Monday, April 2, 2018

Propaganda of Interest (Episode II)

Crikey!  I've been out in these wilds for a while now, and the further I explore into the dark depths of its depraved denizens, the more consistent the overall patterns of full-spectrum interactionist ecology which develops as if a symphony which writes its own score.  Shh, be careful, just right there is a Organized Clandestine Activity Grey Site (insert chain coffee trough).  Within such one can gain reliable access to information feeds which are allowed into one's own Covertly Tailored Internet Topology, and certainly it is possible to encounter some very dangerous specimens of fallax pulchritudo meretricius qui de reus.  It's just that one does not always have the luxury of taking specimens into one's own study and examining them under the aegis of a full laboratory apparatus.  Nevertheless, one must surrender to the adventure of encountering the novel, even in scenarios where all such discoveries branch into an inevitability which seemingly contradicts the very purpose of such investigations.  After all, judging from the virulent evolutionary mutations of this species of grey propaganda, it becomes more and more apparent what the main mechanism of attack it is which this species uses to render its victims vulnerable to the parasitic infection payload which it offers as a "sting in the tail" (actual information which is intended to reach host, forms of effect which can dovetail the semiotics of propaganda and also the syntax of its delivery process) to go with the "tempting fruit" (information suited to different audience tastes all layered together, entertaining art forms designed to integrate methods of art and propaganda together for a powerful synergistic effect).

I could go on and on about the specifics, but the more I investigate this entity and its evolving forms the more I am aware that it is truly in a symbiotic relationship with certain other life forms operating for their survival in this ecosystem. Clearly there is a lot at stake, and a balance is being struck in the various cycles of life.  There are the basic facts of biological necessity, perhaps well-summarized by Maslow's "hierarchy of needs", and it is with a haunting relevance to the full spectrum of culturally embodied life which manifests on the level of human semiotic ecologies.  After all, what is an "interaction" between organic or inorganic entities if it isn't, in each and every case, some sort of dynamic relation akin to the phenomenal world of biophysical world of interactions and the metaphysical, "noumenal world" of essences and their modes and manners of expression and relation of expressions, which includes all empirically or logically describable events in terms of some foundational set of interactants.  Fifths gotta eat too, fifths gotta get their territory and plunder piles, fifths gotta secure territory and sexual partnerships and, at the further reaches of that ladder of Maslow's, fifths gotta develop a sense of ego-syntonic self and other relations, gotta "self-actualize".  Yet, all the same, fifths gotta fifth.

What fifths do, essentially, is attempt to fulfill their own needs under a sort of conditioning system in their environment that suggest to them what the ramifications are if they behave one way or another in relation to the more dominant forces in their clade, in which they are "handled like assets", the more unwitting the better on one dimension of analysis, but on another it is essential that they are witting, although that may be a wittingness itself enframed within varying degrees and kinds of deception.  The whole basis of their existence is duplicity, and the whole function of that duplicity is to achieve a distinct diffraction angle, so to speak, between how they appear and what they actually are and do.  This cannot be done in a vacuum, just as no other form of existence can manifest without a supporting context of conditions which "enframe" it. More particularly, they are simply the manifestation of the activity of a secret society, literally, which operates hierarchically and contains within it various cults and sub-cults (cells), and also possesses a function which involves acting as social Bloch mirrors for said groups, being generalized patsy/stooge/clown entities.  These can and do exist at all strata of society which is "handled" outside some critical zone of "greyness" in terms of some critical form of information about the whole situation and the part in which the handled entity plays.  The overall relation between those on one side of some critical zone toward those on the other is that of parasite to host, respectively.  Minimally, it is with regard to information transactions and actions taken upon those payloads as they are redistributed, often with many layers of compartmentalization and plausible deniability, to agents and other entities capable of leading to desired effects or potentials for effect upon those on the information-deprived side of the equation.  Of course, several primary aspects of this system exist which include the fractal distribution of this information asymmetry and its catalytic potential to exert dominant influence in favor of the side possessing it over the side targeted by it, and that this runs up a systematic chain of command where the maximum potential for such domination through information asymmetry ultimately resides toward its apex.  Another primary aspect is the opacity of this very system of influence: The poignant power of such asymmetries lies first and foremost in their being unknown to those who are to be subject to their influence.  It is similar to the advantage derived from the element of surprise, which is a subset of this phenomenon here.

