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Environmental Theatrics: Top Secret Crypto

I'm not saying there is such a thing, and no one could prove otherwise. But if there were some sort of new underground forming, it would have a “Fight Club”-like motto. The first rule of the new underground is that you don't talk about the new underground. In fact, no one even calls it that because it doesn't have a name yet. It may never have a name. Forget I even mentioned it.

Of course, this particular incident was revealing, but only if you were able to tune into the hidden channel it was broadcasting on. Now that the event itself is safely behind us, I can tell you a few details. It was a series of performances by a unit called “The Collected Works” in San Francisco. Untethered to any particular performance venue, this group commandeered the Old Mint building for an environmental theater performance of Jean Genet's “The Balcony.” This information is on a need-to-know basis and should not be passed on to anyone.

The Old Mint's basement was the site of the play's opening three scenes featuring the Judge, the General and the Bishop. Underground, hidden, locked away from the revolt happening at street level, these characters obsessively repeated their fetishes in strict rituals performed in various chambers of the brothel. The audience wandered from one scene to the next feeling as though they'd walked in on the middle of some very private moment. Then, just when a sense of comfort and rhythm was beginning to take hold, an alarm bell rings. An alarm clock, a wake-up call, a harsh reminder that the time for this session is up. It's time to leave the underground cells and return to the real world upstairs.

In scenes unfolding in grand room after room, the audience witnesses the business of the brothel, the protection provided by the police, the unfolding revolution surrounding the building, private fantasies transforming into public power, and finally the birth of the Chief of Police into the canon of fetishes. Like the others, the Chief of Police is an expression of a desire that wishes to remain unfulfilled, and thus remain desire in the form of “desiring.” The Bishop, the Judge and the General are all medicines that cause the illness they are meant to cure. Preserving the capacity to repeat a ritual in the private chambers of the brothel is echoed in the public halls of government, society and power. The play attempts hold up a very large mirror.

The performance was breathtaking in the sheer size of its conception, and in the difficulty and risk of selecting Genet's text. The performers and the performance inhabited and transformed the dusty and neglected space of the Old Mint building. In environmental performance, there's a tricky moment as the audience moves from space to space to witness the next scene. There is no break in the action, no pause for the logistics of movement, the performance continues even as the audience gathers in the next space. The key rhythmical moment is when the moving audience isn't fully settled in the new location. They aren't sure where to stand or sit, they may not even be clear in what part of the room the action of the play will take place. Suddenly the performance sparks to life and the scene begins. The audience, not yet feeling itself to be an audience, is transformed and pulled into the urgency of the narrative. These performers were masterful in creating each new performance space as the play progressed.

Let us assume that you didn't witness any of the performances in this particular series. For the most part the local arts and entertainment media, to the extent such a thing still exists, was oblivious to the event. While this performance of Jean Genet's “The Balcony,” by The Collected Works was a public performance, it was hidden in plain site. It occupied two floors of a large public building in the middle of downtown, but was largely invisible. The two week run sold out every performance, with some people returning several times. For work like this to prosper, it's important that you keep quiet about it. Don't tell all your friends, don't share this blog post, and don't hope that this goes mainstream.

If we were to talk about this theater collective and it's performances, we'd have to acknowledge that plays by Gombrowicz and Genet are not mainstream. They aren't supposed to be for everybody. Any future performances are on a need-to-know basis. Attend only if you must.

Environmental, or site specific, performance creates a very rare aesthetic experience for these times. In this age of screens and couches, it's a given that a certain kind of distance and separation is required to create an aesthetic experience. The fourth wall is institutionalized in the form of a sheet of glass separating you from the “content” on your device. Interacting with a performance is limited to backchannel snark inscribed on to a real-time social network stream. Alternatively, performances like “The Balcony,” if there were such performances, are strangely intimate. A performance space is shared by the audience and the performers and divided up on the fly in brief moments of stasis before transforming and renegotiating the territory all over again. There's a give and take that demands a conscious creation and recreation of aesthetic distance from moment to moment as the play moves through the site.

