t e l e p a t h テレパシー能力者 ᓷᓺᓺᕿᔍᕣᒔᖍ

静かなのにすべてを貫く愛 by t e l e p a t h テレパシー能力者 This motherfucker laced up the tele boots after a decade and delivered two golden era monoliths with a VDP sensibility. The sonic equivalent of Shawn Michaels returning and winning the World Heavyweight Title in '02 Favorite track: いつも強く抱きしめて、決して離さないで -Ephemeralesque

تنها من نیستم که «یک شب دیگر با هم» را سایکدلیک‌ترین اثر تله‌پث می‌دانم. مگر می‌شود که آن 88 دقیقه و 88 ثانیه هیپنوتیزم مشوش و اتسمفریک با آن سمپل‌های صداییِ ناموزون را چون یک کابوس تراژیک ندانست که در آن همه چیز در یک چرخه بی‌آغاز و بی‌پایان انداخته شده است که با وجود آشفته‌ساز بودنش، تنها یادی است که از یک رویای تب‌آلود تلخ و شیرین داریم. آهنگ اول (که به نظرم زیباترین آهنگ این آلبوم دو آهنگیست)،کرختی جنون‌آوری را به شنونده اهدا می‌کند با لطافت زخم‌زننده‌ای حس گذر زمان را از او می‌گیرد. https://www.youtube.com/watch?v=Bpm9_ePCwUs

Telepath's Month is over :(

از وقتی دانلودش کردم سال‌ها داشت پایین تپه‌ی آهنگ‌هام خاک می‌خورد و هیچ‌وقت توجهی بهش نکرده بودم - i mean یه آهنگ نیم ساعته که تگ‌هاش درست نیست، کاور نداره و حتی اسمشو نمی‌تونی بخونی چیزی نیست که همینجوری رغبت به بررسیش بکنی، درست می‌گم؟ چند روز پیش در حین مرتب کردن تگ‌های آهنگ‌هام (کاری که خیلی وقت بود باید انجام می‌دادم) بهش برخوردم و تگ اسم و آرتیست و کاورش رو درست کردم، ولی باز توجهی بهش نکردم. تا اینکه امشب بعد از Eye in the Sky دنبال یه آلبوم دیگه واسه گوش دادن می‌گشتم و همینطوری رفتم ته لیستِ الفبایی سراغ اونایی که اسمشون ژاپنی/چینی بود؛ همه رو یا گوش داده بودم یا اگرم نداده بودم می‌دونستم سبکشون چیه و حس هیچ‌کدوم رو نداشتم. تنها موردی که چیزی ازش نمی‌دونستم همین بود. یه قطعه موزیک تک و تنها. روش اینتر زدم و منتظر موندم ببینم با چی مواجه می‌شم. همون دقیقه‌ی اول ازش خوشم اومد و رفتم درموردش سرچ کنم. تقریبا ۶ دقیقه از آهنگ گذشته بود که دیگه نتونستم وب‌گردی رو ادامه بدم، برگشتم به پلیر و خودمو به اتمسفر آرامش‌بخش‌اش سپردم که به هیچ‌یک از تجربیات قبلیم شبیه نبود. اولین بار بود که یه آهنگ اینطور روحم رو بغل می‌کرد، و سنگینی استرس و اضطراب رو از دوشم برمی‌داشت. درست کردن تگ هزاران آهنگ کار پدردربیاریه، چند هفته‌ست که مشغولشم و هنوز شاید نصفش هم انجام نشده، ولی حالا می‌فهمم توسعه‌دهنده‌ی beets چی می‌گفت:

... importing and correcting the tags for a large library can be an endless, tedious process. ...Maybe it will help to think of it as a tradeoff. By carefully examining every album you own, you get to become more familiar with your library, its extent, its variation, and its quirks. People used to spend hours lovingly sorting and resorting their shelves of LPs. In the iTunes age, many of us toss our music into a heap and forget about it. This is great for some people. But there’s value in intimate, complete familiarity with your collection. So instead of a chore, try thinking of correcting tags as quality time with your music collection.

