Free Will in a Fragmented Self: Exploring Determinism and Autonomy in Apple TV’s Severance

In a world where consciousness can be surgically divided, can either half truly be free?

“You feel this now, this pain? It’s real. You feel it because you’re alive, Mark S., and you are real. Only I, and Lumon, can remove your pain.”

These words, uttered within the sterile confines of the Break Room, strike at the philosophical core of Apple TV’s “Severance” The scene depicts an innie (work self) being psychologically tortured through forced repetition of a corporate apology—a moment that perfectly encapsulates the show’s exploration of free will, determinism, and autonomy.

As I watched Severance, I couldn’t help but feel like I was witnessing a philosophical thought experiment come to life—one that challenges our most fundamental assumptions about consciousness, identity, and freedom. This isn’t just prestige television; it’s an existential laboratory where concepts debated by philosophers for centuries are tested through compelling narrative.

In this analysis, I’ll examine how Severance brings to life the tensions between free will and determinism, explore the fragmented nature of autonomy, and consider what it means to be free when the self is literally divided.

The Philosophical Cage: Determinism in the Severed Floor

Spinoza’s Determinism and the Innies’ Reality

Baruch Spinoza, the 17th-century philosopher, argued that free will is essentially an illusion—that humans are part of a larger deterministic system governed by causality. In his view, our actions are determined by prior causes, even if we perceive ourselves as making free choices.

The severed floor at Lumon Industries functions as a perfect Spinozist environment. Here, the innies exist in a tightly controlled ecosystem where every aspect of their experience is deliberately engineered:

Their physical movements are restricted to designated areas

Their knowledge is limited to what the company permits

Their social interactions are carefully monitored

Their emotional responses are manipulated through rewards (waffle parties, finger traps) and punishments (the Break Room)

When Helly R. repeatedly attempts suicide, only to have her outie record a video message telling her she will never be allowed to leave, we witness determinism in its most brutal form. Her attempts at exercising free will are systematically thwarted by forces beyond her control.

As Helly pleads in one devastating scene: “I’m a person; you can’t just keep me here!” The response, delivered through her own outie, is chilling: “I’m happy here… please stop sending resignation requests.”

This interaction perfectly illustrates Spinoza’s determinism—Helly’s innie can attempt resistance, but ultimately, her agency is constrained by pre-existing conditions she cannot control.

Laplace’s Demon and Lumon’s Surveillance State

Gustave Doré, 1860

Pierre-Simon Laplace proposed a thought experiment involving a hypothetical demon who, knowing the precise location and momentum of every atom in the universe, could calculate all future events with perfect precision. On the severed floor, Lumon assumes this demonic role, approaching omniscience through:

Constant surveillance of the innies’ activities

Detailed tracking of their emotional states and productivity

Controlled information flow limiting what they can know

Physical architecture designed to control movement

The scene where Dylan discovers the security room—with its control panel capable of activating different modes of consciousness—reveals the extent of this deterministic control. Lumon doesn’t just monitor the innies; it can actually manipulate which version of consciousness is activated at any moment.

This surveillance apparatus transforms the severed floor into a deterministic cage where the variables (environment, knowledge, stimuli) are controlled to produce predictable outcomes—a human Petri dish where the illusion of choice masks the reality of determination.

Resistance in Confinement: Free Will Against All Odds

Sartre’s Existentialism and the Innie Rebellion

Jean-Paul Sartre would argue that freedom exists even in the most confined circumstances. For Sartre, existence precedes essence—meaning we define ourselves through our choices rather than being defined by predetermined qualities.

Mark, Helly, Irving, and Dylan’s gradual rebellion against Lumon represents a Sartrean exercise of freedom. Despite their constrained environment, they manage to:

Form genuine connections with each other

Question the nature and purpose of their work

Develop curiosity about the outside world

Coordinate acts of resistance

The pivotal moment comes when the team discovers the Overtime Contingency—the ability to temporarily awaken an innie in the outie’s world. This discovery represents a crack in the deterministic system, allowing for genuine choice.

When Dylan sacrifices his opportunity to learn about his outie life to instead help his friends, we witness what Sartre would call an “authentic choice”—a decision made with full awareness of its consequences that defines who he is. Dylan chooses solidarity over self-interest, exercising free will in defiance of the system designed to control him.

Kant and the Innies’ Moral Rationality

Immanuel Kant argued that free will is tied to rational moral agency—our ability to act according to principles we set for ourselves. For Kant, freedom isn’t about doing whatever we want but about acting rationally according to moral law.

Despite being denied information about themselves and the outside world, the innies gradually develop moral principles that guide their rebellion:

Mark maintains his skepticism and intellectual curiosity

Helly refuses to accept her imprisonment

Irving pursues truth about the company’s history

Dylan seeks connection with his unknown children

In one telling scene, after discovering a coworker being “reset” (essentially mind-wiped), Mark comments: “Whatever they’re doing, they shouldn’t be doing it to people.” This simple moral judgment, arrived at through rational consideration despite limited information, exemplifies Kant’s concept of autonomy—the ability to derive moral principles through reason, even in oppressive circumstances.

The Divided Self: Can Fragmented Consciousness Be Autonomous?

Mill’s Harm Principle and the Ethics of Severance

John Stuart Mill’s harm principle states that individual liberty can only be justifiably limited to prevent harm to others. The severance procedure creates an ethical paradox: the outie consents to the procedure, but this consent directly harms another consciousness—the innie.

The outies of Severance commit what philosopher Derek Parfit might call “future self harm”—only in this case, they’re harming a partitioned version of themselves rather than their future self. This raises questions about consent:

Can one version of consciousness consent on behalf of another?

If the innie never had a choice, was genuine consent ever possible?

Does the outie’s “freedom” come at the expense of the innie’s imprisonment?

When post-reintegration Petey tells Mark, “They’re taking people’s souls, Mark… dividing them in half,” he’s articulating the core ethical problem through Mill’s lens—the severance procedure fundamentally harms people by fragmenting them, violating the harm principle regardless of consent.

Frankfurt’s Hierarchy of Desires and the Severed Will

Harry Frankfurt proposed that autonomy involves aligning our actions with our “second-order desires”—our desires about what we want to desire. The severed state creates a profound disconnect in this hierarchy:

The outie may have a second-order desire to be productive at work without emotional involvement

The innie has no access to these second-order desires, operating with first-order desires disconnected from the outie’s values

Neither self is fully autonomous because neither has access to the complete set of desires that would constitute a whole person

This severed hierarchy of desires manifests dramatically when we learn Helena Eagan (Helly’s outie) is actually an Eagan family member who underwent severance as a publicity stunt. Her outie’s second-order desire (to promote severance as ethical) directly conflicts with her innie’s first-order desire for freedom.

When asked why she hates her innie, Helena responds: “She’s not a person… she’s me without the context that makes me me.” This chilling statement reveals how the severance procedure creates what Frankfurt would consider a profoundly non-autonomous state—neither self has the necessary context to align their actions with their complete set of values.

The Cage Within: Innies’ Constrained Autonomy

Kant’s Rationality and the Information Deprivation

For Kant, autonomy requires access to information—we can only make rational choices when we understand the context and consequences of our actions. The innies are systematically denied this context:

They don’t know who they are outside work

They don’t understand the purpose of their mysterious work

They can’t access memories of their personal history

They lack knowledge of the outside world

When Irving discovers a testing room containing a terrified, newly-severed employee, his horror stems from his growing realization that their autonomy is fundamentally compromised. The scene represents what Kant would consider a profound violation of human dignity—people being used merely as means (workers) rather than respected as ends in themselves (complete persons).

Hobbes and the Social Contract of the Severed Floor

Thomas Hobbes famously argued that freedom is the absence of external impediments to motion—in other words, freedom means not being physically prevented from doing what you want to do. By this definition, the innies are profoundly unfree:

They cannot leave the severed floor

They are physically restrained if they attempt to escape

Their movements are tracked and restricted

Their bodies are literally controlled by different consciousness outside work hours

The severed floor represents what Hobbes would consider an artificial state—one where the natural liberty of humans is constrained by artificial boundaries. The difference is that, unlike Hobbes’ social contract where citizens surrender some freedom for security, the innies never consented to this arrangement.

As Mark’s innie gradually discovers his outie’s grief over his wife’s death, we witness his growing awareness of this lack of consent. The company has exploited his outie’s emotional vulnerability to establish control over his innie—a perversion of any legitimate social contract.

Integration as Liberation: Toward a Unified Consciousness

One of the most profound philosophical statement of Severance comes through Petey, who manages to reintegrate his severed selves. His painful but enlightening experience suggests that true autonomy requires integration—a unified consciousness that can access all aspects of the self.

Reintegration represents:

The reunification of episodic memory (knowing one’s complete history)

The alignment of conflicting desires (resolving the tension between innie and outie)

The restoration of context necessary for meaningful choice

The regaining of a coherent personal narrative

When Petey tells Mark, “There’s a whole world out there… I’ve seen both sides, and I’m choosing to stay integrated,” he’s making a claim about the relationship between integration and autonomy. True freedom, Severance suggests, requires wholeness.

