As we huddled, cuddling under my raincoat, in the Treasury Gardens, and kissing in the quickening winter’s dusk, I had a dim sense of the con being worked upon me—the futility of victory with a woman I had already conquered.

It doesn’t matter if you have already slept with them these days:—For no matter how much she is attracted to you, or how much she genuinely likes you at any given moment, each time you encounter her, you must reconquer her as if you had never conquered her before, like Sisyphus re-rolling the rock.

In the Treasury Gardens, I had a palpable sense of the unreality of her reality beneath my touch, like clutching an armful of clouds.  As much as I didn’t want the moment to be over, I wanted it to be over quickly, for I sensed that she was not really there.

—Dean Kyte, “The Touch”

The abiding theme of my writing—and, indeed, all my art—is the mystery of women. To say that every femme I encounter is fatal to me in some way, and that all my amours eventually devolve into bitter, baffling mysteries on which I never get any closure, is to give you just a hint, dear readers, of the oneiric altered state that is your Melbourne Flâneur’s permanent reality—the surreal, half-lit world I walk through where the landmarks of quotidian banality are big symbols, clues and metaphors for a mystical conspiracy hiding in plain sight.

Major agents of that universal conspiracy? The dames, Jack, the dames…

I used to be a bit of a ladies’ man. I used to do a bit of Daygame, but I walked away from the Game a few years ago after an experience which ought to have been—and was—my greatest triumph at persuading a woman out of her clothes and into my arms.

Having been forced, by a conflation of circumstances, to take some time away from what had been my heart’s passion—the pursuit of those trying beings who inspire one half of the human race to their highest creations, their wildest follies, and their darkest crimes—I felt no burning urge to go back to the dating game.

And these days, no matter how hard I jam the keys of Comfort, Attraction and Intimacy in the ignition and turn them, I just can’t get my motor purring over the prospect of a date anymore, those mystical occasions for the flâneur, as evoked in the video and prose poem above, when lonely exploration of the dark yet luminous mystery of the city intersects with the mystery of a dame in your arms.

I gave up the Game when I realized, dimly, that it was rigged. No matter how good a man gets at it, he is always at a disadvantage to the prey he is hunting, for feminine seduction is to masculine warfare what persuasion is to force—a cold warfare – which is the only kind that can disable the kinetic variety without a shot being fired.

As Robert Greene says in The Art of Seduction (2001), many thousands of years ago, women developed their seductive capacities to disarm and render compliant their more physically powerful counterparts. Today’s iterations of Eve have it evolved into them, so matter how good you get at the Game, you’re always playing catch-up with a born pro.

And with my interest in con artistry and other social games of deception, it’s perhaps no wonder that, suffering from my latest heartbreak and seeking rational answers to the irrational, insoluble mystery of life, I’ve begun to pick apart the trope of the fatal woman.

Since giving up the Game, the question which has puzzled me is What the hell has gone wrong with women in the last fifty years? I was just getting some clarity on that research question in February last year when the CV struck town.

Then we went into lockdown, and with the external world closed to me, I went deep into intuitive introspection on this question. I began to conceive a plot—my first exercise in fiction in over ten years—which seeks to answer this question based on some of my baffling experiences tying into dames on the streets of Melbourne.

More on that project to come. Consider the video above—and its attendant prose poem—to be a provocative down-payment on the dark plot I am plotting…

But as I began to recollect and re-member my exploits and failures in my hotel room, applying the patina of imagination to them in an altered state deeper than LSD, vamping on and amping up the fatal aspect of twists, frills, jills and janes, dolls and dames who had pumped enduring slugs in my heart, I began to grok a discernible difference between the girls of today and the classic lady/killers who run the gamut of modern literature and art from Baudelaire to film noir.

The femme fatale is the Goddess in what I would call ‘the Myth of Modernity’. From Sacher-Masoch to the most self-desecrating porn star of today, modernity appears to celebrate the Kali aspect of the Eternal Feminine—Woman-as-Destroyer rather than Woman-as-Nurturer.

The ‘classic’ femme fatale—which is as much to say, ‘the modern woman’—is, in my view, the most conspicuous product of high European modernity. The femme fatale in her ‘classical’ state is essentially the nineteenth-century idea of ‘the New Woman’.

I don’t use the word ‘product’ to describe the modern woman, or femme fatale, casually; for the salient features of high European modernity are capitalism and consumption. As Thorstein Veblen observed in his Flaubertian economic analysis, The Theory of the Leisure Class (1899), in the nineteenth century, the project of ‘bourgeoisification’, of gradual enfranchisement and homogenization into the middle class, produced a society of conspicuous consumption in which women were tasked with much of the ‘work’ associated with ‘consumption for display’.

The modern woman as femme fatale emerges, therefore, as the pre-eminent ‘product’ of the City, site and sight of high capitalism, place of conspicuous consumption, and she necessarily emerges in the cradle of artistic modernity, the place that Walter Benjamin called the ‘capital of the nineteenth century’, Gay Paree.

With respect to the gentleman who coined the word ‘modernité’ to describe the curious, novel state or condition of ‘being modern’, M. Baudelaire, I have elsewhere discussed the City as being one of his ‘paradis artificiels—Paris as a kind of Luna Park, a site—and sight—of oneiric spectacle inducing a drug-like altered state in the flâneur.

The artificiality of the City, as I wrote in that post, induces a condition of artificiality in the men and women who are among the alienated ‘parts’ in this fabulous machine of commerce which is the modern city. It necessarily induces a condition of artificiality in their relations with one another: the core logic of the circumambient environment being a zero-sum game of exploitative value exchange, romantic relationships are ultimately reduced to a commerce of mutual sexual exploitation.

M. Baudelaire, in his poetry and art criticism, was the first person I know of to recognize a pathological instinct in women which the modernity of the City seems to bring to the fore as a positive maladie de l’âme. These most ‘natural’ of entities, these creatures who are, by their very biology as nurturers and nourishers, rooted to the soil of human existence, have a perverse propensity towards ‘unnaturalness’, towards artificiality.

Knowing that their economic fortunes lie in attaching themselves to the men most capable of providing, women, since prehistory, have availed themselves of exotic furs, stones, ochres, balms and unguents as erotic artillery in their seductive quivers, unnaturally enhancing the natural majesty that God gave to Eve. In Éloge du maquillage (“In praise of makeup”), M. Baudelaire makes a positive case for artificial feminine display as essential and praise-worthy weaponry in seduction, while in his poem Un Fantôme, he loses himself in the dazzling array of devices—fabrics, scents, jewellery, makeup, lingerie, the play of pudic concealment and immodest revelation—that women use to fatally seduce men.

Spengler, in The Decline of the West (1918/1922), differentiates between plant and animal existence in the life of cultures, between passivity and rootedness, attributes of the plant, and activity and motility, attributes of the animal.

To my mind, the differentiation can be taken further, for, to put the matter in the language of the I Ching, the active, motile life of animals is essentially a function of 乾 (Qián), ‘the Creative’, the Eternal Masculine, while the passive, rooted existence of the plant is essentially a function of 坤 (Kūn), ‘the Receptive’, the Eternal Feminine.

This is the fundamental differentiation of existence. The Creative principle is symbolic of Heaven, which is above the Receptive principle of the Earth. The quickening, vivifying action of the light of Heaven engenders all life on this planet, which the Earth nurtures and brings forth from the deep darkness of its womb. Together 乾 (Heaven) and 坤 (Earth) form 乾坤 (or 天地 [Tiāndì] in Modern Standard Chinese), which variously translates as ‘the World’, ‘the Universe’, ‘the scope of operations’, ‘the total field of activity’.

When Masculine and Feminine combine, therefore, it creates and engenders the world as we know it.

As the I Ching demonstrates, our earliest forebears intuited this fundamental universal division which manifests in the division of the sexes—and in the right and appropriate order of society, with the creative, motile man over and above the passive, receptive woman. In The Perfumed Garden, the great Islamic sex manual of the fifteenth century, Sheik Nafzawi gives us this ‘missionary position’ stated as the same sacred invocation which God gave to his first gardener, Adam:

God the magnificent has said:

‘The women are your field [my emphasis]. Go upon your field as you like.’

—Muhammad al-Nafzawi, The Perfumed Garden (translated by Sir Richard Burton)

The woman, symbolically associated with Earth and nature, is the total operable field of masculine activity. Cultivating her, husbanding her is the synthesis of Creative Heaven and Receptive Earth represented in the World of 天地 .

But the metaphor of motile animal and passive plant in the cultural life of men and women extends even further than that.

In the image of masculine sperm and feminine egg, I also see the principle of active, animal motility and passive, plantlike receptivity symbolically represented: like men themselves, constantly approaching and trying to latch on to an attractive woman who sits, like a Venus flytrap, passive in her stasis, rejecting all suitors but the chosen one she will eventually receive, the millions of sperm coax, compete, co-operate and collaborate with each other as they move towards the passive, distant goal buried in deep darkness, in the soil of the womb.

I use the Venus flytrap analogy pointedly, for (along with the black widow spider and the praying mantis) the femme fatale is often equated with this passive yet carnivorous plant that preys upon the venturesome motility of animals who stray into its alluring array of thorny leaves reminiscent of the vagina dentata.

The symbolic image of the femme fatale that emerges from this analogy drawn from nature is of a passive predator, almost rooted in her immobility, who conserves her energy as she waits with infinite patience, employing alluring display, in place of motility, to attract her victim into a seductive matrix that closes about him like a steel trap and is almost impossible to escape except by death.

