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PLURALISTIC

▸ les 10 dernières parutions

08.12.2025 à 14:01

Pluralistic: Elon Musk's Blue Tick scam (08 Dec 2025)

Cory Doctorow

Texte intégral (4369 mots)


Today's links


A giant ogre, perched on a rock, holding a club. Its head has been replaced with the EU circle-of-stars on a blue background motif. It looms over a crying baby in a diaper. The baby's face has been replaced with Elon Musk's. The baby wears a Nazi armband. The swastika has been replaced with the 'X' logo. The baby is sitting on a giant 'blue tick' icon.

Elon Musk's Blue Tick scam (permalink)

In my book Enshittification, I develop the concept of "giant teddybears," a scam that has been transposed from carnival midway games to digital platforms. The EU has just fined Elon Musk $140m for running a giant teddybear scam on Twitter:

https://arstechnica.com/tech-policy/2025/12/elon-musks-x-first-to-be-fined-under-eus-digital-service-act/

Growing up, August 15 always meant two things for my family: my mother's birthday and the first day of the CNE, a giant traveling fair that would park itself on Toronto's waterfront for the last three weeks of summer. We'd get there early, and by 10AM, there'd always be some poor bastard lugging around a galactic-scale giant teddybear that was offered as a prize at one of the midway games.

Now, nominally, the way you won a giant teddybear was by getting five balls in a peach basket. To a first approximation, this is a feat that no one has ever accomplished. Rather, a carny had beckoned this guy over and said, "Hey, fella, I like your face. Tell you what I'm gonna do: you get just one ball in the basket and I'll give you one of these beautiful, luxurious keychains. If you win two keychains, I'll let you trade them in for one of these gigantic teddybears."

Why would the carny do this? Because once this poor bastard took possession of the giant teddybear, he was obliged to conspicuously lug it around the CNE midway in the blazing, muggy August heat. All who saw him would think, "Hell if that dumbass can win a giant teddybear, I'm gonna go win one, too!" Charitably, you could call him a walking advertisement. More accurately, though, he was a Judas goat.

Digital platforms have the ability to give out giant teddybears at scale. Because digital platforms have the flexibility that comes with running things on computers, platforms can pick out individual platform participants and make them King For the Day, showering them in riches that they will boast of, luring in other suckers who will lose everything:

https://pluralistic.net/2023/02/19/twiddler/

That's how Tiktok works: the company's "heating tool" lets them drive traffic to Tiktok performers by cramming their videos into millions of random people's feeds, overriding Tiktok's legendary recommendation algorithm. Those "heated" performers get millions of views on their videos and go on to spam all the spaces where similar performers hang out, boasting of the fame and riches that await other people in their niche if they start producing for Tiktok:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

Uber does it, too: as Veena Dubal documents in her work on "algorithmic wage discrimination," Uber offers different drivers wildly different wages for performing the same work. The lucky few who get an Uber giant teddybear hang out in rideshare groupchats and forums, trumpeting their incredible gains from the platform, while everyone else blames themselves for "being bad at the app," as they drive and drive, only to go deeper and deeper into debt:

https://pluralistic.net/2023/04/12/algorithmic-wage-discrimination/#fishers-of-men

Everywhere you look online, you see giant teddybears. Think of Joe Rogan being handed hundreds of millions of dollars to relocate his podcast to Spotify, an also-ran podcast platform that is desperately trying to capture the medium of podcasting, turning an open protocol into a proprietary, enclosed, Spotify-exclusive content stream:

https://pluralistic.net/2023/01/27/enshittification-resistance/#ummauerter-garten-nein

The point of the conspicuous, over-the-odds payment to Rogan isn't just to get Rogan onto Spotify – it's to convince every other podcaster that Spotify is a great place to make podcasts for. It isn't, though: when Spotify bought Gimlet Media, they locked Gimlet's podcasts inside Spotify's walled garden/maximum security prison. If you wanted to listen to a Gimlet podcast, you'd have to switch to using Spotify's app (and submitting to Spotify's invasive surveillance and restrictions on fast-forwarding through ads, etc).

Pretty much no one did this. After an internal revolt by Gimlet podcast hosts – whose podcasts were dwindling to utter irrelevance because no one was listening to them anymore – Spotify moved those Gimlet podcasts back onto the real internet, where they belong.

When Musk bought Twitter, he started handing out tons of giant teddybears – most notably, he created an opaque monetization scheme for popular Twitter posters, which allowed him to thumb the scales for a few trolls he liked, who obliged him by loudly proclaiming just how much money you could make by trolling professionally on Twitter. Needless to say, the vast majority of people who try this make either nothing, or a sum so small that it rounds to nothing.

But Musk's main revenue plan for Twitter – the thing he repeatedly promised would allow him to recoup the tens of billions he borrowed to buy the platform – was selling blue tick verification.

Twitter created blue ticks to solve a serious platform problem. Twitter users kept getting sucked in by impersonators who would trick them into participating in scams or believing false things. To protect those users, Twitter offered a verification scheme for "notable people" who were likely to face impersonation. The verification system was never very good – I successfully lobbied them to improve it a little when I was being impersonated on Twitter (I got them to stop insisting that users fax them a scan of their ID, or, more realistically, to send them ID via a random, insecure email-to-fax gateway). But it did the job reasonably well.

Predictably, though, the verification scheme also became something of a (weird and unimportant) status-symbol, allowing a certain kind of culture warrior to peddle grievances about how only "lamestream media libs" were getting blue ticks, while brave Pizzagaters and 4chan refugees were denied this important recognition.

Musk's plan to sell blue ticks leaned heavily into these grievances. He promised to "democratize" verification, for $8/month (or, for businesses, many thousands of dollars per month). Users who didn't buy blue ticks would have their content demoted and hidden from their own followers. Users who paid for blue ticks would have their content jammed into everyone's feeds, irrespective of whether Twitter's own content recommendation algorithms predicted those users would enjoy it. Best of all, Twitter wouldn't do much verifying – you could give Twitter $8, claim to be anyone at all, and chances are, you would be able to assume any identity you wanted, post any bullshit you wanted, and get priority placement in millions of users' feeds.

This was a massive gift to scammers, trolls and disinformation peddlers. For $8, you could pretend to be a celebrity in order to endorse a stock swindle, shitcoin hustle, or identity theft scheme. You could post market-moving disinformation from official-looking corporate accounts. You could pose as a campaigning politician or a reporter and post reputation-destroying nonsense.

This is where the EU comes in. In 2024, the EU enacted a pair of big, muscular Big Tech antitrust laws, the Digital Services Act (DSA) and the Digital Markets Act (DMA). These are complex pieces of legislation, and I don't like everything in them, but some parts of them are amazing: bold and imaginative breaks from the dismal history of ineffective or counterproductive tech regulation.

Under the DSA, the EU has fined Twitter about $140m for exposing users to scams via this blue tick giant teddybear wheeze (much of that sum is punitive, because Twitter flagrantly obstructed the Commission's investigations). The DSA (sensibly) doesn't require user verification, but it does expect companies that tell their users that some accounts are verified and can be trusted, to actually verify that they actually can be trusted.

I think there's a second DSA claim to be made here, beyond the failure to verify. Musk's plan to sell blue ticks was a disaster: while many, many scammers (and a few trolls) bought blue ticks, no one else did. The blue tick – which Musk thought of as a valuable status symbol that he could sell – was quickly devalued. "Account with a blue tick" was never all that prestigious, but under Musk, it came to mean "account that pushes scams, gore, disinformation, porn and/or hate."

So Musk did something very funny and sweaty. He restored blue ticks to millions of high-follower accounts (including my own). And despite the fact that Musk had created about a million different kinds of blue ticks that denoted different kinds of organizations and payment schemes, these free blue ticks were indistinguishable from the paid ones.

In other words, Musk set out to trick users into thinking that the most prominent people they followed believed that it was worth spending $8/month on a blue tick. It was an involuntary giant teddybear scam. Every time a prominent user with a free blue tick posts, they help Musk trick regular Twitter users into thinking that these worthless $8/month subscriptions are worth shelling out for.

I think the Commission could run another, equally successful enforcement action against Musk and Twitter over this scam, too.

Trump has been bellyaching nonstop about the DSA and DMA, threatening EU nations and businesses with tariffs and other TACO retribution if they go ahead with DSA/DMA enforcement. Let's hope the EU calls his bluff.

Of course, Musk could get out of paying these fines by moving all his businesses out of the EU, which, frankly, would be a major result for Europe.

(Image: Gage Skidmore, CC BY-SA 4.0, modified)

Hey look at this (permalink)


A shelf of leatherbound history books with a gilt-stamped series title, 'The World's Famous Events.'

Object permanence (permalink)

#20yrsago What’s involved in different publishing jobs? https://web.archive.org/web/20050306095536/http://www.penguin.co.uk/static/packages/uk/aboutus/jobs_workingpeng.html

#20yrsago Sony finally releases rookit uninstaller — sort of https://web.archive.org/web/20051204015131/http://cp.sonybmg.com/xcp/english/updates.html

#20yrsago EFF forces Sony/Suncomm to fix its spyware https://web.archive.org/web/20051210024413/https://www.eff.org/news/archives/2005_12.php#004234

#20yrsago Warner Music attacks specialized web-browser https://web.archive.org/web/20051210024927/http://www.pearworks.com/pages/pearLyrics.html

#20yrsago Sony’s DRM security fix leaves your computer more vulnerable https://blog.citp.princeton.edu/2005/12/07/mediamax-bug-found-patch-issued-patch-suffers-same-bug/

#15yrsago Internet furnishes fascinating tale of a civil rights era ghosttown on demandhttps://www.reddit.com/r/AskReddit/comments/eddwx/what_the_hell_happened_to_cairo_illinois/

#15yrsago Pasta carpet! https://wemakecarpets.wordpress.com/2010/11/02/pasta-carpet-2/

#15yrsago With a Little Help launch! https://memex.craphound.com/2010/12/07/with-a-little-help-launch/

#15yrsago Denver bomb squad defeats 8″ toy robot after hours-long standoff https://www.denverpost.com/2010/12/01/toy-robot-detours-traffic-near-coors-field/

#15yrsago UK govt demands an end to evidence-based drug policy https://www.theguardian.com/politics/2010/dec/05/government-scientific-advice-drugs-policy?&

#10yrsago Iceland’s fastest-growing “religion” courts atheists by promising to rebate religious tax https://icelandmonitor.mbl.is/news/politics_and_society/2015/12/01/icelanders_flocking_to_the_zuist_religion/

#10yrsago Springer Nature to release 100,000 titles as DRM-free bundles https://web.archive.org/web/20151210051243/https://www.digitalbookworld.com/2015/bitlit-partners-with-springer-to-offer-ebook-bundles/

#10yrsago Solo: Hope Larson’s webcomic of rock-n-roll, romance, and desperation https://memex.craphound.com/2015/12/07/solo-hope-larsons-webcomic-of-rock-n-roll-romance-and-desperation/

#10yrsago Body-painted models disappear into the Wonders of the World https://www.trinamerry.com/trinamerryblog/sevenwondersbodypaint

#10yrsago Make: the simplest electric car toy, a homopolar motor https://www.youtube.com/watch?v=oPzJr1jjHnQ

#10yrsago Thomas Piketty seminar on Crooked Timber https://crookedtimber.org/2016/01/04/thomas-piketty-seminar/

#10yrsago MAKE: a tiki-mug menorah https://web.archive.org/web/20151208123229/http://news.critiki.com/2015/12/05/tiki-mug-menorah-a-how-to-from-poly-hai/

#10yrsago Harvard Business School: Talented assholes are more trouble than they’re worth https://www.hbs.edu/ris/Publication

#10yrsago Multi-generational cruelty: America’s prisons shutting down kids’ visitations https://web.archive.org/web/20151204063410/https://www.thenation.com/article/2-7m-kids-have-parents-in-prison-theyre-losing-their-right-to-visit/

#10yrsago READ: Kim Stanley Robinson’s first standalone story in 25 years! https://reactormag.com/oral-argument-kim-stanley-robinson//

#10yrsago French Ministry of Interior wants to ban open wifi, Tor https://arstechnica.com/tech-policy/2015/12/france-looking-at-banning-tor-blocking-public-wi-fi/

#5yrsago China’s war on big data backstabbing https://pluralistic.net/2020/12/07/backstabbed/#big-data-backstabbing

#5yrsago The largest strike in human history https://pluralistic.net/2020/12/06/surveillance-tulip-bulbs/#modi-miscalulation

#5yrsago Ad-tech as a bubble overdue for a bursting https://pluralistic.net/2020/12/06/surveillance-tulip-bulbs/#adtech-bubble

#1yrago Battery rationality https://pluralistic.net/2024/12/06/shoenabombers/#paging-dick-cheney

#1yrago A year in illustration (2024) https://pluralistic.net/2024/12/07/great-kepplers-ghost/#art-adjacent

Upcoming appearances (permalink)

A photo of me onstage, giving a speech, pounding the podium.


A screenshot of me at my desk, doing a livecast.

Recent appearances (permalink)

>


A grid of my books with Will Stahle covers..

Latest books (permalink)


A cardboard book box with the Macmillan logo.

