Tuesday, 26 May 2026

 

ON PHONES


There was a dinner once, years ago now, that struck me with the force of prophecy. A gathering of friends, intelligent people, funny people, people with whom conversation had once stretched deep into the night, where arguments, jokes, gossip, philosophy, and trivial nonsense all mixed together in that ancient human ritual of communal eating. Yet on this occasion something had changed, though at first it was almost imperceptible. The table remained. The food arrived. Drinks were poured. Bodies occupied the chairs. But the animating principle of the gathering had vanished.

Everyone was staring downward.

For nearly two hours the room existed in a state of suspended social animation. Fingers twitched across glowing surfaces. Faces periodically illuminated by tiny artificial flashes of information. Someone would laugh faintly at something occurring elsewhere, in another invisible dimension entirely, while the actual human beings seated inches away drifted further into irrelevance. Conversation no longer flowed; it sputtered. Presence itself became fragmented. It was as though I had watched a species quietly surrender one of its defining characteristics without even realizing it was happening.

One hears endless rhetoric about connectivity, community, democratization, technological liberation, but sitting there I experienced the opposite sensation entirely. The smartphone did not appear as a communication device. It appeared as an extraction device. An apparatus that harvested attention from immediate reality and redirected it into an endless system of managed distraction. The machine had not merely entered social life; it had colonized the pauses, the silences, the ambiguities, the moments from which genuine conversation and reflection once emerged.

The disturbing thing was not the technology itself. Humans have always invented tools. The disturbing thing was the passivity. Nobody at the table appeared consciously to choose the device over the people beside them. The movement had become automatic, almost liturgical. Reach. Check. Scroll. React. Repeat. A kind of low-grade behavioral possession masquerading as convenience.

And this, perhaps, is the real revolution of the smartphone age: not that human beings communicate more, but that uninterrupted human presence has become intolerable. The modern citizen increasingly experiences silence as anxiety, boredom as pathology, unmediated thought as discomfort. Every empty second must be filled, every lull exterminated. The old capacities — observation, patience, sustained listening, private reflection — begin to atrophy from disuse.

There is an old warning from totalitarian literature that tyranny does not always arrive marching in boots. Sometimes it arrives smiling, offering efficiency, entertainment, personalization, convenience. The most effective systems of control are those voluntarily carried in the pocket, lovingly polished, endlessly refreshed, defended by the very people most subordinated by them. What previous empires achieved through censorship and force, the modern attention economy often achieves through seduction.

I left that dinner with an unsettling realization: if this trajectory continued, entire modes of human experience might quietly disappear. Not through dramatic prohibition, but through neglect. The art of conversation. The capacity for solitude. The strange creative fertility of boredom. The accidental encounter. The undirected walk. The unrecorded memory. The ability to sit across from another person and remain fully there.

So I began withdrawing from the device, slowly at first, then almost entirely. Not because I imagined myself purer than anyone else, nor because technological primitivism holds much appeal, but because I suspected something essential was being eroded beneath the rhetoric of progress. And once one has seen the transformation clearly, it becomes difficult to unsee. The smartphone was sold as an instrument of freedom. Yet increasingly it resembled a portable system of behavioral management, carried voluntarily into every intimate corner of human existence.

The deepest irony is that people now fear disconnection more than domination. Silence terrifies them more than surveillance. To be unreachable for an afternoon appears almost socially deviant. But perhaps the truly radical act in the twenty-first century is simply this: to reclaim one’s own attention from the machinery perpetually designed to fragment it.


 

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Discussions of notes

@gopfertami 7 months ago Anarchism is far right. Liberalism is also right wing. On the other side conservatism is right wing but fascist is not. So it was not truly left vs right. But it was labelled as such and we remember it that way. Nowadays left and right is no longer used in its original meaning but rather to address emotions.

@gopfertami 1 month ago (edited) ​​ @davidcox9234 anarchism is purely right wing ideology. You won't be able to give a single point from the anarchist ideology which could be considered as left wing. 

