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3 episodes with frankensteinian
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2 episodes with frankensteinian
Happy Halloween Indieventure listeners! With the serendipitous launch of this episode on the spookiest day of the year, we couldn't resist the opportunity to peer into a parallel universe and imagine what life would be like if we became the thing we fear the most: yet another podcast dedicated to the biggest games everyone's already talking about. That's right: it's time for AAAventure (pronounced as scream-venture, with an apology in advance to headphone users). But horror mother Rebecca is at the helm and because she can't just be normal ever, there's a bit more to today's discussion than a dry recounting of our favourite AAA games. No, instead the three wyrd sisters (yes, Liam counts) of Indieventure are collaborating on building a Frankensteinian monster of a AAA game by stitching together all the tropes that we love most about big-budget blockbusters. Fear not, though, because we're also brewing a handy banishing potion out of all the most cursed items we've found in indie games, just in case things get out of hand. Of course, it being Halloween means that there are officially only two months left of 2024, so it's time for another update on what we've all been playing ahead of those all-important GOTY picks. Rachel has been enjoying unique dialogue puzzler Great God Grove, Rebecca has also been getting her word on in typing-based action-RPG Cryptmaster, and Liam has come to the conclusion that UFO 50 might be deserving of about 50 GOTY noms all by itself. And, even though it's been a weird episode, we end with the familiarity of hyperfixations. Rachel's is a bit melancholy: PLAY magazine, a print outlet she's written for extensively, was officially shuttered this month, so she's been reflecting on the good times. Liam chooses to highlight Party House, one of the games that make up UFO 50, as really something special. And Rebecca's been working on her review of Life is Strange: Double Exposure, which naturally has brought up a lot of feelings for our resident LIS fanatic. Our music was written and performed by Ollie Newbury, and it's a testament to his talents that it still sounds great even though we've messed with it a bit for this episode as part of the whole spooky goof. You can find Ollie on Instagram at @newbsmusic. Meanwhile, you can find us at indieventurepodcast.co.uk or wherever you listen to podcasts, and can now join our brand-new Discord!
Happy Halloween, fiends! We're kinda breaking the format again this week. In honor of the recent release of V/H/S/Beyond, we're discussing several Frankensteinian segments from a number of films in the V/H/S franchise. Specifically, we're looking at "Phase I Clinical Trials" from V/H/S/2, "The Subject" from V/H/S/94, "TKNOGD" from "V/H/S/85, and "Dream Girl" and "Fur Babies" from V/H/S/Beyond. Join us for all of the found footage, POV shenanigans! Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at patreon.com/thefrankencast. Find all of our various links at linktr.ee/frankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (@KellerIllustrations on Instagram).
Just like John Doe: Even after a Manhattan kangaroo court found former President Donald Trump guilty of Frankensteinian charges, Judge Juan Merchan refuses to lift a gag order on the GOP's presidential candidate. Sound familiar, Wisconsin conservatives? U.S. Rep. Tom Tiffany, representing Wisconsin's fighting 7th,
ANARCHO SQUAT SAUNA! What was that? Was that real? Is that just in my head? Where do you start with introductions to songs? Are they a part of the song, do they set the rest of it up, or are they just a side show, a distraction? Sure, there are many great introductions to songs, even if the rest of the song goes haywire, but what about those intros that stick out as a WTF? In this episode, Andrew and Sam investigate the spooky but real world of random introductions to songs. These are introductions that either don't seem to fit, seem tagged on, or just unedited. They both had a bit of a challenge finding them, but they come up with the goods and run the trajectory from hip hop, drug-addled Madchester types to some quite grating 2000s UK indie. So, once again, take up your pitch fork and join them in trying to burn down the Frankensteinian labs of corporate music culture that undermine the ties that bind us. Why pay for your music to be on spotify when they don't give you anything in return, and why vote Labour when they're promising to manage Tory policies slightly more professionally than the Tories? Lets take a note of Kevin Rowland's book and burn it down (not literally?). ### Riffs of the week #### Dr Sam's Riff - Joy of Fire - Thunderdome (intro) #### Andrew's Riff - Bob Vylan - He's a man (0:51) ### Dr Sam's track choices 1. Minutemen - This Ain't No Picnic (opening) 2. Franz Ferdinand - Take Me Out (0.40) 3. Of Montreal - Bunny Ain't No Kind of Rider (0.30) 4. Busdriver - Bliss Point (1.11) ### Andrew's track choices 1. The Stone Roses - Breaking into heaven (4:12) 2. Arctic Monkeys - I bet that you look good on the dancefloor (opening) 3. Wu Tang Clan - Gravel Pit (opening) 4. Soulfly - Tribe (0:58) Email us - beatmotel@lawsie.com https://youtu.be/kVY7-Ti77UQ?si=oo90fKn5mBI6jj1b
We thought we'd start sharing the first few minutes of our Patreon episodes here on the main feed to give everyone a taste of what you can expect if you join us at patreon.com/thefrankencast. What a nostalgia trip this was! Join us for this silly Frankensteinian claymation comedy special from the guys behind the California Raisins and Anthony's childhood obsession Dinosaurs! It gets silly, but it's a lot of fun. Plus, vintage commercials! Always a treat. You can watch the version we watched here: https://www.dailymotion.com/video/x8f00mg And you can watch the music video for the banger jam "Mesozoic Mind" here: https://www.youtube.com/watch?v=fNeAINi9omo
In this Patreon exclusive Vanity Project use Poor Things (2023) to finally talk about the big topics. Sure, Lanthimos' new film might be about a Frankensteinian pedophilia problem, but Charles and Laura want to talk about the Ball Drop. While we're still in a festive mood from New Years we're celebrating joyful semen! Poor Things helps us to ask, is Fully Automated Luxury Communism compatible with Political Lesbianism? Is Laura finally giving up on fags? If an adult baby learns how to jerk off on the silver screen, is that ok to watch with your mum? Are we just like this because we were made to tap dance to LoveGame as children? Pledge allegiance to the struggle: https://www.patreon.com/vanity_project
Today on the show – a movie in which Emma Stone attempts to punch a baby, by a playwright and screenwriter whose stories never fail to pack a punch. Yes, Tony McNamara is here, talking all things Poor Things, his latest collaboration with director Yorgos Lanthimos. Having previously worked together on the ten-time Oscar-nominated historical comedy The Favourite in 2018, this awards-tipped odyssey is a Frankensteinian creation as beguiling and impossible to pin down as its protagonist, Bella Baxter. It's part coming-of-age comedy, part sexual conquest and part travelogue through an eye-popping steampunk planet both like and unlike our own. You might also classify it as a father-daughter drama – except here, the father is a mad scientist whose home is a cornucopia of unholy experiments, his daughter, played by Emma Stone, just one of them.Stone is astounding as Bella, a reanimated dead woman, whose body, dragged from the Thames, has had life breathed into it once more. The horny journey of self-discovery that the character goes on from there, adapted from a 1992 novel by Alasdair Gray, comments on our culture's (male-driven) obsession with control, explains Tony in our conversation. It's a riveting chat with a storyteller whose other screen credits include creating the TV show The Great, loosely based on Empress Catherine the Great of Russia's rise to power in 18th century Saint Petersburg and 2021's Cruella. Listen out for insights on the changes made to Gray's novel, the scene that Yorgos and Tony sadly had to cut for time, the idea of sex as a liberating force for the film's main character and what each of the new lands Bella visits are meant to bring out of her evolving character. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show
Sean finds out the hard way that bringing a loved one back from the dead via Frankensteinian science can create a Deadly Friend (1986). A genius highschooler does just that after his pretty neighbor is killed by an abusive parent, creating a rampaging killing machine. Listen as we smash heads with basketballs, wake up screaming from Wes Craven nightmares, and master the automaton walk on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.
Ok, disaster has struck and at least a dozen episodes, which were in the can, have been lost. You can check them out on YouTube OR you can listen to these Frankensteinian, cobbled together versions here. Once these are done, we will have new episodes. I explain why this happened in the intro. Sorry for the unprofessional nightmare, but I will be pouring more into this show very soon and I'm hoping the last phase of Weird Medicine will be the best phase. thank you for your continued support! your pal, Steve Learn more about your ad choices. Visit podcastchoices.com/adchoices
Luke & I are back at it, picking up our saga of the life of psychic spy, Nazi Nostradamus, yacht orgy organizer, sexual blackmailer, & British intel asset Erik Jan Hanussen... This one contains some shocking & possibly novel speculations... Trust me, it's a heavy hitter. It's also especially Aleister Crowley heavy, which seems appropriate considering that we're unlocking it on the sex pest Mage & British spy's Birthday. Subscribe to the PPM Patreon in time for the release of Pt. III in a matter of days: patreon.com/ParaPowerMapping Def check out Luke's Things Observed wherever you get your podcasts! It's been a blast working together on this series. He's got a stacked back catalog brimming w/ addictive examinations of topics like assorted Titanic conspiracy theories, Roman Catholic high strangeness, & the Nazi spy chief Skorzeny, so give his Patreon a look & follow him on Twitter at @thingobserver. *Before we get into an index of what you can expect, quick note about the audio fidelity. Luke & I unfortunately ran into some difficulties—whether caused by faltering Internet bandwidth or else both of us unknowingly making ambient sounds on our end... You might notice the occasional plosive pop or a background ruffling in some places. It's infrequent & hopefully barely noticeable, or else at least not distracting. Either way, don't worry, we already have a plan in place to ensure we have top-notch audio quality for the final installment. Thanks for understanding this learning moment for the both of us.* As for the content of today's EP: We resume our investigation w/ EJH's dalliance in film & the Cabinet of Dr. Caligari-esque silent movie that he produced & starred in as a Sherlock Holmes-y type who must rescue young Viennese dancers from the "Indian fakir" forcing them into sexual slavery via hypnotic means—a curious inversion of Hanussen's own proclivity for pimping. We turn our attention to Secret Agent EJH; his hypnotic feeding of tobacco magnate Hans Hauser; their scheme to sell surplus military equipment to the Greeks post-WWI; Hanussen's debut as a Brit intel asset, likely via the SIS front Tobacco Co Ltd or else the manager of a bar for Brit officers in Cairo named P. Neufeld; his investigation of hashish smugglers for Anglo colonial authorities; & a breakdown of the itinerary overlaps & textual synchronicities that support my theory that EJH & Crowley met in 1922 in Cairo... + the possibility they got up to something espionage-related together. This leads to a discussion of the Nazi propagandist & novelist Hanns Heinz Ewers—a node connecting EJH & AC in the German occult-espionage nexus; his early horror trilogy, including The Sorcerer's Apprentice & Alraune (a creepy novel about a homunculus formed thru artificial insemination of a prostitute w/ the semen of an executed murderer)... We talk about the Nazi overtones of this Frankensteinian inversion & Ewers' apparent obsession w/ mandrake root... Which brings us to the Q of whether Ewers was an influence on the magickal workings of both Crowley & EJH, ofc—in Hanussen's case, the Levenda/ Toland-reported mandrake root ritual that he conducted on Hitler's behalf exactly 30 days before the Nazis took power. Plus folkloric mandrake etiology; the Hanged Man card of the Tarot, which EJH's counterspell likely evoked; & further mythic valences... We move to reports of EJH's hypnotic & performative tutelage of Hitler. Luke walks us thru some of the different vers. contained in David Lewis's book, b4 I append Walter Langer's claim (which the OSS supposedly sourced from Strasser) of EJH & Hitler meeting in the early '20s. We contend w/ the veracity of the OSS Report, before introducing some of the most stomach-turning claims contained therein: Hitler's supposed sadomasochism & coprophagia... Songs: | The Flaming Lips - "Are You A Hypnotist?" | | David Bowie - "Quicksand" | | Clap Your Hands Say Yeah - "Satan Said Dance" | | Cannibal Corpse - "Under the Rotted Flesh" |