Upcoming books (permalink)

  • "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026

  • "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

  • "The Memex Method," Farrar, Straus, Giroux, 2026

  • "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026


Colophon (permalink)

Today's top sources:

Currently writing:

  • "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. LEGAL REVIEW AND COPYEDIT COMPLETE.

  • "The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.

  • A Little Brother short story about DIY insulin PLANNING

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06.12.2025 à 20:48

Pluralistic: Metabolizing the theory of "political capitalism" (06 Dec 2025)

Cory Doctorow

Texte intégral (4873 mots)


Today's links


The second inauguration of Grover Cleveland (1893) before a bunting-draped Library of Congress. The image has been colorized. Cleveland has been replaced with a politician figure making 'V' fingers in front of a bank of microphones; the politician's head has been replaced with Benjamin Franklin's head from a 1999 issue US $100 bill. That same bill has been matted in as the background of the inauguration scene.

Metabolizing the theory of "political capitalism" (permalink)

It's a strange fact that the more sophisticated and polished a theory gets, the simpler it tends to be. New theories tend to be inspired by a confluence of many factors, and early attempts to express the theory will seek to enumerate and connect everything that seems related, which is a lot.

But as you develop the theory, it gets progressively more streamlined as you realize which parts can be safely omitted or combined without sacrificing granularity or clarity. This simplification requires a lot of iteration and reiteration, over a lot of time, for a lot of different audiences and critics. As Thoreau wrote (paraphrasing Pascal), "Not that the story need be long, but it will take a long while to make it short."

This week, I encountered a big, exciting theory that is still in the "long and complicated" phase, with so many moving parts that I'm having trouble keeping them straight in my head. But the idea itself is fascinating and has so much explanatory power, and I've been thinking about it nonstop, so I'm going to try to metabolize a part of it here today, both to bring it to your attention, and to try and find some clarity for myself.

At issue is Dylan Riley and Robert Brenner's theory of "political capitalism," which I encountered through John Ganz's writeup of a panel he attended to discuss Riley and Brenner's work:

https://www.unpopularfront.news/p/politics-and-capitalist-stagnation

Riley and Brenner developed this theory through a pair of very long (and paywalled) articles in the New Left Review. First is 2022's "Seven Theses on American Politics" (£3), which followed the Democrats' surprisingly good showing in the 2022 midterms:

https://newleftreview.org/issues/ii138/articles/4813

The second article, "The Long Downturn and Its Political Results" (£4), is even longer, and it both restates the theory of "Seven Theses" and addresses several prominent critics of their work:

https://newleftreview.org/issues/ii155/articles/dylan-riley-robert-brenner-the-long-downturn-and-its-political-results

(If you're thinking about reading the source materials – and I urge you to do so – I think you can safely just read the second article, as it really does recap and streamline the original.)

So what is this theory? Ganz does a good job of breaking it down (better than Riley and Brenner, who, I think, still have a lot of darlings they can't bring themselves to murder). Here's my recap of Ganz's, then, with a few notes from the source texts thrown in.

Riley and Brenner are advancing both an economic and a political theory, with the latter growing out of the former. The economic theory seeks to explain two phenomena, the "Long Boom" (post-WWII to the 1960s or so), and the "Long Downturn" (ever since).

During the Long Boom, the US economy (and some other economies) experienced a period of sustained growth, without the crashes that had been the seemingly inevitable end-point of previous growth periods. Riley and Brenner say that these crashes were the result of business owners making the (locally) rational decision to hang on to older machines and tools even as new ones came online.

Businesses are always looking to invest in new automation in a bid to wring more productivity from their workers. Profits come from labor, not machines, and as your competitors invest in the same machines as you've just bought, the higher rate of profit you got when you upgraded your machines will be eroded, as competitors chase each others' customers with lower prices.

But not everyone is willing to upgrade when a new machine is invented. If you're still paying for the old machines, you just can't afford to throw them away and get the latest and greatest ones. Instead, as your competitors slash prices (because they have new machines that let them make the same stuff at a lower price), you must lower your prices too, accepting progressively lower profits.

Eventually, your whole sector is using superannuated machines that they're still making payments on, and the overall rate of profit in the sector has dwindled to unsustainable levels. "Zombie companies" (companies that have no plausible chance of paying off their debts) dominate the economy. This is the "secular stagnation" that economists dread. Note that this whole thing is driven by the very same forces that make capitalism so dynamic: the falling rate of profit that gives rise to a relentless chase for new, more efficient processes. This is a stagnation born of dynamism, and the harder you yank on the "make capitalism more dynamic" lever, the more stagnant it becomes.

Hoover and Mellon's austerity agenda in the 1920s sought to address this by triggering mass bankruptcies, in a brutal bid to "purge" those superannuated machines and the companies that owned them, at the expense of both workers and creditors. This wasn't enough.

Instead, we got WWII, in which the government stepped in to buy things at rates that paid for factories to be retooled, and which pressed the entire workforce into employment. This is the trigger for the Long Boom, as America got a do-over with all-new capital and a freshly trained workforce with high morale and up-to-date skills.

So that's the Long Boom. What about the Great Downturn? This is where Ganz's account begins. As the "late arrivals" (Japan, West Germany, South Korea, and, eventually China) show up on the world stage, they do their own Long Boom, having experienced an even more extreme "purge" of their zombie firms and obsolete machines. This puts downward pressure on profits in the USA (and, eventually, the late arrivals), leading to the Long Stagnation, a 50 year period in which the rate of profit in the USA has steadily declined.

This is most of the economic theory, and it contains the germ of the political theory, too. During the Long Boom, there was plenty to go around, and the US was able to build out a welfare state, its ruling class was willing to tolerate unions, and movements for political and economic equality for women, sexual minorities, disabled people, racial minorities, etc, were able to make important inroads.

But the political theory gets into high gear after years of Great Downturn. That's when the world has an oversupply of cheap goods and a sustained decline in the rate of profit, and the rate of profit declines every time someone invents a more efficient and productive technology. Companies in Downturn countries need to find a new way to improve their profits – they need to invest in something other than improved methods of production.

That's where "political capitalism" comes in. Political capitalism is the capitalism you get when the cheapest, most reliable way to improve your rate of profit is to invest in the political process, to get favorable regulation, pork barrel government contracts, and cash bailouts. As Ganz puts it, "capitalists have gone from profit-seekers to rent-seekers," or, as Brenner and Riley write, capitalists now seek "a return on investment largely or completely divorced from material production."

There's a sense in which this is immediately recognizable. The ascendancy of political capitalism tracks with the decline in antitrust enforcement, the rise of monopolies, a series of massive bailouts, and, under Trump, naked kleptocracy. In the US, "raw political power is the main source of return on capital."

The "neoliberal turn" of late Carter/Reagan is downstream of political capitalism. When there was plenty to go around, the capital classes and the political classes were willing to share with workers. When the Great Downturn takes hold, bosses turn instead to screwing workers and taking over the political system. Fans of Bridget Read's Little Bosses Everywhere will know this as the moment in which Gerry Ford legalized pyramid schemes in order to save the founders of Amway, who were big GOP donors who lived in Ford's congressional district:

https://pluralistic.net/2025/05/05/free-enterprise-system/#amway-or-the-highway

Manufacturing's rate of profit has never recovered from this period – there have been temporary rallies, but the overall trend is down, down, down.

But this is just the beginning of the political economy of Brenner and Riley's theory. Remember, this all started with an essay that sought to make sense of the 2022 midterms. Much of the political theory deals with electoral politics, and what has happened with America's two major political parties.

Under political capitalism, workers are split into different groups depending on their relationship to political corruption. The "professional managerial class" (workers with degrees and other credentials) end up aligned with center-left parties, betting that these parties will use political power to fund the kinds of industries that hire credentialed workers, like health and education. Non-credentialed workers align themselves with right-wing parties that promise to raise their wages by banning immigrants and ending free trade.

Ganz's most recent book, When the Clock Broke: Con Men, Conspiracists, and How America Cracked Up in the Early 1990s looks at the origins of the conspiratorial right that became MAGA:

https://us.macmillan.com/books/9780374605445/whentheclockbroke/

He says that Riley and Brenner's theory really helps explain the moment he chronicled in his own book, for example, the way that Ross Perot (an important Trump predecessor) built power by railing against "late arrivals" like Japan, Germany and South Korea.

This is also the heyday of corporate "finacialization," which can be thought of as the process by which companies stop concerning themselves with how to make and sell superior products more efficiently, and instead devote themselves to financial gimmicks that allow shareholders to extract wealth from the firm. It's a period of slashed R&D budgets, mass layoffs, union-busting, and massive corporate borrowing.

In the original papers, Riley and Brenner drop all kinds of juicy, eye-opening facts and arguments to support their thesis. For example, in the US, more and more machinery is idle. In the 1960s, the US employed 85% of its manufacturing capacity. It was 78% in the 1980s, and now it's 75%. One quarter of "US plant and equipment is simply stagnating."

Today's economic growth doesn't come from making stuff, it comes from extraction, buttressed by law. Looser debt rules allowed households to continue to consume by borrowing, with the effect that a substantial share of workers' wages go to servicing debt, which is to say, paying corporations for the privilege of existing, over and above the cost of the goods and services we consume.

But the debt industry itself hasn't gotten any more efficient: "the cost of moving a dollar from a saver to a borrower was about two cents in 1910; a hundred years later, it was the same." They're making more, but they haven't made any improvements – all the talk of "fintech" and "financial engineering" have not produced any efficiencies. "This puzzle resolves itself once we recognize that the vast majority of financial innovation is geared towards figuring out how to siphon off resources through fees, insider information and lobbying."

Reading these arguments, I was struck by how this period also covers the rise and rise of "IP." This is a period in which your ability to simply buy things declined, replaced with a system in which you rent and subscribe to things – forever. From your car to your thermostat, the key systems in your life are increasingly a monthly bill, meaning that every time you add something to your life, it's not a one-time expenditure; it's a higher monthly cost of living, forever.

The rise and rise of IP is certainly part of political capitalism. The global system of IP comes from political capture, such as the inclusion of an IP chapter ("TRIPS") in the World Trade Agreement, as well as the WIPO Copyright Treaties. This is basically a process by which large (mostly American) businesses reorganized the world's system of governance and law to allow them to extract rents and slash R&D. The absurd, inevitable consequence of this nonsense is today's "capital light" chip companies, that don't make chips, just designs, which are turned out by one or two gigantic companies, mostly in Taiwan.

Of course, Riley and Brenner aren't the first theorists to observe that our modern economy is organized around extracting rents, rather than winning profits. Yanis Varoufakis likens the modern economy to medieval feudalism, dubbing the new form "technofeudalism":

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Riley and Brenner harken back to a different kind of feudal practice as the antecedant to political capitalism: "tax-farming."

Groups of entrepreneurs would advance money to the sovereign in exchange for the right to collect taxes from a given territory or population. Their ‘profit’ consisted in the difference between the money that they advanced to the ruler for the right to tax and what they could extract from the population through the exercise of that right. So, these entrepreneurs invested in politics, the control of means of administration and the means of violence, as a method for extracting surplus, in this way making for a politically constituted form of rent.

Unlike profits, rents are "largely or completely divorced from material production," "they ‘create no wealth’ and … they ‘reduce economic growth and reallocate incomes from the bottom to the top.'"

To make a rent, you need an asset, and in today's system, high asset prices are a top political priority: governments intervene to keep the prices of houses high, to protect corporate bonds, and, of course, to keep AI companies' shares and IOUs from going to zero. The economy is dominated by "a large group of politically dependent firms and households…profoundly reliant on a policy of easy credit on the part of government… The US economy as a whole is sustained by lending, backed up by government, with profits accruing from production under excruciating pressure."

Our social programs have been replaced by public-private partnerships that benefit these "politically dependent firms." Bush's Prescription Drug Act didn't seek to recoup public investment in pharma research through lower prices – it offered a (further) subsidy to pharma companies in exchange for (paltry/nonexistent) price breaks. Obama's Affordable Care Act transferred hundreds of billions to investors in health corporations, who raised prices and increased their profits. Trump's CARES Act bailed out every corporate debtor in the country. Biden's American Rescue Plan, CHIPS Act and Inflation Reduction Act don't offer public services or transfer funds to workers – instead, they offer subsidies to the for-profit sector.

Electorally, political capitalism is a system of "vertiginous levels of campaign expenditure and open corruption on a vast scale." It pushed workers into the arms of far-right parties, while re-organizing center-left parties as center-right parties of the lanyard class. Both parties are hamstrung because "in a persistently low- or no-growth environment…parties can no longer operate on the basis of programmes for growth."

This is really just scraping the surface. I think it's well worth £4 to read the source document. I look forward to the further development of this theory, to its being streamlined. It's got a lot of important things to say, even if it is a little hard to metabolize at present.

Hey look at this (permalink)


A shelf of leatherbound history books with a gilt-stamped series title, 'The World's Famous Events.'