Indeed it is a lot like roleplaying as such rather than the operations which are actually "represented" by their pathetic attempts at being international superspies protecting local assets.  Hardy fucking har to that. The methods used are actually subversive of the rights of persons who are arbitrarily targeted as "enemies of the state" or potentially as such, and under such cover psywar activities are conducted, such as compartmentalized, pervasive, and distributed harassment methods, technologies and systems.  The full spectrum of such techniques are employed, and it is tantamount to engaging in covert civil warfare activity on domestic soil.  Or at least that's a sufficient model to accept for the purposes of basic analyses of the entities in question, human beings and their socio-cultural constructs in and about the artifacts of a city state, however defined in a broader domain with other, similarly constructed entities on that and neighboring scales of activity.  When examining propaganda, for instance, one must understand the full spectrum of its capabilities of influence, one must have a full situational awareness of its interactions with different elements of its environment.  What brings it to life?  What keeps it alive?  What helps it to flourish.  What causes it to die and decay when it can no longer adapt and cope with its context of activity, its human socio-cultural environment and all its faculties?

It's clear that qui de reus does not shy away from some rather compelling issues which would substantiate the driest of prose in the real world, and which could easily pass for the backbone of the TV series' plot.  At the same time, its mode of presentation demonstrates an attention to the detail of cinematic and stage art, combined with a sense of what rhetorical tones to integrate into the overall result so as to lead to several stacked and related domains of intended effect.  Leaving aside the production factors, and just focusing on the substantive content of the narrative of this entity, there is no question about its glaring relevance and all-too-frequent visitations into the very issues which, upon closer inspection, will alone make the analysis of the propaganda coherent.  There is the matter of authority and how it operates on various levels of local, state, and national scales.  The ecology of overtly displayed tradition and purpose for institutions of authority, and then a realpolitikal exposition of what sorts of corruption can be found in such likely places.  The varying relations between factions in such scenarios as arise when they play out their roles, and the likely complications which may arise in one form or another when such play out in the events which, however staged, yet also do comprise a large section of what people do "in real life".  Just look at the complementary role that is played within the same propaganda ecology by such internationally syndicated T.V. shows as "Big Brother".  In fact, if one examines the methodologies employed in that scenario, and expands them to fill out at least a fractally significant array of public social topologies of human interaction, you will have a system of operations which involves the same dynamics.  Those are in many aspects determined to be easily routed into, dovetailed in with coercive functions.

For example, the use of a public space to conduct actions one would have or might have conducted regardless of these considerations operates as a "mirror" to those elements in the public space who are not doing otherwise than exactly what they appear to be doing.  Yet, such actions can be used as stepping stones, covers, fronts, excuses, means to ends which are not at all what are the normal "payload" contained within actions apparently normal in public.  Let's say that the entire spectrum of such possibilities  have innocuous forms which do not attract significant attention to themselves, and this is one end of a spectrum of such possibilities.  On the other end of the spectrum they are absolutely nothing but covers for malicious or at least harmful acts, behind which is the intent to do harm.  More specific of an example are harassment techniques.  Anyone knows what it is like to be annoyed, and annoyance can come from many sources, and exist for many reasons.  Sometimes it comes in the form of something being distracting, whether suddenly, sharply and infrequently or gradually, intermittently, and perhaps with some frequency.  People know this, though they don't often intentionally engage in such activity for the sake of being annoying, at least not without also being culpable for malice or some other attempt at causing influence which may or may not be desired by those they affect.  If someone manages to find a way to do something which is "normal in public" so that it amounts to or is tantamount to active harassment of someone, then that is a crime, regardless of its pretended purposes involving some sort of "justice", "safety" or "security".  Especially in that it is done covertly and is equivalent to the same crime when it is conducted overtly, but is now aggravated by the fraudulence of deception, increased systemic deployment, increased deliberation, and possibly increased organized hierarchies of involved parties, making it a conspiratorial crime as well.  I'll not belabor the specifics, because they are as commonplace as the things that go on in the back seats of cars among siblings while the parents are in the front seat.