We are thrilled to announce the third session of our new Incubator Program. If you have a business idea that involves a web or mobile app, we encourage you to apply to our eight-week program. We'll help you validate your market opportunity, experiment with messaging and product ideas, and move forward with confidence toward an MVP. Learn more and apply at tbot.io/incubator. We look forward to seeing your application in our inbox! Peter Voss is the CEO and Chief Scientist of Aigo.ai, a groundbreaking alternative to conventional chatbots and generative models like ChatGPT. Aigo's chatbot is powered by Artificial General Intelligence (AGI), enabling it to think, learn, and reason much like a human being. It boasts short-term and long-term memory, setting it apart in terms of personalized service and context-awareness. Along with host Chad Pytel, Peter talks about how most chatbots and AI systems today are basic. They can answer questions but can't understand or remember the context. Aigo.ai is different because it's built to think and learn more like humans. It can adapt and get better the more you use it. He also highlights the challenges Aigo.ai faces in securing venture capital, given that its innovative approach doesn't align with current investment models heavily focused on generative or deep learning AI. Peter and Chad agree that while generative AI serves certain functions well, the quest for a system that can think, learn, and reason like a human demands a fundamentally different approach. Aigo.ai (https://aigo.ai/) Follow Aigo.ai on LinkedIn (https://www.linkedin.com/company/aigo-ai/) or YouTube (https://www.youtube.com/channel/UCl3XKNOL5rEit0txjVA07Ew). Follow Peter Voss on LinkedIn (https://www.linkedin.com/in/vosspeter/). Visit his website: optimal.org/voss.html (http://optimal.org/voss.html) Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Become a Sponsor (https://thoughtbot.com/sponsorship) of Giant Robots! Transcript: CHAD: This is the Giant Robots Smashing Into Other Giant Robots Podcast, where we explore the design, development, and business of great products. I'm your host, Chad Pytel. And with me today is Peter Voss, CEO and Chief Scientist at Aigo.ai. Peter, thanks so much for joining me. PETER: Yes, thank you. CHAD: So, tell us a little bit about what Aigo.ai does. You've been working in AI for a long time. And it seems like Aigo is sort of the current culmination of a lot of your 15 years of work, so... PETER: Yes, exactly. So, the quick way to describe our current product is a chatbot with a brain, and the important part is the brain. That basically, for the last 15-plus years, I've been working on the core technology for what's called AGI, Artificial General Intelligence, a system that can think, learn, reason similar to the way humans do. Now, we're not yet at human level with this technology. But it's a lot smarter and a lot more usable than traditional chatbots that don't have a brain. CHAD: I want to dig into this idea a little bit. I think, like a lot of people, I've used just traditional chatbots, particularly like ChatGPT is the latest. I've built some things on top of it. What is the brain that makes it different? Especially if you've used one, what is using Aigo going to be different? PETER: Right. I can give a concrete example of one of our customers then I can talk about the technology. So, one of our big customers is the 1-800-Flowers group of companies, which is Harry & David Popcorn Factory and several others. And wanted to provide a hyper-personalized concierge service for their customers where, you know, the system learns who you buy gifts for, for what occasions, you know, what your relationship is to them, and to basically remember who you are and what you want for each of their 20 million customers. And they tried different technologies out there, you know, all the top brands and so on, and they just couldn't get it off the ground. And the reason is because they really don't learn. And we now have 89% self-service on the things that we've implemented, which is pretty much unheard of for complex conversations. So, why can we do that? The reason is that our system has deep understanding. So, we have deep pausing, deep understanding, but more importantly, that the system remembers. It has short-term memory. It has long-term memory. And it uses that as context. So, you know, when you call back a second time, it'll remember what your previous call was, you know, what your preferences are, and so on. And it can basically use that information, the short and long-term memory, and reason about it. And that is really a step forward. Now, until ChatGPT, which is really very different technology from chatbot technology, I mean, chatbot technology, you're assuming...the kind of thing we're talking about is really augmenting call center, you know, automatic call center calls. There, you need deep integration into the customers' back-end system. You obviously need to know what the latest product availability is, what the customers' outstanding orders are, you know, all sorts of things like, you know, delivery schedules. And we probably have, like, two dozen APIs that connect our system to their various corporate databases and so on. Now, traditional chatbots obviously can do that. You hook up the APIs and do things, and it's, you know, it's a lot of work. But traditional chatbot technology really hasn't really changed much in 30 years. You basically have a categorizer; how can I help you? Basically, try to...what is the intent, intent categorizer? And then once your intent has been identified, you basically have a flowchart-type program that, you know, forces you down a flowchart. And that's what makes them so horrible because it doesn't use context. It doesn't have short-term memory. CHAD: And I just wanted to clarify the product and where you mentioned call center. So, this isn't just...or only text-based chat. This is voice. PETER: Yes. We started off with chat, and we now also have voice, so omnichannel. And the beauty of the system having the brain as well is you can jump from text messaging to a chat on the website to Apple ABC to voice, you know. So, you can basically move from one channel to another seamlessly. You know, so that's against traditional chatbot technology, which is really what everybody is still using. Now, ChatGPT, of course, the fact that it's called ChatGPT sort of makes it a bit confusing. And, I mean, it's phenomenal. The technology is absolutely phenomenal in terms of what it can do, you know, write poems and give you ideas. And the amount of information it's amazing. However, it's really not suited for commercial-grade applications because it hallucinates and it doesn't have memory. CHAD: You can give it some context, but it's basically faking it. You're providing it information every time you start to use it. PETER: Correct. The next time you connect, that memory is gone, you know [crosstalk 05:58] CHAD: Unless you build an application that saves it and then feeds it in again. PETER: Right. Then you basically run out of context we know very quickly. In fact, I just published a white paper about how we can get to human-level AI. And one of the things we did and go over in the paper is we did a benchmark our technology where we fed the system about 300 or 400 facts, simple facts. You know, it might be my sister likes chocolate or, you know, it could be other things like I don't park my car in the garage or [chuckles], you know. It could be just simple facts, a few hundred of those. And then we asked questions about that. Now, ChatGPT scored less than 1% on that because, you know, with an 8K window, it basically just couldn't remember any of this stuff. So, we use -- CHAD: It also doesn't, in my experience...it's basically answering the way it thinks the answer should sound or look. And so, it doesn't actually understand the facts that you give it. PETER: Exactly. CHAD: And so, if you feed it a bunch of things which are similar, it gets really confused because it doesn't actually understand the things. It might answer correctly, but it will, in my experience, just as likely answer incorrectly. PETER: Yeah. So, it's extremely powerful technology for helping search as well if a company has all the documents and they...but the human always has to be in the loop. It just makes way too many mistakes. But it's very useful if it gives you information 8 out of 10 times and saves you a lot of time. And it's relatively easy to detect the other two times where it gives you wrong information. Now, I know in programming, sometimes, it's given me wrong information and ended up taking longer to debug the misinformation it gave me than it would have taken me. But overall, it's still a very, very powerful tool. But it really isn't suitable for, you know, serious chatbot applications that are integrated into back-end system because these need to be signed off by...legal department needs to be happy that it's not going to get the company into trouble. Marketing department needs to sign off on it and customer experience, you know. And a generative system like that, you really can't rely on what it's going to say, and that's apart from security concerns and, you know, the lack of memory and deep understanding. CHAD: Yeah. So, you mentioned generative AI, which is sort of one of the underlying pieces of ChatGPT. In your solutions, are you using any generative solutions? PETER: No, not at all. Well, I can give one example. You know, what 1-800-Flowers do is they have an option to write a poem for your mother's birthday or Mother's Day or something like it. And for that, we will use ChatGPT, or they use ChatGPT for that because that's what it's good at. But, you know, that's really just any other app that you might call up to do something for you, you know, like calling up FedEx to find out where your goods are. Apart from that, our technology...it's a good question you ask because, you know, statistical systems and generative AI now have really dominated the AI scene for the last about 12 years, really sort of since DeepMind started. Because it's been incredibly successful to take masses amounts of data and masses amounts of computing power and, you know, number crunch them and then be able to categorize and identify images and, you know, do all sorts of magical things. But, the approach we use is cognitive AI as opposed to generative. It's a relatively unknown approach, but that's what we've been working on for 15 years. And it starts with the question of what does intelligence require to build a system so that it doesn't use masses amounts of data? It's not the quantity of data that counts. It's the quality of data. And it's important that it can learn incrementally as you go along like humans do and that it can validate what it learns. It can reason about, you know, new information. Does this make sense? Do I need to ask a follow-up question? You know, that kind of thing. So, it's cognitive AI. That's the approach we're using. CHAD: And, obviously, you have a product, and you've productized it. But you said, you know, we've been working on this, or you've been working on this model for a long time. How has it progressed? PETER: Yes, we are now on, depending on how you count, but on the third major version of it that we've started. And really, the progress has been determined by resources really than any technology. You know, it's not that we sort of have a big R&D requirement. It's really more development. But we are a relatively small company. And because we're using such different technology, it's actually been pretty hard to raise VC money. You know, they look at it and, you know, ask you, "What's your training data? How big is your model?" You know, and that kind of thing. CHAD: Oh, so the questions investors or people know to ask aren't relevant. PETER: Correct. And, you know, they bring in the AI experts, and then they say, "Well, what kind of deep learning, machine learning, or generative, or what transformer model are using?" And we say, "Well, we don't." And typically, that's kind of, "Oh okay, well, then it can't possibly work, you know, we don't understand it." So, we just recently launched. You know, with all the excitement of generative AI now recently, with so much money flowing into it, we actually launched a major development effort. Now we want to hire an additional a hundred people to basically crank up the IQ. So, over the years, you know, we're working on two aspects of it: one is to continually crank up the IQ of the system, that it can understand more and more complex situations; it can reason better and be able to handle bigger amounts of data. So, that's sort of the technical part that we've been working on. But then the other side, of course, running a business, a lot of our effort over the last 15 years has gone into making it industrial strength, you know, security, scalability, robustness of the system. Our current technology, our first version, was actually a SaaS model that we deployed behind a customer's firewall. CHAD: Yeah, I noticed that you're targeting more enterprise deployments. PETER: Yeah, that's at the moment because, financially, it makes more sense for us to kind of get off the ground to work with, you know, larger companies where we supply the technology, and it's deployed usually in the cloud but in their own cloud behind their firewall. So, they're very happy with that. You know, they have complete control over their data and reliability, and so on. But we provide the technology and then just licensing it. CHAD: Now, a lot of people are familiar with generative AI, you know, it runs on GPUs and that kind of thing. Does the hardware profile for where you're hosting it look the same as that, or is it different? PETER: No, no, no, it requires much less horsepower. So, I mean, we can run an agent on a five-year-old laptop, you know, and it doesn't...instead of it costing $100 million to train the model, it's like pennies [laughter] to train the model. I mean, we train it during our regression testing, and that we train it several times a day. Mid-Roll Ad: When starting a new project, we understand that you want to make the right choices in technology, features, and investment but that you don't have all year to do extended research. In just a few weeks, thoughtbot's Discovery Sprints deliver a user-centered product journey, a clickable prototype or Proof of Concept, and key market insights from focused user research. We'll help you to identify the primary user flow, decide which framework should be used to bring it to life, and set a firm estimate on future development efforts. Maximize impact and minimize risk with a validated roadmap for your new product. Get started at: tbot.io/sprint. CHAD: So, you mentioned ramping up the IQ is a goal of yours. With a cognitive model, does that mean just teaching it more things? What does it entail? PETER: Yes, there's a little bit of tension between commercial requirements and what you ultimately want for intelligence because a truly intelligent system, you want it to be very autonomous and adaptive and have a wide range of knowledge. Now, for current commercial applications we're doing, you actually don't want the system to learn things by itself or to make up stuff, you know, you want it to be predictable. So, they develop and to ultimately get to full human-level or AGI capability requires a system to be more adaptive–be able to learn things more. So, the one big change we are making to the system