Object permanence (permalink)

#20yrsago Student ethnographies of World of Warcraft https://web.archive.org/web/20051208020004/http://www.trinity.edu/adelwich/mmo/students.html

#20yrsago Sony rootkit ripped off anti-DRM code to break into iTunes https://blog.citp.princeton.edu/2005/12/04/hidden-feature-sony-drm-uses-open-source-code-add-apple-drm/

#20yrsago English info on France’s terrible proposed copyright law https://web.archive.org/web/20060111032903/http://eucd.info/index.php?English-readers

#15yrsago New Zealand leak: US-style copyright rules are a bad deal https://web.archive.org/web/20101206090519/http://www.michaelgeist.ca/content/view/5498/125/

#15yrsago Tron: Reloaded, come for the action, stay for the aesthetics https://memex.craphound.com/2010/12/05/tron-reloaded-come-for-the-action-stay-for-the-aesthetics/

#10yrsago Unelectable Lindsey Graham throws caution to the wind https://web.archive.org/web/20151206030630/https://gawker.com/i-am-tired-of-this-crap-lindsey-graham-plays-thunderi-1746116881

#10yrsago Every time there’s a mass shooting, gun execs & investors gloat about future earnings https://theintercept.com/2015/12/03/mass-shooting-wall-st/

#10yrsago How to bake spice-filled sandworm bread https://web.archive.org/web/20151205193104/https://kitchenoverlord.com/2015/12/03/dune-week-spice-filled-sandworm/

#5yrsago Descartes' God has failed and Thompson's Satan rules our computers https://pluralistic.net/2020/12/05/trusting-trust/#thompsons-devil

#5yrsago Denise Hearn and Vass Bednar's "The Big Fix" https://pluralistic.net/2024/12/05/ted-rogers-is-a-dope/#galen-weston-is-even-worse

Upcoming appearances (permalink)

A photo of me onstage, giving a speech, pounding the podium.


A screenshot of me at my desk, doing a livecast.

Recent appearances (permalink)


A grid of my books with Will Stahle covers..

Latest books (permalink)


A cardboard book box with the Macmillan logo.

Upcoming books (permalink)

  • "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026

  • "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

  • "The Memex Method," Farrar, Straus, Giroux, 2026

  • "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026


Colophon (permalink)

Today's top sources:

Currently writing:

  • "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. LEGAL REVIEW AND COPYEDIT COMPLETE.

  • "The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.

  • A Little Brother short story about DIY insulin PLANNING

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05.12.2025 à 15:34

Pluralistic: The Reverse-Centaur’s Guide to Criticizing AI (05 Dec 2025)

Cory Doctorow

Texte intégral (10741 mots)


Today's links


The staring red eye of HAL 9000 from Stanley Kubrick's '2001: A Space Odyssey. In the center is the poop emoji from the cover of the US edition of 'Enshittification,' with angry eyebrows and a black, grawlix-scrawled bar over its mouth. The poop emoji's eyes have also been replaced with the HAL eye.

The Reverse Centaur’s Guide to Criticizing AI (permalink)

Last night, I gave a speech for the University of Washington's "Neuroscience, AI and Society" lecture series, through the university's Computational Neuroscience Center. It was called "The Reverse Centaur’s Guide to Criticizing AI," and it's based on the manuscript for my next book, "The Reverse Centaur’s Guide to Life After AI," which will be out from Farrar, Straus and Giroux next June:

https://www.eventbrite.com/e/future-tense-neuroscience-ai-and-society-with-cory-doctorow-tickets-1735371255139

The talk was sold out, but here's the text of my lecture. I'm very grateful to UW for the opportunity, and for a lovely visit to Seattle!

==

I'm a science fiction writer, which means that my job is to make up futuristic parables about our current techno-social arrangements to interrogate not just what a gadget does, but who it does it for, and who it does it to.

What I don't do is predict the future. No one can predict the future, which is a good thing, since if the future were predictable, that would mean that what we all do couldn't change it. It would mean that the future was arriving on fixed rails and couldn't be steered.

Jesus Christ, what a miserable proposition!

Now, not everyone understands the distinction. They think sf writers are oracles, soothsayers. Unfortunately, even some of my colleagues labor under the delusion that they can "see the future."

But for every sf writer who deludes themselves into thinking that they are writing the future, there are a hundred sf fans who believe that they are reading the future, and a depressing number of those people appear to have become AI bros. The fact that these guys can't shut up about the day that their spicy autocomplete machine will wake up and turn us all into paperclips has led many confused journalists and conference organizers to try to get me to comment on the future of AI.

That's a thing I strenuously resisted doing, because I wasted two years of my life explaining patiently and repeatedly why I thought crypto was stupid, and getting relentless bollocked by cryptocurrency cultists who at first insisted that I just didn't understand crypto. And then, when I made it clear that I did understand crypto, insisted that I must be a paid shill.

This is literally what happens when you argue with Scientologists, and life is Just. Too. Short.

So I didn't want to get lured into another one of those quagmires, because on the one hand, I just don't think AI is that important of a technology, and on the other hand, I have very nuanced and complicated views about what's wrong, and not wrong, about AI, and it takes a long time to explain that stuff.

But people wouldn't stop asking, so I did what I always do. I wrote a book.

Over the summer I wrote a book about what I think about AI, which is really about what I think about AI criticism, and more specifically, how to be a good AI critic. By which I mean: "How to be a critic whose criticism inflicts maximum damage on the parts of AI that are doing the most harm." I titled the book The Reverse Centaur's Guide to Life After AI, and Farrar, Straus and Giroux will publish it in June, 2026.

But you don't have to wait until then because I am going to break down the entire book's thesis for you tonight, over the next 40 minutes. I am going to talk fast.

#

Start with what a reverse centaur is. In automation theory, a "centaur" is a person who is assisted by a machine. You're a human head being carried around on a tireless robot body. Driving a car makes you a centaur, and so does using autocomplete.

And obviously, a reverse centaur is a machine head on a human body, a person who is serving as a squishy meat appendage for an uncaring machine.

Like an Amazon delivery driver, who sits in a cabin surrounded by AI cameras, that monitor the driver's eyes and take points off if the driver looks in a proscribed direction, and monitors the driver's mouth because singing isn't allowed on the job, and rats the driver out to the boss if they don't make quota.

The driver is in that van because the van can't drive itself and can't get a parcel from the curb to your porch. The driver is a peripheral for a van, and the van drives the driver, at superhuman speed, demanding superhuman endurance. But the driver is human, so the van doesn't just use the driver. The van uses the driver up.

Obviously, it's nice to be a centaur, and it's horrible to be a reverse centaur. There are lots of AI tools that are potentially very centaur-like, but my thesis is that these tools are created and funded for the express purpose of creating reverse-centaurs, which is something none of us want to be.

But like I said, the job of an sf writer is to do more than think about what the gadget does, and drill down on who the gadget does it for and who the gadget does it to. Tech bosses want us to believe that there is only one way a technology can be used. Mark Zuckerberg wants you to think that it's technologically impossible to have a conversation with a friend without him listening in. Tim Cook wants you to think that it's technologically impossible for you to have a reliable computing experience unless he gets a veto over which software you install and without him taking 30 cents out of every dollar you spend. Sundar Pichai wants you think that it's impossible for you to find a webpage unless he gets to spy on you from asshole to appetite.

This is all a kind of vulgar Thatcherism. Margaret Thatcher's mantra was "There is no alternative." She repeated this so often they called her "TINA" Thatcher: There. Is. No. Alternative. TINA.

"There is no alternative" is a cheap rhetorical slight. It's a demand dressed up as an observation. "There is no alternative" means "STOP TRYING TO THINK OF AN ALTERNATIVE." Which, you know, fuck that.

I'm an sf writer, my job is to think of a dozen alternatives before breakfast.

So let me explain what I think is going on here with this AI bubble, and sort out the bullshit from the material reality, and explain how I think we could and should all be better AI critics.

#

Start with monopolies: tech companies are gigantic and they don't compete, they just take over whole sectors, either on their own or in cartels.

Google and Meta control the ad market. Google and Apple control the mobile market, and Google pays Apple more than $20 billion/year not to make a competing search engine, and of course, Google has a 90% Search market-share.

Now, you'd think that this was good news for the tech companies, owning their whole sector.

But it's actually a crisis. You see, when a company is growing, it is a "growth stock," and investors really like growth stocks. When you buy a share in a growth stock, you're making a bet that it will continue to grow. So growth stocks trade at a huge multiple of their earnings. This is called the "price to earnings ratio" or "P/E ratio."

But once a company stops growing, it is a "mature" stock, and it trades at a much lower P/E ratio. So for every dollar that Target – a mature company – brings in, it is worth ten dollars. It has a P/E ratio of 10, while Amazon has a P/E ratio of 36, which means that for every dollar Amazon brings in, the market values it at $36.

It's wonderful to run a company that's got a growth stock. Your shares are as good as money. If you want to buy another company, or hire a key worker, you can offer stock instead of cash. And stock is very easy for companies to get, because shares are manufactured right there on the premises, all you have to do is type some zeroes into a spreadsheet, while dollars are much harder to come by. A company can only get dollars from customers or creditors.

So when Amazon bids against Target for a key acquisition, or a key hire, Amazon can bid with shares they make by typing zeroes into a spreadsheet, and Target can only bid with dollars they get from selling stuff to us, or taking out loans, which is why Amazon generally wins those bidding wars.

That's the upside of having a growth stock. But here's the downside: eventually a company has to stop growing. Like, say you get a 90% market share in your sector, how are you gonna grow?

Once the market decides that you aren't a growth stock, once you become mature, your stock is revalued, to a P/E ratio befitting a mature stock.

If you are an exec at a dominant company with a growth stock, you have to live in constant fear that the market will decide that you're not likely to grow any further. Think of what happened to Facebook in the first quarter of 2022. They told investors that they experienced slightly slower growth in the USA than they had anticipated, and investors panicked. They staged a one-day, $240B sell off. A quarter-trillion dollars in 24 hours! At the time, it was the largest, most precipitous drop in corporate valuation in human history.

That's a monopolist's worst nightmare, because once you're presiding over a "mature" firm, the key employees you've been compensating with stock, experience a precipitous pay-drop and bolt for the exits, so you lose the people who might help you grow again, and you can only hire their replacements with dollars. With dollars, not shares.

And the same goes for acquiring companies that might help you grow, because they, too, are going to expect money, not stock. This is the paradox of the growth stock. While you are growing to domination, the market loves you, but once you achieve dominance, the market lops 75% or more off your value in a single stroke if they don't trust your pricing power.

Which is why growth stock companies are always desperately pumping up one bubble or another, spending billions to hype the pivot to video, or cryptocurrency, or NFTs, or Metaverse, or AI.

I'm not saying that tech bosses are making bets they don't plan on winning. But I am saying that winning the bet – creating a viable metaverse – is the secondary goal. The primary goal is to keep the market convinced that your company will continue to grow, and to remain convinced until the next bubble comes along.

So this is why they're hyping AI: the material basis for the hundreds of billions in AI investment.

#

Now I want to talk about how they're selling AI. The growth narrative of AI is that AI will disrupt labor markets. I use "disrupt" here in its most disreputable, tech bro sense.

The promise of AI – the promise AI companies make to investors – is that there will be AIs that can do your job, and when your boss fires you and replaces you with AI, he will keep half of your salary for himself, and give the other half to the AI company.

That's it.

That's the $13T growth story that MorganStanley is telling. It's why big investors and institutionals are giving AI companies hundreds of billions of dollars. And because they are piling in, normies are also getting sucked in, risking their retirement savings and their family's financial security.

Now, if AI could do your job, this would still be a problem. We'd have to figure out what to do with all these technologically unemployed people.

But AI can't do your job. It can help you do your job, but that doesn't mean it's going to save anyone money. Take radiology: there's some evidence that AIs can sometimes identify solid-mass tumors that some radiologists miss, and look, I've got cancer. Thankfully, it's very treatable, but I've got an interest in radiology being as reliable and accurate as possible.

If my Kaiser hospital bought some AI radiology tools and told its radiologists: "Hey folks, here's the deal. Today, you're processing about 100 x-rays per day. From now on, we're going to get an instantaneous second opinion from the AI, and if the AI thinks you've missed a tumor, we want you to go back and have another look, even if that means you're only processing 98 x-rays per day. That's fine, we just care about finding all those tumors."

If that's what they said, I'd be delighted. But no one is investing hundreds of billions in AI companies because they think AI will make radiology more expensive, not even if that also makes radiology more accurate. The market's bet on AI is that an AI salesman will visit the CEO of Kaiser and make this pitch: "Look, you fire 9/10s of your radiologists, saving $20m/year, you give us $10m/year, and you net $10m/year, and the remaining radiologists' job will be to oversee the diagnoses the AI makes at superhuman speed, and somehow remain vigilant as they do so, despite the fact that the AI is usually right, except when it's catastrophically wrong.

"And if the AI misses a tumor, this will be the human radiologist's fault, because they are the 'human in the loop.' It's their signature on the diagnosis."

This is a reverse centaur, and it's a specific kind of reverse-centaur: it's what Dan Davies calls an "accountability sink." The radiologist's job isn't really to oversee the AI's work, it's to take the blame for the AI's mistakes.