But those are the general structures, along with a sliver of specifics, of the "Fifth System" which has evolved in "the real world" and which also has an extensive lexicon of correlations with the plot elements of qui de reus.  In terms of the propatainment here, one should also examine the one-to-one correlations among the concrete content displayed in its scenes.  There's the metropolitan police, its various departments and their processes, and the sorts of corrupt organizations that can form and foment in such an environment.  Good cops try and do their job with honor and excellence, and bad cops operate rackets which attempt to cooperate constructively in different ways with organized criminal and freelance criminal elements, using them as assets where convenient, as prey for outright plunder, or find in them some assistance which helps them when trying to overcome the meddling of do-gooders.  These relations are variously competitive, parasitic, or mutualistic, with every shade and permutation of these relations and their attributes in different mixtures and transformations in between.  The same sort of varying forms of duplicity, conflict, and opportunistic harmonics are found on the scale of federal agencies, corporate entities, and military/security groups both public and private, official and secret.  The premise included in all this, that of doing good by helping people, is not just a handy trope, but also a typical point of interest in contracts people form between one another in any event, which would cement relationships that depend upon a meeting of the minds, reaching an understanding, and forming some sort of agreement or operating set of protocols and procedures which manifest as, in their consequences, some form or other of the aforestated conditions of ecological relations of human and human-constructed entities.

The currency of choice in the plot arrangements are the flows and transformations of an ecology of information, ranging from what happens in natural and common or colloquial forms all the way to the most complicated game-theoretic wars conducted between competing artificial superhuman intelligences on mass scales.  The historical precursors leading to the development of such information topologies and the agents which operate within its matrix of nodes is exactly the domain of interest which translates across the fourth wall of this propatainment.  It is as if a documentary (or a "reality" TV show) were being disguised as a well-made piece of amusement.  This is consistent with the real world history of such developments, and it is not presented in a way which is overtly deceptive concerning how such things really are, although the truth which is implied is not easily integrated into the waking, decision-making ego of the average citizen-consumer agent, who may or may not be capable or interested in such matters.  Yet it will affect them regardless, so the objective merit of the many historical, philosophical, and other more simply anthropological and social subjects and other references are a worthy subject matter of art even if it had no propagandistic agenda.  Not that art would not otherwise seek to influence through its expression, but simply that such influences, however valid they may be in their own right, dovetail into the many modes of utility for propaganda that art also serves in the right, or wrong hands.  On that note, and as an exemplification of the point made just now, there is a common and perhaps incorrect understanding of how Plato views the necessary use of art in order to ensure the proper structure of a just society, and this understanding is played out in full within the entire structure of this series' plot and dialogue, while the series itself  is an element in the overall relation of its own plot's subject matter to the real-world dystopia in which it is functionally embedded.

The disturbing displacements and dysmorphisms that can and do arise in humanity's development of various socio-political schemes are authentically rendered, albeit with a healthy dose of dramatic modification for artistic purposes.  The critically complicated relationship of humanity with its own nature, with its struggles in life peculiar to it, and with the astounding novelty of conditions which arise with the development of science, technology and methodology, are fairly well-presented as the strategic backdrop in which this series' plot is developed and in which it adapts.  The question of world-views which develop as organic features of an agent's personality in his world, and how that bears on the way he obtains, analyzes, interprets, evaluates, and acts upon information is displayed with much sophistication and in ways that foster the inclusion of character creation and development, and stylistic renderings of the scene and act, which sometimes are aesthetically compelling in their own right. Not above a certainly homely simplicity in the creation of its scenes, cut-scenes, and other devices (including the "trope ex machina", but excluding the high-tech overlays, which are not homely but technosexy), this indicates a willingness to engage in form/content manipulations that yield transactions not only across the fourth wall in their effect, but which in themselves exercise the prerogative of art which pulls at, shifts, and sometimes grossly or surgically alters the very structure of the artwork's relation to the "fourth wall" (everything surrounding attention focused upon the artistic rendering of reality into its framed form as art itself).  Sometimes this is done to make characters go along their acts and developmental arcs in a way that serves the overall work (think "lampshading"), and sometimes it simply introduces the mechanics of dissonance versus harmony and their tensions, shifting scales and keys of mood, tone, and rhythm (for example, genre manipulation).

The way these aspects of content and form develop and change over the course of an entire season, and then from one season to the next, reveal a lot about the mechanics of such dramatic art in and of itself, but also of the overall intent of the art in the way of developing certain information topologies between the audience and real-world entities, to naturally include (as I earlier indicated) the specific work of art itself as such and especially as propaganda.  There are implications which are suggested, sometimes subtly as a subtext, and other times as an overt argument of action in the scene, which indicate offerings toward the making and reshaping of the worldviews of the characters in the series in parallel (and as proxies for) such changes in the worldviews of the audience.  Sometimes we are reminded that there are virtues and values which matter more than cold equations, and other times there are indications that hard, fatefully deterministic forces operate which render sentiments and ideals a deflated, almost defeated artifact of the innocence, gullibility, naivete, or fateful flaw or quality of a character.  Much of it is overwrought, reaching a sort of distilled complexity bordering on a story about the interactions between godlike heroes and villains in some mythic cultural portrait densely populated on an ideal plane of elements which can barely be rendered coherently in the plot.