 Reply greatguyaaa @gopfertami This is pure nonsense, Professor Green of Oxford University has a whole book devoted to left wing anarchism. Cancel




The argument always begins the same way: with a young man in black insisting that anarchism means freedom, and another young man—also in black, naturally—replying that freedom for whom is precisely the question. One imagines the scene repeating itself endlessly across centuries: in a Paris café thick with smoke in 1848, in a Spanish union hall before the guns began firing, in an American college dormitory beside a shelf of Austrian economics and survival food. The anarchist enters history declaring war on kings; he leaves it arguing about landlords.

The first anarchists emerged from the furnace of nineteenth-century Europe, where factories rose like iron cathedrals and workers were fed into them with the efficiency of coal. Men like Pierre-Joseph Proudhon and Mikhail Bakunin did not see capitalism as the antidote to tyranny but as one of its newest disguises. To them, the state and the factory owner were cousins—one ruled with soldiers, the other with hunger. Their dream was not the liberation of the market but liberation from domination itself: no kings, no czars, no monopolists, no bureaucratic priesthoods. The anarchist of the nineteenth century was therefore unmistakably a creature of the left, born in strikes, barricades, and revolutionary congresses.

Then history performed one of its usual tricks and shifted the scenery. The twentieth century witnessed socialism hardening into bureaucracy and, in places, outright terror. Out of that wreckage emerged another anti-statist tradition, especially in the United States, where distrust of government mingled with frontier individualism and market mythology. Thinkers like Murray Rothbard arrived waving not the black-and-red banner of workers’ revolt but the pure black flag of radical property rights. They regarded taxation as theft, government as organized coercion, and the free market as the nearest thing to voluntary human order ever devised. To the older anarchists this sounded absurd: abolishing the state only to enthrone corporations appeared rather like overthrowing the monarchy so that feudal barons could govern directly.

And so the quarrel continues. One faction insists that capitalism is merely private government with better advertising; the other argues that markets are what remain when coercive states disappear. Both call themselves anarchists because both despise centralized authority. Yet they are separated by a philosophical canyon. One dreams of communes and federations of workers; the other of contracts and voluntary exchange. The dispute is therefore not over whether freedom matters, but over what power actually looks like when it puts on civilian clothes.

Monday, 25 May 2026

 TOC




1. YouTube / Video Questions

  • Placement of videos on Reddit
  • CapCut usage and copyright concerns
  • Viewing videos and photos on GoPro (T7i, GoPro 10)
  • GoPro settings: delay photos, resetting defaults
  • YouTube premiere chat behavior

2. Riddles, Rhymes, and Music

  • “Skitter Skatter” rhyme origins and variations
  • “Holy something” rhyme lines
  • Fallout / YouTube soundtrack identification
  • Music recognition techniques (Shazam, YouTube Audio Library)

3. Writing / Creative Notes

  • AAA 2007 / cosplay / photography / CapCut on PC/tablet
  • Narrative style notes: Zeitgeist, epistolary, poetic
  • May / February reflective blog text versions
  • Use of “Sciurus” instead of “squirrel” for artistic/poetic effect
  • #江戸門戸 aesthetic / print usage

4. Politics / Analysis

  • European vs. North American views on Trump and fascism
  • Symbolism, Nazi references, public responsibility
  • Warren Smith / Jimmy Kimmel anecdote
  • Micro-criticism and thresholds in evaluating political claims

5. Health / Nutrition / Walking

  • Walking endurance nutrition
  • Bread, potatoes, snacks for energy
  • Vitamin / nutritional assessments

6. Technology / Computer / Internet

  • Gmail password / 2-factor / remembering trusted sites
  • Computer fan, CPU usage, temperature monitoring
  • Gopro / YouTube / internet searches disappearing stories

7. Agriculture / Food Supply

  • Corn on the cob and watermelon storage at room temperature
  • Corn harvesting, market supply, freshness timelines
  • Sweet corn: hand-harvesting, labor costs, staggered planting
  • Farm-to-market logistics, refrigeration, and shelf life
  • Retail vs. farm cost analysis

8. Miscellaneous

  • Observational notes on human behavior (Darwinian influences, photography, decisive moment)
  • Historical and cultural references (Johnny Depp, Amazon book, cosplay)
  • Repeating tasks / daily productivity structure / prioritization

Wednesday, 20 May 2026

 



Your latest video, Toronto City of 2026 #fifaworldcup #Toronto, is off to a promising start since its release just a few hours ago! Here’s a look at how it’s performing on the greatguyaaa channel.