This is another key to understanding – and thus deflating – the AI bubble. The AI can't do your job, but an AI salesman can convince your boss to fire you and replace you with an AI that can't do your job. This is key because it helps us build the kinds of coalitions that will be successful in the fight against the AI bubble.

If you're someone who's worried about cancer, and you're being told that the price of making radiology too cheap to meter, is that we're going to have to re-home America's 32,000 radiologists, with the trade-off that no one will ever be denied radiology services again, you might say, "Well, OK, I'm sorry for those radiologists, and I fully support getting them job training or UBI or whatever. But the point of radiology is to fight cancer, not to pay radiologists, so I know what side I'm on."

AI hucksters and their customers in the C-suites want the public on their side. They want to forge a class alliance between AI deployers and the people who enjoy the fruits of the reverse centaurs' labor. They want us to think of ourselves as enemies to the workers.

Now, some people will be on the workers' side because of politics or aesthetics. They just like workers better than their bosses. But if you want to win over all the people who benefit from your labor, you need to understand and stress how the products of the AI will be substandard. That they are going to get charged more for worse things. That they have a shared material interest with you.

Will those products be substandard? There's every reason to think so. Earlier, I alluded to "automation blindness, "the physical impossibility of remaining vigilant for things that rarely occur. This is why TSA agents are incredibly good at spotting water bottles. Because they get a ton of practice at this, all day, every day. And why they fail to spot the guns and bombs that government red teams smuggle through checkpoints to see how well they work, because they just don't have any practice at that. Because, to a first approximation, no one deliberately brings a gun or a bomb through a TSA checkpoint.

Automation blindness is the Achilles' heel of "humans in the loop."

Think of AI software generation: there are plenty of coders who love using AI, and almost without exception, they are senior, experienced coders, who get to decide how they will use these tools. For example, you might ask the AI to generate a set of CSS files to faithfully render a web-page across multiple versions of multiple browsers. This is a notoriously fiddly thing to do, and it's pretty easy to verify if the code works – just eyeball it in a bunch of browsers. Or maybe the coder has a single data file they need to import and they don't want to write a whole utility to convert it.

Tasks like these can genuinely make coders more efficient and give them more time to do the fun part of coding, namely, solving really gnarly, abstract puzzles. But when you listen to business leaders talk about their AI plans for coders, it's clear they're not looking to make some centaurs.

They want to fire a lot of tech workers – they've fired 500,000 over the past three years – and make the rest pick up their work with coding, which is only possible if you let the AI do all the gnarly, creative problem solving, and then you do the most boring, soul-crushing part of the job: reviewing the AIs' code.

And because AI is just a word guessing program, because all it does is calculate the most probable word to go next, the errors it makes are especially subtle and hard to spot, because these bugs are literally statistically indistinguishable from working code (except that they're bugs).

Here's an example: code libraries are standard utilities that programmers can incorporate into their apps, so they don't have to do a bunch of repetitive programming. Like, if you want to process some text, you'll use a standard library. If it's an HTML file, that library might be called something like lib.html.text.parsing; and if it's a DOCX file, it'll be lib.docx.text.parsing. But reality is messy, humans are inattentive and stuff goes wrong, so sometimes, there's another library, this one for parsing PDFs, and instead of being called lib.pdf.text.parsing, it's called lib.text.pdf.parsing.

Now, because the AI is a statistical inference engine, because all it can do is predict what word will come next based on all the words that have been typed in the past, it will "hallucinate" a library called lib.pdf.text.parsing. And the thing is, malicious hackers know that the AI will make this error, so they will go out and create a library with the predictable, hallucinated name, and that library will get automatically sucked into your program, and it will do things like steal user data or try and penetrate other computers on the same network.

And you, the human in the loop – the reverse centaur – you have to spot this subtle, hard to find error, this bug that is literally statistically indistinguishable from correct code. Now, maybe a senior coder could catch this, because they've been around the block a few times, and they know about this tripwire.

But guess who tech bosses want to preferentially fire and replace with AI? Senior coders. Those mouthy, entitled, extremely highly paid workers, who don't think of themselves as workers. Who see themselves as founders in waiting, peers of the company's top management. The kind of coder who'd lead a walkout over the company building drone-targeting systems for the Pentagon, which cost Google ten billion dollars in 2018.

For AI to be valuable, it has to replace high-wage workers, and those are precisely the experienced workers, with process knowledge, and hard won intuition, who might spot some of those statistically camouflaged AI errors.

Like I said, the point here is to replace high-waged workers.

And one of the reasons the AI companies are so anxious to fire coders is that coders are the princes of labor. They're the most consistently privileged, sought-after, and well-compensated workers in the labor force.

If you can replace coders with AI, who cant you replace with AI? Firing coders is an ad for AI.

Which brings me to AI art. AI art – or "art" – is also an ad for AI, but it's not part of AI's business model.

Let me explain: on average, illustrators don't make any money. They are already one of the most immiserated, precarized groups of workers out there. They suffer from a pathology called "vocational awe." That's a term coined by the librarian Fobazi Ettarh, and it refers to workers who are vulnerable to workplace exploitation because they actually care about their jobs – nurses, librarians, teachers, and artists.

If AI image generators put every illustrator working today out of a job, the resulting wage-bill savings would be undetectable as a proportion of all the costs associated with training and operating image-generators. The total wage bill for commercial illustrators is less than the kombucha bill for the company cafeteria at just one of Open AI's campuses.

The purpose of AI art – and the story of AI art as a death-knell for artists – is to convince the broad public that AI is amazing and will do amazing things. It's to create buzz. Which is not to say that it's not disgusting that former OpenAI CTO Mira Murati told a conference audience that "some creative jobs shouldn't have been there in the first place," and that it's not especially disgusting that she and her colleagues boast about using the work of artists to ruin those artists' livelihoods.

It's supposed to be disgusting. It's supposed to get artists to run around and say, "The AI can do my job, and it's going to steal my job, and isn't that terrible?"

Because the customers for AI – corporate bosses – don't see AI taking workers' jobs as terrible. They see it as wonderful.

But can AI do an illustrator's job? Or any artist's job?

Let's think about that for a second. I've been a working artist since I was 17 years old, when I sold my first short story, and I've given it a lot of thought, and here's what I think art is: it starts with an artist, who has some vast, complex, numinous, irreducible feeling in their mind. And the artist infuses that feeling into some artistic medium. They make a song, or a poem, or a painting, or a drawing, or a dance, or a book, or a photograph. And the idea is, when you experience this work, a facsimile of the big, numinous, irreducible feeling will materialize in your mind.

Now that I've defined art, we have to go on a little detour.

I have a friend who's a law professor, and before the rise of chatbots, law students knew better than to ask for reference letters from their profs, unless they were a really good student. Because those letters were a pain in the ass to write. So if you advertised for a postdoc and you heard from a candidate with a reference letter from a respected prof, the mere existence of that letter told you that the prof really thought highly of that student.

But then we got chatbots, and everyone knows that you generate a reference letter by feeding three bullet points to an LLM, and it'll barf up five paragraphs of florid nonsense about the student.

So when my friend advertises for a postdoc, they are flooded with reference letters, and they deal with this flood by feeding all these letters to another chatbot, and ask it to reduce them back to three bullet points. Now, obviously, they won't be the same bullet-points, which makes this whole thing terrible.

But just as obviously, nothing in that five-paragraph letter except the original three bullet points are relevant to the student. The chatbot doesn't know the student. It doesn't know anything about them. It cannot add a single true or useful statement about the student to the letter.

What does this have to do with AI art? Art is a transfer of a big, numinous, irreducible feeling from an artist to someone else. But the image-gen program doesn't know anything about your big, numinous, irreducible feeling. The only thing it knows is whatever you put into your prompt, and those few sentences are diluted across a million pixels or a hundred thousand words, so that the average communicative density of the resulting work is indistinguishable from zero.

It's possible to infuse more communicative intent into a work: writing more detailed prompts, or doing the selective work of choosing from among many variants, or directly tinkering with the AI image after the fact, with a paintbrush or Photoshop or The Gimp. And if there will ever be a piece of AI art that is good art – as opposed to merely striking, or interesting, or an example of good draftsmanship – it will be thanks to those additional infusions of creative intent by a human.

And in the meantime, it's bad art. It's bad art in the sense of being "eerie," the word Mark Fisher uses to describe "when there is something present where there should be nothing, or there is nothing present when there should be something."

AI art is eerie because it seems like there is an intender and an intention behind every word and every pixel, because we have a lifetime of experience that tells us that paintings have painters, and writing has writers. But it's missing something. It has nothing to say, or whatever it has to say is so diluted that it's undetectable.

The images were striking before we figured out the trick, but now they're just like the images we imagine in clouds or piles of leaves. We're the ones drawing a frame around part of the scene, we're the ones focusing on some contours and ignoring the others. We're looking at an inkblot, and it's not telling us anything.

Sometimes that can be visually arresting, and to the extent that it amuses people in a community of prompters and viewers, that's harmless.

I know someone who plays a weekly Dungeons and Dragons game over Zoom. It's transcribed by an open source model running locally on the dungeon master's computer, which summarizes the night's session and prompts an image generator to create illustrations of key moments. These summaries and images are hilarious because they're full of errors. It's a bit of harmless fun, and it bring a small amount of additional pleasure to a small group of people. No one is going to fire an illustrator because D&D players are image-genning funny illustrations where seven-fingered paladins wrestle with orcs that have an extra hand.

But bosses have and will fire illustrators, because they fantasize about being able to dispense with creative professionals and just prompt an AI. Because even though the AI can't do the illustrator's job, an AI salesman can convince the illustrator's boss to fire them and replace them with an AI that can't do their job.

This is a disgusting and terrible juncture, and we should not simply shrug our shoulders and accept Thatcherism's fatalism: "There is no alternative."

So what is the alternative? A lot of artists and their allies think they have an answer: they say we should extend copyright to cover the activities associated with training a model.

And I'm here to tell you they are wrong: wrong because this would inflict terrible collateral damage on socially beneficial activities, and it would represent a massive expansion of copyright over activities that are currently permitted – for good reason!.

Let's break down the steps in AI training.

First, you scrape a bunch of web-pages. This is unambiguously legal under present copyright law. You do not need a license to make a transient copy of a copyrighted work in order to analyze it, otherwise search engines would be illegal. Ban scraping and Google will be the last search engine we ever get, the Internet Archive will go out of business, that guy in Austria who scraped all the grocery store sites and proved that the big chains were colluding to rig prices would be in deep trouble.

Next, you perform analysis on those works. Basically, you count stuff on them: count pixels and their colors and proximity to other pixels; or count words. This is obviously not something you need a license for. It's just not illegal to count the elements of a copyrighted work. And we really don't want it to be, not if you're interested in scholarship of any kind.

And it's important to note that counting things is legal, even if you're working from an illegally obtained copy. Like, if you go to the flea market, and you buy a bootleg music CD, and you take it home and you make a list of all the adverbs in the lyrics, and you publish that list, you are not infringing copyright by doing so.

Perhaps you've infringed copyright by getting the pirated CD, but not by counting the lyrics.

This is why Anthropic offered a $1.5b settlement for training its models based on a ton of books it downloaded from a pirate site: not because counting the words in the books infringes anyone's rights, but because they were worried that they were going to get hit with $150k/book statutory damages for downloading the files.

OK, after you count all the pixels or the words, it's time for the final step: publishing them. Because that's what a model is: a literary work (that is, a piece of software) that embodies a bunch of facts about a bunch of other works, word and pixel distribution information, encoded in a multidimensional array.

And again, copyright absolutely does not prohibit you from publishing facts about copyrighted works. And again, no one should want to live in a world where someone else gets to decide which truthful, factual statements you can publish.

But hey, maybe you think this is all sophistry. Maybe you think I'm full of shit. That's fine. It wouldn't be the first time someone thought that.

After all, even if I'm right about how copyright works now, there's no reason we couldn't change copyright to ban training activities, and maybe there's even a clever way to wordsmith the law so that it only catches bad things we don't like, and not all the good stuff that comes from scraping, analyzing and publishing.

Well, even then, you're not gonna help out creators by creating this new copyright. If you're thinking that you can, you need to grapple with this fact: we have monotonically expanded copyright since 1976, so that today, copyright covers more kinds of works, grants exclusive rights over more uses, and lasts longer.

And today, the media industry is larger and more profitable than it has ever been, and also: the share of media industry income that goes to creative workers is lower than its ever been, both in real terms, and as a proportion of those incredible gains made by creators' bosses at the media company.

So how it is that we have given all these new rights to creators, and those new rights have generated untold billions, and left creators poorer? It's because in a creative market dominated by five publishers, four studios, three labels, two mobile app stores, and a single company that controls all the ebooks and audiobooks, giving a creative worker extra rights to bargain with is like giving your bullied kid more lunch money.

It doesn't matter how much lunch money you give the kid, the bullies will take it all. Give that kid enough money and the bullies will hire an agency to run a global campaign proclaiming "think of the hungry kids! Give them more lunch money!"

Creative workers who cheer on lawsuits by the big studios and labels need to remember the first rule of class warfare: things that are good for your boss are rarely what's good for you.

