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Memory in the Meme

We live in an age of disposable context. We scroll through the infinite ribbon of the glass screen, pausing only for a microsecond to register a flicker of recognition before sliding our thumb upward, condemning the moment to the digital abyss. We have been trained by the Technocrats, those right-brained architects of our algorithmic prisons, to view this behavior as consumption. They tell us we are “consuming content.” But they are wrong. When we pause on a meme, that pixelated artifact of cultural shorthand, we are not consuming. We are remembering.

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The Weight of the Digital Attic

Sorting through a box of family photos in Nebraska last year, the physical weight of them stopped me. It wasn’t just the heavy cardboard. It was the specific gravity of each print. I held a single, fading photograph of folks I did not know, captured on their wedding day. Just one. It wasn’t one of twenty-seven burst-mode variations kept “just in case.”

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Wilma’s Boy

My mother, Wilma Jean Boles, died on June 24, 2024. She was 85-years-old. Her death was unfortunate, and unnecessarily gruesome in that, in the end, she chose not to walk, or eat, or take her medication after a major surgery; the only thing she desired was a quick death. My mother always fought for what she wanted, and sometimes what she wanted is what nobody else wanted, including her death. Wilma never really recovered from elective surgery she had on May 23, 2024 to fix a perforated diaphragm where half of her stomach and part of her colon were stuck in her chest cavity, placing pressure on her left lung. Her surgeon believed she’d been living with that condition for more than 25 years; and he also believed there was “no good reason” for her not to recover and get better. As I have worked to come to terms with Wilma’s death, and the first 23 years of our life together, I am surrounded by — and often hunted with — the memories of my mother’s life, her successes, her disappointments, and her ability to continually confound the unwary. I have also realized, but not quite yet accepted, that no matter how hard I try, or how fast I may run, I will always be “Wilma’s Boy.”

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Growing Up in 70s Television: The Addictive Glory of Marshall, Schwartz, Larson, and Slade

The 1970s in the United States, as seen through the innocent, yet perceptive eyes of a child, was a period marked by profound cultural, political, and religious shifts. The 1970s were a decade where the vibrant promises of the 60s’ counterculture movements began to clash with the realities of ongoing political strife and societal change. The Vietnam War lingered in the background, its echoes felt in living rooms across the nation, while the Watergate scandal shook the foundations of public trust in government. Amidst this backdrop, the civil rights movement, women’s liberation, and a burgeoning environmental consciousness were reshaping the American social landscape.

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Student Teach Thyself: My Dubbed Podcast in Italian

Navigating the difficult task of teaching oneself Italian through the marvels of AI voice dubbing is a 21st-century twist on the ancient wisdom of “Physician, heal thyself.” That age-old saying, ripped from the heart of biblical narratives, pushes us towards self-reflection and repair before we set out to fix or guide others. When we apply this idea to the adventure of self-learning Italian — or any foreign language! — by using our own voices echoed back to us in Italian through AI wizardry, welp, it’s like we’re living in a high-tech remix of that proverb.

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Questions Answered by NFT Artists

It was an honor to be one of 10 in the world to be involved with the initial Alpha Test of Facebook’s support of NFTsdigital collectibles — between June 27 and July 22. During the initial test period, I interviewed several NFT Artists from across the world who were kind enough to share their work, and time, to explain their Art in relation to the distribution and sale of Non-Fungible Tokens. Here is the content of those engaging conversations!

 

IAN JONES

Ian Jones NFT

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John Fetterman Will Punch You in the Mouth!

[[[ UPDATE 05.15.22: John had a stroke the day this article was published! Please feel better soon, my friend, and yes, he’ll still punch you in the mouth from his hospital bed! ]]] John Fetterman is currently Pennsylvania Lt. Governor and he is also running to be a Senator from the same State. Sure, he’s 6’8″ tall. Yes, he doesn’t wear a tie. Of course, he prefers to wear hoodies. Because John Fetterman is tough. John Fetterman is what a Democrat used to be — and must be again: Of the land, against the elite power, for the common good. Now, I realize John Fetterman may not want to punch you in the mouth right now, but I am confident he would if he needed to, and the idea he could punch you if he were threatened into it is just the sort of inherent, but unspoken, return to earth the Democrat party needs in order to deal with the ongoing foolishness, and intimidation of, far Right Wing radicals. John Fetterman suffers no fools. A year ago, in my Human Meme podcast episode — The Great White Bridge as Throughline — I celebrated John Fetterman as a possible future Democratic President, along with the now self-politically immolated former mayor of Atlanta, Keisha Lance Bottoms as his second.

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ASL and the Deaf Culture Appropriation of Apple Fitness+

I have been a big fan of Apple Fitness+. However, after completing the workouts for a several months now, I have come to the uncomfortable conclusion that Apple’s misuse of Deaf Culture — in particular, ASL — in their workouts, is a disengaging, and phony, cultural appropriation intended to falsely imply inclusion, when the real aftereffect is a complete failure of meaning. At the beginning, and at the end of almost every workout, but never during a workout, the non-Deaf, and non-ASL fluent, trainers toss in a little ASL sign — a gesture, really — like “ready” or “welcome” or “thank you” and it just comes across as clunky; a falsely sprinkled twinkle on a star. Those throwaway “ASL” signs do not fit the spoken words of the trainer, or even really the intent of the class — they’re just movements intended to appease, and impress, and to not really communicate any emotion or context. Apple uses “ASL signs” as a winking trinket without the inherent value of a cultural totem or the magic of a talisman.

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How to Write A Lifetime Network Murder Movie of the Week

In my work as a Script Doctor, I take dramatic stories for television, the movies, and the stage, and I make them structurally better. That sort of work isn’t formulaic, but there are common touchstones that must always be considered and then incorporated — what I remember the great Joseph Campbell loosely calling, “the natural rhythms of human storytelling shared with the reliability of a heartbeat” — and that’s what I do; I provide an unpacked redirection of the concentric condition that we are all innately accustomed to sending and receiving in a performance communication dyad, in the acknowledgement of, and in the often unwitting acceptance of, “The Holy Triad.” The Creator, The Object and The Observer.

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From Moonbeam to Sunburn

The sun is danger and invective. The moon is hope and narcissism. We turn our eyes to the moon, and we see a man staring back; we turn our heads to the sun and are blinded by the daring. The moon soothes. The sun punishes. The moon beams and becomes us. The sun burns and loathes us. We have dipped a human toe in moon dust. We have now, finally, eyed the fiery sun, up close, but through a glass darkly.

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