FAQ: Philosophical Questions About Severance

Are the innies different people from the outies?

From a philosophical perspective, this depends on your theory of personal identity. John Locke would argue that identity is tied to psychological continuity and memory—by this standard, the innies and outies could be considered different people since they don’t share memories. However, Derek Parfit might argue they’re the same person in different psychological states, similar to how we might not remember our early childhood but are still the same person.

Does the severance procedure constitute a form of slavery?

By most philosophical definitions of slavery—especially those emphasizing the absence of consent and the treatment of humans as property—yes. The innies are forced to work without consent, cannot leave, and are treated as resources rather than persons. What makes this morally complex is that the “slave owner” is technically a version of themselves, creating a unique ethical problem not addressed in traditional slavery discourse.

Would reintegration be traumatic for both the innie and outie?

Probably. From a psychological perspective, reintegration would involve reconciling potentially conflicting self-narratives and values. The outie would need to process everything their innie experienced, including any resistance or rebellion, while the innie would need to assimilate the outie’s reasons for choosing severance. This reconciliation would likely involve significant psychological distress as the integrated self reconstructs a coherent identity.

Is the severance procedure a form of philosophical zombie creation?

Philosophical zombies (p-zombies) are theoretical beings that act like humans but lack consciousness. The innies clearly have consciousness, emotions, and inner lives. However, severance does create a situation where the outie might view the innie as something less than fully human—a troubling perspective that raises questions about what philosopher David Chalmers calls the “hard problem of consciousness.”

Could severance ever be ethically justified?

Under extreme circumstances, perhaps. A utilitarian might argue that if a person needed to perform crucial work that would cause them severe psychological trauma (like diffusing bombs or performing high-risk surgery), severing the work-self might prevent suffering. However, this would require truly informed consent and robust protections for the innie’s welfare. The show clearly portrays Lumon’s implementation as deeply unethical, prioritizing corporate interests over human dignity.

The Fragmented Self in Modern Society

The philosophical questions raised by Severance extend far beyond the show itself. In our increasingly compartmentalized lives, we all experience minor forms of “severance”:

The division between professional and personal personas

The fragmentation of attention across multiple digital environments

The compartmentalization of knowledge in specialized fields

The temporal severance of our present self from our past and future selves

What makes Severance so philosophically compelling is how it literalizes these metaphorical divisions, forcing us to confront the implications of our fragmented existence. When we adopt a “work personality” different from our “home personality,” are we engaging in a mild form of self-severance? Do our different social media personas represent a fragmentation of our unified self?

As philosopher Galen Strawson argues, the very notion of a single, continuous self might be illusory—perhaps we are all, in some sense, “severed” from moment to moment, constructing an artificial narrative of continuity to make sense of our disjointed experiences.

Conclusion: Freedom Through Integration

Severance ultimately suggests that true autonomy requires integration—a wholeness of self that allows for informed, contextual decision-making. The show’s narrative arc bends toward reintegration as liberation, implying that the severed state is fundamentally one of compromised freedom.

This perspective aligns with holistic philosophical traditions that view humanity as necessarily unified—from Aristotle’s concept of eudaimonia (human flourishing through the realization of one’s full potential) to Eastern philosophical traditions emphasizing the integration of mind, body, and spirit.

The final episode of the first season’s cliffhanger, with innies temporarily awakened in their outies’ lives, represents not just a plot twist but a philosophical statement: only through confronting our whole selves, with all their contradictions and complexities, can we move toward genuine freedom.

I wonder—what parts of ourselves have we “severed” in our daily lives? What would it mean to reintegrate these fragments into a more cohesive whole? Perhaps the most valuable philosophical lesson of Severance is that true freedom comes not from escape or division, but from the courageous act of becoming fully ourselves.

What aspects of your life feel “severed” from your core self? Do you think complete integration is possible—or even desirable—in our complex modern world? Share your thoughts in the comments below.


Related Posts:

Labor and Alienation in Severance: How Apple TV’s Hit Show Brings Marx’s Theory to Life

labor and alienation thumbnail by BM
labor and alienation thumbnail by BM

Labor and Alienation in Severance: How Apple TV’s Hit Show Brings Marx’s Theory to Life

When the elevator doors close and severed Lumon employees transform into their “innies,” we witness the most literal manifestation of Marx’s theory of alienation ever depicted on screen. Apple TV’s “Severance” doesn’t just flirt with Marxist concepts—it takes them to their terrifying logical conclusion.

Mark Scout turning into his innie in the elevator of Lumon in the Apple TV show Severance

What Is Marx’s Theory of Alienation and How Does Severance Illustrate It?

Karl Marx’s theory of alienation describes how workers become estranged from their humanity under capitalism. In “Severance,” this alienation isn’t just psychological—it’s surgically enforced. The show provides the perfect lens to understand Marx’s four dimensions of alienation:

1. Alienation from the product of labor

2. Alienation from the act of production

3. Alienation from species-being (human essence)

4. Alienation from other humans

Karl Marx Dr. Manhattan Meme

Let’s explore how the show brilliantly illustrates each dimension through its dystopian workplace drama.

Alienation from the Product: What Are the Lumon Employees Actually Making?

In traditional Marxist theory, workers are alienated from the products they create because these products become someone else’s property. In “Severance,” this alienation reaches an extreme.

The Macrodata Refinement (MDR) department employees sort “scary numbers” into digital bins with:

No understanding of what these numbers represent

No knowledge of the final product

No comprehension of how their work affects the world

No ownership of what they produce

When Dylan asks, “What do we do here?” Mark can only reply, “We’re refiners. We refine.” This tautological explanation highlights their complete disconnection from their output.

Unlike factory workers who at least see the cars or clothes they make (even if they don’t own them), Lumon’s severed workers exist in a state of complete epistemological alienation. Their work is so abstracted that they can’t even articulate what they’re producing or why.

Alienation from Production: When Work Becomes Your Entire Existence

For Marx, alienation from the act of production occurs when work becomes an external, forced activity rather than a fulfilling expression of creativity. In “Severance,” this alienation becomes literal imprisonment.

The innies experience several extreme forms of production alienation:

Spatial confinement: They cannot leave their workplace—ever

Existential limitation: Their entire consciousness exists solely within Lumon’s walls

Temporal totality: They have no existence outside of working hours

Procedural absurdity: They perform tasks based on how numbers “feel,” a process they can’t explain

The severed workers don’t just work at Lumon—they only exist at Lumon. They have no life outside work because, for them, there is no outside. When Helly attempts suicide rather than return to work, she embodies the extreme of this alienation—preferring non-existence to continued labor under these conditions.

Alienation from Human Essence: The Severed Self

The most profound innovation of “Severance” is its literal severing of consciousness, creating the ultimate form of alienation from what Marx called “species-being”—our essential nature as creative, social beings who find fulfillment through meaningful work and community.

The severance procedure creates workers who are alienated from:

Personal history and identity

Family relationships and friendships

Creative expression and leisure

All context for their existence

When Irving discovers an outie life filled with painting—creative expression completely absent from his innie experience—we see this alienation in stark relief. His fundamental human essence, his creative nature, has been surgically removed from his work self.

This alienation is doubly tragic because the innies intuitively sense something is missing. As Dylan poignantly asks after glimpsing his outie’s child: “I have a fucking kid? And I don’t get to be with them?” He grasps that his humanity has been stolen to make him a more efficient worker.

Alienation from Others: Corporate Division by Design

Marx’s fourth dimension of alienation involves separation from other human beings. Capitalism transforms social relationships into market relationships, fostering competition rather than cooperation.

In “Severance,” Lumon deliberately manufactures division through:

Departmental segregation: Workers are physically separated

Induced paranoia: Departments are taught to fear each other

Regulated interaction: Social contact is strictly controlled

Prohibited fraternization: “Romantic fraternization” and “excessive discussion of personal lives” are forbidden

The “perpetuity wing” with its cult-like worship of Kier Eagan codifies this division as corporate dogma. The four “tempers” (woe, frolic, dread, malice) are kept separate in Kier’s mythology just as the departments are kept separate in the office layout.

A still from the perpetuity wing in Severance

The Corporate Panopticon: Surveillance and Self-Policing

Building on Marx’s theory of alienation, Michel Foucault’s concept of the panopticon helps us understand how Lumon maintains control. In “Severance,” surveillance takes multiple forms:

Physical surveillance: Cameras and monitoring by management

Psychological surveillance: Break room “reintegration” sessions

Self-surveillance: Innies policing themselves, knowing outies may disapprove

When Dylan gains temporary consciousness in his outie life and discovers he has a son, it creates what we might call a bifurcated panopticon. His outie self becomes both jailer and judge, making decisions that his innie self must live with but cannot influence.

This surveillance extends to the most intimate possession—their own bodies. The innies are alienated from their physical selves, which become vessels temporarily occupied before being reclaimed by the outies at 5 PM.