Irving Berlin wrote a song, the title of which is the most eloquent formulation I know of to describe the dynamic relationship between masculine, animal motility and feminine, vegetable passivity, evocative of the Venus flytrap: “A Man Chases A Girl (Until She Catches Him)”.

This also reminds me of Isaiah Berlin’s famous analogy of the hedgehog and the fox, which has been variously applied to Dante and Shakespeare, to Bracque and Picasso, and to other artistic examples of manifold, mobile, creative genius and passive, patient receptivity to one big, God-like intuition which the mind traps and thoroughly absorbs. It could equally be applied to the relationship between men and women.

Men, in our motility, are like Berlin’s fox: nous allons, nous courons, nous cherchons. We have our snouts in everything. All the fecund multitude of creations, innovations and inventions we bring forth from our brains and brawn are but the sublimation and compensation for the one creative thing we cannot do: bring a child to term from within ourselves.

Women, in this respect, are like the hedgehog of Berlin’s analogy: they have a single in-built task—a labour, or travail, as we say in French—one great job that God has given them as the field upon which we go, sowing our fecund seed. Within themselves and without themselves, they have been charged with the sacred duty of nurturing and nourishing life, of bringing forth the next generation of humanity and tending it, making sure it attains to maturity so that it can bring forth the next generation in its turn.

All the various masculine infrastructure, all the fecund fruits of masculine creativity, innovation and invention, is but the setting of the boundaries of the hospitable garden around the woman so that she can safely perform this two-decade travail. She grows as a great tree in the centre of this garden, which is ‘the home’, and she in turn tends the saplings grafted from her heavenly union with the motile male, who sets and defends the boundaries of home and hearth.

In this respect, returning to Spengler’s notion of Time and Destiny, we can say that women are, by nature, politically conservative. Being rooted to the deep nature of the Earth by their plantlike biology, they must, like the Venus flytrap, be essentially conservative in how they deploy their energy and the strategic calculations they make in expending it. In her natural state, woman is as slow as a plant to move and change, because uprooting oneself in movement and change involves embracing venturesome risks whose odds of success are difficult to calculate.

Women require stasis and stability, they require a stable garden around themselves and their children in order to optimally raise up their offspring. Human beings being the slowest animals on the Earth to mature and the most vulnerable to predation, taking energetic risks which involve transplanting the tribe across an inhospitable wilderness is not in the essential nature of the woman.

To use Spengler’s analogy, the wife and mother’s eternal lament against her husband and son going off to defend the borders of the polis is essentially a conservative political reaction—the wish and desire to conserve the prime source of resource provision, whose locus resides in the venturesome, motile male.

And, en revanche, we can equally say that it is in men’s essential nature to be politically progressive. As manifestations of the Creative principle, all the sum of masculine creativity and innovation is predicated upon the personality trait of openness—the creativity dimension.

The innovations in art and science which have progressed humanity to its current pinnacle of civilization are almost exclusively the result of the motile, venturesome, risk-taking instinct in men, who push back the boundaries, who widen the garden of the polis for the comfort and safety of their women- and children-folk, who civilize and husband the dark, feminine nature of the Earth to provide for wife and offspring.

To propose a basic hypothetical answer to my research question of what the Sam Hell has gone snafu with the dames in the last fifty years, let me say this: It would appear that these two innate instincts of feminine conservatism and masculine progressivism have become politically reversed in the last half-century and are now on increasingly divergent, derivatively expanding paths.

In acquiring a physical mobility outside the garden of the home, in taking on the motile, questing, predatory attributes of the Masculine and forsaking the static, stable garden which the fox-like men have created to allow women to fulfil their one, lifetime labour, the modern woman—which is to say, the femme fatale—has forsaken her intrinsic nature and adopted an artificial one.

She has the physical attributes of a woman, but the pretended drives of a man.

The existential crisis in sensemaking whose inexorable logic is leading to the self-terminating conclusion of our species is essentially, I think, a schismatic division along Masculine and Feminine lines. The Universe has been rent and 乾 and 坤 have exchanged their poles, with an animus-driven Feminine embracing an unnatural progressivism that is actually regressive in its logical unfoldment, and a Masculine, clouted into its anima by the Feminine, digging its heels into the earth with an conservatism unnatural to its progressive instincts.

It is men who now want to conserve and maintain an empty garden which the janes have vacated, while venturesome women, progressing beyond the borders of reason, are out sowing the wild oats they biologically do not possess.

Hence the trope in modern literature and art of the femme fatale—an artificial entity, the product of the unnatural City, with the biology of a woman and the psychological drives of a man. She’s fatal to men, and in the mad state of affairs of the sensemaking crisis, she’s ultimately fatal to man—the species—itself.

The female of the species is, of course, born with an intrinsic centre of value between her legs—and thus a site of potential commercial exploit. To put it in rather cynical terms, if diverted from the strict course of nature, of sex for procreation rather than recreation, she has upon her person not an in-built labour but an in-built ‘trade’; and in fact, we go so far to dignify this ‘trade’ by calling it a ‘profession’—the world’s oldest.

Following this logic, a woman has upon her person an in-built means of obtaining economic value in that machine for exploitative value exchange which is the City. And in referring to prostitution as ‘the world’s oldest profession’, it is perhaps not coincidental that, since ancient times, prostitution, as a well-organized, commercial ‘racket’ conducted at scale, has always been an auxiliary to urban agglomeration. The City—and even the Town, if it grows to a certain size as a geographic and economic centre—has always been a sinkhole for prostitution—and hence the modern fears, in the unconscious imaginary of the nineteenth and twentieth centuries, for the moral safety of daughters leaving the natural environment of the countryside to seek education or employment in the City as secretaries, shopgirls, waitresses, barmaids, etc.

In this site of the commercial spectacle, any job, however superficially ‘respectable’, that exposes a woman to public view—that ‘puts her on display’, as it were—is allied to prostitution in the modern unconscious imaginary of the nineteenth and twentieth centuries and exposes her chastity to moral hazard. By the dream logic of the modern unconscious imaginary, the pretty secretary is merely a displaced mistress to her employer, the shopgirl sporting the latest fashion among the mannequins of the department store is another commodity on sale.

One need only look at Dimitri Kirsanoff’s “Ménilmontant” (1926) to see the short path described between being ‘respectably’ employed in a Parisian atelier making artificial flowers and being falsely made up to sell the flower of one’s virtue dans les rues de Paris.

In the Paris of M. Baudelaire’s day, the Haussmannized Paris of the Second Empire, this trope of the modern, city-dwelling girl or woman, drawn inexorably into the glittering sinkhole from the countryside, being forced by economic circumstance to abandon her natural, agrarian life and seek work in the City, was already well-established. One might start off with tenuous respectability, like the two orphaned sisters in Kirsanoff’s film, but the condition of urban women in the nineteenth century was exceedingly vulnerable, and there was really only one way that a vulnerable woman could make the money to survive—by selling her one vendable commodity.

A woman is not constitutionally fit for the heavy, mechanical labour that a man can do to make his pittance in the City, and the physical nature of her bodily constitution is not one where its intrinsic value lies in a utilitarian capacity to do heavy labour. She might, on a handful of occasions in her life, be called upon to do one major day of labour which would make the strongest man qualm, but otherwise the intrinsic value of the female body lies in graceful display—and what graceful feminine display inspires in men, drawing them, like the prey of the Venus flytrap, inexorably towards it.

At all periods and places of human flourishing, from the England of Elizabeth I to the Japan of the Tokugawa Shogunate, there has been a strong social prohibition against women taking the stage. Across cultures, there seems to be remarkable uniformity in human ethical views on this subject. To take the Spenglerian perspective, when a culture is firmly rooted in its natural environment, the public display of women is regarded as fundamentally indecent and immoral.

The Koran’s encouragement to women to veil themselves, to keep the display of their charms restricted to the privacy of the home, is not a peculiarly Islamic custom, echoing, as it does, St. Paul’s exhortation to feminine modesty and submission in I Corinthians 11. Moreover, the Muslim phenomenon of the harem, the gynæceum concealed from the gaze of all but uncastrated males, the inviolable, almost holy sanctuary of women who may be exclusively viewed only by the apex male of the society, has its analogous phenomenon in every organic culture where procreative sex has not yet been replaced by inorganic recreative sex.

Taking the morphological view, we can see the same, apparently perverse moral logic of deliberately preventing men from physically seeing women manifest itself parallel to the birth of Islam in as radically different a society as Heian era Japan. The Pillow Book (c. 1002) and The Tale of Genji (c. 1021) show us how a complicated seductive ritual was developed around the deliberate concealment of women behind layers of clothing, screens, curtains, blinds, physical displacement into other rooms while conversing with men, the darkness of night, and go-betweens.

To attain the garden of earthly pleasures that is a woman (and he attains a lot of them!), Prince Genji has to bust through wall upon fragile wall of barriers, both physical and moral, which would fatigue James Bond. As Royall Tyler explains in the introduction to his translation of The Tale of Genji:

Yume (‘dream’), for example, is the stock literary word for sexual intercourse between lovers. Some readers have wondered whether the men and women in the tale ever actually do anything, since they seem to spend their nights merely chatting; but katarau, which ostensibly means that, actually refers to other intimacies as well. … A man who ‘sees’ or ‘is seeing’ a woman (a standard expression) is at least to some extent sharing his life with her, and Genji’s having ‘seen’ Utsusemi in a pitch-dark room (chapter 2) means bluntly that he has possessed her. With all the conventions of architecture, furnishings and manners designed precisely to prevent a suitor from seeing a woman, the effect of an accidental glimpse (through a crack in a fence, a hole in a sliding panel, a gap in a curtain) could be devastating.

