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Joined 8 months ago
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Cake day: March 13th, 2024

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  • The concern about digital media compatibility and longevity is definitely valid. But even in the unlikely event that all electronics simultaneously went kaput, the knowledge to recreate working systems, as well as the materials, are still going to be there. Also, the average person has more knowledge than even just 200 years ago, not too mention the fact there is still more print media around than then too.

    Yes our current global data footprint could take a massive hit, and would feel like a huge step back, but it’s still going to be comparatively huge compared to any other time in history. Not so much going back to the stone age as going back to the 1980s.

    Information his always degraded over time. Some being lost, some being made obsolete, some evolving (like culture). I think given our short term digital experience as a species we just find it a bit of existential crisis to view our digital data as having a shelf life too.






  • Ah Morcheba! Now that’s a band I’ve not heard in a while!

    Another album feature I enjoy is the “bonus” track at the end after an absurd length of silence. 1977 by Ash comes to mind. Nothing like going to sleep with an album on to be suddenly woken up by drunk people puking.

    As well as transitional tracks, I love it when tracks genuinely feel like they exist as part of something larger. Whether through transitions within the tracks (Nonegon Infinity by King Gizzard and the Lizard Wizard takes this to the extreme) or by essentially turning the album into one long almost operatic piece (like Colours by Between the Buried and Me).





  • I would rather they make money from advertising their own pretty awesome services than from advertising unsustainable (environmentally, but also unsustainable for the fucking soul!) bullshit via blood sucking multinational tech companies that prey on the masses with whatever data they can automatically dig up on you. The revenue Proton makes from converting free customers to paid allows them to grow a freely available service that is a user-friendly and is a technical rival of the surveillance capitalists.

    My take is:

    • If you’re the sort of person that is convinced your requirements need some custom covert ops pagan voodoo self hosted data center in an old cold war era bunker, don’t let me stop you. You crack right on mate and good luck (sounds like you need it!).
    • If you want the sorts of services Proton provides, but don’t want to be fucked, then Proton are a good shout.
    • If you can afford it, pay for it. It makes the experience smoother and keeps a relatively small but decent company going in an ocean of massive cunts.
    • If you can’t afford it and don’t want to use the free version of Proton, I hear Google and Microsoft will happily buy your soul and sell your data.



  • I’m more concerned that streaming platform algorithms prioritise passive listening (maybe not more concerned… I’m not sure how concern is quantified). It goes against their business model to risk serving users music that might actually push, and thus potentially expand, their taste. Music that is challenging may cause a user to stop listening. Better for the auto play algorithm to serve up safe bets, homogenising the general popular music gene pool. Like serving endless Big Macs in case tom yum is too spicy or lamb shoulder is too rich. As a result, the way to find success in the era of streaming platforms is to play G-D-Em-C and sing about the boy/girl you like/liked. This causes a feedback loop where bland music leads to bland tastes, which leads to bland music…