May you, on the other hand, have always kakaphonous in your ear and be subject to the authority of the ignorant, stupid, crazy, and evil. - Or are you already? — tim wood
Biden is only better than Trump in respect of not being a meglomaniacal lying narcissist. — Wayfarer
According to Scotty From Marketing’s newest announcement aimed at drowning out the news that Christian Porter MP is paying his legal fees through a blind trust that has been topped up with millions of dollars by a faceless stranger who he has never met, Australia is getting eight cool new submarines!
Yesterday it was announced that several cabinet Ministers were given special border exemptions to meet in Canberra and begin nutting out this new deal that not one voter asked for or cares about.
According to these new announcement, Australia, the UK and US have formed a new security partnership named AUKUS – a new acronym that President Joe Biden doesn’t seem to know too much about considering the fact that he couldn’t even remember the Australian Prime Minister’s name in a press conference earlier today.
As a first initiative, AUKUS will build nuclear submarines for Australia’s fleet. There will be eight of them. They will not have nuclear weapons, they will just be nuclear-powered, which in itself is a pretty scary responsibility for a government that can’t manage to run a services website that doesn’t crash under the mildest web traffic.
Artistic autonomy was traditionally predicated not on occupation, but on separation — more precisely, on art’s separation from life. As artistic production became more specialized in an industrial world marked by an increasing division of labor, it also grew increasingly divorced from direct functionality. While it apparently evaded instrumentalization, it simultaneously lost social relevance. As a reaction, different avant-gardes set out to break the barriers of art and to recreate its relation to life. Their hope was for art to dissolve within life, to be infused with a revolutionary jolt. What happened as rather the contrary.
To push the point: life has been occupied by art, because art’s initial forays back into life and daily practice gradually turned into routine incursions, and then into constant occupation. Nowadays, the invasion of life by art is not the exception, but the rule. Artistic autonomy was meant to separate art from the zone of daily routine — from mundane life, intentionality, utility, production, and instrumental reason — in order to distance it from rules of efficiency and social coercion. But this incompletely segregated area then incorporated all that it broke from in the first place, recasting the old order within its own aesthetic paradigms. The incorporation of art within life was once a political project (both for the Left and Right), but the incorporation of life within art is now an aesthetic project, and it coincides with an overall aestheticization of politics.
It’s a distinction that ought to be maintained. — Wayfarer
I think the thing which really got under my skin about the mammoth story was that basically it is sensationalist. They make a half-arsed attempt to present it as ‘environmentally helpful’ but if you read the whole piece, other scientists are scoffing at that. Basically it’s sensationalism, first and foremost, as Jurassic Park itself was. — Wayfarer
The development of the "supermarket tomato" by G. C. (Jack) Hanna at the University of California at Davis in the late 1940s and 1950s is an early and diagnostic case. Spurred by the wartime shortage of field labor, researchers set about inventing a mechanical harvester and breeding the tomato that' would accommodate it. The tomato plants eventually bred for the job were hybrids of low stature and uniform maturity that produced similarly sized fruits with thick walls, firm flesh, and no cracks; the fruits were picked green in order to avoid being bruised by the grasp of the machinery and were artificially ripened by ethylene gas during transport. The results were the small, uniform winter tomatoes, sold four to a package, which dominated supermarket shelves for several decades. Taste and nutritional quality w ere secondary to machine compatibility. (James C. Scott, Seeing Like A State)
Money moves the plot of Spielberg’s Michael Crichton adaptation at an almost molecular level. Both the arrival of outsiders to Isla Nublar and the escape of the dinosaurs are motivated by cold, hard cash. After a velociraptor kills a worker in the opening scene of the film, his family launches a $20 million lawsuit against parent company InGen. We later learn from the park’s mousy lawyer, Donald Gennaro, that the incident gave the park’s insurance company and its investors second thoughts about backing the project, prompting the hiring of outside experts Alan Grant, Ellie Sattler, and Ian Malcolm to inspect the park. Without the concerns about continued cash flow, our favorite paleontologist, paleobotanist, and mathematician would never have felt a single tyrannosaurus-foot impact.
The shutdown of park security systems that leads to the escape of the dinosaurs is even more rooted in filthy lucre. The majority of the animal paddocks are brought down by Dennis Nedry, the overworked and underpaid (according to him, and I for one don’t doubt it) computer programmer responsible for the park’s largely automated systems. Nedry is offered a bribe from a rival company to steal dinosaur embryos and sneak them off the island, a bribe he accepts in large part because the park’s owner, Hammond, has refused his request for a raise.
Hammond rejects Nedry’s entreaties explicitly on the grounds of the moral hazard inherent in paying Nedry more than Hammond feels he deserves. Nedry’s financial problems, Hammond insists, are Nedry’s financial problems. “I don’t blame people for their mistakes,” Hammond says crossly, “but I do ask that they pay for them.” If Hammond had been more concerned with paying people what they’re worth instead of teaching them a lesson about hard work and responsibility, there’d be a few more empty velociraptor stomachs on Isla Nublar.
Surely you can recognise the difference between 'artificial' and 'natural' — Wayfarer
Science is creating completely novel life-forms, not variations of existing life-forms. — Wayfarer
He is banking on the endeavor resulting in innovations that have applications in biotechnology and health care — Wayfarer
Afghan women are immiserated to the degree that the child mortality rate is the highest in the world. Nothing expresses the sanctity of life and the love of children like the highest child mortality rate on the globe. — praxis
Well at least the women of Texas have you to thank for -- what was it again? — Srap Tasmaner
Maybe you can explain to us what you yelling at Hanover — Srap Tasmaner
Flame much? — Hanover