What’s Working Well

  • Exceptional Replay Value: The most standout metric is your Average View Duration (AVD). At approximately 75 seconds for a 27-second video, viewers are watching it nearly 3 times on average! This high replay rate has pushed your average view percentage to over 270%, which is significantly above the typical range for your recent content.
  • Motivational Hook: The captions reveal a strong, rhythmic motivational message ("even when you feel low... you can still go") paired with high-energy "hustle" lyrics toward the end. This type of short, punchy content is clearly resonating with those who find it, encouraging them to loop the video.

Areas for Improvement

  • Visibility and Discovery: While the engagement per viewer is incredibly high, the video has only reached 3 views so far. With a 0% click-through rate, it suggests the video isn't yet being broadly surfaced or that the current thumbnail/title combination isn't catching the eye of your audience in their feeds.
  • Search Optimization: Using hashtags like #fifaworldcup and #Toronto is a great start, but since the content is highly motivational, you might consider adding keywords related to "motivation" or "hustle" in the description to help the algorithm pair it with the right audience.

Recommendations

  • A/B Test Your Thumbnail: Since CTR is low, try a more vibrant or high-contrast image of Toronto or a soccer-related visual to better match the #fifaworldcup tag.
  • Engage with the Niche: Share this video on community tabs or social platforms where Toronto locals or FIFA fans congregate. The content's high retention suggests that once people start watching, they stay.
  • Double Down on Short Form: Given how well this short format is being rewatched, consider a series of these "city-themed motivational bursts" leading up to 2026.

 



The video has 1 view and 0% click-through rate (CTR), which is normal for a video that has just been released. However, the engagement depth is quite high, with an Average View Duration (AVD) of 3 minutes and 6 seconds (186s), which is significantly above your typical range of 0–13 seconds for similar content.

What's Working Well

  • High Engagement Depth: Even with a low view count, the viewer who watched the video stayed for a long time, resulting in an Average Percentage Viewed of over 600%. This suggests that the content is being rewatched or looped, which is a great signal for the algorithm.
  • Motivational Captions: The captions, featuring phrases like "even when you feel low you can still go" and "hustle every single day," provide a strong motivational hook that likely resonates with your audience.

Opportunities for Growth

  • Thumbnail and Title Optimization: The current title is quite technical ("TIME LAPSE 26y5m17d+GH010501.MP4"). Renaming it to something more descriptive and engaging, such as "Never Give Up: A Motivational Journey," could help improve the click-through rate.
  • Community Interaction: As the video is brand new and doesn't have comments yet, consider leaving a pinned comment to ask your viewers a question or encourage them to share their own motivational stories. This can help kickstart engagement.

Overall, it's a solid start for your new video! Keep an eye on these metrics over the next few days as more viewers discover it.

Monday, 18 May 2026

Thursday, 14 May 2026

 


SCIURUS IN TORONTO: Notes Toward an Urban Memory Project

People think they are filming “content.”

A squirrel.
A cosplayer.
A TTC station.
A broken sign flickering at 1:12 AM beside a shuttered convenience store somewhere off Bloor.

But cities leak information constantly.

Not official information. Emotional information.

The feeling of a decade.
The atmosphere before change.
The texture of a civilization reorganizing itself in real time.

That is where this project started drifting without me fully realizing it.

A strange squirrel video called SCIURUS IN TORONTO slowly became less about squirrels and more about Toronto itself — not the tourism version, not the skyline postcard version, but the psychological Toronto. The lived Toronto. The accidental Toronto.