The day Disney and Universal filed suit against Midjourney, I got a press release from the RIAA, which represents Disney and Universal through their recording arms. Universal is the largest label in the world. Together with Sony and Warner, they control 70% of all music recordings in copyright today.

It starts: "There is a clear path forward through partnerships that both further AI innovation and foster human artistry."

It ends: "This action by Disney and Universal represents a critical stand for human creativity and responsible innovation."

And it's signed by Mitch Glazier, CEO of the RIAA.

It's very likely that name doesn't mean anything to you. But let me tell you who Mitch Glazier is. Today, Mitch Glazier is the CEO if the RIAA, with an annual salary of $1.3m. But until 1999, Mitch Glazier was a key Congressional staffer, and in 1999, Glazier snuck an amendment into an unrelated bill, the Satellite Home Viewer Improvement Act, that killed musicians' right to take their recordings back from their labels.

This is a practice that had been especially important to "heritage acts" (which is a record industry euphemism for "old music recorded by Black people"), for whom this right represented the difference between making rent and ending up on the street.

When it became clear that Glazier had pulled this musician-impoverishing scam, there was so much public outcry, that Congress actually came back for a special session, just to vote again to cancel Glazier's amendment. And then Glazier was kicked out of his cushy Congressional job, whereupon the RIAA started paying him more than $1m/year to "represent the music industry."

This is the guy who signed that press release in my inbox. And his message was: The problem isn't that Midjourney wants to train a Gen AI model on copyrighted works, and then use that model to put artists on the breadline. The problem is that Midjourney didn't pay RIAA members Universal and Disney for permission to train a model. Because if only Midjourney had given Disney and Universal several million dollars for training rights to their catalogs, the companies would have happily allowed them to train to their heart's content, and they would have bought the resulting models, and fired as many creative professionals as they could.

I mean, have we already forgotten the Hollywood strikes? I sure haven't. I live in Burbank, home to Disney, Universal and Warner, and I was out on the line with my comrades from the Writers Guild, offering solidarity on behalf of my union, IATSE 830, The Animation Guild, where I'm a member of the writers' unit.

And I'll never forget when one writer turned to me and said, "You know, you prompt an LLM exactly the same way an exec gives shitty notes to a writers' room. You know: 'Make me ET, except it's about a dog, and put a love interest in there, and a car chase in the second act.' The difference is, you say that to a writers' room and they all make fun of you and call you a fucking idiot suit. But you say it to an LLM and it will cheerfully shit out a terrible script that conforms exactly to that spec (you know, Air Bud)."

These companies are desperate to use AI to displace workers. When Getty Images sues AI companies, it's not representing the interests of photographers. Getty hates paying photographers! Getty just wants to get paid for the training run, and they want the resulting AI model to have guardrails, so it will refuse to create images that compete with Getty's images for anyone except Getty. But Getty will absolutely use its models to bankrupt as many photographers as it possibly can.

A new copyright to train models won't get us a world where models aren't used to destroy artists, it'll just get us a world where the standard contracts of the handful of companies that control all creative labor markets are updated to require us to hand over those new training rights to those companies. Demanding a new copyright just makes you a useful idiot for your boss, a human shield they can brandish in policy fights, a tissue-thin pretense of "won't someone think of the hungry artists?"

When really what they're demanding is a world where 30% of the investment capital of the AI companies go into their shareholders' pockets. When an artist is being devoured by rapacious monopolies, does it matter how they divvy up the meal?

We need to protect artists from AI predation, not just create a new way for artists to be mad about their impoverishment.

And incredibly enough, there's a really simple way to do that. After 20+ years of being consistently wrong and terrible for artists' rights, the US Copyright Office has finally done something gloriously, wonderfully right. All through this AI bubble, the Copyright Office has maintained – correctly – that AI-generated works cannot be copyrighted, because copyright is exclusively for humans. That's why the "monkey selfie" is in the public domain. Copyright is only awarded to works of human creative expression that are fixed in a tangible medium.

And not only has the Copyright Office taken this position, they've defended it vigorously in court, repeatedly winning judgments to uphold this principle.

The fact that every AI created work is in the public domain means that if Getty or Disney or Universal or Hearst newspapers use AI to generate works – then anyone else can take those works, copy them, sell them, or give them away for free. And the only thing those companies hate more than paying creative workers, is having other people take their stuff without permission.

The US Copyright Office's position means that the only way these companies can get a copyright is to pay humans to do creative work. This is a recipe for centaurhood. If you're a visual artist or writer who uses prompts to come up with ideas or variations, that's no problem, because the ultimate work comes from you. And if you're a video editor who uses deepfakes to change the eyelines of 200 extras in a crowd-scene, then sure, those eyeballs are in the public domain, but the movie stays copyrighted.

But creative workers don't have to rely on the US government to rescue us from AI predators. We can do it ourselves, the way the writers did in their historic writers' strike. The writers brought the studios to their knees. They did it because they are organized and solidaristic, but also are allowed to do something that virtually no other workers are allowed to do: they can engage in "sectoral bargaining," whereby all the workers in a sector can negotiate a contract with every employer in the sector.

That's been illegal for most workers since the late 1940s, when the Taft-Hartley Act outlawed it. If we are gonna campaign to get a new law passed in hopes of making more money and having more control over our labor, we should campaign to restore sectoral bargaining, not to expand copyright.

Our allies in a campaign to expand copyright are our bosses, who have never had our best interests at heart. While our allies in the fight for sector bargaining are every worker in the country. As the song goes, "Which side are you on?"

OK, I need to bring this talk in for a landing now, because I'm out of time, so I'm going to close out with this: AI is a bubble and bubbles are terrible.

Bubbles transfer the life's savings of normal people who are just trying to have a dignified retirement to the wealthiest and most unethical people in our society, and every bubble eventually bursts, taking their savings with it.

But not every bubble is created equal. Some bubbles leave behind something productive. Worldcom stole billions from everyday people by defrauding them about orders for fiber optic cables. The CEO went to prison and died there. But the fiber outlived him. It's still in the ground. At my home, I've got 2gb symmetrical fiber, because AT&T lit up some of that old Worldcom dark fiber.

All things being equal, it would have been better if Worldcom hadn't ever existed, but the only thing worse than Worldcom committing all that ghastly fraud would be if there was nothing to salvage from the wreckage.

I don't think we'll salvage much from cryptocurrency, for example. Sure, there'll be a few coders who've learned something about secure programming in Rust. But when crypto dies, what it will leave behind is bad Austrian economics and worse monkey JPEGs.

AI is a bubble and it will burst. Most of the companies will fail. Most of the data-centers will be shuttered or sold for parts. So what will be left behind?

We'll have a bunch of coders who are really good at applied statistics. We'll have a lot of cheap GPUs, which'll be good news for, say, effects artists and climate scientists, who'll be able to buy that critical hardware at pennies on the dollar. And we'll have the open source models that run on commodity hardware, AI tools that can do a lot of useful stuff, like transcribing audio and video, describing images, summarizing documents, automating a lot of labor-intensive graphic editing, like removing backgrounds, or airbrushing passersby out of photos. These will run on our laptops and phones, and open source hackers will find ways to push them to do things their makers never dreamt of.

If there had never been an AI bubble, if all this stuff arose merely because computer scientists and product managers noodled around for a few years coming up with cool new apps for back-propagation, machine learning and generative adversarial networks, most people would have been pleasantly surprised with these interesting new things their computers could do. We'd call them "plugins."

It's the bubble that sucks, not these applications. The bubble doesn't want cheap useful things. It wants expensive, "disruptive" things: Big foundation models that lose billions of dollars every year.

When the AI investment mania halts, most of those models are going to disappear, because it just won't be economical to keep the data-centers running. As Stein's Law has it: "Anything that can't go on forever eventually stops."

The collapse of the AI bubble is going to be ugly. Seven AI companies currently account for more than a third of the stock market, and they endlessly pass around the same $100b IOU.

Bosses are mass-firing productive workers and replacing them with janky AI, and when the janky AI is gone, no one will be able to find and re-hire most of those workers, we're going to go from dysfunctional AI systems to nothing.

AI is the asbestos in the walls of our technological society, stuffed there with wild abandon by a finance sector and tech monopolists run amok. We will be excavating it for a generation or more.

So we need to get rid of this bubble. Pop it, as quickly as we can. To do that, we have to focus on the material factors driving the bubble. The bubble isn't being driven by deepfake porn, or election disinformation, or AI image-gen, or slop advertising.

All that stuff is terrible and harmful, but it's not driving investment. The total dollar figure represented by these apps doesn't come close to making a dent in the capital expenditures and operating costs of AI. They are peripheral, residual uses: flashy, but unimportant to the bubble.

Get rid of all those uses and you reduce the expected income of AI companies by a sum so small it rounds to zero.

Same goes for all that "AI Safety" nonsense, that purports to concern itself with preventing an AI from attaining sentience and turning us all into paperclips. First of all, this is facially absurd. Throwing more words and GPUs into the word-guessing program won't make it sentient. That's like saying, "Well, we keep breeding these horses to run faster and faster, so it's only a matter of time until one of our mares gives birth to a locomotive." A human mind is not a word-guessing program with a lot of extra words.

I'm here for science fiction thought experiments, don't get me wrong. But also, don't mistake sf for prophesy. SF stories about superintelligence are futuristic parables, not business plans, roadmaps, or predictions.

The AI Safety people say they are worried that AI is going to end the world, but AI bosses love these weirdos. Because on the one hand, if AI is powerful enough to destroy the world, think of how much money it can make! And on the other hand, no AI business plan has a line on its revenue projections spreadsheet labeled "Income from turning the human race into paperclips." So even if we ban AI companies from doing this, we won't cost them a dime in investment capital.

To pop the bubble, we have to hammer on the forces that created the bubble: the myth that AI can do your job, especially if you get high wages that your boss can claw back; the understanding that growth companies need a succession of ever-more-outlandish bubbles to stay alive; the fact that workers and the public they serve are on one side of this fight, and bosses and their investors are on the other side.

Because the AI bubble really is very bad news, it's worth fighting seriously, and a serious fight against AI strikes at its roots: the material factors fueling the hundreds of billions in wasted capital that are being spent to put us all on the breadline and fill all our walls with high-tech asbestos.

(Image: Cryteria, CC BY 3.0, modified)

Hey look at this (permalink)


A shelf of leatherbound history books with a gilt-stamped series title, 'The World's Famous Events.'

Object permanence (permalink)

#20yrsago Haunted Mansion papercraft model adds crypts and gates https://www.haunteddimensions.raykeim.com/index313.html

#20yrsago Print your own Monopoly money https://web.archive.org/web/20051202030047/http://www.hasbro.com/monopoly/pl/page.treasurechest/dn/default.cfm

#15yrsago Bunnie explains the technical intricacies and legalities of Xbox hacking https://www.bunniestudios.com/blog/2010/usa-v-crippen-a-retrospective/

#15yrsago How Pac Man’s ghosts decide what to do: elegant complexity https://web.archive.org/web/20101205044323/https://gameinternals.com/post/2072558330/understanding-pac-man-ghost-behavior

#15yrsago Glorious, elaborate, profane insults of the world https://www.reddit.com/r/AskReddit/comments/efee7/what_are_your_favorite_culturally_untranslateable/?sort=confidence

#15yrsago Walt Disney World castmembers speak about their search for a living wage https://www.youtube.com/watch?v=f5BMQ3xQc7o

#15yrsago Wikileaks cables reveal that the US wrote Spain’s proposed copyright law https://web.archive.org/web/20140723230745/https://elpais.com/elpais/2010/12/03/actualidad/1291367868_850215.html

#15yrsago Cities made of broken technology https://web.archive.org/web/20101203132915/https://agora-gallery.com/artistpage/Franco_Recchia.aspx

#10yrsago The TPP’s ban on source-code disclosure requirements: bad news for information security https://www.eff.org/deeplinks/2015/12/tpp-threatens-security-and-safety-locking-down-us-policy-source-code-audit

#10yrsago Fossil fuel divestment sit-in at MIT President’s office hits 10,000,000,000-hour mark https://twitter.com/FossilFreeMIT/status/672526210581274624

#10yrsago Hacker dumps United Arab Emirates Invest Bank’s customer data https://www.dailydot.com/news/invest-bank-hacker-buba/

#10yrsago Illinois prisons spy on prisoners, sue them for rent on their cells if they have any money https://www.chicagotribune.com/2015/11/30/state-sues-prisoners-to-pay-for-their-room-board/

#10yrsago Free usability help for privacy toolmakers https://superbloom.design/learning/blog/apply-for-help/

#10yrsago In the first 334 days of 2015, America has seen 351 mass shootings (and counting) https://web.archive.org/web/20151209004329/https://www.washingtonpost.com/news/wonk/wp/2015/11/30/there-have-been-334-days-and-351-mass-shootings-so-far-this-year/

#10yrsago Not even the scapegoats will go to jail for BP’s murder of the Gulf Coast https://arstechnica.com/tech-policy/2015/12/manslaughter-charges-dropped-in-bp-spill-case-nobody-from-bp-will-go-to-prison/

#10yrsago Urban Transport Without the Hot Air: confusing the issue with relevant facts! https://memex.craphound.com/2015/12/03/urban-transport-without-the-hot-air-confusing-the-issue-with-relevant-facts/

#5yrsago Breathtaking Iphone hack https://pluralistic.net/2020/12/03/ministry-for-the-future/#awdl

#5yrsago Graffitists hit dozens of NYC subway cars https://pluralistic.net/2020/12/03/ministry-for-the-future/#getting-up

#5yrsago The Ministry For the Future https://pluralistic.net/2020/12/03/ministry-for-the-future/#ksr

#5yrsago Monopolies made America vulnerable to covid https://pluralistic.net/2020/12/03/ministry-for-the-future/#big-health

#5yrsago Section 230 is Good, Actually https://pluralistic.net/2020/12/04/kawaski-trawick/#230

#5yrsago Postmortem of the NYPD's murder of a Black man https://pluralistic.net/2020/12/04/kawaski-trawick/#Kawaski-Trawick

#5yrsago Student debt trap https://pluralistic.net/2020/12/04/kawaski-trawick/#strike-debt

#1yrago "That Makes Me Smart" https://pluralistic.net/2024/12/04/its-not-a-lie/#its-a-premature-truth

#1yrago Canada sues Google https://pluralistic.net/2024/12/03/clementsy/#can-tech

Upcoming appearances (permalink)

A photo of me onstage, giving a speech, pounding the podium.