—Royall Tyler, introduction to The Tale of Genji by Murasaki Shikabu

In our Western culture, the phenomenon of the convent as a place where one sends jeunes demoiselles of breeding, and the costume of the nun, are likewise manifestations of this deep, archetypal intuition that women must be concealed from masculine view, and Casanova, in his Mémoires, gives a master demonstration of what heroic heights a man who was not the apex male of the society had to scale in order to see and abscond with these zealously defended treasures.

It may be concluded, therefore, that human beings across all times and places intuitively understand, when their cultures are in their organic phases of growth, how politically disruptive to the society the public visibility of women, and their unchaperoned movement through the population, is. The logical assumption seems to be that men cannot control themselves and the sight of women is intrinsically fatal to them.

When a culture calcifies and transitions to a civilization, however, such moral prohibitions are loosened, as happened during the English Restoration, the Belle Époque, and the multi-media era which commenced with the cinema and found its highest expression in the phenomenon of Golden Era Hollywood. During periods of civilizational decline, there is an inexhaustible appetite for sexual innovation—which necessarily requires a loosening of feminine morals to facilitate.

It seems to me that, faced with existential crises whose complexity the society cannot compass and comprehend let alone do anything to avert, instead of attempting to evolve strategies of survival, human genius exhausts itself in innovating increasingly perverse sexual practices which outrage the social covenant of marriage, and hence the family. The contract of marriage being the foundational dyadic building block of a coherent, civil society, the traditional covenant of the society in its organic, cultural phase demands that the woman be veiled from public view and protected in the privacy of the home.

In other words, in historical moments like the present hour, under the smoking shadow of Vesuvius, we humans would rather use our last moments of life to nihilistically slay ourselves in Roman orgies than waste time attempting to cogitate a solution.

Women, thus accoutered, appeared destined for a sedentary life—family life—since their manner of dress had about it nothing that could ever suggest or seem to further the idea of movement. It was just the opposite with the advent of the Second Empire: family ties grew slack, and an ever-increasing luxury corrupted morals to such an extent that it became difficult to distinguish an honest woman from a courtesan on the basis of clothing alone. … Everything that could keep women from remaining seated was encouraged; anything that could have impeded their walking was avoided. They wore their hair and their clothes as though they were to be viewed in profile. For the profile is the silhouette of someone … who passes, who is about to vanish from our sight. Dress becomes an image of the rapid movement that carries away the world.

—Charles Blanc, “Considérations sur les vêtements des femmes” (1872), cited by Walter Benjamin in The Arcades Project, Convolute B: “Fashion”

Theatrical professions of feminine display such as actress, dancer, singer and model have always been regarded in the human unconscious imaginary as code for prostitute, and in the frankly cynical Paris of the Belle Époque, it was taken for granted that any woman who displayed herself upon a stage for money had an auxiliary, more profitable profession off it. The theatre, as the most conspicuous site of consumptive spectacle in the City, was, in nineteenth-century Paris, merely a proto-cinematic, proto-televisual forum for advertisement—a preview of ‘coming attractions’ whereby actresses, ballerinas and sopranos prospectively advertised the ‘personal services’ they could perform for any man with a pecuniary capacity to pay, whether as courtesans, mistresses, or outright whores.

One of my very favourite books, penned by that old roué Anonymous, is The Pretty Women of Paris (1883), a guide, giving the names, addresses, specialities and potted histories of all the notable Parisian whores of the day, from phony duchesses to vedettes who gave their best performances on their backs in their gilded beds. Part street directory, part Who’s Who of Parisian vice, it was penned by a man who was undoubtedly a scholar as well as a gentlemen, for the edification of other English and American gentlemen abroad in the city which was proverbial throughout the world as the sinkhole of prostitution.

The prose in these hagiographies of the porn stars of their day is pure poetry. The stories the anonymous author regales us with about these gloriously bawdy heroines whose talentless names would otherwise have been lost to time are so extravagant that one would hardly credit them if M. Zola, in Nana (1880), had not contemporaneously given us one such extensive, extravagant history, in fictionalized form, as proof that such lucre-thirsty femmes fatales did exist in Belle Époque Paris.

From M. Baudelaire to M. Zola, the characterological line of the classical femme fatale is a pretty straight one: she is an avaricious vendeuse d’elle-même, usually carrying out her venal, venereal trade under the cover of some affiliation with the theatre, or, at a stretch, an even more spurious affiliation with nobility.

This is the chicanery and con artistry of the classical femme fatale in her nineteenth-century form—a transparent deception, almost naïve in its crudity. And as the ludicrous, lucre- and clout-chasing exploits of Nana or the pretty women of Paris make clear, there is something almost comic-operatic in the tragic ways the nineteenth-century femme fatale destroys herself as she sucks the sperm and sous out of the pyramid of wealthy, titled or influential men she climbs over, only to fondre beneath their combined dead weight when she eventually arrives at the top.

This comic-operatic extravagance would be hilarious if there wasn’t, in the figure of the femme fatale from M. Baudelaire to M. Zola, an actually mortal aspect to the trope.

The Modern City, in the nineteenth century, was not only a sinkhole of prostitution but an epicentre for syphilis, and Paris was as well-known as the place where you could catch the clap or worse as it was as the place where you could worship in the venereal temple on every street-corner. Syphilis was to the great centres of Europe in the nineteenth century what AIDS was to the same cities in the eighties: one literally made a mortal decision to enjoy a moment’s pleasure with a woman not one’s wife. Syphilis made these comic-opera duchesses actually fatal.

In Paris, the de facto Capital of Europe in the nineteenth century, the threat of these women was complicated by the blasé cynicism of the sexual enterprise in this shining machine of commerce. In The Arcades Project (1927-40), Hr. Benjamin quotes F. F. A. Béraud, author of Les filles publiques de Paris (1839), who tells us that the clearing-out of prostitutes from the Palais-Royal has been a positive boon to the businesses trading there. ‘Respectable’ bourgeois women now feel safe enough to shop in the Palais-Royal.

For when the Palais-Royal was invaded by a swarm of practically nude prostitutes, the gaze of the crowd turned toward them, and the people who enjoyed this spectacle were never the ones who patronized the local businesses. Some were already ruined by their disorderly life, while others, yielding to the allure of libertinism, had no thought then of purchasing any goods, even necessities.

—F. F. A. Béraud, Les filles publiques de Paris (1839)

I said that it seems to be an eternal ethical given in all human societies at the moment of their flourishing that to display a woman to public view is immodest and immoral. Isis must always remain veiled and private in a ‘decent society’. There seems, therefore, no semantic coincidence, to my mind, that the French term for prostitute is ‘fille publique’—‘public girl’.

In an early note to himself for The Arcades Project, Hr. Benjamin says, moreover, the following:

Trade and traffic are the two components of the street. Now, in the arcade the first of these has all but died out: the traffic there is rudimentary. The arcade is a street of lascivious commerce only; it is wholly adapted to arousing desires. Thus, there is no mystery in the fact that whores feel spontaneously drawn there.

—Walter Benjamin, The Arcades Project

Trade and traffic. As the Béraud citation makes clear, the presence of women, exposed to public view, in the vector of the street necessarily impedes the former. The traffick in ‘necessities’—let alone the conspicuous consumption of luxury goods which is the true trade of arcades like the Palais-Royal—is diverted by the presence of these strolling filles publiques and drives the ‘respectable’ bourgeois enterprises of the arcade, dependent exclusively upon foot-traffic, out of business.

There is, therefore, no such thing as a ‘flâneuse’—the feminine semantic equivalent of a ‘flâneur’. No matter how corrupt and sexually permissive Western civilization becomes in its Faustian decline, there will never be a feminine equivalent, semantic or actual, of the flâneur because, as M. Béraud and Hr. Benjamin make clear, the feminine equivalent of a girl in public walking the streets is simply a ‘streetwalker’.

For a woman, rooted to the earth and the natural order by her biology, to take on the mobile, predatory, hunting activity of the male in the asphalt jungle of the City is essentially unnatural: Isis immodestly forsakes the privacy of home and hearth to become an exploitative chasseur after cash. Both willing prey of and wily hunter after men, she is an ‘artificial woman’—neither fish nor fowl.

Yet this ‘artificial woman’ is precisely the product of the Modern City, and if she navigates the traffic as an agent of the City’s superordinate logic of exploitative, extractive trade—‘trafficking herself’, as it were—what makes these syphilitic, venereal vectors navigating the vectors of Paris actually fatal to men is not simply their capacity to Hoover value out of them, but to kill them, and through them, to kill their wives and children.

The issue is this. The reason I insist upon the notion of the modern, nineteenth-century city woman as being an ‘artificial’ one, a product of exploitative, extractive value exchange in the money-taking machine that is the City, is that most men know the sugar of sex is hard to come by in life.

To put it bluntly, we men don’t value a woman we can get on the bed easily. We value the ones we have to sweat blood for. Women know this, and hence, in her natural state of organic culture, where the traditional covenant of marriage is upheld as a mutual contract to curb both gender’s propensity to sexual excess, the woman withholds access to her valuable real estate until after the settlement.

The prostitute is an ‘artificial woman’ in that she does not withhold. In fact, on the streets of Paris in the nineteenth century, these strolling women were the sexual aggressors. They took the masculine part and approached the men they solicited as potential buyers of their wares. This is a thoroughly unnatural state of affairs, the very definition of ‘artificiality’ in sexual conduct.