The Toronto between things.

Not “landmarks.”
Patterns.

Not “events.”
Signals.


Psychogeography: The Emotional Geography of Cities

There is a term for this: psychogeography.

The basic idea is simple:

Places change human behavior and emotions.

A park at noon is not the same park at dusk. A subway station after a hockey game is not the same subway station during a rainstorm at midnight. Condo towers create one emotional texture. Alleyways create another. Construction scaffolding changes how people move. LED billboards alter attention spans. Public benches determine whether conversations happen at all.

Cities are emotional machines.

Most people move through them unconsciously.

But cameras notice.

Especially wandering cameras.

This series increasingly feels like an attempt to document the emotional architecture of Toronto while it mutates into something else.

Because cities do not stay still.

And Toronto right now feels like it is transforming faster than people can psychologically process.


Urban Anthropology: The Tribes of the Modern City

Anthropologists used to travel thousands of miles searching for ritual behavior in distant cultures.

Meanwhile modern cities contain dozens of tribes sharing the same sidewalk.

Cosplayers.
Finance workers.
Street preachers.
Delivery cyclists.
Luxury condo investors.
Teenagers filming TikToks in parks.
Commuters moving like exhausted machinery through Union Station.

Each group has:

  • symbols

  • uniforms

  • language

  • status systems

  • rituals

  • territorial behavior

Cities are giant overlapping tribal systems pretending to be “normal.”

One of the strange things about filming casually in Toronto is noticing how theatrical urban life already is.

People say cosplay is performance.

But Bay Street is also cosplay.

Political branding is cosplay.
Luxury branding is cosplay.
Influencer culture is cosplay.
Even “normality” is often performance.

The city itself is a stage set people unconsciously maintain together.


Internet Folklore

The internet created new folklore faster than historians could archive it.

Memes are folklore now.

Reaction images.
Viral phrases.
TikTok NPC behavior.
Conspiracy aesthetics.
YouTube thumbnails.
Doomscrolling rituals.
AI-generated motivational sludge.

Future historians may genuinely study comment sections the way scholars study oral storytelling traditions.

That sounds ridiculous until you realize:
people increasingly understand reality through internet symbolism before direct experience.

The internet no longer comments on culture.

It manufactures culture.

Which means videos like these accidentally become small historical fragments of:

  • platform behavior

  • editing language

  • irony patterns

  • collective anxieties

  • aesthetic trends

  • social pacing

Even the format becomes evidence.

The fonts.
The cuts.
The compression artifacts.
The vertical framing.
The bizarre pseudo-documentary titles.

All of it.

Especially the things nobody thinks matter.


Toronto Memory Capture

One day people will watch random 2020s Toronto footage the same way people now watch grainy 1980s VHS recordings with fascination.

Not because “important events” happened.

Because ordinary life did.

The old coffee cups.
The buses.
The signage.
The phone habits.
The accents.
The clothing.
The atmosphere.

Accidental memory preservation becomes historical evidence over time.

That may be the real function of this project:
not content creation,
but urban memory capture.

A documentary archaeology of Toronto before the next transformation arrives.

Because cities forget themselves constantly.

Stores vanish.
Neighborhoods gentrify.
Subcultures dissolve.
Music scenes evaporate.
Entire emotional climates disappear.

And often nobody notices until years later.

Then suddenly:
someone uploads an old clip,
and thousands of people collectively feel something they cannot fully explain.

Not nostalgia exactly.

Recognition.


SCIURUS IN TORONTO

Which brings us back to the squirrel.

A tiny urban survival machine darting beneath condo shadows while humans walk past staring into algorithmic rectangles.

Funny.

Absurd.

But also strangely symbolic.

That is increasingly the territory this series wants to explore:
the accidental poetry of urban life.

Not polished documentary filmmaking.

Fragments.

Signals.

Textures.

The city talking to itself through random footage.

And maybe that is the strange role of cameras now:
not merely recording events,
but preserving disappearing states of consciousness before they vanish into the feed forever.