A screenshot of me at my desk, doing a livecast.

Recent appearances (permalink)


A grid of my books with Will Stahle covers..

Latest books (permalink)


A cardboard book box with the Macmillan logo.

Upcoming books (permalink)

  • "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026

  • "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

  • "The Memex Method," Farrar, Straus, Giroux, 2026

  • "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026


Colophon (permalink)

Today's top sources:

Currently writing:

  • "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. LEGAL REVIEW AND COPYEDIT COMPLETE.

  • "The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.

  • A Little Brother short story about DIY insulin PLANNING

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03.12.2025 à 19:05

Pluralistic: A year in illustration (2025 edition) (03 Dec 2025)

Cory Doctorow

Texte intégral (10433 mots)


Today's links


An artist at an easel, wearing a smock and holding a palette. The head of the artist and the subject in the oil painting have been replaced with the poop emoji from the cover of the US edition of 'Enshittification,' which has angry eyebrows and a black, grawlix-scrawled bar over its mouth.

A year in illustration (2025 edition) (permalink)

One of the most surprising professional and creative developments of my middle-age has been discovering my love of collage. I have never been a "visual" person – I can't draw, I can't estimate whether a piece of furniture will fit in a given niche, I can't catch a ball, and I can't tell you if a picture is crooked.

When Boing Boing started including images with our posts in the early 2000s, I hated it. It was such a chore to find images that were open licensed or public domain, and so many of the subjects I wrote about are abstract and complex and hard to illustrate. Sometimes, I'd come up with a crude visual gag and collage together a few freely usable images as best as I could and call it a day.

But over the five years that I've been writing Pluralistic, I've found myself putting more and more effort and thought into these header images. Without realizing it, I put more and more time into mastering The GIMP (a free/open Photoshop alternative), watching tutorial videos and just noodling from time to time. I also discovered many unsuspected sources of public domain work, such as the Library of Congress, whose search engine sucks, but whose collection is astounding (tip: use Kagi or Google to search for images with the "site:loc.gov" flag).

I also discovered the Met's incredible collection:

https://www.metmuseum.org/art/collection/search

And the archives of H Armstrong Roberts, an incredibly prolific stock photographer whose whole corpus is in the public domain. You can download more than 14,000 of his images from the Internet Archive (I certainly did!):

https://archive.org/details/h-armstrong-roberts

Speaking of the Archive and search engine hacks, I've also developed a method for finding hi-rez images that are otherwise very hard to get. Often, an image search will turn up public domain results on commercial stock sites like Getty. If I can't find public domain versions elsewhere (e.g. by using Tineye reverse-image search), I look for Getty's metadata about the image's source (that is, which book or collection it came from). Then I search the Internet Archive and other public domain repositories for high-rez PDF scans of the original work, and pull the images out of there. Many of my demons come from Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, an 18th century updating of a 11th century demonolgy text, which you can get as a hi-rez at the Wellcome Trust:

https://wellcomecollection.org/works/cvnpwy8d

Five years into my serious collage phase, I find myself increasingly pleased with the work I'm producing. I actually self-published a little book of my favorites this year (Canny Valley), which Bruce Sterling provided an intro for and which the legendary book designer John Berry laid out fot me, and I'm planning future volumes:

https://pluralistic.net/2025/09/04/illustrious/#chairman-bruce

I've been doing annual illustration roundups for the past several years, selecting my favorites from the year's crop:

2022:
https://pluralistic.net/2022/12/25/a-year-in-illustration/

2023:
https://pluralistic.net/2023/12/21/collages-r-us/

2024:
https://pluralistic.net/2024/12/07/great-kepplers-ghost/

It's a testament to how much progress I've made that when it came time to choose this year's favorites, I had 33 images I wanted to highlight. Much of this year's progress is down to my friend and neighbor Alistair Milne, an extremely talented artist and commercial illustrator who has periodically offered me little bits of life-changing advice on composition and technique.

I've also found a way to use these images in my talks: I've pulled together a slideshow of my favorite (enshittification-related) images, formatted for 16:9 (the incredibly awkward aspect ratio that everyone seems to expect these days), with embedded Creative Commons attributions. When I give a talk, I ask to have this run behind me in "kiosk mode," looping with a 10-second delay between each slide. Here's an up-to-date (as of today) version:

https://archive.org/download/enshittification-slideshow/enshittification.pptx

If these images intrigue you and you'd like hi-rez versions to rework on your own, you can get full rez versions of all my blog collagesin my "Pluralistic Collages" Flickr set:

https://www.flickr.com/photos/doctorow/albums/72177720316719208

They're licensed CC BY-SA 4.0, though some subelements may be under different licenses (check the image descriptions for details). But everything is licensed for remix and commercial distribution, so go nuts!

A male figure in heavy canvas protective clothes, boots and gauntlets, reclining in the wheel-well of a locomotive, reading a book. The figure's head has been replaced with the poop emoji from the cover of the US edition of 'Enshittification,' whose mouth is covered with a black, grawlix-scrawled bar. The figure is reading a book, from which emanates a halo of golden light.
All the books I reviewed in 2025

The underlying image comes from the Library of Congress (a search for "reading + book") (because "reading" turns up pictures of Reading, PA and Reading, UK). I love the poop emoji from the cover of the US edition of Enshittification and I'm hoping to get permission to do a lot more with it.

https://pluralistic.net/2025/12/02/constant-reader/#too-many-books

A 1950s image of a cop with a patrol car lecturing a boy on a bicycle. Both the cop's head and the boy's head have been replaced with the head of Mark Zuckerberg's metaverse avatar. The ground has been replaced with a 'code waterfall' effect as seen in the Wachowskis' 'Matrix' movies. The background has been replaced with the glaring red eye of HAL 9000 from Stanley Kubrick's '2001: A Space Odyssey.' The cop's uniform and car have been decorated to resemble the livery of the Irish Garda (police) and a Garda logo has been placed over the right breast of the cop's uniform shirt.
Meta's new top EU regulator is contractually prohibited from saying mean things about Meta

Mark Zuckerberg's ghastly Metaverse avatar is such a gift to his critics. I can't believe his comms team let him release it! The main image is an H Armstrong Roberts classic of a beat cop wagging his finger at a naughty lad on a bicycle. The Wachowskis' 'code waterfall' comes from this generator:

https://github.com/yeaayy/the-matrix

https://pluralistic.net/2025/12/01/erin-go-blagged/#big-tech-omerta

The classic Puck Magazine editorial cartoon entitled 'The King of All Commodities,' depicting John D Rockefeller as a man with grotesquely tiny body and a gigantic head, wearing a crown emblazoned with the names of the industrial concerns he owned. Rockefeller's head has been replaced with that of Mark Zuckerberg's metaverse avatar. The names of the industrial concerns have been replaced with the wordmarks for Scale AI, Instagram, Oculus and Whatsapp. The dollar-sign at the crown's pinnacle has been replaced with the Facebook 'f' logo. The chain around Rockefeller's neck sports the charm that Mark Zuckerberg now wears around his neck.
The long game

In my intro to last year's roundup, I wrote about Joseph Keppler, the incredibly prolific illustrator and publisher who founded Puck magazine and drew hundreds of illustrations, many of them editorial cartoons that accompanied articles that criticized monopolies and America's oligarch class. As with so much of his work, Keppler's classic illustration of Rockefeller as a shrimpy, preening king updates very neatly to today's context, through the simple expedient of swapping in Zuck's metaverse avatar.

https://pluralistic.net/2025/11/20/if-you-wanted-to-get-there/#i-wouldnt-start-from-here

A tuxedoed figure dramatically shoveling greenish pigs into a tube, from whose other end vomits forth a torrent of packaged goods. He has the head of Mark Zuckerberg's 'metaverse' avatar. He stands upon an endless field of gold coins. The background is the intaglioed upper face of the engraving of Benjamin Franklin on a US$100 bill, roughed up to a dark and sinister hue.

Facebook's fraud files

I love including scanned currency in my illustrations. Obviously, large-denomination bills make for great symbols in posts about concentrated wealth and power, but also, US currency is iconic, covered in weird illustrations, and available as incredibly high-rez scans, like this 7,300+ pixel-wide C-note:

https://commons.wikimedia.org/wiki/File:U.S._hundred_dollar_bill,_1999.jpg

It turns out that intaglio shading does really cool stuff when you tweak the curves. I love what happened to Ben Franklin's eyes in this one. (Zuck's body is another Keppler/Puck illo!)

https://pluralistic.net/2025/11/08/faecebook/#too-big-to-care

A club-wielding colossus in an animal pelt sits down on a rock, looming over a bawling baby surrounded by money-sacks. The colossus's head has been replaced the with EU flag. The baby's eyes have been replaced with the glaring red eye of HAL 9000 from Staney Kubrick's '2001: A Space Odyssey.'
There's one thing EVERY government can do to shrink Big Tech

This is another Keppler/Roberts mashup. Keppler's original is Teddy Roosevelt as a club-wielding ("speak softly and carry a big stick") trustbusting Goliath. The crying baby and money come from an H Armstrong Roberts tax-protest stock photo (one of the money sacks was originally labeled "TAXES").

https://commons.wikimedia.org/wiki/File:HAL9000.svg

https://pluralistic.net/2025/11/01/redistribution-vs-predistribution/#elbows-up-eurostack

A black and white image of an armed overseer supervising several chain-gang prisoners in stripes doing forced labor. The overseer's head has been replaced with the glaring red eye of HAL 9000 from Stanley Kubrick's '2001: A Space Odyssey.' The prisoners' heads have been replaced with hackers' hoodies.
When AI prophecy fails

The chain-gang photo comes from the Library of Congress. That hacker hoodie is a public domain graphic ganked from Wikimedia Commons. This one also includes one of my standbys, Cryteria's terrific vector image of HAL 9000's glaring red eye, always a good symbolic element for stories about Big Tech, surveillance, and/or AI. I love how the HAL 9000 eye pops as the only color element in this one.

https://pluralistic.net/2025/10/29/worker-frightening-machines/#robots-stole-your-jerb-kinda

A 1950s delivery man in front of a van. The image has been altered. The man's head has been replaced with a horse's head. The man is now wearing an Amazon delivery uniform gilet. The packages are covered with Amazon shipping tags, tape and logos. The van has the Amazon 'smile' logo and Prime wordmark. Behind the man, framed in the van's doorway, is the glaring red eye of HAL9000 from Stanley Kubrick's '2001: A Space Odyssey.'
Checking in on the state of Amazon's chickenized reverse-centaurs

Another H Armstrong Roberts remix: originally, this was a grinning delivery man jugging several parcels. I reskinned him and his van with Amazon delivery livery, and matted in the horse-head to create a "reverse centaur" (another theme I return to often). I used one of Alistair Milne's tips to get that horse's head right: rather than trying to trace all the stray hairs on the mane, I traced them with a fine brush tool on a separate layer, then erased the strays from the original and merged down to get a nice, transparency-enabled hair effect.

https://pluralistic.net/2025/10/23/traveling-salesman-solution/#pee-bottles

The Earth seen from space. Hovering above it is Uncle Sam, with Trump's hair - his legs are stuck out before him, and they terminate in ray-guns that are shooting red rays over the Earth. The starry sky is punctuated by 'code waterfall' effects, as seen in the credit sequences of the Wachowskis' 'Matrix' movies.
The mad king's digital killswitch

The Uncle Sam image is Keppler's (who else?). In the original (which is about tariffs! everything old is new!), Sam's legs have become magnets that are drawing in people and goods from all over the world. The Earth-from-space image is a NASA pic. Love that all works of federal authorship are born in the public domain!

https://pluralistic.net/2025/10/20/post-american-internet/#huawei-with-american-characteristics

A 1989 black and white photo of the Berlin Wall; peering over the wall is Microsoft's 'Clippy' chatbot.
Microsoft, Tear Down That Wall!

