I was once a linebacker-sized eighteen-year-old, too. What I knew then, what black people have been required to know, is that there are few things more dangerous than the perception that one is a danger.
Just as London Zoo uncannily reflected the dread at world events in 2008, Rory Gibb argues that new The Bug album Angels & Devils sees Kevin Martin and his cast of musical collaborators creating and intense yet engaging approximation of the chaos that surrounds us in 2014.
By replacing the geometric term sphere with the spatio-temporal term ‘dromosphere’, we can’t help but come to the conclusion that, if the speed at which the unknown has been growing expands or intensifies fear, this alarm in the face of the final end of humanity of which the ecology movement represents an urgent warning sign, then that fear is set to increase even further in the 21st-century, in anticipation of one last movement emerging, an eschatology movement, this time, that would be concerned with stockpiling by dividends of terror.
Earlier this month, the FBI warned that driverless cars could be used as lethal weapons, predicting that the vehicles “will have a high impact on transforming what both law enforcement and its adversaries can operationally do with a car”.
The point is that Godzilla is not an external menace. Godzilla is built into the system. Godzilla is our way of life. He is the danger of cataclysm that is always present because we have chosen to organize our societies in a certain way, a way that chooses productivity and profitability over safety and sustainability
I take the threat of terrorism seriously. And I think we all do. And I think it’s really disingenuous for the government to invoke and sort of scandalize our memories, to sort of exploit the national trauma that we all suffered together and worked so hard to come through to justify programs that have never been shown to keep us safe, but cost us liberties and freedoms that we don’t need to give up and our constitution says we should not give up.
Stripped of context, these comments might make you consider anew the ramifications of a world in which there is no privacy, nor any expectation of it. It reifies the notion that someone, somehow, somewhere in an office in Virginia, Utah or Cheltenham, Gloucestershire, is listening to your every word. That’s not paranoia; that’s the modern surveillance state, say the artists, who considered a live audio stream but settled on text instead.
It’s easy for us as wealthy Europeans to accept much of the technological rhetoric around the liberating power of technology without really realising it. In reality we early adopters are the first victims of the traps that technology has built into it: We don’t understand how or why our devices work and are inherently wary of finding out for fear of invalidating warranties or endangering our reliance on it.