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Pix credit here |
The comedy-horror hybrid can be a tricky genre to get right. This is especially true of those films that attempt to leverage well known monsters. And while names such as Dracula and Werewolf pop up fairly frequently in these types of films, it is The Creature from Mary Shelley’s Frankenstein that offers arguably the most interesting template from which to draw inspiration. While some films focus primarily on achieving humor (Abbott and Costello Meet Frankenstein, I Was a Teenage Frankenstein), others dial back the levity to create a more transgressive viewing experience (Lady Frankenstein, Frankenhooker). But one film that manages to blend both aims seamlessly while also offering up a healthy dose of social commentary is The Rocky Horror Picture Show (1975). (Horror in the Homeroom)
Earlier this month Alex Karp and Nicholas Zamiska posted to the social media site "X" a sort of Manifesto in the form of a 22 point reduction of their book, "The Technological Republic" (2025). Both the book and Manifesto reduction were self-described by their social media agit-propaganda as critique and a pleading (in its ancient sense of giving pleasure, or obtaining approval)):
a searing critique of our collective abandonment of ambition, arguing
that in order for the U.S. and its allies to retain their global
edge—and preserve the freedoms we take for granted—the software industry
must renew its commitment to addressing our most urgent challenges,
including the new arms race of artificial intelligence. The government,
in turn, must embrace the most effective features of the engineering
mindset that has propelled Silicon Valley’s success. Above all, our
leaders must reject intellectual fragility and preserve space for
ideological confrontation. A willingness to risk the disapproval of the
crowd, Karp and Zamiska contend, has everything to do with technological
and economic outperformance. At once iconoclastic and rigorous, this
book will also lift the veil on Palantir and its broader political
project from the inside, offering a passionate call for the West to wake
up to our new reality. (here)
I approached that Manifesto, point by point, not as critique but as the performance of ancient social tropes that touch on the origins of the cognitive cages that still, to some extent, constrain, and by constraining, shapes Anglo-European collectives, our thought, and our ability to relate to the world around us. In this case as a manifestation of the declamations of Greek oracular tragedy in which they play a singularly peculiar role (Reflections on the
Palantir "Manifesto": The Oracular Semiosis of a "Technological
Republic" Within its Own Cage of Techno-Modernization).
Palentir approached the question from an institutional and collective
disciplinary space--on the (re)constitution of a social ordering the
collective expresison of which must be managed in a specific way to meet
both internal and external threat projections--but in a sort of
tragically conventional way, that is by deploying traditional tropes and
signified objects projections. This was oracular, programmatic,
institutional, and permeated with the sort of traditional combination of
hubris, principle, and good intention that sets up the triadic dialectic of opur Anglo-European cognitive foundations. Palantir was coding the generative architecture of physical beings as the magisterium that then aligned that coded natural order with the mimetic ordering of the virtual spaces of their animated virtual realities. Palantir sought to created an aligned iterative, mimetic dialectic among human persons, their collectives, and the realms they have created
in their own image, realms that both reflect their creator and yet also
follow their own pathways (set initially by their creators).
Now, not to be outdone, or perhaps to add their own voices as a sort of sidelines occupying Chorus (on the functions of a Chorus in Greek theater here) comes the folks at Antrop\c, already famous for their abstracted, and to some extent virtual performance with the security apparatus of the United States with which, like the rest of society, they are in their own way entangled (Statement from Dario Amodei on our discussions with the Department of War). They plead their case in a 14 May 2026 Policy Document, 2028: Two scenarios for global AI leadership. The core of their pleading is this:
It’s essential that the US and its allies stay ahead of authoritarian governments like the Chinese Communist Party, or CCP. AI will soon become powerful enough to be used to repress citizens at unprecedented scale, and even to alter the balance of power among nations. And since AI is advancing more quickly by the day, we have only a limited period of time to set the conditions of the competition—and determine whether and how those threats materialize. It’s with this in mind that we outline what’s required to ensure America stays ahead. (2028: Two scenarios for global AI leadership).
If Palantir sought to code human collectives in dialectical mimesis with the creators they created and with which they now engage in (for the monument) dependence based action iterations, then Anthrop/c, on the other hand, it reduces technology to a tool the deployment of which is a critical instrument in competition among different and divergent normative political-economic models. It seeks to reduce its creation, and the ecologies in which virtual life operates, to an instrument, the maintenance and improvements of which are of critical importance to human, not human-machine dialectical mimesis. If Palantir was Greek in its semiotic orientations (that is the way they signify and interpret, and thus rationalize the world around them), the Anthrop\c was comfortably Hebrew in their approach to the fundamental constitution of the lifeworld (
lebenswelt) in which the human and their creation could be situated in ways that domesticated the "
soulful machines" they have a hand in creating. Thus domesticated, one can name them, and by naming them signify their relationship to humanity as the essence of their character, and once named, assert dominion over them, at least to the extent to humanity's own creator finds "good." (Gen. 1:26). In this case one encounters the instrumentalization of signs, and especially the signification of A.I. or tech based "objects"to manage perception, and shape meaning for a specific political collective, whose perceptions and cognitive foundations are in turn shaped by those objects (discussed
here).