In fact, pushing the intuition further, one could say that the woman who vends herself as a commodity in this fashion, not withholding sex but actively, predatorially seeking it out as a man would do, is not really a woman at all, but one ‘in drag’: she is impersonating a woman for profit. For a price, the client can have all the simulated experience of landing a dame on the bed without sweating blood, time and money to effect a seduction which is never a done deal until the deed is done.

In other words, one purchases from the prostitute a guarantee of that which a ‘real’ woman never guarantees: all the uncertainty, the contingency and mystery of women is taken out of the equation by the prostitute, who gives a simulacrum of that wild, untameable feminine energy we find so attractive for a price which guarantees the certain possession of it.

This is to be an ‘artificial woman’, a woman ‘in drag’, impersonating herself. The most natural entity on the planet becomes an inorganic machine for mutually exploitative value extraction: the client extracts a wad of vital bodily fluid via this living Fleshlight, and a wad of cash is concomitantly extracted from his pocket.

Hr. Benjamin also seemed to intuit this connection between prostitutes, mechanical automata in the great machine of the City, the seductive mannequins of commercial display, and children’s dolls, for he entitled Convolute Z of The Arcades Project “The Doll, The Automaton”. Like myself, he seemed to perceive that woman, uprooted from nature and transplanted to the City, finds her innate pathological weakness for artificiality given self-destroying scope to play in this Luna Park.

Thus Pandora: ‘automaton fabricated by the blacksmith god for the ruin of humankind, for that “which all shall / take to their hearts with delight, an evil to love and embrace” (Hesiod, Work and Days, line 58). We encounter something similar in the Indian Krtya—those dolls, animated by sorcerers, which bring about the death of men who embrace them. Our literature as well, in the motif of femmes fatales, possesses the concept of the woman-machine, artificial, mechanical, at variance with all living creatures, and above all murderous.’

—Roger Caillois, “La Mante religieuse: Recherches sur la nature et la significations du mythe” (1937), cited by Walter Benjamin in The Arcades Project, Convolute Z: “The Doll, The Automaton”

In the trope of the nineteenth-century femme fatale, there is a direct connection, therefore, between the mobility—physical, social, sexual—of the unrooted, displaced woman of the City and death. As an economic ‘free agent’, there is not simply the potential for this attractive siren approaching you, virtually nude, in the Palais-Royal to suck the sous out of you, or even to kill you and your family for the price of a moment’s pleasure, but she actually undermines the foundations of a whole society which is already in decline by robbing and killing the economic pillars of it and damaging the foundational unit of all civil societies—the family.

The Victorian masculine anxiety about women forsaking the safety and protection of home and hearth and agitating for the rights and privileges of men, and which is variously reflected in ‘the door slam heard around the world’ at the end of Ibsen’s A Doll House (1879), in the contrast between the pretty, marriageable evangelist and the crabbed, proto-feminist suffragette in Henry James’ The Bostonians (1886), and in Edna Pontellier’s indefinable discontent in Kate Chopin’s The Awakening (1899), is essentially the anxiety about this foundational disruption which manifests in women’s restless clamouring for physical, social, and sexual mobility.

The dames want out of the garden.

It’s a double equation: A woman who is able to physically move outside the home is one who is capable of approaching and being approached (abordé) by all social strata of men in their mobile, hunting quests for cash and sex in the City. Unlike men, who are very much confined to their social class by their capacity to make money, the physical appeal of a woman is her social passport, a ‘droit de cité’ with men. A flower-girl may be as good-looking as a duchess, and if she is, whatever her station, she has a latchkey to the wallets of men all up and down the social hierarchy—provided they have a pecuniary capacity to pay.

And in turn, if feminine physical mobility is equal to social mobility vis-à-vis men, this social mobility is in turn equal to sexual mobility. If a group of high-value men have the pecuniary capacity to pay a price attractive enough to encourage a woman to sacrifice her chastity for lucre, when she realizes that she has, upon her person, a multiply vendable commodity which men of means value, it’s a rational calculation on her side to exploit it.

In this way, the unrooted, displaced, mobile, modern ‘femme de la Ville’ enters into the societally-disruptive ways of prostitution in the nineteenth century. She disrupts the rigid social hierarchy of men as a free economic agent in a peer-to-peer social network. While men remain relatively fixed vis-à-vis each other, stratified into castes by their earning potential, women are able to move freely up and down the hierarchy in mutually exploitative, extractive sexual commerce, thereby becoming vectors of syphilis which disrupt the society both morally and physically.

As we have seen, in the epicentre of sexually transmitted disease which is the City, based on its capitalistic logic of exploitative resource extraction, the unrestricted physical movement of women as potential vectors of sexual disease through the Modern City of the nineteenth century not merely disrupts the foundations of a decadent leisure society in a figurative, metaphorical sense by disrupting the family, but has the potential to attack it through the transmission of disease to the family.

The assumption beneath this, from the nineteenth-century masculine perspective, is that men are perpetually weak and vulnerable to the artificial seductive display of women, and that if we run across them in the street, we must approach them and risk the clap or worse. I would say that the safeguard which the Victorians, in their ostensible coyness about matters sexual, depended upon to prevent men importing syphilis into the home as far as possible was feminine stasis—the socially censured limitation upon solo broads abroad in the streets.

And this social censure was not policed by men themselves (for they are the ‘weak, vulnerable victims’ of the strolling woman’s seductive display), but by ‘respectable’ women—by their wives and mothers. Weak men always fear women’s disapproval of the ‘bestial’ aspects of their nature; hence the necessity for compartmentalization of one’s socially aberrant sexual activity outside the home. The feminine propensity for shame, guilt, insults and gossip—a wholly other arsenal of weaponry which keeps men compliant—is a powerful corrective to men’s socially unacceptable behaviour.

Perhaps, at its core, what the ‘respectable’ bourgeois women in the nineteenth century actually feared is not so much the potential for illness, but the constitutional vulnerability we men have to a pretty face or a well-filled pair of stockings. In the mythology of modernity, the trope of the femme fatale depends upon a man, who in confrontation with other men would have his wits about him, being rendered weak and corruptible by the supposed vulnerability and innocence of a physically attractive woman.

The fundamental weakness that women exploit is the illogical equation we humans make between physical beauty and moral goodness. As far back as ancient Greece, Phryne’s defence attorney had merely to rip off her blouse and expose her breasts to the men of the jury to get her acquitted of the capital crime of impiety. His legal rationale: no person who looked so physically good could possibly do something so morally bad.

As providers, we men want to ‘do things’ for these apparently vulnerable, innocent creatures we adore. We share of our means with them as a demonstration of love. Being confronted with a mobile, unaccompanied broad dans la rue might turn a man’s head and open up his wallet to exploit. He might forsake home and hearth for the whore, or he might bring a nasty forget-me-not back into the marital bed. Jealous of their tenuous hold on a man’s resources, married women feared the ‘public girls’ of the Opéra and the Variétés, whose intoxicating advertisements for themselves, pitched from the stage, could get a manna-sucking anchor into a man’s wallet.

Understood in that sense, I think the logical assumption that men are weak and vulnerable to artificial feminine display, potential victims for economic exploit by unscrupulous competitors for their resources, is a just one.

That, I think, sums up the basic relationship between sex and death we see in the femme fatale in her nineteenth-century incarnation. The trope of the mobile, sexually active city woman as potential vector of death can be seen variously described in nineteenth-century literature and art, from the virginal-cum-vampirical Mina of Dracula (1897) to the syphilitic Madonna of Munch’s paintings and lithographs (1892-97). My favourite example is by Félicien Rops, the illustrator of Baudelaire, who makes the siren allure of the strolling femme fatale’s Janus-face explicit in the watercolour Parodie humaine (1878-81).

Eros and Thanatos combined in a single glance: Belgian artist Félicien Rops paints the spectre of syphilis in Parodie humaine (“Human parody”, 1878-81).

The theory of the ‘long nineteenth century’ comes somewhat into play when we consider the ætiology of the modern woman as classic femme fatale. When doctors start to get syphilis under control at the beginning of the twentieth century, just prior to the outbreak of the First World War, the association of sex and death begins somewhat to recede in the picture.

The inter-war period is, I think, a particularly interesting time in the morphology of the trope of the fatal woman from a distinctly Victorian, madonna/whore archetype to the quintessentially twentieth century figure she becomes in pulp fiction and film noir.

Louise Brooks, taking the lead in Pabst’s Die Büchse der Pandora (Pandora’s Box [1929]) as the quintessential, century-spanning femme fatale Lulu, is the mobile vector of connection between the democratic American modern woman and the Old World European femme fatale. Louise and Lulu—for they became inextricably intertwined, even in the mind of Miss Brooks herself—is also the critical juncture, the turning point, I would say, from the long nineteenth-century femme fatale to the twentieth-century femme fatale of film noir.

Two things are of critical note when assessing Louise and Lulu in Pandora’s Box. The first is that the film itself goes backward in time, starting in 1920’s Weimar and ending in a Victorian London stalked by Jack the Ripper, that gent fatal to the femmes themselves. That temporal regression of the film seems to echo Brooks’ spatial regression from New World to Old, from America to Germany.

The second is that Lulu is not herself fatal, insofar as being a cold-blooded murderess, as in mid-century film noir, but, like her nineteenth-century antecedents, it is contact with Lulu, contact with her intoxicating presence, that is ultimately fatal to the men who surround her.