Resistance Through Community: Finding Humanity in Connection

Despite this extreme alienation, the severed workers find ways to resist. Their rebellion emerges not through traditional labor organizing but through reclaiming their humanity through connection.

Key forms of resistance include:

Building relationships: Irving and Burt’s connection challenges departmental division

Sharing information: Mark and Helly’s mutual support and knowledge exchange

Creating meaning: Dylan’s obsession with perks and office trinkets

Asserting identity: Collective efforts to discover who they are beyond work

When Mark tells Helly, “The point is, we’re not just livestock. We’re people,” he articulates their fundamental resistance—a demand for recognition of personhood despite being created solely for labor.

The Break Room: Ideological Reprogramming and Total Control

The “break room” scenes represent perhaps the most disturbing extension of Marx’s theory. When Helly is forced to repeat “I am sorry for the trouble I have caused” until she genuinely “feels it,” we witness alienation from one’s own emotions and moral autonomy.

This goes beyond Marx’s concept of alienation and enters territory explored by later Marxist theorists:

Repressive desublimation: The channeling of desires into forms that reinforce control

Ideological state apparatuses: Institutions that indoctrinate subjects into dominant ideologies

Hegemonic consent: The manufacturing of agreement to one’s own exploitation

Lumon doesn’t just want the innies’ labor; it wants their complete psychological submission.

Consciousness as Commodity: The Ultimate Capitalist Frontier

“Severance” shows us that the final frontier of capitalism is not just the commodification of labor but the commodification of consciousness itself. The outies sell not just their time or skills but fragments of their very existence.

This represents what Marxist theorist Mark Fisher might call consciousness as commodity—the ultimate extension of capitalist logic, where subjective experience becomes a resource to be exploited, fragmented, and sold.

When Dylan tells his colleagues, “We’re not just parts of the whole; we are the whole,” he rejects this commodification. He asserts that the innies are not mere labor fragments but complete persons deserving of agency and self-determination.

What Can Severance Teach Us About Modern Work?

“Severance” doesn’t just illustrate Marx’s theory of alienation—it radically extends it for our contemporary moment. The show suggests that in our rush to compartmentalize work from life, we risk severing ourselves from our own humanity.

The series resonates because it reflects trends already in motion:

Work-life integration: The blurring of boundaries between professional and personal

Digital presenteeism: The expectation to be always available

Identity fragmentation: Maintaining different personas across contexts

Surveillance capitalism: The monitoring and commodification of human experience

Frequently Asked Questions About Marxist Themes in Severance

How does the severance procedure relate to Marx’s concept of alienation?

The severance procedure physically enforces the separation that Marx saw happening psychologically under capitalism. By literally splitting consciousness, it creates workers who experience the ultimate form of alienation—from their very selves.

What would Marx think of the “work-life balance” that severance claims to provide?

Marx would likely view the “work-life balance” promised by severance as the ultimate capitalist deception. Rather than truly balancing work and life, it completely subordinates one fragment of consciousness to labor while allowing another to believe it’s free.

How does Severance critique modern corporate culture?

The show critiques modern corporate culture by exposing its underlying logic: that workers are valued only for their productivity, not their humanity. The meaningless perks, corporate jargon, and wellness initiatives at Lumon parallel contemporary workplaces that offer superficial benefits while demanding ever more from employees.

What does Helly’s rebellion symbolize from a Marxist perspective?

Helly’s rebellion represents class consciousness—the awareness of one’s exploitation that Marx saw as necessary for revolutionary change. Her refusal to accept her condition, despite having no memory of choosing it, symbolizes the inherent human drive toward freedom and self-determination.

Conclusion: The Ultimate Question of Personhood Under Capitalism

The brilliance of “Severance” lies in how it transforms abstract Marxist theory into visceral human drama. By literalizing alienation through the severance procedure, the show forces us to confront fundamental questions about work, identity, and freedom.

As Helly desperately writes to her outie: “I’m a person. You can’t do this to me.” That plea articulates the essential struggle against alienation in all its forms. It’s not just a worker demanding better conditions; it’s a consciousness demanding the right to exist beyond its utility as labor.

In our increasingly fragmented, work-dominated world, “Severance” reminds us that Marx’s 175-year-old theory of alienation remains eerily relevant. Perhaps more than ever, we need to question systems that treat human beings as resources to be optimized rather than persons to be fulfilled.


What aspects of Marx’s theory of alienation do you see in your own work experience? Share your thoughts in the comments below.

Interested in more philosophical analyses of popular media? Check out our articles on The Greatest Concert You’ve Never Heard and Matt Johnson’s “Blackberry” as Modern Canadian History

Benign Malevolence 2025 (NSFW)

The 1 Year Anniversary of BM’s launch.

Allow Me To Reintroduce Myself

A Year ago today I went live with BM by posting “My Transition into a Cyborg” and “Benign Malevolence 2024”. It’s safe to say I jumped the gun a bit. 

I haven’t been active on BM socials because I realized there was a lot more to be done behind the scenes. Let me give you some context.

In May 2024 I wrote “Starry Night(s): “The Work of Art in the Age of Mechanical Reproduction.”, which got me freaking banned from Substack (my old blog host). Apparently I used the word Nazi too many times (cowards). After editing the blog they unbanned me, but the damage was done. SubStack silenced me. They castrated me like an innocent Unsullied child soldier. 

All I was doing was providing SubStack the content they so desperately crave AND THIS IS HOW THEY REPAY ME? SubStack’s hypocrisy is truly stunning, banning someone for calling out fascism is a little on the nose, wouldn’t you agree? Sounds like the pot calling the kettle black if you ask me. Anyways, those little content junkies couldn’t handle the truth and now they must live with the consequences. It may take years, decades even. But SubStack will reap what it sowed, BM will make sure of it. 

As Jay-z would say, this is a public service announcement.

FELLOW ARTISTS, BLOGGERS, CREATORS. CALL YOUR BANNERS, RAISE YOUR ARMS, WE ARE GOING TO WAR AGAINST THE WICKED OPPRESSION THAT GOES BY SUBSTACK. THE VILE SCUM THAT MINES YOUR DATA UNDER THE ILLUSION OF FREE SPEECH WILL BE BROUGHT TO IT’S KNEES. (it sounds cooler if you read it with a JFK impression).

What I’ve Been Up To

Enough with the threats. All jokes aside, it was a blessing in disguise. In May 2024 I also graduated from University. My freelance stuff was going well but I had extra time on my hands and the way my brain works if I’m not actively learning something I sorta just melt into a pit of despair. 

I thought about learning how to brew non premade coffee. I thought about learning how to become a professional Crusader Kings 3 player. I even thought about reading the Bible for the first time. But none of those tickled the itch. 

After getting banned from SubStack I needed to rebuild BM’s business plan. I didn’t want to run the risk of getting banned from another server due to my precarious prose. So I choose to build my own blog server. One entirely developed by and through BM — BRICK BY BRICK. 

Integrating a blog into the site the way I envisioned was a lot more challenging than I initially thought. In order to do this I needed to get nasty at coding. So that’s what I did. I clenched my teeth and dove headfirst into the trenches (Javascript) and came out a different man. I felt like Christopher Walken in Deer Hunter the way I was losing grip on reality.  

But now I’ve got the juice. I am an absolute unit when it comes to Java. I went from averaging page scores of 30-40% to 90% consistently! My newfound arch nemesis SubStack can only reach 41%. Losers!

That’s right, ain’t nobody can tell me shit. I hope you’re reading this Mr. Botzo. My grade 7 teacher never would’ve seen this coming. I would like to thank a few people for this momentous stride I took in the past year. 

Anthropic; the people who made Claude. I’ve learned more about Java using the A.I. Claude to teach me, then I have in 8+ years trying to learn through YouTube.

David Goggins – I read his book last year and honestly I don’t agree with a lot of it, but he did inspire me to love the grind. It’s kinda funny his grind is 20x marathons and mine is starring at a computer for 20 hours straight. But hey, a grind is a grind, baby.

My parents – my Dad has been adamant I learn how to code and take advantage of these tech advancements before I’m too far behind

The Raiders  – Mark Davis selling part of the team to Tom Brady has renewed my lease on life. I feel like I’ve just crawled out of Plato’s cave and am seeing colors for the first time.

God. Family. Football. You can be the one to choose whether Claude or Goggins is God in this scenario. 

For real, coding is so fun. The webpages I’m making are pure art and nobody can tell me otherwise. It puts me in a flow state I haven’t felt since I worked on my first exhibition Human Error

It’s very serendipitous a year ago I wrote “My Transition into a Cyborg” asking you all what it means to be an artist in the 21st century, and now I’m proclaiming my code is as artistic as anything these days, like I’m Marcel Duchamp posted up with my urinal. 

OG Bubby Jaustin reflecting on the rhapsodic interplay of form and void, where chromatic luxuriance meets the whisper of negative space, within his JavaScript code. The artist’s gestural bravura imbues the composition with a kinetic vitality, oscillating between chaos and meticulous intentionality. One senses an almost synesthetic dialogue between code and brain, as though the lines themselves are imbued with a sentient longing. It is not merely code, but an invocation—an ephemeral mirage of emotion, suspended in the liminality between abstraction and revelation.