❤️

Crazy things are happening in Youtube: https://www.youtube.com/watch?v=h9FZpboc0I4

In course of his career, Zhang gained a great number of nicknames, most of them derogatory: "Great General of Justice and Might": a title he awarded to himself. "Old Eighty-Six": The origin of this nickname is unclear. According to rumour it either referred to his height or to the length of his penis "Three Don't Knows": Based on Zhang's alleged lack of knowledge about how much money he had, how many soldiers he had, and how many women were in his harem. "72-Cannon Chang": This nickname might also have been connected to the alleged length of his penis. "The General with three long legs" by Shanghai's prostitutes in reference to his penis' length.

You tell me to do this, He tells me to do that. You're all bastards, Go fuck your mother. — "Poem about bastards" credited to Zhang Zongchang

I think Isaac Asimov is becoming the most important author I have read in years

- "Why the need for such perverted Faustian spirit of interplanetary expansion?" - "BECAUSE IT'S SO MUCH FUN JAN GET IT!!!"

Science fiction has always been political. Gibson’s Neuromancer was a warning about corporate power, not a pitch deck. Stephenson’s Snow Crash was satire, not strategy. Asimov’s Foundation explored the limits of individual genius and the necessity of democratic institutions. Star Trek imagined overcoming capitalism, not retrofitting it with better spaceships. This sci-fi orientation has deep roots. In the 1990s, science fiction fans, transhumanists and cypherpunks overlapped in online communities like the Extropians and the Cypherpunks mailing lists, laying conceptual groundwork for technologies like bitcoin long before the 2008 financial crash made cryptocurrency seem necessary. The computer engineer Wei Dai, whose ‘b-money’ proposal directly influenced bitcoin’s design, was active in both communities. The digital future wasn’t being debated in policy circles. It was being imagined in forums where people discussed Vernor Vinge’s 1993 essay on the technological singularity and Neal Stephenson’s Cryptonomicon (1999) – a novel depicting cryptographers creating digital currency – alongside actual code. Taken together, these cases converge on what I call ‘reactionary futurism’: the deployment of science-fiction aesthetics to advance anti-democratic political projects. It uses the chrome-plated aesthetic of the new to engineer a return to an idealised, brutal past – 19th-century frontier capitalism with radical individualism, unregulated markets, and rejection of democratic governance, but armed with 21st-century drones and algorithms. Thiel’s 2009 essay makes this explicit. After declaring freedom and democracy incompatible, he concluded: ‘The fate of our world may depend on the effort of a single person who builds or propagates the machinery of freedom that makes the world safe for capitalism.’ Not democracy; capitalism. And not collective effort; a single person. It is the Foundation narrative, the Hari Seldon myth, the lone visionary who sees what the masses cannot – stripped of the democratic institutions Asimov built that myth to defend. The central question isn’t whether science fiction will shape reality – that process is already underway. The question is: whose version will prevail? https://aeon.co/essays/silicon-valley-has-a-science-fiction-problem

This sci-fi orientation has deep roots. In the 1990s, science fiction fans, transhumanists and cypherpunks overlapped in online communities like the Extropians and the Cypherpunks mailing lists, laying conceptual groundwork for technologies like bitcoin long before the 2008 financial crash made cryptocurrency seem necessary. The computer engineer Wei Dai, whose ‘b-money’ proposal directly influenced bitcoin’s design, was active in both communities. The digital future wasn’t being debated in policy circles. It was being imagined in forums where people discussed Vernor Vinge’s 1993 essay on the technological singularity and Neal Stephenson’s Cryptonomicon (1999) – a novel depicting cryptographers creating digital currency – alongside actual code. Taken together, these cases converge on what I call ‘reactionary futurism’: the deployment of science-fiction aesthetics to advance anti-democratic political projects. It uses the chrome-plated aesthetic of the new to engineer a return to an idealised, brutal past – 19th-century frontier capitalism with radical individualism, unregulated markets, and rejection of democratic governance, but armed with 21st-century drones and algorithms. Thiel’s 2009 essay makes this explicit. After declaring freedom and democracy incompatible, he concluded: ‘The fate of our world may depend on the effort of a single person who builds or propagates the machinery of freedom that makes the world safe for capitalism.’ Not democracy; capitalism. And not collective effort; a single person. It is the Foundation narrative, the Hari Seldon myth, the lone visionary who sees what the masses cannot – stripped of the democratic institutions Asimov built that myth to defend. The central question isn’t whether science fiction will shape reality – that process is already underway. The question is: whose version will prevail? https://aeon.co/essays/silicon-valley-has-a-science-fiction-problem