Clippy makes a perfect element for posts about chatbots. It's hard to think that Microsoft shipped a product with such a terrible visual design, but at the same time, I gotta give 'em credit, it's so awful that it's still instantly recognizable, 25 years later.

https://pluralistic.net/2025/10/15/freedom-of-movement/#data-dieselgate

A massive goliath figure in a loincloth, holding a club and sitting on a boulder; his head has been replaced with the head of Benjamin Franklin taken from a US $100 bill. He is peering down at a Synology NAS box, festooned with Enshittification poop emojis, with angry eyebrows and black grawlix bars over their mouths.
A disenshittification moment from the land of mass storage

Another remix of Keppler's excellent Teddy Roosevelt/trustbuster giant image, this time with Ben Franklin's glorious C-note phiz. God, I love using images from money!

https://pluralistic.net/2025/10/10/synology/#how-about-nah

A squadron of four heavily armed riot cops with batons in their hands. They wear visors, Oakleys and gaiters. Their badges have been replaced with chromed Apple logos. In the background is an Apple 'Think Different' wordmark. Looming in the foreground is Trump's candyfloss hair.
Apple's unlawful evil

Alistair Milne helped me work up a super hi-rez version of Trump's hair from his official (public domain) 2024 presidential portrait. Lots of tracing those fine hairs, and boy does it pay off. Apple's "Think Different" wordmark (available as a vector on Wikimedia Commons) is a gift to the company's critics. The fact that the NYPD actually routinely show up for protests dressed like this makes my job too easy.

https://pluralistic.net/2025/10/06/rogue-capitalism/#orphaned-syrian-refugees-need-not-apply

A US $100 bill, tinted blue. Benjamin Franklin has been replaced with the bear from the California state flag.
Blue Bonds

Another C-note remix. One of the things I love about remixing US currency is that every part of it is so immediately identifiable, meaning that just about any crop works. The California bear comes from a public domain vector on Wikimedia Commons. I worked hard to get the intaglio effect to transfer to the bear, but only with middling success. Thankfully, I was able to work at massive resolution (like, 4,000 px wide) and reduce the image, which hides a lot of my mistakes.

https://pluralistic.net/2025/10/04/fiscal-antifa/#post-trump

A Zimbabwean one hundred trillion dollar bill; the bill's iconography have been replaced with the glaring red eye of HAL 9000 from Stanley Kubrick's '2001: A Space Odyssey' and a stylized, engraving-style portrait of Sam Altman.
The real (economic) AI apocalypse is nigh

Another money scan, this time a hyperinflationary Zimbabwean dollar (I also looked at some Serbian hyperinflationary notes, but the Zimbabwean one was available at a higher rez). Not thrilled about the engraving texture on the HAL 9000, but the Sam Altman intaglio kills. I spent a lot of time tweaking that using G'mic, a good (but uneven) plugin suite for the GIMP.

https://pluralistic.net/2025/09/27/econopocalypse/#subprime-intelligence

A club weilding giant in a loincloth whose head has been replaced with the glaring red eye of HAL 9000 from Stanley Kubrick's '2001: A Space Odyssey.' He is glowering at a defiant worker in overalls and a printer's folded hat, who wears a food delivery bicyclist's square, day-glo orange backpack, and stands next to a pennyfarthing. The sky behind the scene is faded away, revealing a 'code waterfall,' as seen in the credit sequences of the Wachowskis' 'Matrix' movies.
Rage Against the (Algorithmic Management) Machine

This one made this year's faves list purely because I was so happy with how the Doordash backpack came out. The belligerent worker is part of a Keppler diptych showing a union worker and a boss facing off against one another with a cowering consumer caught in the crossfire. I'm not thrilled about this false equivalence, but I'll happily gank the figures, which are great.

https://pluralistic.net/2025/09/25/roboboss/#counterapps

A rooftop solar installation. Behind the roof rages a blazing forest fire. Reflected in the solar panels is the poop emoji from the cover of my book 'Enshittification,' which has angry eyebrows and a black, grawlix-filled bar across its mouth.
The enshittification of solar (and how to stop it)

I spent a lot of time tweaking the poop emoji on those solar panels, eventually painstakingly erasing the frames from the overlay image. It was worth it.

https://pluralistic.net/2025/09/23/our-friend-the-electron/#to-every-man-his-castle

Narcissus staring into his reflection; his face and the face of the reflection have been replaced by the staring red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.'
AI psychosis and the warped mirror

One of those high-concept images that came out perfect. Replacing Narcissus's face (and reflection) with HAL 9000 made for a striking image that only took minutes to turn out.

https://pluralistic.net/2025/09/17/automating-gang-stalking-delusion/#paranoid-androids

A business-suited figure seen from behind, climbing a tall, existential white stone staircase that rises to infinity. His head has been replaced with a horse's head. The background has been replaced with a shadowy panel of knobs and buttons.
Reverse centaurs are the answer to the AI paradox

The businessman trundling up a long concrete staircase is another H Armstrong Roberts. That staircase became very existential as soon as I stripped out the grass on either side of it. Finding that horse-head took a lot of doing (the world needs more CC-licensed photos of horses from that angle!). The computer in the background comes from a NASA Ames archive of photos of all kinds of cool stuff – zeppelins, spacesuits, and midcentury "supercomputers."

https://pluralistic.net/2025/09/11/vulgar-thatcherism/#there-is-an-alternative

An oil painting of a jury; all the jurors heads have been replaced with Karl Marx's head.
Radical juries

Another high-concept image that just worked. It took me more time to find a good public domain oil painting of a jury than it did to transform each juror into Karl Marx. I love how this looks.

https://pluralistic.net/2025/08/22/jury-nullification/#voir-dire


LLMs are slot-machines

It's surprisingly hard to find a decent public domain photo of a slot machine in use. I eventually started to wonder if Vegas had a no-cameras policy in the early years. Eventually, the Library of Commerce came through with a scanned neg that was high enough rez that I could push the elements I wanted to have stand out from an otherwise muddy, washed-out image.

https://pluralistic.net/2025/08/16/jackpot/#salience-bias

Mark Zuckerberg's metaverse avatar, perched on a legless nude Ken doll body; its eyes are psychedelic pinwheels. Behind the figure is a group shot of child laborer miners from the 1910s, glitched out, blue tinted, and covered with scan lines. The background is a psychedelic swirl of moody colors. They stand atop a filthy checkerboard floor that stretches off to infinity.
Zuckermuskian solipsism

The laborers come from an LoC collection of portraits of children who worked in coal mines in the 1910s. They're pretty harrowing stuff. I spent a long plane ride cropping each individual out of several of these images.

https://pluralistic.net/2025/08/18/seeing-like-a-billionaire/#npcs

A black and white photo of a massive crowd (a 1910s Mayday parade); matted into the background of the photo are the three wise monkeys, posed before a cloud-shrouded capitol building.
Good ideas are popular

The original crowd scene (a presidential inauguration, if memory serves) was super high-rez, which made it very easy to convincingly matte in the monkeys and the Congressional dome. I played with tinting this one, but pure greyscale looked a lot better.

https://pluralistic.net/2025/08/07/the-people-no-2/#water-flowing-uphill

The Gadsen 'DONT TREAD ON ME' flag; the text has been replaced with 'THERE MUST BE IN-GROUPS WHOM THE LAW PROTECTS BUT DOES NOT BIND ALONGSIDE OUT-GROUPS WHOM THE LAW BINDS BUT DOES NOT PROTECT.'

By all means, tread on those people

Another great high concept. The wordiness of Wilhoit's Law makes this intrinsically funny. There's a public domain vector-art Gadsen flag on Wikimedia Commons. I found a Reddit forum where font nerds had sleuthed out the typeface for the words on the original.

https://pluralistic.net/2025/08/26/sole-and-despotic-dominion/#then-they-came-for-me

A kid bouncing on a pogo-stick in front of a giant, onrushing vintage black sedan, with the glaring red eye of HAL9000 from Kubrick's '2001: A Space Odyssey' behind the wheel. The background is a fiery, smoky hellscape.
AI's pogo-stick grift

The pogo stick kid is another H Armstrong Roberts gank. I spent ages trying to get the bounce effect to look right, and then Alistair Milne fixed it for me in like 10 seconds. The smoke comes from an oil painting of the eruption of Vesuvius from the Met. It's become my go-to "hellscape" background.

https://pluralistic.net/2025/08/02/inventing-the-pedestrian/#three-apis-in-a-trenchcoat

An Android droid mascot rising from a volcanic caldera, backed by hellish red smoke. The droid is covered with demons froom Bosch's 'Garden of Earthly Delights.
The worst possible antitrust outcome

The smoke from Vesuvius makes another appearance. I filled the Android droid with tormented figures from Bosch's "Garden of Earthly Delights," which is an amazing painting that is available as a more than 15,000 pixel wide (!) scan on Wikimedia Commons.

https://pluralistic.net/2025/09/03/unpunishing-process/#fucking-shit-goddammit-fuck

A carny barker at a podium, gesticulating with a MAGA cap. He wears a Klan hood, and his podium features products from Nu-skin, Amway and Herbalife. Behind him is an oil-painted scene of a steamship with a Trump Tower logo, at a pier in flames.
Conservatism considered as a movement of bitter rubes

Boy, I love this one. The steamship image is from the Met. The carny barker is a still of WC Fields, whose body language is impeccable. It took a long-ass time to get a MAGA hat in the correct position, but I eventually found a photo of an early 20th C baseball player and then tinted his hat and matted in the MAGA embroidery.

https://pluralistic.net/2025/07/22/all-day-suckers/#i-love-the-poorly-educated

A moody room with Shining-esque broadloom. In fhe foreground stands a giant figure the with the head of Mark Zuckerberg's metaverse avatar; its eyes have been replaced with the glaring red eyes of HAL 9000 from Kubrick's '2001: A Space Odyssey' and has the logo for Meta AI on its lapel; it peers though a magnifying glass at a tiny figure standing on its vast palm. The tiny figure has a leg caught in a leg-hold trap and wears an expression of eye-rolling horror. In the background, gathered around a sofa and an armchair, is a ranked line of grinning businessmen, who are blue and flickering in the manner of a hologram display in Star Wars.
Your Meta AI prompts are in a live, public feed

These guys on the sofa come from Thomas Hawke, who has recovered and scanned nearly 30,000 "found photos" – collections from estates, yard-sales, etc:

https://www.flickr.com/search/?sort=date-taken-desc&safe_search=1&tags=foundphotograph&user_id=51035555243%40N01&view_all=1

The Shining-esque lobby came from the Library of Congress, where it is surprisingly easy to find images of buildings with scary carpets.

https://pluralistic.net/2025/06/19/privacy-breach-by-design/#bringing-home-the-beacon

A Renaissance oil-painting of the assassination of Julius Caesar, modified to give Caesar Trump's hair and turn his skin orange, to make the knives glow, and to emboss a Heritage Foundation logo on the wall behind the scene.
Strange Bedfellows and Long Knives

Another great high-concept that turned out great. I think that matting the Heritage Foundation chiselwork into the background really pulls it together, and I'm really happy with the glow-up I did for the knives.

https://pluralistic.net/2025/05/21/et-tu-sloppy-steve/#fractured-fairytales

A 19th century engraving of fiendishly complex machine composed of thousands of interlocking gears and frames (originally an image of a printing press, but modified so that it's just all gears and things), colored dark blue. It bears Woody Guthrie's guitar sticker, 'This machine KILLS fascists. To one side of it stands an image of Ned Ludd, taken from an infamous 19th century Luddite handbill, waving troops into battle. King Ludd's head has been replaced with a hacker's hoodie, the face within lost in shadow.
Are the means of computation even seizable?