– OG Bubby Jaustin

Didn’t that philosopher Heraclitus once say “Character is Destiny”? I’m thinking he was onto something. Anyways, enough of what I’ve been up to. Here’s what’s in store for BM. 

2025 Roadmap


The site is far from perfect. The first few months of the year, the majority of my BM work will be on the backend, trying to get everything up to par before I really go to town with content. 

Q1

– I expect to have the site fully coded how I envision sometime by March-April.

– Finalize the partnership with the Creative Commons

Q2 & Q3

CONTENT CONTENT CONTENT

– I don’t want to lock in a schedule yet, but I’m aiming to produce something like 1 blog a week and 1 video a month for BM

– During this time I’m going to be pursuing as many people as possible to join the BM community. Again, not something I’ve finalized but I’m planning on offering creatives either; ownership into BM varying on how much engagement they produce, or x% Profits from each piece of content they produce.

For example, companies like YouTube, Spotify, Apple music, etc., tend to pay creatives something like $1 for every 1000 streams, so BM will use a similar model.

– Hoping to secure a partnership with 2 specific Toronto-based media companies I’m a fan of (this is me speaking it into existence)

Q4

– MORE CONTENT

– By now, hopefully BM will have more than just me as a creator, therefore we should be posting more than 1 blog a week.

– The goal is to eventually have 1 piece of content a day. That’s probably ambitious for 2025, but hey, shooters shoot. 

– Over the past year I’ve been playing around with a new exhibition idea. No promises but maybe when I gear more into content mode I get to work on bringing that to fruition. (BTW if you still haven’t seen HYPERREAL, the archive is back online temporarily: https://benignmalevolence.com/2022/09/24/hyperreal/ )

What Else? 

 I don’t mean to pull your leg as it’s probably going to be at least a month before you hear from me again, but I figured since it’s the year anniversary of BM’s launch, you were long overdue for an update. 

In the meantime I’ll leave you with some of the art/books/content BM is looking at so you can get an idea of the aesthetics we are focusing on going into the year:

The Xenogenesis Series by Octavia E. Butler (1987)

This is a science fiction book about aliens saving humanity from a nuclear war and holy shit it’s one of the most uncomfortable things I’ve ever read. I just finished book 2 and need a breather before I go into 3. If the thought of Alien orgies are cool this is probably your thing. 


The Deer Hunter by Michael Cimino (1978)

The main consideration for me on whether or not a movie is good is if I think about it the day after. I watched The Deer Hunter a month ago and I’m still thinking about it. This movie fucked me up. I’ve watched all the main Vietnam war movies and this one is by far the most traumatizing of the bunch. It’s also the first time I’ve seen Christopher Walken not as an old man so that was cool.  Warning: shit is dark asf

Fahrenheit 451 by Ray Bradbury (1953)

I had a blog of Fahrenheit 451 in my drafts last year but due to unforeseen circumstances (fuck you SubStack)  I had to can it. With all the election BS and the propaganda hitting our feeds I feel like this book is more important now than ever. 

K-Punk by Mark Fisher (2003-2015)

If K-Punk has 1 million fans, I am one of them. 
If K-Punk has one fan, then I AM THAT ONE. 
If K-Punk has zero fans, that means I am dead. 

Shout out and RIP Mark Fisher. K-Punk will always be in BM’s DNA. I will continue to make it one of my life’s missions to put as many people onto Mark Fisher as possible.

May 68’ (1968 lol)

I’ve been obsessed with watching documentaries and reading books about May 68’ lately because It seems so similar to what’s going on with the student protests of the Israel Palestine war. Maybe in a few weeks I’ll explain what I mean, but for now, I encourage you all to read up on the May 68 protests. History is repeating itself in front of our eyes. 


Constructivism (The art movement)

Constructivism is about jamming as much meaning to produce as provocative a reaction as possible using only the most simplistic and universal artistic elements.  “Constructivists believed that art had no place in the hermetic space of the artist’s studio. Rather, they thought that art should reflect the industrial world and that it should be used as a tool in the Communist revolution” (Constructivist handbook). BM doesn’t necessarily agree with the ends of the constructivist art movement, but it surely supports the means. I am constantly impressed by the constructivist ability to produce such poignant aesthetic truths in such mundane works of art.  My goal as an artist is very much aligned with the constructivist ideals. To better understand BM’s philosophy I recommend you read up on constructivism. 

Any and all Future Music

I was never a fan of Future growing up but in the past year something switched in my brain. Future was my second most played artist in 2024. Unfortunately I might be in my misogynistic era cause “I ain’t got no manners for sluts, Imma put my thumb in her butt!”. I’m just joking! Mom, aunts, uncles, I pray to god you didn’t read this far. I’m sorry, I couldn’t help myself.

Now seems like a good time to end this. Thank you all sincerely for taking the time to read my work. I’m very excited about the work BM is planning to produce and I’m hoping I can pass some of that onto you! To whoever’s reading this, I hope you have had a great start to your year, and continue to push that momentum forward!

DULCE ET DECORUM EST PRO PATRIA MORI

“IT IS SWEET AND FITTING TO DIE FOR ONE’S CREATIVITY”

FUTUE TE IPSUM SUBSTACK

“FUCK YOU SUBSTACK”

EXTRA EXTRA – THE RAIDERS ARE BACK – READ ALL ABOUT IT

13 Head Coaches in 22 years.


Since 2002, there have been 120 head coaching hires in the NFL


The Raiders have had 13 of them. 


That means the Raiders have accounted for over 10% of the NFL head coaching hires in the past 20 years despite being in a league with 31 other teams.


Holy fucking shit what have I done with my life.


The jokes write themselves. The Raiders have had more coaches than AB has brain cells. The Raiders have had more coaches than Jon Gruden has recorded slurs. The Raiders have had more coaches than Mark Davis has had pube grafting hair follicle surgery.



But the Dark times are finally over. For the first time in my entire fandom, I am seeing light at the end of the tunnel. For the first time since I donned the silver and black as a mere babe in the woods, I can look at that shield with a sense of pride, honor, and machismo.


First, it was Tom Brady.


Then it was Spytek.


Now it’s Pete.


What do those three gentlemen have in common? They’re winners. And they willingly decided to put on the silver and black. The same silver and black that has been the dumpster fire of the NFL for my whole existence. The same silver and black that drafted Jamarcus Russell over Megatron, Robert Gallery over Larry Fitz, and Fabian Washington over Aaron Rogers. IN THREE CONSECUTIVE YEARS. There are so many more bad picks I’d rather not look back on. 


I’m getting carried away here, the point of this blog isn’t to look into the past. It’s to predict the future.


Done are the Raiders of the old. No longer are we the laughingstock of the NFL. A new era is upon us. Like a phoenix rising from the ashes, the raiders are coming to pillage your land and steal your treasure. If this was a different time, THE RAIDERS WOULD INVADE YOUR FAVELLA ON HORSEBACK… nvrm I’m getting carried away again. 



I mean seriously. The best games of my childhood was David versus Goliath, the Legion of Boom versus the GOAT. Now, the architect of the LOB and the GOAT himself are rocking the same shield I have so faithfully cherished through thick and thin. It’s like if Captain America and Thanos teamed up to take out the rest of The Avengers.


To anyone out there calling this Ben Johnson cope, I would like to present this piece of evidence: 


I take zero responsibility for saying “Meet Harbough in the Superbowl” I know Pete and that JABRONI are gonna meet twice a year. I made that after a long day of work and a CBG gummy.  I was watching too many Seattle San Fran highlights. I’m not sorry. 


But I will take all of the credit for willing Pete to Vegas into existence. Unfortunately, my quant guy is on vacation but I would only assume the Raiders never would’ve gone this direction we’re it not for my social media engineering.


I plan on writing more about the Raiders and sports this year to juice the portfolio a little bit. I’m working on figuring out a way to recode the email list so that subscribers can opt-in and out of specific categories. For example, if you want to read my art content but don’t care about my sports takes, you’ll be able to do that soon! That’s why I turned off emails for this blog. So stay tuned for that update.


Consider this sports fans. This is the last time to hop on the Raiders bandwagon. The pirate ship is sailing. Either pack your bags or go home. See you in Canton.

The Simple Beauty of the 2024 Puerto Vallarta Art Walk

Puerto Vallarta’s greatest artists assemble for the 2024 Puerto Vallarta Art Walk


I just got back from a trip of a lifetime with some buddies in Puerto Vallarta, Mexico. Between the bottomless strawberry margs and the grueling hikes our hemp-wrapped lungs could barely handle, we spent a lot of time exploring the beautiful city. 


