I was reading something that suggested that trauma "tries" to spread itself. ie that the reason why intergenerational trauma is a thing is that the traumatized part in a parent will take action to recreate that trauma in the child.

@JeffLadish I think because the reward structure of being a bio-ethicist rewards saying level-headed sounding, cautious-sounding, conventional wisdom?

Though I'm not sure why that is.

I guess if you want to radically improve the world, you mostly don't go into a field that is about opining on other people's work, you go into something like Engineering and do the work?

I note that Nick Bostrom is what a Bioethicist should be: he thinks hard about tradeoffs and risks, and crystalizes concepts like the Unilateralist's curse and black ball technologies.

But this is starting from a place of "The world could be vastly better. How do we get there?"

I don't know why bioethics doesn't look more like a field of (less smart) Bostroms.

I guess because everyone's disgust reactions are triggered by the actually good proposals, and in order to make those proposals the consensus of the field a lot of people have to bite the bullet and stick their neck out saying "I know this sounds crazy / absurd / vaguely evil...

I know some people who seem (to me) more concerned with receiving VALIDATION for their mental health issues than solving them.

They seem to care most about other people BELIEVING their problems are real.

I'm curious about this.

Like, it's more important to them that people know how debilitating their anxiety is, than to overcome the anxiety.

Or it's important to them that others believe that they're actually depressed, not "just sad."

Or they want people buy into the narrative that they've been traumatized, and might be something like offended if someone minimizes that.

What do we make of this?

1. One possibility is that if solving the problems seems hopeless or even just really hard, you need external support to be able to cope.

If no one cuts you slack because of your mental health stuff, maybe you're in a really bad place, so you need people to believe you.

There's a particular kind of romantic partnership, with a certain sort of person, that I've wanted since I became a self-aware, directed agent at around age 15.

Empirically, this kind of relationship has been hard to achieve. It hasn't worked out yet, at least.

And this sometimes leaves me wondering if my standards are unreasonable.

In years past that desire was often very alive.

These days, I'm rarely directly or viscerally in contact with it.

I sometimes contemplate aiming for some other kind of romantic and/or sexual relationship instead. In part because I might be more effective if I...I don't know, got laid more? But that's not really the thing. More like, if I had someone around whom I could regularly relax.

But mostly, I don't pursue those alternative relationship-setups out of a sense of something like loyalty to myself + a vague sense of wrongness and/or sadness about it. It often feels like giving up or giving in.

[I might elaborate on the wrongness sometime.]

Many readers have asked me "why do so many pulp covers feature women in ripped red blouses standing in swamps while a man fights off an unusual animal attack?"

The answer is artist Will Hulsey...

Will Hulsey was the undisputed king of the animal attack pulp cover. You name it, he'd paint it attacking you in a pool of stagnant water.

Very little is known about Will Hulsey, but he worked on a number of men's pulp magazines in the 1950s and early 1960s including Man's Life, True Men, Guilty, Trapped and Peril.

Their audience was ex-GIs: during WWII the US Council of Books in Wartime had given away over 122 million books to American servicemen to read; this led to a post-war surge in paperback and magazine sales amongst these newly enthusiastic readers.

As a result the 1950s saw a raft of men's pulp magazines being published to tap into this market - almost 200 different titles!

ugh i wanted to do a thread about the wars in Star Wars and how the two outlying wars (the clone wars in the prequels and the cold war/civil war in the sequels) are really weird but i don't feel like it any more.

my first argument is that the Clone Wars were a really complex morally gray moment in Star Wars canon in like, 5 different directions and I'd kind of like to know why Lucas did that.

especially with the direct line that's drawn in the OT with the allegory of WW2 and Vietnam with the rebels being the Vietnamese and the Empire being America. That...doesn't exist in the Clone Wars.

for starters: it's weird it's called the Clone Wars. I get why, because that's what Kenobi calls it in STAR WARS, but the clones are a small facet in the larger story of the war.

the clones basically only exist as a macguffin in AOTC that is...extremely confusing ultimately. Because if you accept that Sidious has this grand master plan to use this war to destabilize the Republic and form an Empire...it's way too complex.

The Final Destination (also known as Final Destination 4) is a 2009 3-D supernatural horror film written by Eric Bress and directed by David R. Ellis, both of whom also worked on Final Destination 2.

Released on August 28, 2009, it is the fourth installment to the Final Destinationfranchise, and the first of which to be shot in HD 3-D.
The Final Destination is rated R by the MPAA for strong violent/gruesome accidents.

Eight years after the explosion of Flight 180, seven years after the Route 23 pileup and three years after Devil's Flight derailment, college student Nick O'Bannon has a premonition of a car crash while watching a race at McKinley Speedway for a study break.

which sends debris into the audience, crushing some spectators and resulting in the stadium partially collapsing, killing almost everyone present in the 180 section.

In a panic Nick convinces his girlfriend Lori Milligan, and friends Hunt Wynorski and Janet Cunningham to leave, with the quartet being followed by a handful of others who become angry with Nick after he pushes past them to escape.

Thread: Unforgettable moments in Cinema and T.V Series ♥️🔥

I killed her, It was me.

Oh god.

Make him stay.

I found them.

You're just a freak like me.

In the shadowy corners of the shortwave spectrum lurk the Numbers Stations: strange radio broadcasts of mysterious blocks of numbers in creepy monotone voices!

It's actually an old form of spycraft which is still in use today. And as it's #WorldRadioDay let's take a listen...

A Numbers Station is a type of one-way voice link for sending information to spies in foreign countries.

Operating on Short Wave radio bands they transmit a secret code of spoken numbers. Use of Numbers Stations peaked during the Cold War, but some are still operating today.

Numbers Stations are operated by various national intelligence agencies. At set times on a pre-arranged frequency a musical tone is played, followed by a speech synthesised voice reading out blocks of numbers. To most listeners it sounds both creepy and meaningless.

However to spies it can be vital. The numbers can be decoded to reveal a message, provided the spy has the right One Time Pad (OTP) - a random number key that is only used once before it is destroyed. OTP encryption is impossible to break if done correctly.

Why broadcast your secret message on Short Wave? Because it can be picked up across the globe. All a spy needs is a shop bought SW radio, a pencil, and the correct One Time Pad and they - and only they - can decipher the message. No complex kit is required.