right now is natural language understanding or English understanding. And our current commercial version was actually developed through our—we call them AI psychologists, our linguists, and cognitive psychologists—by basically teaching it the rules of English grammar. And we've always known that that's suboptimal. So, with the current version, we are now actually teaching it English from the ground up the way a child might learn a language, so the language itself. So, it can learn any language. So, for commercial applications, that wasn't really a need. But to ultimately get to human level, it needs to be more adaptive, more autonomous, and have a wider range of knowledge than the commercial version. That's basically where our focus is. And, you know, we know what needs to be done, but, you know, it's quite a bit of work. That's why we need to hire about 100 people to deal with all of the different training things. It's largely training the system, you know, but there are also some architectural improvements we need to make on performance and the way the system reasons. CHAD: Well, you used the term Artificial General Intelligence. I understand you're one of the people who coined that term [chuckles] or the person. PETER: Yes. In 2002, I got together with two other people who felt that the time was ripe to get back to the original dream of AI, you know, from 60 years ago, to build thinking machines basically. So, we decided to write a book on the topic to put our ideas out there. And we were looking for a title for the book, and three of us—myself, Ben Goertzel, and Shane Legg, who's actually one of the founders of DeepMind; he was working for me at the time. And we were brainstorming it, and that's what we came up with was AGI, Artificial General Intelligence. CHAD: So, for people who aren't familiar, it's what you were sort of alluding to. You're basically trying to replicate the human brain, the way humans learn, right? That's the basic idea is -- PETER: Yeah, the human cognition really, yeah, human mind, human cognition. That's exactly right. I mean, we want an AI that can think, learn, and reason the way humans do, you know, that it can hit the box and learn a new topic, you know, you can have any kind of conversation. And we really believe we have the technology to do that. We've built quite a number of different prototypes that already show this kind of capability where it can, you know, read Wikipedia, integrate that with existing knowledge, and then have a conversation about it. And if it's not sure about something, it'll ask for clarification and things like that. We really just need to scale it up. And, of course, it's a huge deal for us to eventually get to human-level AI. CHAD: Yeah. How much sort of studying of the brain or cognition do you do in your work, where, you know, sort of going back and saying, "Okay, we want to tackle this thing"? Do you do research into cognition? PETER: Yeah, that's a very interesting question. It really gets to the heart of why I think we haven't made more progress in developing AGI. In fact, another white paper I published recently is "Why Don't We Have AGI Yet?" And, you know, one of the big problems is that statistical AI has been so incredibly successful over the last decade or so that it sucked all of the oxygen out of the air. But to your question, before I started on this project, I actually took off five years to study intelligence because, to me, that's really what cognitive AI approach is all about is you start off by saying, what is intelligence? What does it require? And I studied it from the perspective of philosophy, epistemology, theory of knowledge. You know, what's reality? How do we know anything? CHAD: [laughs] PETER: How can we be sure? You know, really those most fundamental questions. Then how do children learn? What do IQ tests measure? How does our intelligence differ to animal intelligence? What is that magic difference between, you know, evolution? Suddenly, we have this high-level cognition. And the short answer of that is being able to form abstract concepts or concept formation is sort of key, and to have metacognition, to be able to think about your own thinking. So, those are kind of the things I discovered during the five years of study. Obviously, I also looked at what had already been done in the field of AI, as in good old-fashioned AI, and neural networks, and so on. So, this is what brought me together. So, absolutely, as a starting point to say, what is intelligence? Or what are the aspects of intelligence that are really important and core? Now, as far as studying the brain is concerned, I certainly looked at that, but I pretty quickly decided that that wasn't that relevant. It's, you know, you certainly get some ideas. I mean, neural networks, ours is kind of a neural network or knowledge graph, so there's some similarity with that. But the analogy one often gives, which I think is not bad, is, you know, we've had flying machines for 100 years. We are still nowhere near reverse engineering a bird. CHAD: Right. PETER: So, you know, evolution and biology are just very different from designing things and using the materials that we need to use in computers. So, definitely, understanding intelligence, I think, is key to being able to build it. CHAD: Well, in some ways, that is part of the reason why statistical AI has gotten so much attention with that sort of airplane analogy because it's like, maybe we need to not try to replicate human cognition [chuckles]. Maybe we need to just embrace what computers are good at and try to find a different way. PETER: Right, right. But that argument really falls down when you say you are ignoring intelligence, you know, or you're ignoring the kind of intelligence. And we can see how ridiculous the sort of the current...well, I mean, first of all, let me say Sam Altman, and everybody says...well, they say two things: one, we have no idea how these things work, which is not a good thing if you're [chuckles] trying to build something and improve it. And the second thing they say...Demis Hassabis and, you know, everybody says it, "This is not going to get us to human-level AI, to human-level intelligence." They realize that this is the wrong approach. But they also haven't come up with what the right approach is because they are stuck within the statistical big data approach, you know, we need another 100 billion dollars to build even bigger computers with bigger models, you know, but that's really -- CHAD: Right. It might be creating a tool, which has some uses, but it is not actual; I mean, it's not really even actual artificial intelligence -- PETER: Correct. And, I mean, you can sort of see this very easily if...imagine you hired a personal assistant for yourself, a human. And, you know, they come to you, and they know how to use Excel and do QuickBooks or whatever, and a lot of things, so great. They start working with you. But, you know, every now and again, they say something that's completely wrong with full confidence, so that's a problem. Then the second thing is you tell them, "Well, we've just introduced a new product. We shut down this branch here. And, you know, I've got a new partner in the business and a new board member." And the next day, they come in, and they remember nothing of that, you know, [chuckles] that's not very intelligent. CHAD: Right. No, no, it's not. It's possible that there's a way for these two things to use each other, like generating intelligent-sounding, understanding what someone is saying and finding like things to it, and being able to generate meaningful, intelligent language might be useful in a cognitive model. PETER: We obviously thought long and hard about this, especially when, you know, generative AI became so powerful. I mean, it does some amazing things. So, can we combine the technology? And the answer is quite simply no. As I mentioned earlier, we can use generative AI kind of as an API or as a tool or something. You know, so if our system needs to write a poem or something, then yes, you know, these systems can do a good job of it. But the reason you can't really just combine them and kind of build a Frankensteinian kind of [laughs] thing is you really need to have context that you currently have fully integrated. So you can't have two brains, you know, the one brain, which is a read-only brain, and then our brain, our cognitive brain, which basically constantly adapts and uses the context of what it's heard using short-term memory, long-term memory, reasoning, and so on. So, all of those mental mechanisms of deep understanding of context, short-term and long-term memory, reasoning, language generation–they all have to be tightly integrated and work together. And that's basically the approach that we have. Now, like a human to...if you write, you know, "Generate an essay," and you want to have it come up with maybe some ideas, changing the style, for example, you know, it would make sense for our system to use a generative AI system like a tool because humans are good tool users. You know, I wouldn't expect our system to be the world chess champion or Go champion. It can use a chess-playing AI or a Go-playing AI to do that job. CHAD: That's really cool. You mentioned the short-term, long-term memory. If I am using or working on a deployment for Aigo, is that something that I specify, like, oh, this thing where we've collected goes in short term versus long term, or does the system actually do that automatically? PETER: That's the beauty of the system that: it automatically has short and long-term memory. So, really, the only thing that needs to be sort of externally specified is things you don't want to keep in long-term memory, you know, that for some reason, security reasons, or a company gives you a password or whatever. So, then, they need to be tagged. So, we have, like, an ontology that describes all of the different kinds of knowledge that you have. And in the ontology, you can tag certain branches of the ontology or certain nodes in the ontology to say, this should not be remembered, or this should be encrypted or, you know, whatever. But by default, everything that comes into short-term memory is remembered. So, you know, a computer can have photographic memory. CHAD: You know, that is part of why...someone critical of what they've heard might say, "Well, you're just replicating a human brain. How is this going to be better?" And I think that that's where you're just...what you said, like, when we do artificial general intelligence with computers, they all have photographic memory. PETER: Right. Well, in my presentations, when I give talks on this, I have the one slide that actually talks about how AI is superior to humans in as far as getting work done in cognition, and there's actually quite a number of things. So, let me first kind of give one example here. So, imagine you train up one AI to be a PhD-level cancer researcher, you know, it goes through whatever training, and reading, and coaching, and so on. So, you now have this PhD-level cancer researcher. You now make a million copies of that, and you have a million PhD-level cancer researchers chipping away at the problem. Now, I'm sure we would make a lot more progress, and you can now replicate that idea, that same thinking, you know, in energy, pollution, poverty, whatever, I mean, any disease, that kind of approach. So, I mean, that already is one major difference that you make copies of an AI, which you can't of humans. But there are other things. First of all, they are significantly less expensive than humans. Humans are very expensive. So much lower cost. They work 24/7 without breaks, without getting tired. I don't know the best human on how many hours they can concentrate without needing a break, maybe a few hours a day, or six, maybe four hours a day. So, 24/7. Then, they can communicate with each other much better than humans do because they could share information sort of by transferring blocks of data across from one to the other without the ego getting in the way. I mean, you take humans, not very good at sharing information and discoveries. Then they don't have certain distractions that we have like romantic things and kids in schools and, you know. CHAD: Although if you actually do get a full [laughs] AGI, then it might start to have those things [laughs]. PETER: Well, yeah, that's a whole nother topic. But our AIs, we basically build them not to want to have children [laughs] so, you know. And then, of course, things we spoke about, photographic memory. It has instantaneous access to all the information in the world, all the databases, you know, much better than we have, like, if we had a direct connection to the internet and brain, you know, but at a much higher bandwidth than we could ever achieve with our wetware. And then, lastly, they are much better at reasoning than humans are. I mean, our ability to reason is what I call an evolutionary afterthought. We are not actually that good at logical thinking, and AIs can be, you know. CHAD: We like to think we are, though. PETER: [chuckles] Well, you know, compared to animals, yes, definitely. We are significantly better. But realistically, humans are not that good at rational, logical thinking. CHAD: You know, I read something that a lot of decisions are made at a different level than the logical part. And then, the logical part justifies the decision. PETER: Yeah, absolutely. And, in fact, this is why smart people are actually worse at that because they're really good at rationalizations. You know, they can rationalize their weird beliefs and/or their weird behavior or something. That's true. CHAD: You mentioned that your primary customers are enterprises. Who makes up your ideal customer? And if someone was listening who matched that profile and wanted to get in touch with you, what would they look like? PETER: The simplest and most obvious way is if they have call centers of 100 people or more—hundreds, or thousands, tens of thousands even. But the economics from about 100 people in the call center, where we might be able to save them 50% of that, you know, depending on the kind of business. CHAD: And are your solutions typically employed before the actual people, and then they fall back to people in certain circumstances? PETER: Correct. That's exactly right. And, you know, the advantage there is, whatever Aigo already gathers, we then summarize it and pop that to the human operator so