She sits at the centre of a sticky, circumambient web, which is merely her intoxicating feminine Erdgeist—her gnomic, earthy spirit, and a man might stray innocently into her presence only to find himself quickly stuck there, a satellite revolving impotently around her, eventually to die when the warm ray of her light ceases to shine on him. Even the ‘murder’ of her husband which Lulu is put on trial for is clearly an accident—one of the many careless ‘accidents’ which might attend any pretty, flighty girl eminently aware of her sexual power over men, and of their clumsy willingness to abase themselves before her fatal charms.

Indeed, there would almost be a ‘screwball comedy’ aspect to the fumbling destructions that go on around Lulu (and the ‘gay divorcée’ screwball heroine is herself a lighter aspect of the noir femme fatale) if the scattergun deployments of her charms did not end in surreal tragedy every time.

Lulu, conceived on the cusp of two centuries and finding her definitive interpreter in the eternal symbol of the Roaring Twenties, is the fulcrum on which the femme fatale transitions from comic opera catastrophe on legs to film noir murderess. In the evolution of the trope from syphilitic vector to lady/killer, Lulu is the missing link.

I could go further with these ruminations, charting the evolution of the type through the twentieth century, and even into the twenty-first, where it seems to me the femme fatale undergoes a further morphological adaptation away from murderess and into the realm of the con artist.

But Lulu/Louise, upon whose jutting, knife-like breast I would, as a devotee of the Goddess of Modernity, willingly impale myself, seems the best place to draw a line under these thoughts.

In the decadent period of late capitalism we are in, where the (self-)consumptive zero-sum logic of resource extraction and exploit is now in its final, game-theoretic death throes, I sense a dim realization creeping into the mainstream of men’s discourse among themselves: every woman is fatal to us—economically, at least.

It’s in no one’s interest—neither men’s, nor women’s—for one-half of the human race to walk away from the dating game. But the Faustian logic of infinite derivatives derived from finite resources has led the Westernized globe to what I called, in an earlier post, a Hobbesian state of nature, a multi-polar civil war of all against all, and the fundamental schism in this Mandelbrot of metastasizing fractures seems, to my mind, to lie on the masculine/feminine fault-line.

Having a centre of economic value upon their persons, the ladies can still play the roulette wheel for a few turns yet. But in this zero-sum game where Jeff Bezos, as the richest man on the planet, is currently the best bet to scoop up all the scoots on the final turn of the wheel, whatever women extract in selfish plays from the ninety per cent of men who have always been the dispensable, disposable drones of human society, the canon-fodder mobilized to defend the garden against external assault, will ultimately be taken from them by the ten per cent of men at the top of the social hierarchy whom they are sexually competing for.

Then those guys will kill each other for the remaining value on the board until one man is left holding all the boodle—and all the dames, for, as Mr. Veblen tells us, at the most primitive level of human commerce, women are a currency of exploit, but a currency which willingly goes to the man most capable of providing for it.

Perhaps the socio-political disruption which began in the nineteenth century with the mobilization of women as free economic agents serves some purpose in that evolution away from game-theoretic pro-sociality and towards human eusociality I posited in an earlier post on the Coronavirus. I sincerely hope so. It would be nice if the ladies could transcend the earth-ward pull of their biology and actualize themselves in individual destinies without running at full tilt backward into the future, as they appear to be doing, dragging the men- and children-folk into the abyss with them.

But frankly, as our institutions and infrastructure fail us at an exponential rate and our sensemaking crisis spirals into mass psychosis, I don’t think we will survive long enough as a species to discover whether women leaving the garden men had built for them was a good idea.

And at that point, the experiment becomes fatal to us all.

Self-portrait of Dean Kyte.
In captivity:  Self-portrait of Dean Kyte, locked down in his West Melbourne hotel room.

Turning and turning in the widening gyre   
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere   
The ceremony of innocence is drowned;
The best lack all conviction, while the worst   
Are full of passionate intensity.
— W.B. Yeats,
“The Second Coming”


Your Melbourne Flâneur has been conspicuously quiet the past few weeks, despite events in Melbourne which demand urgent comment and analysis.

The reason for the buttoned-up bouche is very simple: I’ve been trying to keep the little barque of my small business afloat—in spite of the unconscionable economic vandalism being visited upon Victoria from week to week by Daniel Andrews and his government.

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Of course, it would be a much more pleasant experience for both of us to work together face-to-face, but that’s not an option at the moment.  Nevertheless, we can get a good rap going over Zoom, so if you’re further afield than Melbourne—parbleu! if you happen to be overseas, even—there’s no obstacle to us working together remotely as we edit, design and lay out your book.

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All right, enough with the word from our sponsors.  Let’s unbottle the tough talk.

So in my last post on the Coronavirus, I made some predictions that rapidly proved to be prescient.  Principally, I said that the next frontier in the battle about the deadly reality of this invisible belief would be fought over masks, and I noted that Victorian premier Daniel Andrews—while not making the wearing of face coverings compulsory in Melbourne at that time—had strongly lent the colour of his support to them, which suggested an imminent move towards mandating masks.

A week later, the Premier announced that you could not put your snoot outside your door in Melbourne without a muzzle over it, under pain of a $200 fine.

There are times I hate being right, particularly when it comes to my occupational talent for reading the characters of people and predicting what they will do.

Mr. Andrews couldn’t win a hand in a poker game: he telegraphs his tells a week in advance of his play.

I was sincerely hoping he would not prove me right because I knew what it would mean for his character, and for the consequential state of play of this crisis in Victoria.

It would mean that the Premier was not capable of strategic thinking, merely tactical, and that he was prepared to risk plunging not just Melbourne or Victoria but the whole country into a Hobbesian state of nature for the sake of one ill-defined goal on the health dimension.

Thomas Hobbes (1588-1679) was a political philosopher who lived through the English Civil War.  He observed to what a spectacular extent civil society can break down into a naked competition for individual power and resources.  Hobbes defined this condition as ‘the state of nature’—a multi-polar environment of mutual fear and distrust in which individuals leverage whatever tools, tactics and strategies of violence they have at their disposal to extractively centralize power and resources to themselves in a zero-sum game.

In his book Leviathan (1651), Hobbes described this state of nature as a ‘war of every man against every man’, and he said that the life of the individual in the state of nature would be ‘solitary, poor, nasty, brutish, and short.’

The zero-sum dynamics which underwrite our Faustian civilization in decline tend necessarily to drive us towards a Hobbesian state of nature: the fallacy of infinite derivatives in a world of finite resources must eventually lead to a societal collapse as our civilizational Ponzi scheme folds under its own unsustainable exponent.

You can’t keep Hoovering resources up to the top of the pyramid without the foundations collapsing under the weight.  And when that happens, alienated individuals start taking resources for themselves.

If you want to see what a state of nature might look like, take a glance across the pond at Portland and Seattle: the looting and rioting in those cities should be read as a cautionary tale of the civilizational collapse humanity is courting.

We’ve been slowly sliding towards the abyss of an all-out war of all against all for a very long time.  But it took the Coronavirus to expose just how weak the veneer of civility—and civilization—is in Western society.

Way back in March I raised the alarm with you in my first post on the Coronavirus, stating unequivocally that a global systems collapse had been triggered by the pandemic which would cascade through the economic system, through the political system, and ultimately through the geopolitical system.

I would propose that the more a civilization in its late period of senescent decadence tends towards a Hobbesian state of nature, the more one sees a quality I would call ‘mediocrity’ emerge—not only in the macro-character of its social and political institutions, but in the micro-character of the people who comprise them.

More specifically, in the descent towards a Hobbesian state of nature, we begin to more conspicuously notice in failing institutions such as governments the progressive emergence of individuals who are adept at playing the Hobbesian zero-sum power game of resource centralization and extraction from the commons.

Indeed, in the Hobbesian state of nature, I would argue, these mediocre individuals are naturally selected for by the mediocre conditions of the system.

In other words, mediocre individuals whose only genius is the tactical animal cunning which enables an organism to more or less optimally negotiate a salience landscape of risks and rewards in a state of nature begin to populate social and political institutions with increasing conspicuousness.

In the Western Anglosphere, for instance, it is hardly controversial to notice that the leaders of the four major English-speaking democracies—Mr. Trump in the United States, Mr. Johnson in Great Britain, Mr. Trudeau in Canada, and Mr. Morrison here in Australia—are all men who, prior to entering political life, had careers in the public sphere involving pretence, mendacity, deception or dissimulation—qualities which, if we were not living in conditions of an escalating state of nature, would have disqualified them for public office.

As an entrepreneur, Mr. Trump was an unashamed con man.  Mr. Johnson debased the profession of journalism with his lies.  Mr. Morrison had a career in ‘marketing’, and Mr. Trudeau was, of all things, a drama teacher.

In the Hobbesian state of nature, a capacity to pretend, to deceive, to dissemble, dissimulate or outright lie with bravura is not a political liability but a positive asset—for in a multi-polar environment of mutual distrust, in order to maximize one’s personal resources, one must be able to forge alliances of a temporary and contingent nature with other actors.

There are some resources which cannot be extracted from powerful rivals by main force but which require the subtle dissimulation of allyship in order for one to gain access to them.  These men at the apices of the pyramids of power in their respective countries are currently the most adept exemplars of the socially pathological phenomenon I call ‘mediocrity’.

Daniel Andrews is also a mediocre person.

But as, when I apply the word ‘mediocre’ to somebody, I mean it as a term of art which describes the integral quality of their character, its capacity under pressure, not as an insulting epithet, it would be as well to provide a technical definition of mediocrity, of the maladaptive, pathological traits which I believe the mediocre person typically possesses in the state of nature where he or she thrives—for the state of nature is the ‘ecological niche’ of the mediocre person.