At times the scenes and characters reach such a sublime level of artistic rendition of one kind or another that they seem like fine art, without propagandistic intent.  It is as if sometimes the writers and actors "riff" so as to create genuinely crafted vignettes of dramatic beauty, sometimes demonstrably woven throughout an episode, and often shifting between episodes as if they were themselves being woven into a larger weave of aesthetic consideration.  There is often a pragmatic aspect to these modifications of style, which indicate the usual interests in providing changes of pace, enabling a catharsis needed for the audience (and for the plot), or for adjusting the parameters of what will contain the attention upon what is desired in the scene or episode, and other ways of reaching a homeostasis between suspended disbelief and reflective absorption of the presented material. The refinements in the renditions of perspectives which are symbolic of the mentality of the characters themselves, the use of light, changes of their prosody or projection, variations in the color of their personalities and ways of experiencing one another, all proceed with sturdy craftsmanship and expressive novelty which are critical to the development of such works.  Even this dovetails across the bridge of form and content, as the efforts of characters to endure, cope with, and adapt to their interactions with the plot and one another will be dotted and splashed with philosophical reflections about how the plot is evolving which parallel the concerns of those who are involved in the creation of the art, and also which parallel the world at large and the audience's opportunities to reflect on those corresponding real-world issues.

So in this sort of constructed environment of information about information, any such structural and functional features of the artwork will inescapably influence aspects of how some features of the work interact with the audience.  It may reinforce by adding to or excluding from the frame elements which are more or less rightly worthy of conscious reflection.  It may elaborate some positions and simplify others such that, though one is not overelaborated nor the other oversimplified, there can be a gestalt formed by those two distinct elements being economized into the overall narrative in certain ways which can render it "as if" those exaggerations actually took place (as can be seen on an empirical level with certain optical and aural illusions).  When all these nuances of influence are integrated into a singular impression, one can sometimes derive epiphanies of what the overall intent of the episode, the season, and overall series are, or at least what the overall impact is going to be with this or that demographic of the audience.

These influences are sometimes subtle and concerning deep matters, or sometimes they pander to issues of the day, and sometimes they are takes on motifs relevant to the plot and also to the larger world.  One deep matter is what are the ramifications of developing artificial intelligence, massive surveillance networks, and human asset farming (especially in the realm of espionage), the ethics of such things in themselves, and the further complications which arise from their various interactions with one another and certain fundamental questions about the meaning of life, death, the self, the world, "and everything".  The question of authority, rights, means versus ends, emergent life forms (AI, ASI, cyborgs, Cyranoids and organoids), heuristics of analysis and protocols of action, differing principles guiding life and death decisions. Significant questions of faith, trust, belief, cognition and the ethics of evaluating human character and conduct are explored in compelling and interesting ways.  Tropes from appropriate genres of dramatic art are recycled, redone, paid homage.  Interracial and class relations, forms of sexuality and expression, different forms of familial and local social life and perennial and yet temporally shifting issues are given their share of the spotlight. Characterizations of how people seem on the surface versus what may lie underneath are explored along the entire continuum from commonplace and unremarkable to poignant and surprising.  Important considerations of how certain technologies and techniques of espionage can be rendered weapons against the people whom they are supposed to protect, and how fundamentally irremediable such problems might be (especially when compounded with the problems of human nature), are a central thread of the narrative.

With such a complex and intricate scheme of contentual and formal features, there is the sense that it is overly involved, or "busy", overloaded in some way that lends itself to a certain cognitive myopia which one might find quite uncongenial to the serious gravity of the issues which are embedded in the plot and its narration.  That seems to be a stage trick or slight of hand which is in action here, except that it also seems to be the necessary amount of such myopia to accomplish two things simultaneously; to make the art aesthetically and morally poignant yet also interesting and engrossing is one, the other is to enable the form of the propaganda to serve as a means to lend influence on the way targeted audiences perceive and evaluate their world just beyond the 4th wall.  This is a fundamental sort of "coincidence" and rational people will not be able to systematically both ignore and recognize this relation of influence.  Only if they can systematically recognize such a relation of influence could they even begin to recognize any ramifications and implications resulting from such a fact, let alone those which arise from its very realization as such.  So the power of this form of propaganda, formally, is already instantly capable of sorting a target audience into several fundamentally different groups, at least two of which are of immediate fact and significance: those who perceive the two major aspects of this propaganda, and therefore are even only then capable of being able to recognize that it is propaganda.  This is because of this art serving its purposes by being aligned with it isotropically along the axis of influence on people satisfying at least some of the goals of a regime of active forces of influence in society and culture, much of which could be considered "propagandistic" in its symbiotic relationship to actually existing organizations of persons and entities (AI included) which actually exist in the world our side of the "4th wall" and which constitute the transmission of a vision to the public as if a revelation from a hierophant to an initiate.