that, you know, that the customer -- CHAD: That's great because that's super annoying. PETER: It is. CHAD: [laughs] PETER: It is super annoying and -- CHAD: When you finally get to a person, and it's like, I just spent five minutes providing all this information that you apparently don't have. PETER: Right. Yeah, no, absolutely, that's kind of one of the key things that the AI has that information. It can summarize it and provide it to the live operator. So that would be, you know, the sort of the most obvious use case. But we also have use cases on the go with student assistant, for example, where it's sort of more on an individual basis. You know, imagine your kid just starts at university. It's just overwhelming. It can have a personal personal assistant, you know, that knows all about you in particular. But then also knows about the university, knows its way around, where you get your books, your meals, and, you know, different societies and curriculum and so on. Or diabetes coach, you know, where it can help people with diabetes manage their meals and activities, where it can learn whether you love broccoli, or you're vegetarian, or whatever, and help guide you through that. Internal help desks are another application, of course. CHAD: Yeah. I was going to say even the same thing as at a university when people join a big company, you know, there's an onboarding process. PETER: Exactly. Yeah. CHAD: And there could be things that you're not aware of or don't know where to find. PETER: Internal HR and IT, absolutely, as you say, on onboarding. Those are other applications where our technology is well-suited. And one other category is what we call a co-pilot. So, think of it as Clippy on steroids, you know, where basically you have complex software like, you know, SAP, or Salesforce, or something like that. And you can basically just have Aigo as a front end to it, and you can just talk to it. And it will know where to navigate, what to get, and basically do things, complex things in the software. And software vendors like that idea because people utilize more features of the software than they would otherwise, you know. It can accelerate your learning curve and make it much easier to use the product. So, you know, really, the technology that we have is industry and application-agnostic to a large extent. We're just currently not yet at human level. CHAD: Right. I hope you get there eventually. It'll be certainly exciting when you do. PETER: Yes. Well, we do expect to get there. We just, you know, as I said, we've just launched a project now to raise the additional money we need to hire the people that we need. And we actually believe we are only a few years away from full human-level intelligence or AGI. CHAD: Wow, that's exciting. So, if the solution that you currently have and people want to go along for the journey with you, how can they get in touch with Aigo? PETER: They could contact me directly: peter@aigo.ai. I'm also active on Twitter, LinkedIn. CHAD: Cool. We'll include all of those links in the show notes, which people can find at giantrobots.fm. If you have questions for me, email me at hosts@giantrobots.fm. Find me on Mastodon @cpytel@thoughtbot.social. You can find a complete transcript for this episode as well at giantrobots.fm. Peter, thank you so much for joining me. I really appreciate it and all of the wisdom that you've shared with us today. PETER: Well, thank you. They were good questions. Thank you. CHAD: This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening, and see you next time. ANNOUNCER: This podcast is brought to you by thoughtbot, your expert strategy, design, development, and product management partner. We bring digital products from idea to success and teach you how because we care. Learn more at thoughtbot.com. Special Guest: Peter Voss.
Every now and then we like to showcase the work of independent creators over on Patreon, but we like to share those bonus episodes here on the main feed, to share these works with more people who might not be familiar with them. And once again we're going back to our old friend Apex Magazine to discuss another short work. This week it's Betsy Phillips' zombie-farmhand mystery/romance with an evil Doctor who is just Frankensteinian enough to get our attention. It's a beautiful story that came to us as a recommendation from previous Frankencast discussion subject (and Apex Magazine published poet) Elizabeth McClellan. Read Betsy's story here: https://apex-magazine.com/short-fiction/frank-2/ You can also read a short interview with Betsy about "Frank" here: https://apex-magazine.com/interviews-2/interview-with-betsy-phillips-author-of-frank/
Is it possible to live the Christian life successfully if our understanding of God, our theology, is wrong? This week on In The Market with Janet Parshall we went right to heart of faith as we examined what Christian orthodoxy is and is not and how to see God’s revelation of himself through tradition, reason and scripture. We continued to be the watchman on the wall as we focused the spotlight once again on the ongoing threat of China and its unrelenting push for control of the world. We told you about China’s plans for stealth warfare that could attack without warning, their stockpiling of nuclear weapons and the growing momentum for a war with Taiwan and what that could mean for the United States. The end of Roe V. Wade was not the end of the battle. We explained the efforts by some of create a pipeline to get abortion pills into states where they are no longer sold. In what can only be described as “Frankensteinian”, we sounded the warning about efforts to create human embryos from human stem cells and the deadly purpose for which this scientific effort is underway. We explained the dangers of women who take testosterone to become trans men, especially on the unborn children they carry. Janet and Craig are ready to dig deep in the news and continue their master class on using God’s truth as the plumb line for discernment in this time of flash news and rhetoric recycling.
Is it possible to live the Christian life successfully if our understanding of God, our theology, is wrong? This week on In The Market with Janet Parshall we went right to heart of faith as we examined what Christian orthodoxy is and is not and how to see God’s revelation of himself through tradition, reason and scripture. We continued to be the watchman on the wall as we focused the spotlight once again on the ongoing threat of China and its unrelenting push for control of the world. We told you about China’s plans for stealth warfare that could attack without warning, their stockpiling of nuclear weapons and the growing momentum for a war with Taiwan and what that could mean for the United States. The end of Roe V. Wade was not the end of the battle. We explained the efforts by some of create a pipeline to get abortion pills into states where they are no longer sold. In what can only be described as “Frankensteinian”, we sounded the warning about efforts to create human embryos from human stem cells and the deadly purpose for which this scientific effort is underway. We explained the dangers of women who take testosterone to become trans men, especially on the unborn children they carry. Janet and Craig are ready to dig deep in the news and continue their master class on using God’s truth as the plumb line for discernment in this time of flash news and rhetoric recycling.
Welcome to HORROR MOVIE PODCAST, where we're Dead Serious About Horror Movies…Episode 221 is our big summer deluxe special and HMP 2.0'S first Frankensteinian episode! We have coverage of FANGORIA'S CHAINSAW AWARDS with the Velocipastor Matt Rawlings and Nathan, Trey, and Victor.Your 3 horror hosts also take a look at all the new horror movies coming out this summer, with release dates and our thoughts on each title.We also bring back the SCREAMING ONLINE segment as Trey reviews SATURDAY IN OCTOBER and SATURDAY IN OCTOBER PART V, Victor looks at the tv shows YELLOWJACKETS, SWARM, and the Egyptian horror series PARANORMAL.Nathan kicks off our MONSTER OF THE WEEK segment with 2023'S THE TANK.Jay of the Dead also brings us the first of an ongoing series where he gives mini reviews of two horror films. This time, he covers two ghostly features from 2012, WITHER and THANATAMORPHOSE.Bill Van Veghel returns with more TUBI ROULETTE and takes a fateful trip to the 1980s with NECROPOLIS.Jackson Rawlings and Nathan also do a deep dive into Ari Aster's new movie BEAU IS AFRAID, and discuss it in regards to his other two features and the nature of its unique approach to horror.Finally, in HORROR ON THE BIG SCREEN, Nathan tackles the latest Stephen King adaptation THE BOOGEYMAN, and whether it's worth catching in the theater.Enjoy the episode, and leave your comments below!Also, please subscribe to our show for free in Apple Podcasts and leave us a review! It really helps our visibility. Or just tell a friend. We'd really appreciate it.SHOW NOTES:[0:00:40] I. Introduction[ 0:04:45 ]II. Jay of the Dead Mini-ReviewsWither (2012): 7.5/10Thanatamorphose (2012): 4/10[ 0:14:45 ]III. The Fangoria Chainsaw Awards Recap[1:34:00]IV.Tubi Roulette with Bill Van VeghelNecropolisBill: 5/10[ 1:44:00] IV. Screaming OnlineSaturday in October (2022)Trey: 7/10Saturday in October Part VTrey: 7.5/10Victor Reviews Swarm, Yellow Jackets, and Paranormal[ 2:16:40 ]V. Creature Feature: The Tank (2023)Nathan:6/10[ 2:29:00 ]VI. Summer Movie Preview[ 3:54:00] VII. Feature Review: Beau is Afraid (2023)Nathan:7.5/10Jackson: 8/10[4:45:10] Horror on the Big Screen: The Boogeyman (2023)Nathan: 6.5/10[5:03:35] Wrap-Up / Plugs / EndingLinks:Nathan Bartlebaugh:www.phantomgalaxy.podbean.comTwitter: @fantomgalaxyFacebook at: The Phantom Galaxy Podcast Email: Phantomcasts@gmail.com Bill Van Veghel:Other places to find Bill:https://www.facebook.com/bvanveghelhttps://letterboxd.com/billhorrorguy/https://landofthecreeps.blogspot.com/Vicious Victor:Follow me on Twitter or IG so we can talk about horror movies: @dimestorecaesarVisit my website for free-to-read fiction, interviews, and links to my latest short fiction releases: https://vhrodriguez.wordpress.com/Read my first collection THE SOUND OF FEAR: https://a.co/d/14rHPS1Check out my supplementary podcast INSIDE THE SOUND OF FEAR: https://share.transistor.fm/s/b467629cJay of the Dead:Horror Movie Weekly - https://horrormovieweekly.com/Hear HMP's Jay of the Dead, Dr. Shock, Gillman Joel, Dr. Walking Dead — and five more Horror hosts on:Jay of the Dead's New Horror Movies - https://www.newhorrormovies.com/Trey WhetstoneScreaming Through the Ages Podcast - https://screaming-through-the.captivate.fm/Twitter - https://twitter.com/ScreamingAgesFacebook Group - https://m.facebook.com/groups/319316706773860/Jackson Rawlings (Father and Son Watch Horror Movies Podcast)Twitter - @Kaine_Hero12VelocipastorTwitter - @PastorMattRWebsite - https://fatherandsonwatchhorror.com/
US federal agencies worked closely with Twitter moderators to clamp down on what they saw as “disinformation” during the 2020 election. Executives went to great lengths to scrub certain content they deemed false and dangerous, following increasingly frequent sit-downs with law enforcement and intelligence orgs, according to the third installment of the “Twitter Files.” Late Friday night, journalist Matt Taibbi released “The Twitter Files,” a batch of emails sent by Twitter executives discussing the company's decision to stop an October 2020 New York Post story in its online tracks. In October 2020, three weeks before the 2020 U.S. presidential election, The New York Post published an exclusive, possibly explosive story: Biden's Secret Emails: Ukrainian exec thanked Hunter Biden for ‘opportunity to meet' veep dad. The story purported to report the contents of a laptop brought to the tabloid by the owner of a Delaware computer repair shop, who said it had belonged to, and been abandoned by, President Biden's second son, Hunter Biden. Emails and files found on the laptop revealed how Hunter had peddled influence with Ukranian businessmen, the Post claimed –and also included “a raunchy, 12-minute video” showing Hunter smoking crack and having sex. After the Post story was published, Twitter barred anyone from tweeting a link to it or sending it via direct message, labeling it “hacked material.” The company also suspended the Post's account for multiple days, preventing it from tweeting further. Matt Taibbi kicked off a long thread of more than three dozen tweets, based on internal Twitter documents, that revealed what he described as “a Frankensteinian tale of a human-built mechanism grown out the control of its designer.” To Musk, this release clears a dark cloud hanging over Twitter as he works to mold Twitter in his image, cleansing and redirecting both its public perception and internal culture. It is possible that the CEO himself handed the documents to Taibbi, but we do not know for sure. Musk did hype the document dump ahead of and during its publication, but Taibbi cited only “internal sources.” In the thread, Taibbi shares screenshots from emails showing Twitter execs discussing the Post story and making efforts to block its distribution on the social network. The emails, Taibbi says, show the “extraordinary steps” Twitter took “ to suppress the story.” Amongst the trove of files includes messages from Twitter's former head of Trust and Safety, Yoel Roth, revealing he was running out of “generic” names to disguise his increasingly regular meetings with federal officials ahead of the 2020 election in the company calendar. This episode is also available as a blog post: http://freedomreportage.com/2022/12/12/the-twitter-files-explained/ --- Support this podcast: https://anchor.fm/world-voices/support
We're headed to Japan once again with an absolutely wild movie that made for one of our most fun and fascinating conversations to date. We're joined by our friend and resident Japan expert Alex Heichelbech and we're looking at what happens when a Frankensteinian mad scientist has a run-in with a famous 90s Japanese death cult. Turns out, hilarity ensues? Join us as we meet the only Spanish hunchback in Japan, make our monsters watch porn, and levitate dolls for no particular reason. Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at patreon.com/thefrankencast. Follow us on Twitter or Instagram @thefrankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (@KellerIllustrations on Instagram).