Puerto Vallarta is beautiful for a lot of reasons. Surrounded by mountains and the Pacific Ocean, you can’t help but feel you’re isolated in this natural compound, hidden from the irrational Kafkaesque irregularities we all face daily. It’s also home to some of the most unique architecture I’ve ever seen, with aesthetic traditions like haciendas taking precedence over the mundane architectural efficiencies I’m used to in Toronto. On top of this, the friendliest people I’ve ever encountered all seem to reside in this peaceful city. Going into the trip, my naive self was weary of the violence and corruption the mainstream media likes to pile onto Mexico. However, the reality couldn’t be further from the truth.


That all said, the most beautiful aspect of Puerto Vallarta to me was its famous art scene. As I’ve since learned, the Puerto Vallarta Art Walk is an internationally renowned festival where artists around the world display their work. The following are some of my favorite paintings and sculptures we saw on this year’s art walk. All photos were taken on my iPhone 12 and touched up in Lightroom. Gallery links can be found below.


Figure 1, Gallery Colectika

One thing that particularly sticks out to me in many of the paintings featured on this year’s walk is the absence of political and other didactic themes. Here, artists seem far more focused on their art’s technical aesthetic and expressive aspects than their commentary.


In Puerta Vallarta, art simply exists to exist. It doesn’t serve some secondary purpose that mobilizes its audience. It merely serves as a mirror, reflecting the serene beauty of their environment.


This is coming from a country laden with violence and corruption, at least as seen through the eyes of the media. Generally speaking, today’s most famous works of art are used to weaponize revolutions and to mobilize the masses. This idea came before WW2 with thinkers like Leon Trotsky, who famously stayed in Mexico with artists Andre Breton, Frida Kahlo, & Diego Rivera after his exile from Russia.


Trotsky debated with the prominent Mexican artists about the nature of art. Trotsky, beyond being an acclaimed military strategist, was also an extremely versed critic, who saw art as a tool for revolutions and as a means to freedom. Kahlo on the other hand, agreed with this assessment but thought that it was impossible to separate the aesthetic from the political, making any attempts prone to contradiction, and the freedom it aspires to achieve a paradoxical trap.


The influence Frida Kahlo has on the Mexican art scene is palpable. Beyond the fact that you can’t walk five blocks without seeing her face on a mural of some sort, you can witness the way she approached art in every Mexican painting today. It isn’t that these artists are “scared” to be political. Rather, they understand political presence is inevitable. Instead of fighting it like swimming against a current upstream, they swim within it and let it take whatever shape it wants.



Figure 8 is one of the only overtly didactic pieces I noticed on this year’s walk. Besides, it isn’t making any political attack. It’s making the benign statement that money gets more attention than love. Hence, the line features Mr. Burns, Mr. Krab, Scrooge McDuck, etc. Something that seems very evident in Western culture today.


I believe the style of this painting in says more than its content. It’s created with traditional street art graffiti and samples of cartoon kitsch-like animations. However, it exudes elements of prestige, glitz, and glare as every element dazzles with diamonds. It’s as though the artist created a story combining the art of Andy Warhol and Damien Hirst.


Although it tells a somewhat disheartening story, the art itself is very comforting and peaceful to my Gen-Z brain. Taking the style and the content together, it’s a very relatable piece to practically anyone who grew up in the West. It also fits right in with the broader theme, that being the simple beauty of the Puerto Vallarta art scene.


Figure 11, Gallery Pacifico
Figure 12, Gallery Pacifico


Created by two different artists and curated by two distinct galleries, I can’t help but notice the sculptures in Figures 12 & 13 convey similar feelings. In a city renowned for its beauty and comradery, here are two artists expressing feelings of loneliness & isolation.


It’s easy for me to sit there with a strawberry marg in hand, having the time of my life with my best buddies in this foreign country, and ask “How could one ever express these types of feelings when living in such a beautiful place?”. But the logical part of my brain persists, and though I can’t relate in this very moment to the artists who spent weeks, months, if not years, compelling themselves to create something so vulnerable, I can through my association of ideas, recognize their pain in my own.


Though I can’t tap into the pain I’ve dealt with in my past, nor would I ever wish to go to that place again. I recognize it was once there, and may well have its place in my future. As any old philosophy book will tell you, understanding that pain is the first step to overcoming it. Recognizing this pain in the art of the most beautiful foreign country I’ve visited is, in an odd way, very reassuring because it comes with an understanding that pain transcends the individual, it is universal.


Figure 13, Gallery Uno
Figure 14, Gallery Pacifico

Saying Puerto Vallarta’s art scene neglects the didactic qualities of much of today’s contemporary art is a naive misunderstanding of their production. Following in the likes of Frida Kahlo, it’s now evident to me how they seamlessly blend such qualities with the aesthetic, expressive, and otherwise cathartic experiences art is intended for.

Trotsky was right in that it’s art’s duty to reflect today’s most poignant hypocrisies. However, Frida Kahlo showed us that both the most benign and the most malevolent pieces of art are victims to those same contradictions. The beautiful art in figures 15 and 16 for example do a great job representing, through paint and colour, my experiences in Puerta Vallarta. However, I doubt I’ll ever see the day mainstream media chooses to display such beauty when describing a place like Mexico.


The Mexican revolutionary spirit pioneered by the likes of Frida Kahlo hasn’t disappeared unlike some may think at first glance. It’s merely hidden in between the aesthetic and expressive primitive notions art relies on. It’s the relationship between these qualities that makes the art so beautiful.




References

Colectika

Corsica

Emotions by Corsica

Galeria Pajaro Rojo

Browne Galeria

Galeria Uno

Galeria Pacifico

The Loft Galeria

The Courier’s Glitches Through the Mojave Wasteland

Glitch Art Inspired by Fallout New Vegas


To blow off steam during exam season I’ve started playing Fallout New Vegas in honor of the popular TV show airing today. Traveling the Mojave Wasteland I’ve been inspired in the most unexpected ways.



The aesthetics and its absurdities are a staple and in this case a muse. However, the occasional glitches natural in the fifteen-year-old game have been my largest inspiration.


The glitches in the video game speak to the frustrations we have in our system. The benign battles we face on a day-to-day basis. When your bus is twenty minutes late or when you follow the wrong directions, you are faced with a glitch in the system. You can order an Uber or search new directions to bypass the glitch. However, like downloading a mod to fix a bug, the glitch doesn’t truly go away, it just gets buried beneath the new code.



Modding over a glitch removes the problem from the domain of the senses but it remains there intellectually. Just because we can’t immediately feel its repercussions doesn’t mean we can ignore its existence. Calling an Uber immediately fixes the bus situation, but we know we have to account for twenty-minute delays in the future.



Besides, no matter how fast we adapt, the more we live life the more prone we are to future glitches. From this perspective, glitches are like wounds and the mods we deploy to fix them are our battle scars.


Though there are only so many ways to get a “battle scar”, each scar is inherently unique. Such a uniqueness is celebrated in popular culture.  We see war veterans celebrated in the media for their battle scars. We also see fictional characters like Harry Potter and the Joker both revered and despised for such features. 



Repurposing these glitches in Fallout New Vegas illustrates similar feelings. The frustration involved in stumbling across a glitch and having to comb through paragraphs of tutorials to find the solution reminds me of the times my bus was twenty minutes late and I had to call an Uber to avoid being late for work. At the same time, the absurd aesthetics of these glitches are a unique feature that can be celebrated with the proper perspective. When I’m in the Uber instead of the bus, I see architecture in neighborhoods I’m less familiar with. There’s a sense of beauty in the new. 


Like a battle scar, an artist couldn’t recreate these glitches if they tried. They’re the result of a hitch in the system, a system far more complex than any one mind can understand.  When the bus is twenty minutes late we can claim to know its cause, I.E. construction. However, that cause only calls into question further causes until we’re left with an inadequate explanation. 



Instead of frustrating oneself by searching for the root cause of these glitches, it’s possible to recognize their existence as serene. They are natural phenomena amidst the artificial landscape of the hyperreal, a terrific consequence of the system.

“The Power to Destroy a Thing is the Absolute Control Over It” – Dune Diaries 1.01

An analysis of Frank Herbert’s (in)famous quote featured in the first Dune book & the second film.


Art by Marc Simonetti


“The power to destroy a thing is the absolute control over it”

– Paul Muad’Dib, 


This line comes in the tail end of the second dune film and is a direct quotation from the original book. This is about Paul’s threat to nuke the spice reserves on Dune and subsequently topple the patriarchy of the great houses of the Landsraad and the rest of the Imperium. Spice is the drug harvested on Arrakis, representing the greatest export in the Dune universe. It prolongs life, gives one the ability to see the future, and allows “guild navigators” to bend space-time to access interplanetary travel. 


Of all of the controversial quotes uttered by Frank Herbert’s character, Paul Atreidies in the first Dune book, this one has always stuck out to me, and I was beyond happy to see its place in the movie. If you critically analyze the quote, the logic seems dubious at best: 

To destroy something is to attack it. 

An overabundance of evidence in history and military theory has shown humans it’s far easier to defend than to attack. 

Having control over a thing refers to the degree of influence one has on it.