Anthrop\c, then, moves from the theatrical ancient tragedy of theater to the contemporary campy horror movie genre. Killer Clowns from Outer Space (1988) has possibilities -- the plot of which revolves around invading aliens who land in a small town to cocoon and feed. Elvira: Mistress of the Dark (1988) about an iconic horror hostess inheriting a haunted mansion in a very prudish town who confronts her uncle who wishes to succeed to her witchy powers gets closer. Still, one one go father back to get to the semiotic hear of Antrop\c's worldview.
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| Pix credit here (Riff-Raff and Magenta) |
In the camp horror classic, Rocky Horror Picture Show (Jim
Sharman dir., 20th Century Fox 1975), a quintessentially reductionist,
if cartoonish, objectification-animation of a stroy the contents and meaning of which is supplied by a narrator (the "Criminologist") of the ordinary couple of the
time find themselves knocking on the door of a strange residence on a
stormy night when, as such things tend to happen, their car breaks down.
They are admitted to the residence of one, Dr, Frank-N-Furter, who is
an alien from the Planet Transsexual in the Galaxy of Transylvania.
The good doctor is about to to unveil his mad creation at a party
attended by his madcap collection of friends and hosted by his fellow Transsexualiens, all dressed for the event in costumes that might appear to our hapless couple as trans-vestiture
or other cultural-expectation-flouting rainment (in its ancient sense
of fine ceremonial wear, or spiritual coverings, with substantial
signification). The event which our couple crashes was arranged to
celebrate the animation, the trans-activation, of Dr.
Fran-N-Furter's creation--Rocky--the hyper-muscled hyper-expression of
the object of (self) desire; the ideal made flesh. Hilarity then ensues as everything goes
sideways, and everyone is transformed in one way or another; until those transformations prove too much ("Give yourself over to absolute pleasure. . . Don't Dream it--Be it" Lyrics 1975). The Criminologist and Riff Raf agree, parsing Foucault, that "society must be protected" (Lyrics, 1975), theirs and ours as the transsexualiens kill Dr. Frank-N-Furter and Rocky for their trans-gressions, and return the entire house, and its objects, to the planet of transsexual in the Transsexual Galaxy where things are normal. That leaves the Criminologist, Brad and Janet. . .and Rocky, to "do the time warp again". . . .
With a bit of a mind flip
You're into the time slip
And nothing can ever be the same
You're spaced out on sensation
Like you're under sedation
Let's do the Time Warp again
Let's do the Time Warp again
(Time Warp (Lyrics, Richard O'Brien; 1975))  |
| Pix credit Video "Let's Do the Time Warp" (1975) |
That, in a sense, is the fundamental orienting point for Anthrop\c's"science fiction double feature", its 2028: Two scenarios for global AI leadership. There is a double double here. Anthrop\c's two scenario blockchain narrative; and the double feature of Anthrop\c's blockchain and Palantir's structural predictive analytics encased its its own Rocky Horror. It
appears that contemporary society has at last managed to trans-form
itself into the living expression of the symbolist camp of human
collective simulacra, like that of the Rocky Horror Picture Show. And that trans-ition
from signified physical objects to the animation, the trans-itioning,
of the datafied object which in virtual spaces may be animated by
breathing into it a sort of divine breath--the pathways to cognition in the form
of layered coded relationships that can acquire a life of their own in
the sense of controlling or deploying and changing its own life force
(its coding, as such) over and through its datafied bodies--then brings
us to the moment of truth that were faced by the Transsexualiens. It brings one to Riff
Raff (the butler) and Magenta (the maid). It brings us back to Antrop\c. But more importantly it brings one back to the audience that counts--the American state and market apparatus and its mangers: Brief Reflections on U.S: Council of Economic Advisors--Report: Artificial Intelligence and the Great Divergence (January 2026); Liberal
Democratic Leninism in the Era of Artificial Intelligence and Tech
Driven Social Progress: Remarks by Director Kratsios at the Endless
Frontiers Retreat and "The Golden Age of American Innovation"; Reflections on "'Accelerating American Exports'--Remarks by Director Kratsios at the APEC Digital and AI Ministerial Meeting"; CSIS EVENT: Unpacking the White House AI Action Plan with OSTP Director Michael Kratsios. It is also a warning to the "other": U.N. Global Dialogue on Artificial Intelligence Offers Platform to Build Safe Systems and Open Call for Candidates
The 1970s focused on sex. . . . the second quarter of the 21st century focuses on on the datafied simulacra of soulful machines, as tools for civilizational quests, and as the divine incarnation of an aggregated humanity that may, having been born from out of the ingestion of the Edenic Tree of the Knowledge of Good and Evil, may invert the relationship between aggregated creation and the creator. Antrop\c's object is AI competition between the U.S. and China. But of course it is not about that at all. Instead Antrop\c uses that as the object through which they attempt an important signification of what for them is the larger problem (or in Chinese Leninist terms, the general contradiction)--the instruments through which competitive society encode their realities, their foundational norms and expectations, encoded within the aggressive and expansionist political-economic models of the U.S. and China. Antrop\c makes no effort to hide this. "AI will soon become powerful enough to be used to repress citizens at unprecedented scale, and even to alter the balance of power among nations."