Calling all Little House on the Prairie fans! Do we have a movie for you! Deadly Friend (1986) starring our favorite boy genius Matthew Labyorteaux aka Albert Ingalls. This is the cautionary tale of a boy, his robot creation named BB and the Frankensteinian reboot of his dead girlfriend. We loved it so much we broke out our best Robot dance moves, jamming to the BB theme song! Oh yeah, Wes Craven's brilliant piece of cra… I mean, his brilliant masterpiece is now one of our top ten B Movie's of all time! So plug in your micro chips and get ready for Beee Beeee! Don't forget to Subscribe, Rate & Review! We thank you from the bottom of our black little hearts!
The past several years, holding companies have been mashing together sister agencies in a Frankensteinian way, (see: VMLY&R, Wunderman Thompson and now, EssenceMediaCom). Adweek senior agencies reporter Olivia Morley goes down an ad industry rabbit hole with three agency experts to find out how the industry ever became this confusing and why the old way doesn't work for today's clients. See acast.com/privacy for privacy and opt-out information.
Just one more week of wearing your luchador mask! It's time for Lucha de Mayo here on Monster Kid Radio! This week, Steve Bowen joins Derek to discuss the Frankensteinian fun of Santo vs. la hija de Frankestein, aka Santo vs. Frankenstein's Daughter (dir. Miguel M. Delgado). Plus Kenny's Look at Famous Monsters of Filmland, and Mark Matzke's Beta Capsule Review. Voicemail: 503-479-5MKR (503-479-5657) Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark Matzke Monster Study Group - Small Town Monsters - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist - Monster Kid Radio on TeePublic - Next week on Monster Kid Radio: The Legend of Hell House (dir. John Hough) with Alistair Hughes All original content of Monster Kid Radio by is licensed under a .
Giant vehicles crushing rows upon rows of junker cars in a massive, dirt-filled arena packed to the gills with screaming fans of all ages. Today on Past Gas… MONSTER TRUCKS! From USA-1 to Gravedigger, what are the craziest monster trucks ever? What were the big rivalries in the sport? Who were the monstrous innovators who brought these Frankensteinian creations to life? Buckle up, slap on that helmet, and let's talk about the Bigfoot in the room -- monster trucks! More about Show: Follow James on IG and Twitter @jamespumphrey. Follow Nolan on IG and Twitter @nolanjsykes. Follow Joe on IG and Twitter @joegweber. Follow Donut @donutmedia, and subscribe to our Youtube and Facebook channels! Don't forget to subscribe to the podcast for free wherever you're listening or using this link: http://bit.ly/PastGas. If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: http://bit.ly/PastGas. Thanks to our sponsors: Every Man Jack Men's Care – Naturally Derived, Outdoor Inspired. Look for them at Target, Walmart, Amazon, or everymanjack.com. This podcast is sponsored by BetterHelp and Past Gas by Donut Media listeners get 10% off their first month at betterhelp.com/pastgas. Don't fall for subscription scams. Start cancelling today at truebill.com/GAS. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tyler Jones' Burn the Plans reminds me of the first time I picked up Stephen King's Night Shift. I didn't know who this King guy was, only that his stories were varied, scary, funny, awful and sweet and sweetly awful. In short, a great time. Burn the Plans is the same.The collection dashes from an ever-so-American-Gothic farm to a bloodsoaked art gallery, CIA psychic experimentation to invisible Frankensteinian limb-monsters. Tyler's imagination runs amok and breaks the crockery.We talk about small presses and self-publishing, the discipline of being your own editor, the writing from the POV of kids and the problems with perfect prose.We also discuss the collection's theme – that life isn't safe, that we should learn to expect the unexpected, be ready to live with (and survive crisis). That message has never been so clear as in recent news … and if you listen to this episode, please stick around for my outro as I have something to say, and dedications to make.Enjoy! Burn the Plans was published February 28th by Cemetary Gates Media Other books mentioned in this conversation include:Criterium (2020), by Tyler JonesAlmost Ruth (2021), by Tyler JonesThe Bone Clocks (2014), by David MitchellThe Thousand Autumns of Jacob de Zoet (2010), by David MitchellConsider This (2020), by Chuck PalahniukFrom a Buick 8 (2002), by Stephen KingSupport Talking Scared on Patreon - https://www.patreon.com/TalkingScaredPodCome talk books on Twitter @talkscaredpod, on Instagram, and TikTok or email direct to talkingscaredpod@gmail.com Download Novellic on Google Play or Apple Store.Support the show (https://www.patreon.com/talkingscaredpod)
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
--{ "Scientists' Frankensteinian Wet Dream - Humanimals for a Grazed New World"© CTTM}-- Original Broadcast 24 Jan 2008 - Going Back in Time - Technocrats - New Society, Communitarianism - Comintern, Beria, Pavlovian Techniques - Nationalism, Centralization of Power, Internationalism. Neoplatonism, "Natural Aristocracy" - American Founding Fathers, Jefferson, Revolution - Colors of Communism, Red, Green - Green Party - Dialectic - John Dee, Free Trade, British Empire - Rosicrucians, Freemasonry - France, Secret Meetings - Ben Franklin, Madame Blavatsky, Theosophy - Sheepdogs Herding Sheep - Churches, Commerce - Catholic Church, Indulgences, Carbon Taxes, Club of Rome, Public as Enemy - Foundations, Think Tanks, NGOs - Previous Warming and Ice Ages - Aerial Spraying - Rip-off Taxation - Sterilization to "Save Mother Earth" - Environmental Groups - Emissions Cuts for "Rich" Countries - Religion Shopping, Rituals, New Age - Individual Experiences and Searching - "Know Thyself" - Emotion and Logic - Values - Ego, Persona - Othello Syndrome - George Orwell, Retention of Humanity - Man Playing God - Ancient Greek Atomic Theory, Mythology of Gods. *Dialogue Copyrighted Alan Watt - Jan. 24, 2008 (Exempting Music and Literary Quotes)
On the show, Chris Hedges discusses the nature of neoliberalism and its consequences with Professor Wendy Brown of the Institute for Advanced Study, Princeton University. Does the eruption of ethnonationalist movements defined by hyper-patriotism, xenophobia, racism, religious chauvinism, and so-called traditional moral values signal the end of neoliberalism? Or are these protofascist movements the natural consequence of neoliberal policies that allowed corporations to corrupt and seize governing institutions and the press, impoverish the working class, and orchestrate the largest transference of wealth upwards in American history? There is no doubt, as the political scientist Wendy Brown writes, that the constellation of principles, policies, practices, and forms of governing reason that may be gathered under the sign of neoliberalism has importantly constituted the catastrophic present, but, she argues, this was not neoliberalism's intent, rather its Frankensteinian creation. By generating antidemocratic forms of state power above its natural consequence, she claims, was antidemocratic culture from below. The synergy between these two forces sees an increasingly undemocratic and antidemocratic citizenry ever more willing to validate an increasingly antidemocratic state. Professor Wendy Brown teaches at the Institute of Advanced Study, Princeton University, and is the author of ‘In the Ruins of Neoliberalism: The Rise of Antidemocratic Politics in the West'.
On the show, Chris Hedges discusses with economist Richard Wolff how capitalism works under an autocracy or oligarchy, the only two political systems left in the United States of America. The competing systems of power in the United States are divided between oligarchy and autocracy. There are no other alternatives. Neither are pleasant. Each has peculiar and distasteful characteristics. Each pays lip service to the fictions of democracy and constitutional rights. And each exacerbates the widening social and political divide, and the potential for violent conflict. The oligarchs from the establishment Republican Party, figures such as Liz Cheney, Mitt Romney, George and Jeb Bush and Bill Kristol, have joined forces with the oligarchs in the Democratic Party to defy the autocrats in the new Republican Party who have coalesced in cult-like fashion around Donald Trump or, if he does not run again for president, his inevitable Frankensteinian doppelganger. The alliance of Republican and Democratic oligarchs exposes the burlesque that characterized the old two-party system, where the ruling parties fought over what Sigmund Freud called the “narcissism of minor differences” but were united on all the major structural issues including massive defense spending, free-trade deals, tax cuts for the wealthy and corporations, the endless wars, government surveillance, the money-saturated election process, neoliberalism, austerity, deindustrialization, militarized police, and the world's largest prison system. The liberal class, fearing autocracy, has thrown in its lot with the oligarchs, discrediting and rendering impotent the causes and issues it claims to champion. The bankruptcy of the liberal class is important, for it effectively turns liberal democratic values into the empty platitudes those who embrace autocracy condemn and despise. Richard Wolff is a visiting professor in the graduate program in international affairs of the New School in New York City. He previously taught economics at Yale University, where he received his PhD, the City University of New York, the University of Massachusetts Amherst and the Sorbonne.