The primary relationship is one of authority, because even if influence never exceeds the giving of timely and possibly very good advice, there is an important aspect of how factors weigh in which are the trust of one agent of another, especially in how that affects critical decision-making both ad hoc and by contractual agreement.  So that is universally acknowledged to have an effective influence on a person that is as profound as the culture combined, often exceeding it so that the culture is somewhat transformed in the relation where it accommodates its acolytes.  Social hierarchies are derived from the principle forms of influence found in the parenting of children, especially but not necessarily one's own children.  For example, loving teachers who play a role of instruction for children for the sake of their betterment in any way are certainly "parenting" a child in all the essential ways that make it a significant relationship other than the merely material in nature.  But what is most pertinent in the transformation of a child into an adult for a human being is for that child to be treated as more than inhuman chattel.  Certainly more than that.  But in order to reach their own vistas on Maslow's fractally expansive ladder of needs, there are phenomenological consequences that are universally admitted to matter where cultural influence can acquire any form of systematic influence over the adults in the relationship, as well as that of their children, so that a systematic transformation of "who people are" and "what people do" becomes an asset for the consideration of certain large scale organized interests in the real world, who without a doubt bear influence on the creation of what becomes the manifest culture, including what it finds entertaining or in fashion, what is the sentiment of the day, month, year, decade, etc, what constitutes the "mature and proper" amount of attention to what subjects and what should be dismissed, in other words there is the making here of an influence racket, even a metaracket.

That's because projects which have been in existence which seek to justify and authorize covert relationships with what are purportedly domestic, civilian cultural and other infrastructures through infiltration techniques, backroom deals, clandestine operations activities conducted upon parties of interest.  In qui de reus as in real life, all interested parties seem in some minimal way to seek intelligence on those around them, usually through the process of observation and systematic evaluation on multiple levels of experience.  All of these dynamics are the most important subjects which can obtain in any set of propaganda elements which will or might coincide with what those, who are themselves its primary subject matter, want to happen with respect to their sought goals in real life.  And these dynamics are partially depicted in what is "strategically leaked" to the audience in the exposure through this propaganda.

Correlative to these matters is that whenever the subject matter of such a form of propaganda coincides with what are the actual relations which obtain between these parties, and this so that those actual relations are changed in some way through this influence so as to better accord with what is wanted by those investing in such influence, then this is certainly a hallmark of propaganda.  And so where all the subject matter of an entity like qui de reus is concerned, one must never lose sight of the fact which most never obtain the sight to see.  Which is the fact that it is by its own confession propaganda due to the fact that this form of influence operates on such a scale, concerns such a specially relevant subject, treats of these very facts and others such as that influence rackets exist and can arbitrarily influence even the very fabric of the social order wherever it intersects with its digital/electrical contact with this entity, so much so that it represents a powerful initiative to have against anyone who would succumb to it, as it has a full-spectrum dominance capability.  That is not an insignificant sort of influence.  So any propaganda that treats of such a subject was always fated to be propaganda to its service or disservice, per the subject matter itself in relation to actual investors or (systematic?) beneficiaries who may not necessarily merit the honor or privilege which they seem to possess, but who will certainly influence both the real world in which that propaganda is embedded, and so of course that propaganda itself will fall under their influence, and can be reasonably predicted to be in their service.  Qui de reus is that sort of propaganda, and therefore it is critical to recognize it as such.