In essence, my definition of the mediocre person is a conflation of Spengler’s Megalopolitan man and Flaubert’s bourgeois.  Spengler describes the pathology of this human phenomenon in The Decline of the West, while Flaubert, in Madame Bovary and in Bouvard et Pécuchet, illustrates the character of the mediocre person in action.

The mediocre person is a creature of the city in a civilization’s senescent period of decline, and as, in our Faustian Western civilization, the Megalopolis of ‘the City’ is now the World Wide Web, a global caliphate that is everywhere, we are all creatures of the city, and therefore more or less mediocre.

I’ll leave it to Spengler to describe the mediocre late-City man:  ‘They are the market-place loungers of Alexandria and Rome, the newspaper-readers of our own corresponding time; the “educated” man who then and now makes a cult of intellectual mediocrity and a church of advertisement; the man of the theatres and places of amusement, of sport and “best-sellers”.’

It’s perhaps worth noticing that in that short sentence, Spengler identifies all the métiers practiced by the four conspicuous examples of political mediocrity I identified above—journalism (Mr. Johnson), advertising (Mr. Morrison), theatre (Mr. Trudeau) and sport and other places of amusement, such as casinos, wrestling and television (Mr. Trump).

In its feminine manifestation, the mediocre person is Emma Bovary, indefatigably fatigued with ennui, and hence the constant victim of fashion.  And in its masculine form, the mediocre person is la Bovary’s nemesis, the progressive, pragmatically materialist pharmacist M. Homais, whom Flaubert later reprised as his two hapless copy-clerks, Bouvard and Pécuchet.

Flaubert, in his pathological hatred for his own class, the bourgeoisie, delineates the essential qualities of the mediocre person, whom Spengler defines as ‘small and shrewd’, amply possessed of the animal cunning of the trading class.  Let us not forget that the etymology of the word ‘mediocre’ stems in part from the Latin medius—‘of middle degree, quality or rank.’

The mediocre person, by Flaubert’s lights, is eminently ‘middle-class’.

And the thing about the mediocre person is that he is not unintelligent.  You don’t get very far in the game of mercantile resource centralization and extraction if you don’t have an edge of intelligence over your competitors.  But I consider this form of ‘tactical’ intelligence to be ‘mere animal cunning’, the application of the predatory instinct to the social realm which is the human equivalent to the pure state of nature.

This form of predatory intelligence is purely middle of the range.  The life of the bourgeois, citified person is entirely geared towards the goal of maximal personal resource centralization and extraction from the commons, and his education system is necessarily geared towards facilitating this practical end.

But intelligence is really an index of one’s problem-solving faculties.  It’s true that ‘making a living’ in the social realm, extracting the resources from it that supports one’s life, is as much a demonstration of the human capacity to solve problems as the tactics and techniques that other organisms have evolved to extract resources from their environments.

But at the human level of intelligence, there are higher order problems to be solved than merely extracting the resources that one needs to make a living—particularly when the problems are of a species-wide, existential nature.

The most conspicuous aspect of the mediocre person is what Spengler calls his ‘intellectual mediocrity’, his relatively modest cognitive capacity to perform these higher order mental operations of abstract problem solving.

The mediocre person is narrowly educated to be ‘fit for purpose’ in the economic domain of resource extraction, but he is conspicuously poor in his capacity to perform sovereign sensemaking.  Thus, he is the continual prey of ideological possession: the mediocre person doesn’t have ideas of his own; ideas have him.  He is their spokesperson.

This is the ‘deindividuated memetic possession’ I spoke of in an earlier post on the Coronavirus as being a characteristic of low internal individualism, the deprecation of individual freedom of thought in favour of individual freedom of action.

And it was this characterological flaw of the bourgeoisie that Flaubert mercilessly satirized at the end of his life with his Dictionnaire des idées reçues, recognizing that mediocre people imbibe their ideas from the air exhaled by those around them.

I would submit that, en revanche, genuine intelligence is a capacity to handle complexity at a sufficiently high level of resolution; to tease all the relevant variables of a problem apart, like the strands of a great tapestry; to hold them separate yet relative in their dynamic relations with one another for as long as possible as one negotiates a solution which strategically balances these variables.

Except in the STEM fields, where we have scientists working tirelessly to discover a vaccine for the Coronavirus, that kind of intelligence, that kind of strategic thinking does not appear to be in very great supply to us in negotiating the aspects of this crisis which touch most directly on people—on the social, political and economic variables of this problem.

The short-term, tactical response of mediocre leaders such as Daniel Andrews is more to throw oneself bodily on the brake of one dimension—the health aspect of this crisis—and say, ‘Well, we will sort out all the long-term damage done on the other dimensions after we have got numbers under control.’

Yet it’s precisely that approach of looking to tactically solve one salient variable in the short term by ignoring, delaying or commuting the long-term strategic solution of tangential variables which has weakened our entangled global systems to the point of civilizational collapse.

The sensemaking capacities of our socio-political institutions—including governments—are found wanting in this crisis, and in Victoria, from day to day new evidence emerges—despite the Government’s efforts to keep mum—that both the institutions responsible for the state’s response to the Coronavirus and the individuals who comprise them are mediocre thinkers—tacticians whose short-term problem-solving skills backfired in the long term.

One of the major problems for collective sensemaking in negotiating the incomputable number of variables associated with our existential crises lies in the realization that democratized universal education—the Western model of mercantile education for narrow economic purpose—has failed our civilization.

We have three generations of the most educated human beings in history currently alive, and their pieces of parchment ostensibly credential these people as the most intelligent cohort of human beings who have ever lived at any one time in history.

But education is a Hobbesian resource extraction game too.  In the civilizational Ponzi scheme of infinite derivatives extracted from finite resources, democratized education is another numbers game:  You’ve got to get a lot of suckers through the doors of the universities; soak the value out of them; pass them (since that is what they’re paying you for in exchange for the exorbitant debt you’re saddling them with); and credential them—no matter how mediocre the quality of their thought.

And because, in the Western model of mercantile education for narrow economic purpose, universities are the gateways to the professions, you don’t have to follow this Ponzi logic many steps along the chain before you realize the dire consequences for collective sensemaking in all the institutions we depend upon for a civilized life—from law, to banking, to media, to education, and to public policy.

As the Peter Principle famously predicts, everyone in a Scientific Managerial hierarchy rises to a position just beyond the level of his competence.

But in this competitive landscape of personal advancement, the capability to rise to an ultimate position of hierarchical eminence which is beyond one’s sensemaking capacity to properly serve in represents one’s optimal capacity to fraudulently extract resources from the economy and centralize them to oneself.

And when all our institutions are populated by people who are not well-placed to serve our collective sensemaking and problem-solving needs, but are excellently placed to serve their own private interests, we are primed for a Hobbesian state of nature to ensue under conditions of common existential crisis and civilizational collapse.

Public life in these periods when the cultural paradigm is in decline attracts only mediocre people—short-term tactical thinkers like Mr. Andrews in Victoria, and Messrs. Trump, Johnson, Trudeau, Morrison et al. on the world stage.  It doesn’t attract the long-term strategic thinkers, for ‘The best lack all conviction, while the worst / Are full of passionate intensity.’

Spengler, co-opting the name given to that sanguinary epoch of ancient Chinese history, calls the Hobbesian state of nature in which mediocre individuals vie for political power the Period of Contending States.  He says: ‘In the degree in which the nations cease to be politically in “condition,” in that degree possibilities open up for the energetic private person who means to be politically creative, who will have power at any price, and who as a phenomenon of force becomes the Destiny of an entire people…. [W]e have now the accident of great fact-men.  The accident of their rise brings a weak people … to the peak of events overnight, and the accident of their death … can immediately plunge a world from personally secured order into chaos.’

Tactical thinking is about maximizing short-term benefits by negotiating a salience landscape of long-term costs.  Like a pinball glancing off an array of scoring targets, you negotiate a chancy path through this valley of consequential hazards which involves trying to maximize your current resources in the hopes that you will have enough of them at your disposal to eventually deal with the long-terms costs you are ignoring, delaying, or commuting.

The worst leaders are those who are the most brilliant at tactics, for, as Mr. Trump demonstrates, their agile, impulsive responsiveness to the random windfalls of chance in a rapidly evolving situation is often in temperamental contrast to the skill of predictively calculating long-term consequences and orienting micro-actions towards macro-goals.

It’s the difference between playing checkers and go.

Like all the so-called ‘leaders’ of our time, Daniel Andrews, by the evidence of his decisions, amply demonstrates that he is not capable of strategic thinking, the balanced negotiation of short-term costs to ensure the achievement of a long-term goal, because he is, like all the so-called ‘leaders’ of our time, a mediocre person.

The evidence of his decisions demonstrates that he has risen to a position beyond the level of his sensemaking competence, but not beyond the level of his capacity to play the Hobbesian social game for fun and profit.

The quality of Mr. Andrews’ thought is mediocre.  His manipulation of the ‘algebra of thought’—human language—to express his tactical calculations is mediocre.

Strategic leadership, the capacity to inspire social coherence by virally communicating a vivid, memetic sense of the situation which can be shared by a population, cannot emerge from tactical mediocrity in conditions of existential crisis.

Statesmen are poets in their thinking and speech: they communicate ‘the big picture’ so that the population can share their strategic vision and get behind it.

In the late period of civilizational decline, however, the politicians who emerge to seize power are small and mean prosateurs—eminently bourgeois in their mediocre thinking and speech.