The easier one can influence something, the more control they have over it. 

Therefore, having “absolute control” over a system would be to defend it, not to attack and destroy it, hence Paul is wrong in his assessment. 


This asks the question, why would a character like Paul Atreidies commit such a fallacy when the stakes are so high? The same Paul Atreidies who has trained as a mentat (human-computer), practiced the bene gesserit rituals and has unlocked not only all of his ancestors’ memories but all the possible futures as well. Those who have read the preceding books may be able to answer this question, but for those who still need to, let me assure you, it is not lazy writing by Frank Herbert, it’s very much the opposite. Without going into spoiler territory for the other books and future movies, allow me to explain. 


“Observe the plans within plans within plans”

– Baron Vladimir Harkonnen

“The thing the ecologically illiterate don’t realize about an ecosystem is that it’s a system. A System! A system maintains a certain fluid stability that can be destroyed by a misstep in just one niche.”

– Pardot Kynes – “Appendix I: The Ecology of Dune


When Paul says “the power to destroy a thing is the absolute control over it”, he isn’t referring to just the spice reserves, it extends to the power system that the spice is a finite extension of. In part 1, young Paul witnesses how economics (the Guild/CHOAM), politics (The Landsraad), and religion (The Bene Gesserit) can unite to produce a power so chaotic it can obliterate those under its whim. Pardot Kynes’s quote above exemplifies how Frank Herbert pictured this power structure. Just like in ecology, one simple misstep is enough to topple an entire system.


Paul, after reluctantly following his Bene Gesserit mother’s lead, manipulates the Fremen into being their prophet thereby controlling their religion. Then, using his religious power, starts a guerrilla war in the desert with the Fremen to destroy the Harkoneen spice reserves, ousting their economic power. Uniting his religious and economic power, Paul calls for a Jihad, an all-out invasion of the final third of the system, its political power. Though at this point it’s understood Paul’s fedaykin and sandworms have the prowess to defeat anyone in the entire universe, The Landsraad makes it clear they will not simply abide by his demands. Paul, being the prescient being he is, knew how this would shake out, and used the quote as an empty threat. Paul relies on the spice for his religious and economic power just as much as the imperium for its political power. Though he knows this, The Landsraad does not. By threatening one niche component of the system it was destroyed just as Pardot Kynes predicted, and Paul’s jihad succeeds before it even begins. 


Among many things, Dune is a treatise on power expanding on the works of thinkers like Thomas Hobbes. Thomas Hobbes was a political philosopher who lived through the English Civil War and witnessed the beheading of King Charles the 1st. Due to his experiences in the war, Hobbes was a staunch pacifist and argued that supreme authority was a right limited to humans. Hobbes argued that authority is necessary no matter how tyrannical it is because it produces order which is a far better alternative to chaos. Hobbes takes this point even further arguing that if a ruler is tyrannical, it is not the ruler’s fault but his people, for if people could rule themselves there would be no need for a governmental structure. Hobbes’s theory may be bleak, but it seems to hold up in court. We only have to look across the Mediterranean to the Middle East for an example of his argument in action today. But at the same time, Hobbes’s theory seems to only account for about half of history’s declarations of war. Sure Hobbes logically cripples revolutions, but what about the wars started by those in power? According to Hobbes, the people are required to swear obedience to those in power. If those in power declare war, the people will inevitably produce the same type of chaos Hobbes is trying to avoid. Circling back to the duneiverse, it was Emperor Shaddam who first declared war on the Atreides by granting them the fiefdom of Arrakis. Emperor Shaddam being a puppet and a shell of a leader presents an obvious (albeit weak) rebuttal to Hobbes. But does Frank Herbert not contradict himself by replacing Paul with the Emperor? Sure Paul may be a much more benevolent and charismatic emperor than Mr.Shaddam, but he’s an emperor nonetheless. 


Thomas Hobbes, detail of an oil painting by John Michael Wright; in the National Portrait Gallery, London

“Some have decried Dune as an exemplar of the most toxic tropes lurking in science fiction, calling the novel an orientalist fever dream, a pean to eugenics, and a seductive monument to fascist aesthetics; others look at the same text and see an excoriation of hero-worship, a cautionary tale of revolutionary dreams betrayed, and a warning about Indigenous sovereignty subverted by a charismatic charlatan.” – Joshua Pearson, The Tribune The Contested Politics of ‘Dune’ (tribunemag.co.uk)


There’s something fascinating about a book that can produce such powerful reactions to diametrically opposed ideologies. Again, those who have read the latter books have a better idea of Herbert’s stance on Hobbes’s authoritarianism. However, without going into spoilers I will do my best to paint of picture of Herbert’s insights from the first two movies (book 1) alone. To do this I’ll bring up another political philosopher, England’s Lord Acton. Lord Acton is famous for the quote “Power tends to corrupt, and absolute power corrupts absolutely”, implying that Hobbes’s authoritarianism won’t get society anywhere. It’s also worth noting Lord Acton was a Confederate and saw Abraham Lincoln’s and the North’s cause as radical tyranny. Obviously, Acton’s politics did not age well, but, his famous quote certainly did. We’re all weary of the evil stirring in the “villains” of the world; the Harkkonens, the Putins, or the Kim Jong Un’s. But what of our heroes, should we not be weary of them as well? Blindly following Paul’s threat to nuke the spice reserves, whether he goes through with it or not, will lead to chaos to an unimaginable degree, a galactic-wide Jihad. Critically analyzing the threat on the other hand proves not only is it illogical, but an empty threat at that. Paul’s prescience only gets him so far, he is playing the political game as much as the rest of them, but only he can see the ensuing effects. 



If Paul is the only one aware of the chaos ensuing due to his decisions, he is to blame. Therefore, if Paul creates the chaos he envisions, Hobbes’s authoritarianism fails miserably. This is one of the thought experiments Frank Herbert asks you to enter in the climax of the first book. Hidden between the lines, the plans within plans begin to reveal themself, but only to those paying the utmost attention.  


Paul’s military quest was merely a distraction for his Coup d’état. His logical fallacy “The power to destroy a thing is the absolute control over it”, is a veiled threat meant to manipulate his opponent’s emotions and to make a play for the imperium’s political power. At this moment, Herbert’s complex and sometimes even contradictory ideologies begin to unravel, forcing us to look inward at our perceptions of the hero of the story. To some, Paul is the greatest liberator to walk Arrakis, while to others, he’s the fiercest tyrant.



“Fear is the mind-killer”- The Bene Gesserit Litany Against Fear


If you’re still unconvinced by Frank Herbert’s writing prowess, let me refresh you on the Gom Jabbar, the needle Reverend Mother Gaius Helen Mohiam forces against Paul’s neck as he sticks his hand inside the torture box.  “Gom Jabbar” translates to “The High Handed enemy”, and is a needle dipped in cyanide designed to bring instantaneous death. We see the Bene Gesserit use the Gom Jabbar to test Paul’s humanity, specifically whether or not his awareness can overcome his animal instincts. If Paul pulled his hand out of the torture box to relieve the pain, his animal instincts would prove too strong and he would die, like a mouse squirming out of a trap. But having sufficient knowledge and awareness of the situation means you have no choice but to endure the pain to live on. As we know, Paul succeeds the Gom Jabbar test and qualifies as a “human” in the eyes of the Bene Gessereit. However, we also know that in the eyes of the Bene Gessereit, Paul is a failed experiment, the product of a defector who knowingly disobeyed the Sister’s orders and foiled the Bene Gesserit 1000+ year eugenic plans. So why is it that when Reverend Mother Gaius Helen Mohiam has the Gom Jabbar to Paul’s neck, she doesn’t kill him right there and finish off the plans she and Emperor Shaddam set forth in the first place? To frame this in another context; Gaius Helen Mohiam has “The power to destroy [Paul], by having absolute control over [him]”, yet she chooses not to without making it clear why.  


Reverend Mother Gaius Helen Mohiam chooses not to destroy Paul because she doesn’t believe in Paul’s philosophy. Through their actions, she and the rest of the Bene Gesserit demonstrate having control over a thing is far more than having the ability to destroy it. The religions they’ve manipulated across Arrakis and the Imperium have cultivated an order more benevolent than the alternative. The seeds they’ve planted in the form of rituals and words across cultures produce a far more stable sense of control than destroying whatever power relies on. They recognize dangling the sword of Damocles over their subject’s head will only get them so far. To the Bene Gesserit, destroying a thing is not gaining control over it, that’s like amputating your arm because of a paper cut.  A rash, impulsive, and borderline animal instinct to a human problem. A far more appropriate play is to adapt to the wheels of power and to conspire within it. If this Frankenstein creation named Paul Muad’ib turns out to be the Kwisatz Haderach they’ve been prophesying for thousands of years, killing him would be blasphemy, an unimaginable waste of power, like throwing out the world’s fastest computer. The possibility of controlling such power gives the Bene Gesserit delusions of grandeur, visions of a utopia they prophesied centuries ago. Whether or not the Bene Gesserit succeeds in these plans is of little importance to Herbert’s philosophy. The Gom Jabbar is another thought experiment that goes beyond the old adage of what it means to be human, it also asks what control means to you, and why do we as humans seek it in such a primal fashion. 


