20-minute presentations preferably in English, although Portuguese may also be considered upon deliberation. A short bio-note should be included (150 words at max.).

KEYNOTE SPEAKERS:

IMPORTANT DATES

REGISTRATION FEES(cover folder, certificate, and coffee breaks)

Early bird registration: until May 3rd, 2019Fee: 10,00Student Fee: 5,00

After May 3rd, 2019Fee: 15,00Student Fee: 10,00

For any queries, please e-mail us at jraascetaps@gmail.com

(posted 11 February 2019, updated 9 March 2019)

Plenary speakers:

Presentations (20 min) and workshops (60 min) are invited in the following sections:

Abstract submission

Please submit 60word abstracts, which will be included in the conference programme:

Deadline:15 February 2019

Conference fee:

Conference website:https://bas.events.uvt.ro

For additional information, please contact:

(posted 16 september 2018)

Organised by London Centre for Interdisciplinary Research

History is written by the victors according to a popular quote. Regardless of the accuracy of this statement, the fact is that history is commonly written by people with authority and bias, thus impeding any attempt to distill one single, objective, definitive truth and record it in immutable books. Moreover, history telling and analysis inevitably comes with different facets, based on context and the historians background. Nevertheless, perspective cannot be regarded as a mere thorn for the discipline, but instead can provide invaluable material to enrich, retrospect and constructively investigate past events, so long as proper mechanisms are in place to guarantee the mitigation of deceitful behaviors.

Recently there has been a rise of distributed systems as a viable means to democratise various aspects of our society. Blockchain has gained attention as the main technology behind Bitcoin and Ethereum, creating their own currency and promising simpler transactions that will replace the status quo financial systems. However, Blockchain potential is not limited to crypto-currencies and creating money out of thin air in an attempt to become rich overnight. Blockchain is the technology that maysignificantly benefit our lives in the near future by decentralizing governance, allowing peers to directly interact in a reliable and secure manner and empowering communities with the privilege and responsibility of defining their operation and evolution.

Adopting Blockchain technologies appeals as a very promising direction towards the democratisation of History. As the name implies, Blockchain is a chain of blocks, each registered at some point in time, which is in line with Historys linearity in terms of timeliness of events. What is written in each block, is a product of interactions among peers of the blockchain, who can all have access to the system, in a deterministic manner based on agreed predefined processes. How can History writing be mapped into a conversational process with the conclusions, as well as the reviews, discussions and links to facts, being printed on blocks of the Blockchain? How can access of all users to History reading and writing benefit the panoramicity and cultural inclusiveness into preserving our heritage? To which extent can a single reference system foster historical knowledge and awareness, while unleashing freedom of speech in event reporting and shedding light into the patterns of historical events?

We invite proposals from various disciplines including history, political sciences, philosophy, sociology, anthropology, IT, media and communication, literature, linguistics, etc.

Paper proposals up to 250 words and a brief biographical note should be sent by 1 February, 2019to: digital.humanities@lcir.co.uk. Please download Paper Proposal Form.

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Calls for papers Conferences taking place in May 2019

Trans-humanist dystopia may not be that far away.In the future, humans are going to be artificially intelligent (AI). Google Director of Engineering (((Ray Kurzweil))) said, Well also be able to fully back up our brains.Were going to gradually merge and enhance ourselves. Our thinking then will be a hybrid of biological and non-biological thinking.

After tens of thousands of years of natural evolution, this wizard, Kurzweil, predicts that humans will become hybrids in the 2030s. That means our brains will be able to connect directly to the cloud, where there will be thousands of computers, and those computers will augment our existing intelligence. He said the brain will connect via nanobots tiny robots made from DNA strands.

Through the use of smart drugs, and what transhumanists call mind uploading, man will be able to merge with the internet, envisioned as the endpoint of occult (((Kabbalistic))) evolution, the formation of a collective consciousness, or Global Brain. That awaited moment is what Kurzweil refers to as The Singularity. The fact that this man is the key player running Google (now Alphabet) research couldnt be more damning.

Elon Musk, another technology guru, has an issue with AI.He told an audience at MIT we should be very careful about artificial intelligence, warning it may be our biggest existential threat and that with artificial intelligence, we are summoning the demon.

Musk goes on to say that we could be living in a matrix. Since he comes across as an obtuse speaker, he can often be dismissed; but I believe what he meant is that there is enough already beingsimulated and holographed, that it starts to supersede base reality. It is mixed or augmented faux reality and thats an important distinction although to the person experiencing it, the difference may seem subtle or not even noticeable.