This whole season is about creation...its possibilities and limits. There's no more appropriate Frankensteinian holiday than Father's Day. Obviously mothers do a lot more creating than fathers, but Mary's book focuses on big M and little M men, and so we acknowledge them today. Frankenstein reading continues.https://www.patreon.com/michaelianblackSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week Kevin and Adam are fighting for the heart of one Cassandra Peterson, aka, Elvira Mistress of the Dark! Help us ward off Frankensteinian town folk, evil wizards, moldy beef monsters and more innuendos than you can shake a wiener at! JOIN US!
Welcome to HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies. Episode 212 is a typical Frankensteinian episode with an extra boost of Olympic Gold where your horror hosts—Dr. Shock, The Wolfman, and Gillman Joel—bring you spoiler-free Feature Reviews for … Continue reading →
We've got another big fight on our hands! This time the combatants in this supernatural slugfest are an undead guardian of ancient treasures and a Frankensteinian cyborg! Join Tom and Ryan as they talk about epic fights, reused footage, forensic science, and getting rich via grave-robbing. It's our review of The Robot vs the Aztec Mummy! Time stamps: 0:03:55 - Background 0:13:35 - Back-of-the-Box Summary 0:24:10 - Notable Scenes 0:28:40 - The Good 0:34:00 - The Bad 0:49:50 - The Ugly 0:56:00 - Listener Feedback
This week we’re welcoming back the wonderful Caroline Thompson, who joined us a few weeks ago to discuss her script for The Nightmare Before Christmas. Today, we’re celebrating the 30th anniversary of her much beloved debut – Edward Scissorhands. Directed by Tim Burton, this fantastical, gothic fairytale saw Johnny Depp play a Frankensteinian man with metallic hands, who falls in love with the daughter of makeup saleswoman. Three decades on, this fish-out-of-water story is still cherished by fans worldwide, who continue to find heartbreak and hilarity in its surreal depiction of suburbia.Caroline shared with us some fascinating secrets from the creation of the movie, including how it was initially conceived as a musical, the message about disability and difference she wanted the film to convey, and the jaw-dropping reason why Tom Cruise walked away from the part, having come close to playing Edward instead of Depp.Script Apart is a podcast about the first-draft secrets behind great movies. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. All proceeds go to Black Minds Matter UK, the NHS Charities Covid-19 Appeal and the Film and TV Charity.Script Apart is hosted by Al Horner and produced by Kamil Dymek, with music from Stefan Bindley-Taylor. You can follow Script Apart on Twitter and Instagram. You can also email us on thescriptapartpodcast@gmail.com.
In this very special Halloween episode of Script Apart, we step inside the ghoulish, gothic holiday musical that’s enchanted millions worldwide since its release in 1993. We’re talking of course about The Nightmare Before Christmas – the timeless, twisted story of a pumpkin king named Jack Skellington and his ragdoll friend Sally. Our guest this week, Caroline Thompson, wrote the film’s screenplay, based on a poem by producer Tim Burton, with songs by composer Danny Elfman.Caroline, who also wrote Edwards Scissorhands, came onboard the project at an eventful time. Things hadn’t worked out with another screenwriter. With production already underway, it was up to Caroline to turn a loose story into a living, breathing script, with a convincing love interest for Jack Skellington. The pressures facing Burton, Caroline and director Henry Selick led to a frenzied creative environment where, as you’ll discover in this episode, tempers often flared. It was worth it, though. Animated movies don’t come much more beloved than the deliriously imaginative Nightmare Before Christmas.Here’s Caroline on her chaotic experience making the movie, why she’ll always a place in her heart for Frankensteinian sweetheart Sally, why she fought but failed to change the villainous Oogie Boogie, and the likelihood of a Nightmare Before Christmas sequel ever seeing the light of day.Script Apart is a podcast about the first-draft secrets behind great movies. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. All proceeds go to Black Minds Matter UK, the NHS Charities Covid-19 Appeal and the Film and TV Charity. Script Apart is hosted by Al Horner and produced by Kamil Dymek, with music from Stefan Bindley-Taylor. You can follow Script Apart on Twitter and Instagram. You can also email us on thescriptapartpodcast@gmail.com. Support for this episode comes from virtual co-working hosts Caveday – sign up for a free three-hour Cave using the promo code "SCRIPTAPART" at checkout.
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
Guided by the spirit of the Purple one Himself, we take to the bracing waters of some lake somewhere. It's a fishing trip with Captain Johnhab. Paul and Alex discuss Frankensteinian and Ahabish obsessions, getting high on life, letting effort inform result, and Paul takes his horse on a motorcycle ride. Just another Monday. Beware of pies. Lasagnaste´. https://www.gocomics.com/garfield/1996/06/07
Our Summer of Plague wraps up with a look at potential cures and a post-human reality. Between Guillermo del Toro’s Frankensteinian bugs and a post-apocalyptic UK, the end of the world may be closer (and more necessary) than we think. The Fack Dispatch – Subscribe to our monthly newsletter! Become a Patron! REQUIRED […]
Subject:CINEMA presents Captive Audience Theater #22 - July 31 2020 Welcome back to our new miniseries Captive Audience Theatre! Two or three times a week during the craziness of the world today, SC hosts TC and Kim bring you some of the worst movies ever made, for your "stay at home" quarantine viewing pleasure! This time, it's a Frankensteinian film cobbled together from parts shot five years apart, with NONE of the original cast or sets in the later shootings...it's 1972's GAWDAWFUL "The Doomsday Machine"! This show is brought to you by Subject:CINEMA, which unfortunately is on an indefinite hiatus due to the COVID-19 pandemic, but it doesn't mean we can't keep you entertained! COMMUNICATE WITH US! We want to hear from YOU! Email - subjectcinema@pnrnetworks.com
Welcome to HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies. Episode 198 is another Frankensteinian episode where your horror hosts—Dr. Shock, Wolfman Josh, and Gillman Joel—bring you spoiler-free Feature Reviews of The Beach House (2020), Becky (2020), and … Continue reading →
Episode 196 of HORROR MOVIE PODCAST was initially intended to be a run-of-the-mill Frankensteinian episode, but then the real life horrors or racism came crashing in and plans had to change. Wolfman Josh, Dr. Shock, and Gillman Joel are still … Continue reading →
Practicing social distancing? Great time to shelter with us at HORROR MOVIE PODCAST—we’ve missed you! In Episode 192, another Frankensteinian episode, horror hosts Dr. Shock, Wolfman Josh, and Gillman Joel bring you a spoiler-free Feature Review of The McPherson Tape … Continue reading →
This February is the 11th Annual Women in Horror Month, so HORROR MOVIE PODCAST is honoring the ladies behind the camera of our favorite genre in Episode 191, another Frankensteinian show, where we bring you three WiHM inspired Feature Reviews of Blood Diner … Continue reading →
We bring in an expert this week as we dissect the 2000 Frankensteinian patchwork of an anime film Digimon: The Movie. All about everyone's favorite character from the show, Willis! You remember him right?
Attention all horror fans, we’ve got a possible 187 at Horror Movie Podcast! Episode 187, that is. Every year around this time we play clean-up, trading Mini Review punches on a monster-sized Frankensteinian episode, trying to catch up with any … Continue reading →
In this episode we take a look back at our experiences with the show, from our earliest memories right up to the present day. Hear our attempts to dissect the appeal of the show, our memories of the Frankensteinian monstrosity that was the Superwholock fandom, and how the McCoy era was cruelly kept secret from us for a long time. Apologies for the background noise and audio interference; we were trying out a new recording location and setup. All should be improved for our next episode. The interview with Andrew Cartmel mentioned by Ciarán is from episode 38 of the excellent Galactic Yo-Yo podcast. Twitter: @LotsPlanetsPod Theme Music: "Special Spotlight" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 creativecommons.org/licenses/by/3.0/
Welcome to HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies! We’ve missed you! In Episode 180, another Frankensteinian episode, horror hosts Dr. Shock, Wolfman Josh, and Gillman Joel bring you spoiler-free Feature Reviews of the biggest horror hit of the year OF ALL TIME, IT—Chapter … Continue reading →
This February is the 10th Annual Women in Horror Month, so HORROR MOVIE PODCAST is honoring the ladies of our favorite genre who work in front and behind the camera. Episode 169 is another Frankensteinian show, where we bring you a variety of movie reviews … Continue reading →
This week, Allison talks about the nightmarish Frankensteinian creations you can make with Ganbreeder. Then, Justin hosts a brand new…
Welcome to HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies! In Episode 160, another of our Frankensteinian episodes, horror hosts Jay of the Dead, Dr. Shock and Wolfman Josh bring you spoiler-free Feature Reviews of new release horror flicks Mandy (2018), from director Panos Cosmatos, and The … Continue reading →
Box Office Pulp | Film Analysis, Movie Retrospectives, Commentary Tracks, Comedy, and More
Listener beware, you’re in for a… *checks notes* trip to the intersection of Nostalgia Lane and Formative Genre Programming Boulevard. It’s the spookiest night of the year, with all the little ghosts and goblins performing tricks and collecting treats, but instead of watching in wistful remembrance of youth, The BOP Crew is celebrating Halloween by… well, talking in wistful remembrance of youth! We’re digging up the most underrated, but arguably, most important bones of the genre, and assembling a Frankensteinian canon of influential children’s horror media. We’ve got Cowardly Dogs, Midnight Societies, Goosebumps, and Scary Stories to Tell in the Dark sitting in our lab, not only waiting to give you back some old nightmares, but holding the key to what makes this stuff the very heart of horror, and essential to growing up. We all owe Ernest a life debt, is what I mean. Come little children, let me take thee away, by downloading the episode now! Find us on Facebook: https://www.facebook.com/BoxOfficePulpPodcast/ Twitter: https://twitter.com/BoxOfficePulp iTunes: https://itunes.apple.com/us/podcast/box-office-pulp/id577338641 Stitcher: http://www.stitcher.com/s?fid=37192&refid=stpr
Welcome to HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies! In Episode 154, another of our Frankensteinian episodes, we bring you spoiler-free Feature Reviews of new releases horror flicks Slender Man (2018), The Endless (2018), The Nun (2018), Summer of 84 (2018), and The Predator (2018). We also give you PSAs on … Continue reading →
Our intelligence is questioned on this "sciency" episode in which we unpack the equally thoughtful EX MACHINA and DEEP BLUE SEA on a Frankensteinian quest to determine whether it's okay to play God. We first mourn Burt Reynolds and discuss Jesus Christ (Superstar). EGOTS, BoJack, PEPPERMINT, we talk all that... Rate and review 5 stars if you're nasty. email: admittwopod@gmail.com Next: BLACK PANTHER / MARIE ANTOINETTE: Royalty
Time for another Frankensteinian episode of HORROR MOVIE PODCAST, where we’re Dead Serious About Horror Movies… In Episode 152, Jay of the Dead brings us a Feature Review of The First Purge (2018), and Wolfman Josh reviews The Ranger (2018). … Continue reading →
On the first day of Elias's eight weeks off, he and Sean reflect on the past six months in relation to their “yearly” themes and look ahead to the next six.Links and Show NotesAmazon.com: Bose QuietComfort 25 Acoustic Noise Cancelling Headphones for Apple Devices, Triple Black (wired, 3.5mm): Home Audio & TheaterBackblazeCrashPlanThe Focus CourseBreadcrumbs - @breadcrumbsfmSean - @splunsfordElias - @muffinworksJingles excerpted from "Halo-centric Hang/Halo improvisation" by Aaron Ximm. Licensed under a Creative Commons Attribution-Noncommercial-ShareAlike 3.0 United States License.