I'm counting on you to keep this secret. It's not as hard as you might think. People see what they want to see. Sometimes the simplest mask will keep hidden what seems perfectly obvious and public. Remember, this is top secret crypto. Your eyes only…


Let Our Robots Fill Out Your Forms…

Bankers are making use of new technology to determine whether you’re creditworthy. According to the NY Times:

“…they may look to see if potential customers use only capital letters when filling out forms, or at the amount of time they spend online reading terms and conditions–and not so much at credit history.”

They say that “no single signal is definitive, but each is a piece in a mosaic, a predictive picture, compiled by collecting an array of information from diverse sources.”

Fortunately for you, our new firm, HONESTLY, has a whole cloud full of robots standing by to fill out your loan forms for you.

HONESTLY has hacked into all the major banks and new technology providers. When our robots fill out your forms for you, you’ll hit all the right notes for their algorithms. This kind of service has previously only been available to the very rich, but thanks to the marvels of modern cloud-based technology, we can offer robot-driven loan application filling for a low $9.95.

The banks and other loan providers have said that they’ll continually change their matrix of criteria to create better risk assessments. Since we’ve hacked into their systems, have paid off their programmers, and created strong predictive profiles of their key executives, we can anticipate their every move. In fact, sometimes their new criteria comes directly from us, which saves us programming time. That’s a saving we pass on directly to you.

HONESTLY, I can’t think of a reason not to have robots fill out your next loan application.


A Particular Kind of a Cold Day

We only seem to talk about big data in terms of predicting buying patterns and targeting consumers. This kind of data analysis is about making invisible patterns visible and transferring information from much larger scales of existence into the scale of human understanding. Climate and the warming of the biosphere may be the most important way we use big data techniques. Amidst the report from the NY Times that 2014 was the hottest year since 1880, when they began to keep records, was this observation:

“February 1985 was the last time global surface temperatures fell below the 20th century average for a given month, meaning that no one younger than 30 has ever lived through a below average month. The last full year that was colder than the 20th century average was 1976.”

We've marked the successive generations based on cultural markers and consuming patterns. But this under-30 generation is the first to experience a specific kind of earth. In this earth, there are no “below average” temperatures. Of course, no one experiences an “average temperature.” One day will be colder than another, and a particular day will be the coldest one ever experienced. But this generation will live out their lives in a fundamentally different possibility space.

What the data tells us is that the set of possible temperatures is slowly moving into a higher range. It's something we can can contemplate in our understanding, but not something we can directly experience. This is the difficulty of direct action with regard to global warming. When we drive our cars, or build a fire in the fireplace it appears to have no effect whatsoever on climate. It's only when you scale it up to the whole human species across the entire planet that the effects are visible. And only then indirectly, using a complex array of sensors, a large historical data set, and a sophisticated simulation of earth's climate.

Hollywood teaches us that there is supposed to be a large explosive event that marks the turning point with climate. We perpetually imagine that event to be in the future, as though it were a ticking time bomb. There's always time for the hero to intercede and change the course of history. One day, we look up from our newspapers and realize that every human under 30 years of age is already living in that permanently changed world. The possibility of that particular kind of cold day has been foreclosed. It wasn't ever a change that we would directly feel or experience that we should have been looking for; it was a change in what it was possible to experience.


The Chicken Comes First

A law passed six years ago by the voters of California came down solidly on the side of the chicken. It was a question of whether the price of eggs outweighed the living conditions of the chickens who produced them. The voters decided that the cages housing chickens should be larger. The chickens should be able to turn around and flap their wings. The fact that they aren't able to do those two things tells you something about their current living conditions.

As the new rules go into effect, the opposition is speaking up. Eggs, they say, as a result of this wicked law, will cost more. And since the producers of all eggs sold in California will have to comply with the law, out-of-state farmers will have to alter their chicken coops too. A long list of complaints have been lodged against the chickens. At the top of the list is the idea that higher egg prices will hurt “the poor” most of all. You see “the poor” rely on the inexpensive egg for protein in their diet.

If we put the chicken ahead of the egg, we're hurting the poor. That's the argument anyway. We can't afford to be kind to chickens. We've put the poor in such tight cages that they can't flap their wings or even turn around. If we increase the price of eggs, the suffering of the poor will become intolerable. The price of eggs is the straw that will break the camel's back. This is the logic we've locked ourselves into. We can't help the chicken and we can't help the poor. Kindness is too expensive.

The key moral question of our age: which came first, the chicken or the egg?



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