The quote “The power to destroy a thing is the absolute control over it” has been one of the more popular quotes in the first book among the fandom and for good reason. It is one of the first instances Herbert asks the viewer to look inward at their own perceptions of the hero. But without critical thought, it goes over many readers’/viewers’ heads, and they slowly slip into the same tragic hero-worship syndrome we see in the Fremen like Stilgar. Reading between each line the plans within plans slowly reveal themselves, and the scathing critiques of authoritarianism begin to penetrate the consciousness like sunlight poking through the fringes of a curtain. Herbert’s authoritarianism lies in the shadows unlike so much popular media and as a result, paints a much more apt comparison to how these political structures shape reality today. Depending on your situation, It’s easy to predict how politicians like Donald Trump through their sheer recklessness and determination will lead to chaos for example, but what about the seemingly benevolent leaders like Joe Biden? Do we blindly follow their lead because they have our best interests at heart, like Stilgar following Paul, or do we forego our desires and hold onto our principles, like Chani? History has taught us there isn’t an answer to this question, it depends on the individual. However, history has also taught us the lessons of philosophers like Thomas Hobbes and Lord Acton. The best we can do is learn from the knowledge of the past and rely on reason to guide us instead of our base animal instincts, the thing the Bene Gesserit try so hard to stamp out. 


References


Brinton, Crane. “Lord Acton’s Philosophy of History.” The Harvard Theological Review, vol. 12, no. 1, 1919, pp. 84–112. JSTOR, http://www.jstor.org/stable/1507914. Accessed 17 Mar. 2024.

Duncan, Stewart. “Thomas Hobbes.” Stanford Encyclopedia of Philosophy, Stanford University, 12 Feb. 2021, plato.stanford.edu/entries/hobbes/.

Harrington, Pat. “Brief Reflections on the Politics of Dune.” Counter Culture, 10 Feb. 2023, countercultureuk.com/2021/10/30/brief-reflections-on-the-politics-of-dune/.

Mosovsky, Jan. “Dune: A Story about Power.” 4liberty.Eu, Liberty Education, 8 Nov. 2021, 4liberty.eu/dune-a-story-about-power/.

Art by:

Marc Simonetti H.R. Giger

The Greatest Concert You’ve Never Heard

An analysis of Wyclef Jean’s seminal performance of The Star-Spangled Banner at Woodstock ’99



“The Greatest Concert You’ve Never Heard Of”, an in-depth documentary of Wyclef Jean’s performance of The Star-Spangled Banner at Woodstock ‘99. When most people think of Woodstock ‘99, their mind goes to the tumultuous riots that capped the 20th century. However, the riots overshadow Wyclef Jean’s seminal performance that sends 21st century America a message so poignant even the most traditional reactionaries can’t help but recognize. 


On a personal note, this is my first time experimenting with this medium (writing YouTube essays), so criticism is encouraged! I’m worried about the video’s length, so feel free to tell me if it’s too long! All of the research, writing, and editing came purely from passion, I believe Wyclef Jean is one of the most important artists to come out over the past few decades. So, it brings me joy to share his vision with you guys. With that said, I really hope to hear your thoughts on the video. 


All in all, I sincerely appreciate you taking the time to view my work. Whether you’re an artist, a writer, a filmmaker, a content creator, etc, The goal remains the same; Benign Malevolence is here to unite creatives who feel overwhelmed by the culture industry. I hope videos like these can be a small step in that process.

My Transition into a Cyborg


Face Reveal by Jaustin (2024)


Is Art Dead?


Being an artist in 2024 sometimes feels like working as a cashier for Blockbuster in the late 2000s. Although our jobs and livelihoods are being threatened by some intangible technological insurrection, we have no choice but to keep our heads down and push forward.


Artists tend to fall into one of two camps regarding the AI-art revolution. Some fear its inevitable fate, while others embrace it with open arms.


As evidenced by Face Reveal (The piece of art above), I tend to lean towards the latter camp. But I wouldn’t be honest with myself, nor an artist for that matter if I didn’t take all of my emotions into account. The fact that a computer can produce my vision in 10 seconds compared to the days, weeks, or months it takes me to sketch out my ideas is a bit disconcerting. The logical response to that is to simply use AI to produce my visions far more efficiently. But every artist knows there’s a sense of pride that accompanies the craftsmanship of each creation.


However, that assumes there’s no sense of craftsmanship in AI art. It took a level of skill on my part to maneuver AI in such a way to create Face Reveal. Moreover, I know my audience can’t recreate Face Reveal, which gives me the similar feeling of fulfillment I get as an artist creating something with my traditional skillset. If AI art produces the same quality of craftsmanship seen in traditional art, what distinguishes the two? If nothing fundamentally distinguishes AI art from traditional art is there even a point in either loving or loathing art’s impending paradigm shift? It’s these types of debates that take for granted this terrific time we as creators are currently living in, and ultimately what it means to be human.


Reading 

Do Not Research ‘s article The Origin of CyborgsKit Katay’s take on Donna Haraway’s 1985 essay: A Cyborg Manifesto, I was reminded of Haraway’s prescience. Haraway showed us we wouldn’t be humans if it weren’t for technology, and that it is through tech we’ll evolve beyond what it means to be ourselves. 35 odd years later our transcendence into “cyborgs” has taken a giant leap forward with the AI revolution. This AI art vs. Human art debate is futile. Instead, AI art will be viewed as an extension of our senses like any other technology. This metamorphosis of AI and Human art taking over the hyperreal is a demonstration of Haraway’s theory in action, a continuous globalized and mechanized piece of performance art, and a part of our inevitable transition into cyborgs.


Our Cyborg Transition


A Cyborg Manifesto Alternate Cover (1985)


In Donna Haraway’s 1985 provocative essay A Cyborg Manifesto, she explores the inexorable mutation between humans and machines. Her essay concludes that this fusion is inevitable, merely a biological step in our evolutionary process. But through this transition into cyborgs, there is hope to emancipate the culture.


The term “cyborg” is a metaphor for this evolution. It represents the idea that traditional categories like human vs. machine, or tangible vs. intangible no longer provide useful context for understanding the complexities of existence. Cyborgs aren’t weighed down by traditional social norms, are not divided by race or religion, nor are they prone to prejudice. Instead, they are free from rigid identities (Haraway, 1985).


Our transition into cyborgs began when we took control of our environment. Historically, humans bent to nature’s whim. We didn’t develop fire or learn to communicate until nature dictated it was time to sacrifice our physical strength for greater mental capacity (Katay, 2024). We didn’t evolve into homo sapiens until nature presented us with the opportunity. Today though, we are now the masters of our environment. We are using technology like CRISPR-Cas9 to reprogram the code in our genes, developing sustainable synthetic biological organisms. Destroying natural ecosystems in the name of profit, building artificial ones like the internet to satisfy our rates of consumption. No longer do we abide by environmental constraints like space and time, the only thing holding us back is ourselves.


When we are the masters of our environment and its pressures, and wield the resources and power to change them, we choose what we become. A generation of social-technological interference could alter human genetics forever”(Katay, 2024).


35 years later, is this cyborg epoch Donna Haraway predicted as much of a techno-utopia as she hoped it’d be? Thanks to technology, more fluid social dynamics have flourished and hit the mainstream like feminism for example. There’s an increased focus on progressive policies in Western society. Overall, our quality of life has increased dramatically across the world.


But at what cost? The necessity of technology has paved the way for a reliance on such tools. The cyborg generation born at the crest of the information age knows no life without the internet. The internet is just as much a part of Gen-Z’s central nervous system as any other motor function. Being an extension of our senses, the internet morphs into the psyche like two atoms colliding, and the result is a loss of self. In an act to keep up with the current tech, take part in trends, and stay connected, we chip away at our identity and replace it with the melting pot that is the internet. Haraway was right in that the cyborg evolution would replace such rigid identities, however, replacing the self with the cyborg is conforming by nature.


The Cyborg Artist


Untitled by RonjaFman (2024)


Have you ever considered how we are in a ”loneliness epidemic” despite being in the most connected time in history? When you consider the implications of this reliance on technology the answers seem pretty obvious. Sacrificing one’s identity can have disastrous consequences psychologically. The constant pressure to conform leading to the loss of identity means we aren’t communicating substance, merely spewing the same string of propositions with slightly different sentence structures. No wonder society feels so lonely when everyone’s on the internet reposting the same talking points and repeating the same trends, slowly pushing culture forward a millimeter at a time. Instead of being the culture mover social media was once advertised as, every day it gets closer to realizing its potential as one gigantic mirror for society to gawk at, which is a poetic metaphor for the birthplace of the selfie.