I point this synthetic reality out all the time on TNN and am convinced it is being heavily used by the Crime Syndicate and their media in stagecraft and skulduggery. There are many disbelievers (or even worse, those who just dont care) to this view. But if you have enough people using digital heroin who are addicted to holdable, wearable and implantable electronics, then they will be infected and live their lives in simulated, augmented, unnatural hive mind environments, hardly able to distinguish between truth and illusion.

AI is synonymous with total control, and we can only imagine who will play God and exercise this control on the transhumans on the plantation. The prospects should horrify any thinking person.

Layered on top of this is DARPAs Targeted Neuroplasticity Training program. This works to take advantage of the brains synaptic plasticity, its ability to continually rearrange its structures and functions in response to experiences, such as learning skills and cognitive skills. The basic idea is to stimulate peripheral nerves so they can trigger the release of certain molecules in the brain that cause neurons to rearrange themselves. Let me spell it out: Brain restructuring (aka mental programming and control) is the end of natural free will and defines a transhuman.

Transhumanism technology incorporates nano-technology, genetic modifications, drugs, robotics, bionics and cybernetic enhancements.The game being played here is to claim AI and brain hijacking has some specific narrow national defense or time saving purpose. But we know better. This is straight out of satanist Aldous Huxleys wildest hive minds vision of the future

Verdict: Beyond-the-pale dystopic criminality, evil and totally counter to the natural order. Transhumanism threatens the death of humanity beyond whats already occurred and should be a core issue for new nationalists.

Illustrating our challenge, a Pew Research poll found32 percent of people polled said they would want such implants if they could actually improve their brain function. How trusting. Only41 percent of respondents said they were somewhat worried about the potential effects of such technology, while another 28 percent said they were very worried. Twenty-five percent said they were somewhat enthusiastic and 9 percent were very enthusiastic about the concept. Only 28 percent very worried about being turned into a transhuman hive mind: we are in deep trouble ladies and gentlemen!

This article originally appeared on The New Nationalist and was republished here with permission.

Originally posted here:

Transhuman Artificial Intelligence Coming to a Hive Mind ...

Welcome to the Transhuman Space WikiEdit

The Transhuman Space Wiki is an online reference for everything related to the GURPS Transhuman Space setting by Steve Jackson Games.

Transhuman Space (THS) is a hard science fiction setting that takes place in the year 2100. It's somewhere between 'cyberpunk' and 'space opera,' both in technology and mood. The world is neither pessimistic nor optimistic but realistic; science has both solved problems and made new ones.

The idea is to create content in the main page and only once a particular content will be rich enough it will be moved to its own page. That's way, we shall avoid minimalist pages.

Transhuman Space and GURPS are registered trademarks of Steve Jackson Games. All rights are reserved by Steve Jackson Games. Material used here is in accordance with the Steve Jackson Games online policy.

This Wiki is not official and is not endorsed by Steve Jackson Games. Steve Jackson Games is not responsible for the content posted by users of this Wiki. Content is not reviewed prior to posting, and nothing on these pages indicates any official sanction by Steve Jackson Games.

This wiki is not a replacement for official Transhuman Space or GURPS books and does not reproduce content from them. Rather than reproducing official content from the sourcebooks, please reference the material instead. Errata and/or book/page references are appreciated. Do not post the contents of the books themselves. No entry should diminish, even slightly, the necessity of anyone owning the book that is being referenced.

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Transhuman Space Wiki | FANDOM powered by Wikia

The Overwatch Transhuman Arm is a branch of the Combine Overwatch that is formed by the Combine to create Transhuman troops whose task is to ensure Combine rule on earth.

Overwatch Transhuman Arm Symbol.

They are no where near the lower skill set of some common Metropolitan Police Force units, and have high combat capabilities to ensure their power and brutality on the battlefield. They are specialized in most tasks that the Metropoltian Police Force is not, such as: Designated Marksman, Close Quarter Combat (CQC), and Ground Units. They are usually armed with the Combines most impressive weaponry, such as the AR2, MP7, Overwatch Sniper Rifle, and the Combine SPAS-12.

Overwatch Units are heavily augmented and have heavy kevlar, allowing them to safely engage in situations too dangerous/risky to be handled by Metropoltian Police Force. Overwatch Units are usually deployed in Resistance Raids, and sometimes sweeps.

They have multiple Divisions, as of now they are:

ECHO - The basic auxiliary supporting ground Unit.

SHADOW - Subtle reconnaissance Unit, used to aquire intel and assassinate high-value targets.

SYNTH - Synthetical supporting ground Unit.

Read the original here:

Overwatch Transhuman Arm | Xenic-HL2RP Wiki | FANDOM ...