Those who do succumb to such generalized and massive, well-organized forms of influence are fated to do so either with some varying degree of sycophancy or else with some varying degree of contempt.  But either way they fall under its influence in some relation to how much those other than themselves fall under its influence.  This relation can be modeled into some determinable minimum of forms which might more honestly resemble what a social group is normatively expected to demonstrate in terms of comity.  Such is at least the supposed norm, and people supposedly act within its common sense parameters, and so therefore also learn to understand the tenets of justice sufficiently bound up with the tradition of common law.  And this same metric informs the manifestation of that entire culture, and therefore any such influence as can be had by any elements of influence whatsoever will fall under the influence of whatever predominantly influences the culture.  It seems that in the human species there is a massive proportion in favor of systems of influence over individual decision-making through the social institutionalizations of culture, so that proportionality is already stratified in favor of "the other" rather than of "the individual himself", and to a very severe degree.  This underlying biosocial fact is admitted into the primary set of elements of most existing specimens of dramatic storytelling, and it is itself, unsurprisingly the actual substructure of the real social order. So, in fact, enforcement elements in these entities are possessed of some of the important elements of virtue sufficient to at least be beholden to and possibly transmit attention to some minimum of civility of social conduct within classes. And to such an extent as these structures are influenced by propaganda, so do they attempt, by default at least, to transmit some of that influence through their assertion of norms upon individuals and groups.

But that is the steady state of cultural semiotics which is essential to all human role engagement and also to a large part of his basic individualization and socialization potentials, certainly of the average member of the biosocial organism.  That process has a certain inertia invested into its longer-range, inter-generational transmission systems of  culture, such as custom and tradition.  And this inertia flows along lines of biological, familial and communal triggering of epigenetic instantiations of hard-wired traits, so as to align them, through attendant social programming schema, into becoming the "fruit" of this process (resultant behavior), easily dovetailing with, and itself the substratum of, more rigid forms of such programming in the form of organized classical conditioning schemes.  Such schemes as are intended to restrict, sometimes to the point of hobbling, those same processes which they intend to program and exploit through such coercive governance. The cybernetic macroscale referent to something akin to "brainwashing" lies within this domain of procedures.

And examining the full range of the qui de reus propaganda payload, as it was delivered over an arc of 5 seasons in 5 years, it is apparent to me what the intended effect was to be.   And this effect has seemed largely to have become a concrete reality, one which I discovered without any examination of propaganda over the last two decades (to include Person of Interest). These truths and facts which were leaked by this propaganda are what I have in parallel discovered to exist in the world, by means of my own independent methods of investigation, which is a sort of philosophical heuristics.  A method which I of course do not intend to articulate any further than is sufficient for my own understanding, so that I can fulfill my vocation, to see and understand my world for the sake of truly knowing reality, which is what philosophers do. These effects of this propaganda, the concrete reality that I watched develop and which I studied along other lines, yet which can be causally traced partly to the intent of such propaganda, prohibits sharing too much about the methods of my analysis.  Because in worlds such as this one, obscene with duplicity and coercive rackets along the full spectrum of human action, in accordance with schemes of organized crime using national security and public safety as cover for their crimes, using the protection of "state secrets" as their excuse, I'd rather not divulge anything which could assist the epistemology of "the usual suspects".  

Besides, the results of my analysis virtually speak for themselves, as through this propaganda, those involved have literally confessed the nature of their involvement, which is as much a monstrosity as any of the malignancies of their tyrannical, panopticon-fueled artificial superhuman intelligences might have produced in the series per se.  The same results of systematic and pervasive corruption were always the natural result, and the outcome was naturally going to be this, one of many inevitabilities, once a critical line was crossed.  And the "black box" in which these machinations are developed is nothing other than the secrecy with which its evil plots are shrouded, these being simply the sum total of all the information, resource, and technological asymmetries with which they can carry out those schemes in such a way that it is at times indistinguishable from a transcendental influence such as an ASI.

The inextricable consequence of the aforesaid is that this world no longer has the authority, metaphysically, to exist.  It no longer has any time left for its existence to demonstrate anything of value for something as important at stake as what lies at the heart of the essence of existence as such.  It is an aberrant, abhorrent entity.  From its central core all the way out to its most tertiary edges.  In another way of saying the same thing, it would have been better had this sort of world never existed, such is the degree of truth of that fact that "it should not be". This is confessed through the only truly coherent analysis of its own propaganda (and not just this specimen to be sure), to include an analysis of the divergence between its intended effects through its total semiotic payload and the actual world in which its idea was conceived by the likes of Jonathan Nolan et al.  It is significant evidence in any meta-analysis of the world condition and its inevitable futurities.  There are no longer any morally significant decisions to be made by such a world as this one has become.  It is inherently doomed. Therefore anyone with even a shred of Reality in their own Essence would have condemned it by now, rather than to have defended it or even merely developed a "neutral" and "passive" relation to it.  Its determination to be what it has become is a significantly determining factor in judging its essential and deserved fate, a simple byproduct of its inherent character, and the opportunity of that character to express over a time-space career such as is demonstrated to have transpired in "this world".

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