In this episode I speak with permaculture elder Joel Glanzberg from Pattern Mind, Regenesis Group and the Tracking Project. Early in the conversation, Joel refers to his 30 Years Greening the Desert project which you can learn about in this clip: We also refer to Joel's Open Letter and Plea to the Permaculture Movement. Here is a more recent article in which Joel writes beautifully about the necessary transformation toward life at a world-view level. Here's a poignant excerpt: Holding my baby son one night as he slept, I thought about how I would make his body. Having built things all my life, this seemed simple. I would begin by framing him up, joining his bones together using his muscles, tendons and ligaments. Then I'd run his arteries and veins, his nervous system, install all of his organs, sheath him in skin, fill him with blood, a bit of food and water and start him up, maybe with a spark from jumper cables. Of course he was made nothing like this, but this Frankensteinian thought experiment revealed my own mind's mechanicalness and the difference between how we think about and make things and how the living world creates. Everything we make is conceived and constructed before it begins to carry out the processes for which it was designed. Our cars, homes, businesses, schools, programs are all structured before they run. Like my son's body—all of our bodies for that matter—all living structures are built by doing what they have been created to do. His body was made by metabolizing nutrients, water and oxygen and moving around, just as it is today. The river was not dug and then filled with water. The river running made the river. The branching scaffold of the tree was not built before it carried water and nutrients up into the sky and sugars back down into the roots. The tree built its body by adding layer after layer of carbon taken from the sky through photosynthesizing, from the moment it put out leaves into the air and roots into the earth. Finally, and with particular relevance to some of the places Making Permaculture Stronger will soon be heading as a project, I recommend watching this too, where Joel speaks alongside several of his colleagues at Regenesis Group:
In this episode I speak with permaculture elder Joel Glanzberg from Pattern Mind, Regenesis Group and the Tracking Project. Early in the conversation, Joel refers to his 30 Years Greening the Desert project which you can learn about in this clip: We also refer to Joel's Open Letter and Plea to the Permaculture Movement. Here is a more recent article in which Joel writes beautifully about the necessary transformation toward life at a world-view level. Here's a poignant excerpt: Holding my baby son one night as he slept, I thought about how I would make his body. Having built things all my life, this seemed simple. I would begin by framing him up, joining his bones together using his muscles, tendons and ligaments. Then I’d run his arteries and veins, his nervous system, install all of his organs, sheath him in skin, fill him with blood, a bit of food and water and start him up, maybe with a spark from jumper cables. Of course he was made nothing like this, but this Frankensteinian thought experiment revealed my own mind’s mechanicalness and the difference between how we think about and make things and how the living world creates. Everything we make is conceived and constructed before it begins to carry out the processes for which it was designed. Our cars, homes, businesses, schools, programs are all structured before they run. Like my son’s body—all of our bodies for that matter—all living structures are built by doing what they have been created to do. His body was made by metabolizing nutrients, water and oxygen and moving around, just as it is today. The river was not dug and then filled with water. The river running made the river. The branching scaffold of the tree was not built before it carried water and nutrients up into the sky and sugars back down into the roots. The tree built its body by adding layer after layer of carbon taken from the sky through photosynthesizing, from the moment it put out leaves into the air and roots into the earth. Finally, and with particular relevance to some of the places Making Permaculture Stronger will soon be heading as a project, I recommend watching this too, where Joel speaks alongside several of his colleagues at Regenesis Group:
What do Mary Shelley’s Frankenstein, media theorist Marshall McLuhan and Canadian popular culture have in common? This is the question that Mark A. McCutcheon seeks to answer in his new book, The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology, published in 2018 by Athabasca University Press. In this unique and penetrating analysis, McCutcheon argues that Shelley’s 1818 novel essentially reinvented the word “technology” for the modern age, establishing its connections with ominous notions of manmade monstrosity. In the twentieth century, this monstrous, Frankensteinian conception of technology was globalized and popularized largely through Marshall McLuhan’s media theory and its numerous, diverse adaptations in Canadian popular culture. The Medium is the Monster establishes Frankenstein, and its various adaptations, as the originating intertext for a modern conceptualisation of technology that has manifested with a unique potency in Canadian pop culture, informing works as disparate as David Cronenberg’s Videodrome, William Gibson’s Neuromancer, the fiction of Margaret Atwood, and even electronic dance music. Furthermore, McCutcheon undertakes an incisive of analysis of how Frankensteinian constructions of technology have shaped real-world discussions of science and industry, an intertextual discourse which he sees as most powerfully encapsulated in the rhetoric associated with the Alberta tar sands industry. Over the course of the interview, McCutcheon provides some fascinating insights into changing cultural attitudes towards technology, the influence of Mary Shelley’s Frankenstein, the novel’s relationship to McLuhan’s media theory, and the surprising scope of Shelley’s cultural impact. Miranda Corcoran received her Ph.D. in 2016 from University College Cork, where she currently teaches American literature. Her research interests include Cold-War literature, genre fiction, literature and psychology, and popular culture. She has published articles on paranoia, literature, and Cold-War popular culture in The Boolean, Americana, and Transverse, and contributed a book chapter on transnational paranoia to the recently published book Atlantic Crossings: Archaeology, Literature, and Spatial Culture. Learn more about your ad choices. Visit megaphone.fm/adchoices
What do Mary Shelley’s Frankenstein, media theorist Marshall McLuhan and Canadian popular culture have in common? This is the question that Mark A. McCutcheon seeks to answer in his new book, The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology, published in 2018 by Athabasca University Press. In this unique and penetrating analysis, McCutcheon argues that Shelley’s 1818 novel essentially reinvented the word “technology” for the modern age, establishing its connections with ominous notions of manmade monstrosity. In the twentieth century, this monstrous, Frankensteinian conception of technology was globalized and popularized largely through Marshall McLuhan’s media theory and its numerous, diverse adaptations in Canadian popular culture. The Medium is the Monster establishes Frankenstein, and its various adaptations, as the originating intertext for a modern conceptualisation of technology that has manifested with a unique potency in Canadian pop culture, informing works as disparate as David Cronenberg’s Videodrome, William Gibson’s Neuromancer, the fiction of Margaret Atwood, and even electronic dance music. Furthermore, McCutcheon undertakes an incisive of analysis of how Frankensteinian constructions of technology have shaped real-world discussions of science and industry, an intertextual discourse which he sees as most powerfully encapsulated in the rhetoric associated with the Alberta tar sands industry. Over the course of the interview, McCutcheon provides some fascinating insights into changing cultural attitudes towards technology, the influence of Mary Shelley’s Frankenstein, the novel’s relationship to McLuhan’s media theory, and the surprising scope of Shelley’s cultural impact. Miranda Corcoran received her Ph.D. in 2016 from University College Cork, where she currently teaches American literature. Her research interests include Cold-War literature, genre fiction, literature and psychology, and popular culture. She has published articles on paranoia, literature, and Cold-War popular culture in The Boolean, Americana, and Transverse, and contributed a book chapter on transnational paranoia to the recently published book Atlantic Crossings: Archaeology, Literature, and Spatial Culture. Learn more about your ad choices. Visit megaphone.fm/adchoices
What do Mary Shelley’s Frankenstein, media theorist Marshall McLuhan and Canadian popular culture have in common? This is the question that Mark A. McCutcheon seeks to answer in his new book, The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology, published in 2018 by Athabasca University Press. In this unique and penetrating analysis, McCutcheon argues that Shelley’s 1818 novel essentially reinvented the word “technology” for the modern age, establishing its connections with ominous notions of manmade monstrosity. In the twentieth century, this monstrous, Frankensteinian conception of technology was globalized and popularized largely through Marshall McLuhan’s media theory and its numerous, diverse adaptations in Canadian popular culture. The Medium is the Monster establishes Frankenstein, and its various adaptations, as the originating intertext for a modern conceptualisation of technology that has manifested with a unique potency in Canadian pop culture, informing works as disparate as David Cronenberg’s Videodrome, William Gibson’s Neuromancer, the fiction of Margaret Atwood, and even electronic dance music. Furthermore, McCutcheon undertakes an incisive of analysis of how Frankensteinian constructions of technology have shaped real-world discussions of science and industry, an intertextual discourse which he sees as most powerfully encapsulated in the rhetoric associated with the Alberta tar sands industry. Over the course of the interview, McCutcheon provides some fascinating insights into changing cultural attitudes towards technology, the influence of Mary Shelley’s Frankenstein, the novel’s relationship to McLuhan’s media theory, and the surprising scope of Shelley’s cultural impact. Miranda Corcoran received her Ph.D. in 2016 from University College Cork, where she currently teaches American literature. Her research interests include Cold-War literature, genre fiction, literature and psychology, and popular culture. She has published articles on paranoia, literature, and Cold-War popular culture in The Boolean, Americana, and Transverse, and contributed a book chapter on transnational paranoia to the recently published book Atlantic Crossings: Archaeology, Literature, and Spatial Culture. Learn more about your ad choices. Visit megaphone.fm/adchoices
What do Mary Shelley’s Frankenstein, media theorist Marshall McLuhan and Canadian popular culture have in common? This is the question that Mark A. McCutcheon seeks to answer in his new book, The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology, published in 2018 by Athabasca University Press. In this unique and penetrating analysis, McCutcheon argues that Shelley’s 1818 novel essentially reinvented the word “technology” for the modern age, establishing its connections with ominous notions of manmade monstrosity. In the twentieth century, this monstrous, Frankensteinian conception of technology was globalized and popularized largely through Marshall McLuhan’s media theory and its numerous, diverse adaptations in Canadian popular culture. The Medium is the Monster establishes Frankenstein, and its various adaptations, as the originating intertext for a modern conceptualisation of technology that has manifested with a unique potency in Canadian pop culture, informing works as disparate as David Cronenberg’s Videodrome, William Gibson’s Neuromancer, the fiction of Margaret Atwood, and even electronic dance music. Furthermore, McCutcheon undertakes an incisive of analysis of how Frankensteinian constructions of technology have shaped real-world discussions of science and industry, an intertextual discourse which he sees as most powerfully encapsulated in the rhetoric associated with the Alberta tar sands industry. Over the course of the interview, McCutcheon provides some fascinating insights into changing cultural attitudes towards technology, the influence of Mary Shelley’s Frankenstein, the novel’s relationship to McLuhan’s media theory, and the surprising scope of Shelley’s cultural impact. Miranda Corcoran received her Ph.D. in 2016 from University College Cork, where she currently teaches American literature. Her research interests include Cold-War literature, genre fiction, literature and psychology, and popular culture. She has published articles on paranoia, literature, and Cold-War popular culture in The Boolean, Americana, and Transverse, and contributed a book chapter on transnational paranoia to the recently published book Atlantic Crossings: Archaeology, Literature, and Spatial Culture. Learn more about your ad choices. Visit megaphone.fm/adchoices
What do Mary Shelley’s Frankenstein, media theorist Marshall McLuhan and Canadian popular culture have in common? This is the question that Mark A. McCutcheon seeks to answer in his new book, The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology, published in 2018 by Athabasca University Press. In this unique and penetrating analysis, McCutcheon argues that Shelley’s 1818 novel essentially reinvented the word “technology” for the modern age, establishing its connections with ominous notions of manmade monstrosity. In the twentieth century, this monstrous, Frankensteinian conception of technology was globalized and popularized largely through Marshall McLuhan’s media theory and its numerous, diverse adaptations in Canadian popular culture. The Medium is the Monster establishes Frankenstein, and its various adaptations, as the originating intertext for a modern conceptualisation of technology that has manifested with a unique potency in Canadian pop culture, informing works as disparate as David Cronenberg’s Videodrome, William Gibson’s Neuromancer, the fiction of Margaret Atwood, and even electronic dance music. Furthermore, McCutcheon undertakes an incisive of analysis of how Frankensteinian constructions of technology have shaped real-world discussions of science and industry, an intertextual discourse which he sees as most powerfully encapsulated in the rhetoric associated with the Alberta tar sands industry. Over the course of the interview, McCutcheon provides some fascinating insights into changing cultural attitudes towards technology, the influence of Mary Shelley’s Frankenstein, the novel’s relationship to McLuhan’s media theory, and the surprising scope of Shelley’s cultural impact. Miranda Corcoran received her Ph.D. in 2016 from University College Cork, where she currently teaches American literature. Her research interests include Cold-War literature, genre fiction, literature and psychology, and popular culture. She has published articles on paranoia, literature, and Cold-War popular culture in The Boolean, Americana, and Transverse, and contributed a book chapter on transnational paranoia to the recently published book Atlantic Crossings: Archaeology, Literature, and Spatial Culture. Learn more about your ad choices. Visit megaphone.fm/adchoices
Ryan and Dave examine the role of shameless spin doctoring in the modern American media experience with Jason Reitman's blisteringly funny debut satire. The charismatic Aaron Eckhart leads an impressive cast, including J.K. Simmons, Maria Bello and Robert Duvall, and the film proves itself way ahead of its time given the current political climate. Hint: it's not REALLY about cigarettes. Ryan continues riding out a rough emotional month, Dave's journey into puppetry bears some vaguely Frankensteinian fruit, and both are suitably chastened by the potential threat of Australian wildlife. Next week on the show, Dave's next pick - "The Cook, The Thief, His Wife & Her Lover"!