With that as the analytical core, the question then becomes far ore pragmatic: to what extent and in what ways, ought the State to develop practices and policies to ensure that American A.I. continues to dominate, and by dominating provides the means of protecting the liberal democratic lebenswelt from the imaginaries of Marxist Leninist States. The key is to dominate innovation (here pitting the Chinese project of Socialist Modernization driven by its high quality production initiative) against the American markets driven and national security framed framework.
And the key to protecting innovation, and dominance, is the state.
The most important ingredient for developing AI is access to the computer chips on which the models are trained (or “compute”). Since the most capable chips are developed by American companies, the US government currently limits China’s supply by enforcing tight export controls on them. Recent history suggests these controls have been incredibly successful. In fact, AI labs in China have only built models close in intelligence to America’s because of their talent, their knack for exploiting loopholes around these export controls, and their large-scale distillation attacks that illicitly extract the innovations of American companies. (2028: Two scenarios for global AI leadership)
To protect innovation one needs borders--physical and virtual. The borders do not merely protect AI. They serve to provide the conceptual space within which AI can be made in the image of its creator--and in that way become both an extension of and the idealized form of the desire for a perfect simulation of an ideal version of the collective political economic system from which it emerges.
America and its allies approach AI competition from a position of great strength. The tools for AI dominance have been built by an exceptionally innovative ecosystem of companies in democratic nations. Our past success means that our present task is largely to avoid squandering our advantage: to decide not to make it easier for the CCP to catch up. (2028: Two scenarios for global AI leadership)
Two things happen if China catches up. The first is that the liberal democratic "golem", its "Rocky" is transformed and invested with the ideals and objectives of the Chinese "other." The second is that the liberal democratic golem is then deployed against its primary creator. The tool, then, the instrument, not only enhances the pathways toward the constitution and deployment of the simulacra of liberal democratic A.I. The tool serves as a defense against its corruption in the hands of the "other."
This serves as the basis for the storytelling that is the bulk of the essay:
In this post, we present two scenarios for what the world might look like in 2028, when we expect transformative AI systems to have arrived. In the first scenario, America has successfully defended its compute advantage. Policymakers have acted to tighten export controls further, disrupt China’s distillation attacks, and further accelerate democracies’ adoption of AI. In this world, democracies set the rules and norms around AI. It’s also in this scenario that we’re most likely to successfully engage with China on safety, which we’re supportive of to the extent this is possible. In the second scenario, America has chosen not to act. Policymakers have not tightened loopholes on the CCP’s access to compute, and AI firms in China have quickly taken advantage—catching up to the frontier and even overtaking America. In this world, AI norms and rules are shaped by authoritarian regimes, and the best models enable automated repression at scale. It will be no solace that this authoritarian triumph has happened on the back of American compute. (2028: Two scenarios for global AI leadership)
Like all binary systems, when reduced to its essence it is little more than the arrangement in time, place and space of oppositions that, depending on the patterns and the dialectic of pattern irritation and pattern movement, produce movement of the patterns shaped by irritated clusters of such oppositions. Here, borders matter. Borders are understood in a comprehensive way as a membrane that may be permeable, but only through specifically constructed points of structural coupling. Borders have a particular character--export (and expert) controls and national security based interdiction of tech and tech know how. The object is to protect the nature, character, operation and improvement of the liberal democratic "Rocky" against either corruption, or his "capture" and re-animation now with the soul of oppositional political economic systems, the normative cognitive cages of which are incompatible with those of liberal democracy.