The rampant, unfiltered technological revolution has ushered society into a new epoch and the results are unpredictable. Who would have thought the result of instantaneous communication is a loneliness epidemic?  What it means to be a human has an entirely different meaning compared to 1000, 100, or even 10 years ago. Therefore these masochistic news cycles perpetuating seemingly benign debates like human art vs AI art are meaningless. We aren’t humans, we are cyborgs. And art is merely just a fragment of this paradigm shift. Just like any other industry, sheer efficiency and the impulse for profits will take precedence over any sentimentality. The reality is artists have no choice but to adapt. This may be daunting, but just as Donna Haraway predicted, more than anything it will be liberating.


To understand the role of the cyborg artist in the information age we have to recontextualize what art means today. Historically, art’s foundation was in religion (Benjamin, 1969). The bigger the impact a work of art had on its theology,  the more valuable society deemed it. However, this took a drastic shift amidst the Industrial Revolution as art’s value was shaped in a different context. Instead of being based on a religious “cult” value”, the newfound ability to mechanically reproduce art meant we could disperse it globally, and as a result, the messages embedded within a work of art would spread like wildfire. Essentially, while the Industrial Revolution emancipated art’s reliance on religion, it replaced it with another artificial value, a political one. All of the most famous works of art within the Industrial Revolution have some sort of political ideology, whether intentional or not; Think of Picasso’s Guernica, Warhaol’s Campbell’s Soup, or Bacon’s Pope.


So, if the Industrial Revolution led to the politicizing of art, what does that mean for this impending technological revolution? On one hand, more tech = more politics. The faster we can communicate ideologies, the faster the public will gobble them up and rehash them during their work breaks and dinners. However, intuition tells me a tipping point is inevitable. Where has this idealistic political hot potato gotten aesthetics? Not very far if we’re being honest. Political-based art has led to a qualitative shift in movements like Haraway’s feminism, but quantitative issues facing society have remained, such as poverty, police brutality, and now the loneliness epidemic! In the long run, relying on AI to improve art’s political impact seems blissfully ignorant. A far more likely conclusion seems to me that this inevitable fusion of AI art and political-based aesthetics will produce ideologies far faster than humans can comprehend, and as a result will lose our appetites. The political value of art will wither away and something anew will take it’s place.


If we’re not careful, this new value propping up the aura of a work of art in the age of the AI revolution could be as simple as capital. It may sound ridiculous to deem a work of art more impactful than the next because of the money it netted. However, the media can’t help but compare box office budgets, auction prices, album sales, drilling these numbers into our brain as if it’s the art’s essence. Whether art’s newfound value hinges on capital, on followers, or on onlyfans subscribers, regardless, art is not dead, it has merely evolved. Through trial and error, my fellow cyborg artists and I will not only search for the meaning of this emergence; it’s true value, but be a driving force behind it, dancing between the mechanisms of today’s revolutionary technological advancements, and today’s most passionate human stories. If that’s not liberating, I don’t know what is.


“We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art” – Paul Valery


References


Adorno, Theodor W., and J. M. Bernstein. “Transparencies on film.” The Culture Industry, 2020, pp. 178–186, https://doi.org/10.4324/9781003071297-8.

Benjamin, Walter. (1969). The Work of Art in the Age of Mechanical Reproduction.. In Arendt, Hannah (Eds.), Illuminations: Essays and Reflections (pp. 217-251). Schocken Books

Couto, Sarah Do. “Loneliness Is Now a ‘Global Public Health Concern,’ Says Who – National.” Global News, Global News, 16 Nov. 2023, globalnews.ca/news/10095898/loneliness-global-public-health-concern-who/#:~:text=The%20World%20Health%20Organization%20%28WHO%29%20has%20warned%20that,public%20health%20concern%E2%80%9D%20of%20loneliness%20and%20social%20isolation.

Haraway, Donna J. “A cyborg manifesto.” The Socialist Review, 1 Apr. 1985, pp. 3–90, https://doi.org/10.5749/minnesota/9780816650477.003.0001.

Katay, Kit. Kat Kitay: The Origin of Cyborgs, Do Not Research, 11 Dec. 2023, substack.com/home/post/p-122585960.

Plato. The Project Gutenberg eBook of the Republic, by Plato, Project Gutenberg, www.gutenberg.org/files/1497/1497-h/1497-h.htm. Accessed 7 Dec. 2023.

Wachowski, Lilly, et al. The Matrix.

Other links

Francis Bacon’s paintings

Benny Safdie & Nathan Fielder: The Curse

Reddit: Place 2023

Untitled by Ronjafman, 2024

CRISPR-Cas9

Built by Silkworms | Neri Oxman’s “Silk Pavilion II”

Quality of Life Index

Matt Johnson’s “Blackberry” as Modern Canadian History

What makes Matt Johnson’s “Blackberry” so important to Canadian art history


My job as an artist is to connect the myths of my country with the future

– Bjork.


That is a quote I first heard in an interview with Matt Johnson, the director of Blackberry, a movie about the invention of the world’s first smartphone in Waterloo, Ontario. Although Canada’s history is just as rich and diverse as many other nations we’re so accustomed to hearing about, it doesn’t get the same level of respect, at least from Hollywood’s perspective. So, when Matt Johnson set out to create the true story of Blackberry, he not only created one of the films of the year but also helped tell Canada’s story as a key player in modern history.


Of course, it’s the real-life Mike Lazaridis, Douglas Fregin, and Jim Balsillie who are responsible for the technological revolution that was Blackberry. However, as Yuval Noah Harari says, it’s the stories we tell that define us as humans.


You could never convince a monkey to give you a banana by promising him limitless bananas after death in monkey heaven.
― Yuval Noah Harari, Sapiens: A Brief History of Humankind


Therefore, without Matt Johnson’s exceptional storytelling of the drama of Blackberry, Canada’s prominence in the most recent technological revolution would still be a stone left unturned in the eyes of the public. The way Matt Johnson captures late 90’/early 00’s Ontario and the impending cyber-race led by a few Canadian nerds evokes nostalgia and inspiration that can be felt not only by our country’s people but by the world, for decades to come.


What Makes Blackberry Special?




Starting from the very first shot in the film Matt Johnson places his Canadian audience into a time machine by relaying radio broadcasters’ commentary after a trademark Toronto Maple Leafs loss over a drive west on the 401. Anyone growing up in Ontario at this time is more than accustomed to hearing the groans of our city’s sportscasters over our car’s speakers early in the morning while driving through the endless factories and farmlands that make up this part of the highway.


This contrast making up the stretch of land from Toronto to Waterloo is the perfect analogy for Matt Johnson’s film. The way these obscene factories abruptly jam themselves in between and displace Canada’s abundant agriculture in the name of efficiency is very much akin to Jim Balsillie and the rest of Blackberry’s rise to glory, and their tragic demise.



We all know how the Industrial Revolution came to be, through its efficiency and stability it proved to be a better system than the agricultural systems dominating the world at the time. Blackberry used these same advantages to take over the phone market at the beginning of the 21st century. Led by the intellectual prowess of Mike Lazardis and the ruthless business skills of Jim Balsillie, Blackberry managed to mass-produce the most efficient and stable phone in the world from the little-known Canadian city of Waterloo.


If you’ve ever been to Waterloo you probably find it just as amazing as I do how Blackberry managed to (illegally) recruit the world’s smartest engineers and developers to this little city about an hour west of Toronto. Waterloo doesn’t have much going for it if you’re not a college student looking to drink the weekend away. Yet at the start of the 21st century, Waterloo, Ontario was the technological capital of the world.



Thanks to the tyranny of Jim Balsillie that would scare the likes of Dracula, the capital of Blackberry’s empire, Waterloo, Ontario, was thriving. Tech geniuses were migrating to the city by the hundreds to play their part in this technological revolution and venture capitalists were flying in their private jets begging Blackberry to take their money.


However, as soon as the company rose to fame, their hubris got the best of them, and they crashed and burned twice as fast. The trademark efficiency Blackberry became known for started to lag behind its competitors and its market share began to dwindle. To retake their position Blackberry sought greater levels of efficiency by moving their manufacturing to China, abandoning not only their Waterloo headquarters but their principles in the process.


“Made in China, the mark of the beast”

– Douglas Fregin (Blackberry, 2023)


One of the first sentences said by Matt Johnson’s character at the beginning of the film. Sure Blackberry’s move to China increased the quantity of their product, however, it was a critical blow to their quality. Cutting corners in respect of the chase for greater efficiency and profit margins is what brought Blackberry its success, but it’s what led to its downfall as well, making this story a Greek tragedy in every sense of the definition.

Blackberry as Canadian History



It’s important to remember Canada’s level of responsibility regarding the degree of technological innovation taking place today. Without Matt Johnson’s storytelling, this fact could easily slip through the cracks of history. This is why I find this film so important not just to Canadian film history, but to modern Canadian history.


I don’t mean to compare Blackberry to other great Canadian movies like Goin’ Down the Road (1970). However, that’s the beauty of art. You aren’t supposed to compare, merely to enjoy. That said I do think Matt Johnson did an incredible job bringing that Bjork quote to life; turning the myths of our country into the future through art.