Mr. Andrews cannot bring the Victorian people together behind a shared sense of what the Coronavirus situation is and what it means because, in his own mediocrity of thought and expression, he himself lacks the strategic capacity to visualize the landscape of salient hazards thrown up by the lurgy at a sufficiently high level of resolution and predictively calculate alternate pathways through it.

The aim of strategy in this situation is to find a pathway which balances the endurance of acceptable costs by the population on all relevant dimensions—not merely the health variable—so as to maximize the long-term benefits for the society from the short-term costs of their temporary distress.

The decisions that the Premier has made on the social, political and economic dimensions of this problem have the hollow, panicky ring of tactics about them rather the solid, reassuring ring of strategy.

Mr. Andrews’ government has lost its legitimacy as a prescriptive authority.  The authoritarian, Scientific Managerial approach the Premier has taken to this networkcentric problem—the dictates on mandatory masks, the escalation of repressive restrictions, the imposition of draconian curfews—is evidence that, due to his mediocrity as thinker, speaker, and leader, Mr. Andrews’ has, as I predicted at the end of my last post, lost the capacity to inspire endogenous compliance by Melburnians.

When you take an authoritarian, hierarchical Scientific Management approach to a networkcentric problem, you only attempt to impose more overt control on the problem when it is already clear that you have lost it.

Take, for instance, the issue of masks.

It’s well-known that transmission of the Coronavirus is not principally a function of whether one’s face is uncovered or not: transmission is principally a function of human mobility.  Hence the justification for repressive stay-at-home measures and social distancing.

So to anyone studying the science, when the Premier mandated the wearing of masks in Melbourne on 22 July, three weeks into the Stage 3 lockdown when everyone ought properly to have been at home, he was making the tacit admission that the Government had lost control of social distancing, had lost its monopoly on violence to restrict the movement of its citizens, and had therefore lost its legitimacy as a prescriptive authority.

Melburnians were refusing to keep apart from one another by staying at home.  In effect, when he mandated the compulsory wearing of masks in public, the Premier, having lost control of the people, was throwing up his hands and saying: ‘If you insist on breaking the rules by going outside and mingling, at least wear a mask while you’re doing it.’

There are calls for Mr. Andrews to resign, but in my view, that too is an example of short-term tactical thinking.

There is nothing to be strategically gained, as far as I can tell, from removing Mr. Andrews now:  Despite the revelations of his thoroughgoing incompetence, no challenger has stepped forward who demonstrates that he has a better familiarity with this crisis as it is relevant to Victoria at the macro-level than the Premier has acquired in the past five months, so it makes no sense to change horses mid-race.

The Premier must seek to undo the damage he has done.

Moreover, in the Hobbesian state of nature into which we are entering, you have more to fear in the long term from the person who demonstrates a more exquisite degree of mediocrity by dispatching the present incumbent in a coup than from the incumbent himself.

But if our democracy endures to another election, Mr. Andrews will have to step aside from the leadership of his party.  Unless he can tactically capitalize upon some extraordinary and inconceivable stroke of good fortune which entirely cancels out the record of his incompetence in this crisis and puts his reputation with the electorate into surplus, he is unsalvageably tainted and a political liability to his party.

They can’t retain political hold of resources with Lurch at the helm.

But whoever follows Daniel Andrews as premier, from whatever side of politics he or she comes, the odds are six, two and even that his successor will be of even more mediocre character than the Chairman of the Hoard himself.

Better put your seatbelt on.  There’s turbulence up ahead.

Man's capacity to travel at speed
This series of graceful arcs, describing the overlapping half-lives of humanity’s various modes of transport since 1800, combine to form an exponential curve.  Taken from Stafford Beer’s The Brain of the Firm (1972).

Last week on The Melbourne Flâneur, I stated that the reason why we avail ourselves so frequently of the metaphor of viruses and virality is because it describes the exponential way that information travels around the globe in contemporary life.

As a writer sensitive to cliché, I’m getting sick of hearing the word ‘unprecedented’ in the discourse surrounding the emerging Coronavirus situation, because this world-historical event is not unprecedented.

It would be more accurate say that, with the apparition of Coronavirus, for the first time in human history we are confronted with a ‘visible metaphor’ which illustrates—like a time-lapse film—just one of the exponential curves of existential crisis that humanity has been travelling on since at least the Industrial Revolution.

For the first two centuries, it appeared as though we were more or less on a straight line, one which appeared to be rising only very gradually thanks to ‘infinite progress’—‘la grande idée moderne’, as M. Baudelaire vituperatively called it, with its ‘odeur de magasin’.

Then, about 1960, the line began to rise appreciably at double the rate in half the time.

It’s no historical coincidence that at the beginning of the decade, President Kennedy should call for a man to be put on the moon by the end of the same decade.  Anyone who has read Norman Mailer’s Of a Fire on the Moon (1970) will have an appreciable sense of just how exponentially technology had to double and redouble itself in order to accomplish that goal.

By 1960, the line of technological progress was already very steep indeed.  However, the gradient appeared to the generations alive at that time to be, if not gentle, then at least ‘manageably uncomfortable’.  The steepness of the gradient they were travelling on was imperceptible due to what Robert Greene calls ‘generational myopia’.

They had the sense that they were still more or less in level relation to the x-axis.  They had no sense at all that they had ceased to move appreciably along it and were, instead, now moving upward by compounding leaps in relation to the y-axis.

The paradox of exponential technological progress which feeds into Greene’s theory of generational myopia is that the rate of change is so fast that it appears to the observer travelling on the runaway train that hardly any progress is being made at all.

To explain the feeling contained in that paradox by another metaphor, we are on a planet which is hurtling around the sun at a rate of about 107,000 kilometres per hour, and yet we are so fundamentally, somatically adjusted to this movement that it feels to us as though the earth is perfectly still.

If the earth were to suddenly stop—or even to reverse its motion—I’m sure that this novel experience would make itself palpably felt to every individual of every species.

But so long as our vision of infinite progress is bounded by the frame of our own lifetime, we have no real sense of where we came into the world on this curve, and its differential relationship to the point where we will exit it—let alone the shape of the exponential curve for all the generations who will experience it.

We are, in essence, unconscious to this imperceptible reality which is taking place at a level above the cognitive capacity of both temporally limited individuals and generations to consciously perceive.

I said in my previous post that the exponential nature of Coronavirus is not merely a visible symptom of the invisible relationship we have been having with exponential technological progress for the past 300 years, but that it is a visible symbol of it.

And at some level, to consciously grasp the vastness of a phenomenon which is operating unconsciously across centuries, at a multi-generational level, we will have to grapple with the symbol of it.

When I was a young film critic on the Gold Coast in the early naughties, an old American gentleman who lived not far from me gave me a book which has been the single most influential work of philosophy upon me as a writer.  It was a complete, unabridged edition of Oswald Spengler’s The Decline of the West (1918/1922).

Every culture, according to Spengler’s morphological view of history, has its ‘symbol’, the internal image that it is looking for in the external environment, and which accords with its deepest ‘soul-feeling’ for the true nature of the world.  For Western man (or ‘Faustian man’, as Spengler calls him), that image is a line, a gently curving arc which disappears at the vanishing point—the symbolic thrust into the infinite.

All the products of a culture are the material images of this symbol.  For Faustian man, the ogival arches of Gothic cathedrals—indeed, the cathedrals themselves—one-point perspective in oil painting, double-entry bookkeeping, long-range diplomacy and long-range warfare, trains, telegraphs and telephones—and even rockets—are all images of this symbolic thrust into the infinite, the belief that, in the furthest reaches of the cosmos, or in the indivisible heart of the atom, we will, eventually, touch the Face of God.

The quintessential cultural product of Faustian man is the discovery of differential calculus;—and indeed, without the discovery of how to plot the rate of change of a curve in the 17th century, NASA would not have been able to land a man on the moon in the 20th.

But Spengler—who predicted that such a soul-deep drive to parse out smaller and smaller differentials to the point of infinity would eventually result in the cataclysm of the First World War—saw that, by the 20th century, the culture of the West had ossified into a civilization—and that civilization was dying at a differential clip.

The symbol of the ‘gentle arc’ of infinite progress upon which it believed itself to be travelling no longer served it.  Instead, by the dawn of the 20th century, that gentle arc had become an exponential curve.

Spengler predicted a long and painful decline for the West in which people would progressively lose faith in this symbol which had underwritten all the spectacular progress they enjoyed.  But despite the decline into chaos, Spengler offered an olive branch of optimism: a new symbol, something that spoke more directly to the spirit of the time, to people’s intrinsic feeling about what the true nature of the world is at the moment of crisis, would spontaneously emerge to form a new culture.

In my view, a widespread, conscious understanding of the nature of the exponential arc we are travelling on is required to perceive this symbol, and the Coronavirus, our exponential bête noire, the archetypal shadow of all the poisonous virality we visit upon one another in a networked world, is the dark mirror which reflects the symbol of our time.

That symbol is the decentralized, distributed, horizontally scaling neural network.

The Millennial generation are no longer Faustian men, but are the inheritors of the Faustian soul-feeling for differentials, for the rate of change of a curve.  Their curve, however, is exponential, rising not in an arithmetic but in a geometric progression, just as a neural network compounds its computing power exponentially with the introduction of each new node to the network.

Physicist Theodore Modis said that (following the differentials established by the Faustians), ‘by the year 2025 we would be witnessing the equivalent of all the major milestones of the twentieth-century [i.e. electricity, automobile, DNA structure described, nuclear energy, WWII, space travel, Internet, human genome sequencing] in less than a week’.