I spent so long cutting out this old printing press, but boy has it stood me in good stead. I think there's like five copies of that image layered on top of each other here. The figure is an inside joke for all my Luddite trufan pals out there, a remix of a classic handbill depicting General Ned Ludd.

https://pluralistic.net/2025/05/14/pregnable/#checkm8

A portrait of a bearded, glaring Rasputin. His face has been replaced with Mark Zuckerberg's metaverse avatar; the pupils of the avatar's eyes have been replaced with the glaring red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.'
Mark Zuckerberg announces mind-control ray (again)

I was worried that this wouldn't work unless you were familiar with the iconic portrait photo of Rasputin, but that guy was such a creepy-ass-looking freak, and Zuck's metaverse avatar is so awful, that it works on its own merits, too.

https://pluralistic.net/2025/05/07/rah-rah-rasputin/#credulous-dolts

Three men playing cards and having a drink. The men are dressed in long trousers and shirts. One man passes a card to another player with the card between his toes under the table, unbeknownst to the third player. The card-passer has Trump's hair and orange skin. The card-receiver wears a MAGA hat. The background is a heavily halftoned, desaturated, waving US flag.
Mike Lee and Jim Jordan want to kill the law that bans companies from cheating you

The original image was so grainy, but it was also fantastic and I spent hours rehabbing it. It's a posed, comedic photo of two Australian miners in the bush cheating at cards, rooking a third man. The Uncle Sam is (obviously) from Keppler.

https://pluralistic.net/2025/04/29/cheaters-and-liars/#caveat-emptor-brainworms

A naked, sexless pull-string talking doll with a speaker grille set into its chest. It has the head of Mark Zuckerberg's metaverse avatar, and a pull string extending from its back. A hand - again, from a Zuckerberg metaverse avatar - is pulling back the string. The doll towers over a courtroom.
Mark Zuckerberg personally lost the Facebook antitrust case

This one got more, "Wow is that ever creepy" comments than any of the other ones. I was going for Chatty Cathy, but that Zuck metaverse avatar is so weird and bad that it acts like visual MSG in any image, amplifying its creepiness to incredible heights.

https://pluralistic.net/2025/04/18/chatty-zucky/#is-you-taking-notes-on-a-criminal-fucking-conspiracy

An engraved illustration from a 1903 French edition of HG Wells's 'War of the Worlds.' It shows a shadow street scene in which revelers are spilling out of a nightclub, oblivious to the looming 'tripod' Martian at the end of the block. It has been modified. The Martian's eyes now emit two beams of brown light that strike the revelers, who have been tinted red, making it appear as though they are being cooked by lasers. Behind the skyline looms a giant poop emoji.
Machina economicus

The image is from an early illustrated French edition of HG Wells's War of the Worlds. I love how this worked out, and a family of my fans in Ireland commissioned a paint-by-numbers of it and painted it in and mailed it to me. It's incredible. If I re-use this, I will probably swap out the emoji for the graphic from the book's cover.

https://pluralistic.net/2025/04/14/timmy-share/#a-superior-moral-justification-for-selfishness

A vintage photo of a fisherman in an old-fashioned, one-piece bathing suit holding aloft a long fishing rod from which dangles a fish. The image has been tinted. The fisherman's head has been replaced with a cliched 'hacker in a hoodie' head. Beneath the fish is a rippling pond made up of the glaring red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.
How the world's leading breach expert got phished

I don't understand how composition works, but I know when I've lucked into a good composition. This is a good composition! I made this on the sofa of Doc and Joyce Searles in Bloomington, Indiana while I was in town for my Picks and Shovels book tour.

https://pluralistic.net/2025/04/05/troy-hunt/#teach-a-man-to-phish

Sigmund Freud's study with his famous couch. Behind the couch stands an altered version of the classic Freud portrait in which he is smoking a cigar. Freud's clothes and cigar have all been tinted in bright neon colors. His head has been replaced with the glaring red eye of HAL9000 from Kubrick's '2001: A Space Odyssey.' His legs have been replaced with a tangle of tentacles.
Anyone who trusts an AI therapist needs their head examined

I worked those tentacles for so long, trying to get Freud/Cthulhu/HAL's lower half just right. In the end, it all paid off.

https://pluralistic.net/2025/04/01/doctor-robo-blabbermouth/#fool-me-once-etc-etc

The Columbia University library, a stately, columnated building, color-shifted to highlight reds and oranges. The sky behind it has been filled with flames. In the foreground, a figure in a firefighter's helmet and yellow coat uses a flamethrower to shoot a jet of orange fire.
You can't save an institution by betraying its mission

The "fireman" is an image from the Department of Defense of a soldier demoing a flamethrower (I hacked in the firefighter's uniform). I spent a lot of time trying to get a smoky look for the foreground here, but I don't think it succeeded.

https://pluralistic.net/2025/03/19/selling-out/#destroy-the-village-to-save-it

A science fiction illustration of a giant robot in a massive laboratory; on a lab-bench in the foreground are two bell jars. One contains a 'John Bull' character representing the UK. He looks alarmed. In the other jar is a WWI German officer with a musket; his jacket has been colorized to EU flag blue, and the EU circle of stars appears on his belly and the front of his peaked cap. The robot is attacking the John Bull jar with red laser beams coming from its eyes; the beams are melting the jar. The robot has Trump's hair and a Tesla logo on its chest.Trump loves Big Tech

The two guys in the jars (John Bull and a random general I've rebadged to represent the EU) come from an epic Keppler two-page spread personifying the nations of the world as foolish military men. While many of the figures are sadly and predictably racist (you don't want to see "China"), these guys were eminently salvageable, and I love their expressions and body-language.

https://pluralistic.net/2025/03/24/whats-good-for-big-tech/#is-good-for-america

A magnified image of the inside of an automated backup tape library, with gleaming racks of silver tape drives receding into the distance. In the foreground is a pile of dirt being shoveled by three figures in prisoner's stripes. Two of the figures' heads have been replaced with cliche hacker-in-hoodie heads, from which shine yellow, inverted Amazon 'smile' logos, such that the smile is a frown. The remaining figure's head has been replaced with a horse's head. Behind the figure is an impatiently poised man in a sharp business suit, glaring at his watch. His head has been replaced with the glaring red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.'
The future of Amazon coders is the present of Amazon warehouse workers

The background is a photo of the interior of a tape-robot that I snapped in the data-centre at the Human Genome Project when I was out on assignment for Nature magazine. It remains one of the most striking images I've ever captured. It was way too hard to find a horse's head from that angle for the "reverse centaur." If there are any equestrian photographers out there, please consider snapping a couple and putting them up on Wikimedia Commons under a Creative Commons license.

https://pluralistic.net/2025/03/13/electronic-whipping/#youre-next

A 19th C illustration of a crying baby about to crawl out of a bathtub. The baby's face has been replaced with Elon Musk's. A Canada goose flies overhead. The baby's bare bum has a giant splat of birdshit on it.
Gandersauce

I'm not thrilled with how the face worked out on this one, but people love it. If I'm giving a speech and I notice the audience elbowing one another and pointing at the slides and giggling, I know this one has just rotated onto the screen.

https://pluralistic.net/2025/03/08/turnabout/#is-fair-play

photo of an orange Telemation acoustic coupler next to an avocado-green German 611 dial phone, whose receiver is socketed to the coupler in what Neal Stephenson memorably described as 'a kind of informational soixante-neuf.' The image has been modified to put a colorized version of Woody Guthrie's iconic 'THIS MACHINE KILLS FASCISTS' hand-lettered label on the side of the coupler.
Premature Internet Activists

I spent a lot of time cleaning up and keystoning Woody Guthrie's original sticker, which can be found at very high resolutions online. Look for this element to find its way into many future collages.

https://pluralistic.net/2025/02/13/digital-rights/#are-human-rights

wo caricatures of top-hatted millionaires whose bodies are bulging money-sacks. Their heads have been replaced with potatoes. The potatoes' eyes have been replaced with the hostile red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.' They stand in a potato field filled with stoop laborers. The sky is a 'code waterfall' as seen in the credit sequences of the Wachowskis' 'Matrix' movies.
It's not a crime if we do it with an app

The two figures come from Keppler; the potato field is from the Library of Congress. Putting HAL eyes on the potatoes was fiddly work, but worth it. Something about Keppler's body language and those potato heads really sings.

https://pluralistic.net/2025/01/25/potatotrac/#carbo-loading

A Soviet propaganda poster depicting two workers holding flags in front of a locomotive. The flags have been replaced with US flags. The locomotive's face has been replaced with the glaring red eye of HAL 9000 from Kubrick's '2001: A Space Odyssey.' The maxim below has been replaced with the lettering from a Walmart 'everyday low prices' sign. The background has been replaced with a posterized grocery aisle.The cod-Marxism of personalized pricing

I don't often get a chance to use Chinese communist propaganda posters, but I love working with them. All public domain, available at high rez, and always to the point. It was a lot of work matting those US flags onto the partially furled Chinese flags, but it worked out great.

https://pluralistic.net/2025/01/11/socialism-for-the-wealthy/#rugged-individualism-for-the-poor

A ramshackle, tumbledown shack, draped in patriotic bunting. On its porch stands a miserable, weeping donkey, dressed in the livery of the Democratic Party. To its left is the circle-D logo of the DNC. The sky is filled with ominous stormclouds.
Occupy the Democratic National Committee

I love this sad donkey, from an old political cartoon. Given the state of the Democratic Party, I get a lot of chances to use him, and more's the pity.

https://pluralistic.net/2025/01/10/smoke-filled-room-where-it-happens/#dinosaurs

A dirty, cracked wall with a bricked-up fire-exit set into it - a pair of double-doors with crashbars, fire alarms, and a fire exit sign. To the left of the doors is a faded, dirty Twitter logo. The bottom of the frame is filled with flames, and smoke rises off of them.Social media needs (dumpster) fire exits

This one's actually from 2024, but I did it after last year's roundup, and I like it well enough to include it in this year's. I think the smoke came out pretty good!

https://pluralistic.net/2024/12/14/fire-exits/#graceful-failure-modes

(Images: TechCrunch, Ajay Suresh, Steve Jurvetson, CC BY 2.0; Cryteria, UK Parliament/Maria Unger, CC BY 3.0; Bastique, Frank Schwichtenberg, CC BY 4.0; Japanexperterna.se, CC BY-SA 2.0; Ser Amantio di Nicolao, CC BY-SA 3.0; Armin Kübelbeck, Zde, Felix Winkelnkemper, CC BY-SA 4.0; modified)

Hey look at this (permalink)


A shelf of leatherbound history books with a gilt-stamped series title, 'The World's Famous Events.'

Object permanence (permalink)

#20yrsago Sony Rootkit Roundup IV https://memex.craphound.com/2005/12/02/sony-rootkit-roundup-iv/

#20yrsago How can you tell if a CD is infectious? https://web.archive.org/web/20051205043456/https://www.eff.org/deeplinks/archives/004228.php

#20yrsago France about to get worst copyright law in Europe? https://web.archive.org/web/20060111033356/http://eucd.info/index.php?2005/11/14/177-droit-d-auteur-eucdinfo-devoile-le-plan-d-attaque-des-majors

#15yrsago UNC team builds 3D model of Rome using Flickr photos on a single PC in one day https://readwrite.com/flickr_rome_3d_double-time/

#15yrsago Schneier’s modest proposal: Close the Washington monument! https://www.schneier.com/essays/archives/2010/12/close_the_washington.html

#15yrsago Tea Party Nation President proposes taking vote away from tenants https://web.archive.org/web/20101204012806/https://thinkprogress.org/2010/11/30/tea-party-voting-property/

#15yrsago What it’s like to be a cocaine submarine captain https://web.archive.org/web/20120602082933/https://www.spiegel.de/international/world/the-colombian-coke-sub-former-drug-smuggler-tells-his-story-a-732292.html

#10yrsago A profile of America’s killingest cops: the police of Kern County, CA https://www.theguardian.com/us-news/2015/dec/01/the-county-kern-county-deadliest-police-killings

#10yrsago The word “taser” comes from an old racist science fiction novel https://www.theguardian.com/commentisfree/2015/nov/30/history-of-word-taser-comes-from-century-old-racist-science-fiction-novel

#10yrsago HOWTO pack a suit so it doesn’t wrinkle https://www.youtube.com/watch?v=ug58yeMqNCo

#10yrsago Newly discovered WEB Du Bois science fiction story reveals more Afrofuturist history https://slate.com/technology/2015/12/the-princess-steel-a-recently-uncovered-short-story-by-w-e-b-du-bois-and-afrofuturism.html

#10yrsago A roadmap for killing TPP: the next SOPA uprising! https://www.eff.org/deeplinks/2015/12/tpp-current-state-play-how-we-defeat-largest-trade-deal

#10yrsago Wikipedia Russia suspends editor who tried to cut deal with Russian authorities https://www.themoscowtimes.com/archive/russian-wikipedia-suspends-editor-who-cut-deal-with-authorities

#10yrsago Vtech toy data-breach gets worse: 6.3 million children implicated https://web.archive.org/web/20151204033429/https://motherboard.vice.com/read/hacked-toymaker-vtech-admits-breach-actually-hit-63-million-children

#10yrsago Ironically, modern surveillance states are baffled by people who change countries https://memex.craphound.com/2015/12/02/ironically-modern-surveillance-states-are-baffled-by-people-who-change-countries/

#10yrsago Mozilla will let go of Thunderbird https://techcrunch.com/2015/11/30/thunderbird-flies-away-from-mozilla/

#10yrsago Rosa Parks was a radical, lifelong black liberation activist, not a “meek seamstress” https://web.archive.org/web/20151208224937/https://www.washingtonpost.com/posteverything/wp/2015/12/01/how-history-got-the-rosa-parks-story-wrong/

#10yrsago Racist algorithms: how Big Data makes bias seem objective https://www.fordfoundation.org/news-and-stories/stories/can-computers-be-racist-big-data-inequality-and-discrimination/

#5yrsago Nalo Hopkinson, Science Fiction Grand Master https://pluralistic.net/2020/12/02/in-the-ring/#go-nalo-go

#1yrago All the books I reviewed in 2024 https://pluralistic.net/2024/12/02/booklish/#2024-in-review

Upcoming appearances (permalink)

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Recent appearances (permalink)


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Latest books (permalink)


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Upcoming books (permalink)

  • "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026

  • "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

  • "The Memex Method," Farrar, Straus, Giroux, 2026

  • "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026


Colophon (permalink)

Today's top sources:

Currently writing:

  • "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. LEGAL REVIEW AND COPYEDIT COMPLETE.

  • "The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.

  • A Little Brother short story about DIY insulin PLANNING

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