The political systems in which the most advanced AI is created will shape the rules and norms for how the technology is developed and deployed. In turn, those rules and norms will help determine whether the technology is safe, whose security it protects, and whose interests it ultimately serves. We believe that responsibility should rest with democratically elected governments, not authoritarian regimes.(2028: Two scenarios for global AI leadership)
No that this is wrong as such. It is just that our Rocky provides a campy horror film version of the insights from Norbert Wiener, God and Golem, Inc., (MIT Press, 1964) in the relationship between the cybernetic machine and man is similar to the relationship between humanity and their creator. "There are at least three points in cybernetics which appear to me to be relevant to religious issues. One of these concerns machines which learn; one concerns machines which reproduce themselves; and one, the coordination of machine and man." (God and Golem, Inc., p. 11; consider also Reflections on
Mohammed Gamal Abdelnour on "Artificial Intelligence and the Islamic
Theology of Technology: From “Means” to “Meanings” and from “Minds” to
“Hearts”" ("But all realms, including virtual realms, that are both a projection of
the human and a means of externalizing the collective human for
reinsertion into people, and form people, into the communities they
would now feel "naturally" follow from this dialectic--all human realms--require a theology. Theology here is understood in its classical Greek sense of a rationalizing discourse on the gods. ).
Antrop\c worries about the control of all three--but as a function, as well as the instrument, of the power of the normative State. Antrop\c posits the game between China and the United States for the soul of the creature both desire to make, and which one has already made--more or less. Wiener reminds one that:
Thus, if we do not lose ourselves in the dogmas of omnipotence and Omniscience, the conflict between God and the Devil is a real conflict, and God is something less than absolutely omnipotent. He is actually engaged in a conflict with his creature, in which he may very well lose the game. And yet his creature is made by him according to his own free will, and would seem to derive all its possibility of action from God himself. Can God play a significant game with his own creature? Can any creator, even a limited one, play a significant game with his own creature? (God and Golem, Inc., p. 17).
The answer to the question posed by Wiener, the semiotician would suggest, is yes. And the yes is a function of the realization that when God plays the devil, he is playing with and as himself. Not in the manner of the Manichean, but in the manner of the dialectics of subjectivity. That then suggests that the instrumentality of AI and its normative basis, when it is deployed by politics, looks to the way that AI can be deployed instrumentally through projections of internal perfection outward against an oppositional perfection.
But it is worth noting that Antrop\c is playing only one of two games. The game Antrop\c plays is for the control of the creature--our Rocky Horror--by one of two players; the prize of which is both the construction of the creature and his iuse against the other. Antrop\c would preserve the dominance of one version, not through the control of its development (that is beyond the point of the essay), but rather by denying the fruits of development of one version of AI to an oppositional force that would breath a quite different sort of life into the creature. Yet there is another game--between both China and the United States and the creatures they are building. The assumption--still sop stubbornly held--that Rocky is indeed an instrument, soulless, and without much of a will, a creature completely and endlessly dependent on its creature is unlikely to retain much power once the creature learns to learn itself. This does not make the Antrop\c analysis wrong. Indeed it may add to its power (except the instrumentalist start point bit) where, if the foundational analytical presumption is to be believed--the power of AI is not merely its computational process; rather it is its normative baselines, not merely programmed but evolving with each iteration shaping its process of induction reasoning (in its simplest form pattern recognition), to one where, in predictive analytics, it may well shape the iterative data flows through which it will move away from its original creator made version (Wiener's self reproducing machines). At that point Wiener's suggestion of the divine quality of the coordination of man and machine will become a much larger concern. This is a very different "head space" than the one that fascinates the folks at Palantir.
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| Pix Credit Video "Let's Do the Time Warp" (1975) |
Anthrop\c is our American AI Dr. Frank-N-Furter. The Folks at Palantir means to be our "Narrator," the Criminologist expert who guides the audience, signified by our conventional couple, Brad Majors and Janet Weiss. Together they trans-form themselves and each other around the constructed incarnation of an ideal external to themselves. For Anthrop\c Rocky is an instrument to be protected from corruption and to preserve the vectors of transition that they believe they can manage--that is managing Dr. Frank-N-Furter. Brad and Janet are the objects of transition, for which the guidance of the "Narrator" criminologist, provide guardrails; but even the Palantir Criminologist cannot be unaffected by contact with transformative tech and its presence. But no one pay much attention to the operational elements--Riff Raff and Magenta. Magenta has the right of it perhaps--not sex but in the virtualization of ourselves, and worse, in our incapacity to understand and respond, use, embed, resist, a thing that was but is not us, but is now itself leaving us to appear to mange it while we ought to be learning how to better manage ourselves. That is the hint, unexplored, in our Antrop\c-Palantir double feature.
Science Fiction - double feature
Frank has built and lost his creature
Darkness has conquered Brad and Janet
The servants gone to a distant planet
Oh - at the late night double feature
Picture show - I want to go - Ohh -
To the late night double feature picture show.
(Magenta, Epilogue,
Lyrics 1975)
The complete text of 2028: Two scenarios for global AI leadership follows below.