The exploding exponential curve, the accelerating thrust towards the point of singularity as it manifests itself in the metastasis of networks, appears to me to be the symbol of the new culture which will emerge from this crisis—if we survive the differential cataclysm of societal disintegration and atomization.

This was the danger I alluded to in my previous post when I stated that viruses are symptomatic of the vulnerabilities endemic in the new, ‘network-centric’ mode of life we find ourselves in at the start of the 21st century.

These emergent, decentralized networks of self-organizing agents find their geometric efficacy hampered as they are forced to operate under the linear, arithmetic restrictions of hierarchical global legacy systems based on the infinite derivative extraction of finite resources.

These fragile, ailing global legacy systems are symbolic artefacts of the Faustian world-view.  They are examples of a systems paradigm called ‘Scientific Management’, which emerged in excelsis from the military and executive approach taken to winning the Second World War.

Scientific Management is about the efficiency of linear processes, and is therefore dependent upon hierarchy for its effective execution.  It was adapted, as a morphological archetype, to a mechanistic age based on linear processes and literal ‘chains of supply’.  Under the conditions of World War II, where Allied success depended upon maintaining a centralized supply chain, it is understandable that a Scientific Management approach to systems should then be templated for post-war use in organizations such as governments and businesses all around the world.

The Baby-boomers, as the last Faustian people pur-sang, enjoyed the benefits of the Scientific Management approach instituted by their parents.  And, as Jordan Hall has observed, the meme of ‘O.K., Boomer’ is a reaction of frustration on the part of Millennials to the deep, almost somatic intuition that the centralized, hierarchical application of Scientific Management to global systems which was templated after Bretton Woods is no longer functional in a decentralized, networked world order.

In contrast, the ‘network-centric’ paradigm is about managing the ‘flow’ of intangible information, and the intuitive emergence of knowledge creation by self-organizing systems.  It emerged as an alternative approach to Scientific Management in the 1990’s, with the wider and wider diffusion of networked computers in what we now call the ‘Internet’.

Network-centric systems such as the Internet—(which, as a cultural product, is surely to post-Faustian man what calculus is to Faustian man)—operate by means of exponentials: the computing power of a network follows a geometric progression in proportion to the number of nodes which plug into the network.

The Coronavirus is also a decentralized, distributed, horizontally scaling neural network like the Internet.  And as the ‘shadow symbol’ of our time, it is actually showing us how our global order needs to be restructured in a network-centric fashion to out-flank it and other infinite impact crises which operate geometrically rather than arithmetically.

The virus is actually telling us how we need to behave as a collective in order to out-flank it.

It is telling us how we have to reorganize our common life as a distributed, decentralized, networked collective in order to deal effectively with the common existential challenges we will face in confrontation with our global ‘soul-image’, the exponential curve as it manifests in complex adaptive systems.

When I saw, on Four Corners last week, the havoc that Jair Bolsonaro’s government is wreaking in the Amazon, I had to shake my head with exasperation—not because I’m so concerned environmentally, but simply because, once you’re aware of infinite impact risks and the interaction of exponential curves of existential crisis in complex adaptive systems, you clearly see that the savannization of the Amazon is but another particular example of the same general morphological ‘soul problem’ which Coronavirus is making visible to us in another manifestation.

The soul problem of our time is to consciously see and understand how the exponential curve interacts in networked systems.

What made me shake my head was the observation that Senhor Bolsonaro—as an old military man and a Boomer to boot—is failing to apprehend the symbol of our time: instead of taking a geometric, network-centric view of the Amazon and its interaction with global systems, he and his government are proceeding on the linear, arithmetic assumptions of Scientific Management.

In other words, this old warrior is taking a World War II approach to 21st century problems.

Daniel Robert Alexander of the University of Phoenix, writing as long ago as 2008, chose, as the subject of his PhD thesis, to ask military and business leaders what naturally occurring and human-induced crises they thought that they would confront in the years between 2015 and 2025, and what leadership competencies they thought they would need to combat these crises.

‘The problem is,’ Alexander wrote, ‘beginning in the second decade of the 21st century, executive decision-makers who do not have the leadership competencies necessary to generate appropriate responses to human-induced and naturally occurring crises will adversely affect the lives and livelihoods of tens of millions of people within hours….’

The infinite impact tsunami of a human-induced health, global economic and global political crisis has been ‘selected for’ by two generations of leaders, post-World War II, who followed a systems paradigm based on Scientific Management.  And due to the exponential curve we are travelling on, the n-th order infinite impacts derived from this approach are now affecting lives and livelihoods at an exponential rate within hours.

It would be unfair to attach blame to the Greatest Generation for bandaging together a coherent global order based on the short-term efficiency of Scientific Management practices out of the shattered remnants of World War II, a fragile world they could delicately pass on to their children.  After all, as Spengler had predicted, by that stage, we were well beyond the civilizational curve.

Moreover, the children of the Greatest Generation had lost faith in the Faustian project, and rejected the fragile chalice they were being handed—although they did not disdain to suck the last remaining dregs of wine out of it.

And it would be unfair to attach inordinate blame for this predicament to the Baby-boomers, who, for most of their watch, have not had the fully networked technology, nor the native adjustment to it, to properly envision a network-centric rather than Scientific Managerial global order.

But when one considers that all the levers of power that might have attenuated this crisis in its early days, well before its exponential explosion, are in the hands of a generation who did not effect a peaceable transition to a network-centric model of distributed, decentralized governance when that technology became functionally available during their watch, but have instead compounded this crisis by tackling it arithmetically, with a Scientific Managerial approach, rather than geometrically, in line with its true nature, you can see, as Alexander says, that the Baby-boomers do not have the leadership competencies necessary to tackle this and similar crises.

The weakness in the network-centric model which makes it vulnerable to viral attack, both literally, as regards human lives, and metaphorically, in the online space, is due to the fact that, as our global legacy systems are centralized, linear and hierarchical, it must perforce operate under the moribund and restrictive global governance architecture of Scientific Management.

As Heather Heying has noticed, if data about the Coronavirus were distributed transparently in a decentralized global network, much of the ‘hard reboot’ economic response to this crisis which Baby-boomer leaders are pressing for—and the probable recession it will entail—could be mitigated.

The strength of the network-centric model lies precisely in the fact that it decentralizes the computing power necessary to evolve a geometric solution, delegating data to knowledge workers within the network, rather than ‘silo-ing’ data within linear, centralized, pyramidal structures where population-level decision-making is restricted to an élite.

This is because the network has a better ‘situational awareness’ than the Scientific Managerial élite: it has more points of contact with the reality of the situation.

Neural nodes positioned closer to the field of action—such as doctors and medical researchers—have a better sense of what resources are required and how they can be most effectively deployed than the Minister of Health who, as a single neural node, is charged with compassing all the complexity of the problem, evolving a population-level strategy, and executing on it.

As Alexander says in his thesis, ‘In a Network-Centric organization, decision-making is decentralized to mid and junior-level leaders who are positioned along the outer organizational boundaries where information flows in a timely manner.’

These mid-level leaders are equivalent to System Three in Stafford Beer’s Viable Systems Model: in a network-centric response to Coronavirus, knowledge workers such as senior doctors and medical researchers would have a large degree of ‘autonomic discretion’ to regulate the negative feedback of the virus, as they have access to real-time input information.

The rôle of political and executive leaders in the network-centric landscape, according to Alexander, is to provide ‘visionary guidance’ rather than to micro-manage a macro-crisis which it is beyond the cognitive ability of a hierarchical élite to handle—particularly if those leaders are part of a generation which cannot properly envision the symbolic image of the problem.

The Baby-boomers cannot properly see that all the escalating problems we have been facing in this century—from global terrorism to global climate change—are, like the Coronavirus, merely particular examples of a general morphological problem which can be summarized as ‘the geometric interaction of exponentials with networked systems’.

To communicate the visionary guidance needed for a networked global society to take concerted, innovative action on common problems, the torch needs to be passed to the generation who has a native adjustment to the concept of networks.

Milton and Jacqueline Mayfield found that a leader’s communication ability had a direct impact on the capacity of workers to think innovatively.  In Australia, we saw our Prime Minister signally fail to communicate to the network the dangers of taking a dip and a tan at Bondi Beach.  This is a manifest example of how the Scientific Managerial approach of hierarchical ‘broadcast’ to a decentralized network which no longer has respect for hierarchies is an incompetent leadership strategy.

In some sense, it’s difficult not to intuit that the draconian, paternalistic measures that are being taken by governments around the world are in significant part due to Scientific Management’s distrust of the network to effectively organize itself—their distrust, in short, of people’s capacity to think for themselves and innovate horizontally-scalable solutions.

It appears, in fine, as though they don’t trust people to ‘do the right thing’.

The invisibility of the Coronavirus, and its latency of manifestation, gives every appearance of being exploited by governing élites as a convenient tool to instil fear into networked populations they can no longer control by a Scientific Managerial approach on the one hand, and as a convenient excuse to stage a ‘bloodless coup’, wresting wholesale liberties from them on the other.

This prima facie appearance of a Faustian gambit to derive and extract whatever remaining value is still on the board from people under the guise of paternalistic ‘care’ for their health will have to be monitored by national populations very closely in the coming days and weeks as the game-theoretic dynamics of our collapsing Faustian order play themselves out.

It’s clear, as M. Baudelaire divined as early as the mid-nineteenth century, that no guarantee underwrites the myth of ‘infinite progress’ along a linear trajectory.

If we survive the unfolding infinite impact crises, the image of the gracefully curving line disappearing into the horizon will no longer serve us as a model of reality.

It is in the symbolic image of the neural network that we will find our way not forward, but upward.