Mel and Tom just got back from a week in Chile. We did our best to pull together an episode for you this week - be prepared for a series of rants!Support the show (https://www.patreon.com/talkingtesla)
On this very spooky episode of Supply Chain Radio, we peer into a dark tale of supply chain horror. The year, 1999. The time, Halloween. The plot, a large scale candy manufacturer is about to experience a supply chain nightmare of Frankensteinian proportions. Listen on, if you dare... Sound Effects and Music Used: Lightning - http://soundbible.com/2015-Thunder-Strike-1.html Wolf Howl - http://www.freesound.org/people/adrilahan/sounds/172652/ Heartbeat - http://soundbible.com/1001-Heartbeat.html Creaky Door - http://soundbible.com/1870-Sqeaking-Door.html Crowd Shouting - http://www.freesound.org/people/DickBlox/sounds/101871/ Woman Scream - http://www.freesound.org/people/sironboy/sounds/132106/ Grandfather Clock Ticking - http://www.freesound.org/people/Ryding/sounds/125968/ Grandfather Clock Chiming - http://www.freesound.org/people/ollyoldhoff/sounds/69976/ Maniacal Laugh - http://www.freesound.org/people/AP3850/sounds/221798/ Ghostly Moan - http://www.freesound.org/people/Billy_Storm/sounds/164285/ Zombies Eating - http://www.freesound.org/people/indieground/sounds/235799/ Scary and Eerie Sound - http://soundbible.com/1801-Scary-And-Eerie.html Dark Ambient Music 3 - http://www.freesound.org/people/Xanco123/sounds/233311/ Horror Soundscape - http://www.freesound.org/people/Headphaze/sounds/170653/ Dark Ambient - http://www.freesound.org/people/Zerynox/sounds/80556/
The Trial Of Tyrion was everything that we expected it to be, and I have to say had one of the more heart wrenching moments for our little dwarf Tyrion, as if his life hasn't been difficult enough. But alas it's not all dark moments on this Special Delivery, as not only do we cover Game Of Thrones we also break down Showtime's new show Penny Dreadful, which is a light hearted romp... No wait I'm lying Penny Dreadful is a dark macabre show filled with Egyptian vampires & Frankensteinian monsters. Well we also cover Orphan Black.... oh wait Kimsonian does give props to Silicon Valley so there is some levity in this one, you just might have to dig a little deeper to find it.
→ Episode 49 Recap: Mugglestrangs, Baddie Battle; Draco & Durmstrang; Percival vs Ronald; Dichotomy of gingers→ PQOTW Responses→ Same but different→ Close read: The Sorting Hat song→ Prophetic ceiling→ Question of the Week→ Check out the Alohomora! Store
Here we come…walking down the street….we get the funniest looks from….everyone we meet…. If you can sing the next line of that song, then Love That Album episode 47 is for you. The Monkees TV show theme would have to be one of the most beloved and recognised of its era and beyond. Arguments have gone back and forth about whether the Monkees were really a band, given their start as actors who just happened to be playing the parts of band members for a TV show. Well, like all good Frankensteinian monsters, they decided to take on a life of their own. On LTA 47, I am joined by two co-hosts in separate segments. First of all, I welcome back to the show my friend and fellow Monkee nut, Julian Gillis to discuss two classic albums released in 1967 (a watershed year for rock). First of all, we discuss “Headquarters”, the album that by and large avoids the use of session musicians and features more Monkee-penned compositions. Then we look at the next record they released “Pisces, Aquarius Capricorn & Jones”. They return to the use of outside song writing help and they share the platform with session musicians, but to great effect. Julian and I both discuss the notion about the whether they were a real band, and what their legacy has been. How do these albums stand up against other albums released by the more conventionally assembled bands of the day? We both had fun recording this one and discussing some real pop gems. But wait…there’s more Monkee business at hand. For his first LTA appearance, Terry Frost (of the wonderful “Paleo Cinema” and “Martian Drive In” podcasts) joins me to discuss the 1968 surreal piece of Monkee cinema, “Head”. To say this film has been much maligned is an understatement. Devised by Bob Rafelson, Jack Nicholson and the band while allegedly digesting a bag of fauna, this has no linear narrative to speak of – but does it have something to say? Terry and I have a good time finding out. Eric Reanimator returns with his Album I love segment to discuss the album by Danny and Dusty, “The Lost Weekend”, part of the underground paisley movement of the 80s. I really dig this album, as it reminds me of my beloved Weddings Parties Anything. Another classy segment courtesy of Eric. You can download the podcast at iTunes by searching for “love that album”. You can stream or download it at “http://lovethatalbum.blogspot.com”. The podcast can also be listened to via Stitcher Radio. Download the app from stitcher.com, and listen to any episode streaming over your Android or Apple device after searching for “love that album”. Send me any feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum.
We may be on vacation, but we've culled some highlights from our Earth Prime counterparts to create a Frankensteinian best of! A much more civil Alex and Ray brainstorm ideas for their fledgling podcast; Alex expresses disdain for his job and announces plans for a new business; the boys deal with portable gaming theft at a popular Mexican food chain; Ray's concern grows as a popular store threatens to open a little too close to home, and we round it out with BK news unfit for this universe! This podcast will return in All Debts Public and Primate: A Jesse Stone Mystery.
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
Going Back in Time - Technocrats - New Society, Commutarianism - Comintern, Beria, Pavlovian Techniques - Nationalism, Centralization of Power, Internationalism. Neoplatonism, "Natural Aristocracy" - American Founding Fathers, Jefferson, Revolution - Colors of Communism, Red, Green - Green Party - Dialectic, 2 Choices. John Dee, Free Trade, British Empire - Rosicrucians, Freemasonry - France, Secret Meetings - Ben Franklin. Madame Blavatsky, Theosophy - Sheepdogs Herding Sheep - Churches, Commerce - Catholic Church, Indulgences. Carbon Taxes, Club of Rome, Public as Enemy - Foundations, Think Tanks, NGOs - Previous Warming and Ice Ages - Aerial Spraying - Rip-off Taxation. Sterilization to "Save Mother Earth" - Environmental Groups - Emissions Cuts for "Rich" Countries. Religion Shopping, Rituals, New Age - Individual Experiences and Searching - "Know Thyself" - Emotion and Logic - Values - Ego, Persona - Othello Syndrome. George Orwell, Retention of Humanity - Man Playing God - Ancient Greek Atomic Theory, Mythology of Gods. (Article: "EU reveals energy plan of action" BBC News (bbc.co.uk) - Jan. 23, 2008.) *Dialogue Copyrighted Alan Watt - Jan. 24, 2008 (Exempting Music, Literary Quotes, and Callers' Comments)
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
Scam Creation - Parroting, Repetition - Slaves under New System - Big Corporation (Government). United Africa, Amalgamation - Integration of Americas, CIA, CSIS, Military - Free Trade Negotiations - New Terrorist: Anti-Globalization - Protocols, Interdependence. Reality TV Shows, Giving Up Privacy - Hippy Movement, Flower Power to Fascism - Holland, Stay-at-home Fathers, Government Art Funding - Marxism. "Kids" (Young Goats), Dehumanization, Terminology - Animal-Human Hybrids - World Arks, Cryogenics - Perfecting of Imperfect - The Architect, Builder. Mary Shelley's "Frankenstein", Body Part Swapping - Human Machines, Self-Repairing - Charles Galton Darwin - "Civilization" and Slavery. Sir Thomas, Julian and Aldous Huxley. Democracy, Britain, Chartist Movement, Voting - Psychopathy, Politics, Corruption. "Something Wonderful is going to Happen", Arthur C. Clarke - Active Chip, Brain Chip - Hell on Earth - Utopia of Elite. Nature and Nature's God - Godhood, Constantine - Mithraic Cult, Mithraism, Ahura-Mazda, God of Fire. B. F. Skinner, Experimental Rats, Perpetual Orgasm--See Movie: "The Mind Snatchers" with Christopher Walken. (Article: "Green light for hybrid research" BBC News (bbc.co.uk) - Jan. 17, 2008.) *Dialogue Copyrighted Alan Watt - Jan. 24, 2008 (Exempting Music, Literary Quotes, and Callers' Comments)
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