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I'm reading Epstein papers and noticing weird typography. No capitalization, unusual " . " separators.
Looking here https://t.co/OkH8BarE7v
Consider this: "Neurovision" is a global music contest where every artist is AI-made. No humans on stage, only digital performers competing for your votes. Each song is written, sung, and visualised by machines trained on decades of pop emotion. At first, you still vote, watching virtual stars rise and fall, debating which synthetic voice sounds most “real.” It feels playful, experimental, harmless. Then the next update arrives: wearable devices (that OpenAI is probably developing today) track your micro-reactions—heart rate, goosebumps, pupil dilation. Now your body votes for you. The system knows which chorus moved you before you even decide. Suddenly, popularity isn’t opinion anymore; it’s data. A billion pulses, streamed and ranked in real time. AI writes the songs, performs them, measures your response, and optimises itself to win. By 2026, this could exist. By 2029, the world’s biggest pop star might not exist at all—except as code that knows how to make you feel alive. The question isn’t who wins. It’s whether you ever really chose.
CPO at https://t.co/BNZzlkTfVp. Founder of https://t.co/hOAmca8qLm and https://t.co/dRwgbZCSOw. Coffee-making, parenting, building, exploring: RU → CN → NZ → CL → UK → NZ → PL → UK?
What’s funny is that the most popular "Song 2" - the Britpop anthem of the 1990s - was created as a parody of the grunge sound exemplified by Nirvana’s Smells Like Teen Spirit. In subtle British fashion, it’s not direct mockery but a nuanced, playful comment on grunge, rock clichés, and record-label expectations. A similar case occurred in post-war France, where Boris Vian invented a pseudonym, Vernon Sullivan, to "translate" fake American pulp thrillers like I Spit on Your Graves - violent, racist, hyper-sexualized works meant to satirize France’s obsession with U.S. pop culture and blur "high" and "low" art. It was meta-pulp: a French intellectual posing as an American hack to critique cultural colonialism and commodified violence. Likewise, Song 2 emerged amid Britpop-vs-grunge tension. Damon Albarn and Graham Coxon, tired of labels, wrote a parody of American alt-rock bombast. Ironically, the joke became their biggest hit. Like Vian’s fake pulp, Song 2 performs what it mocks - a gleeful "dumb rock" anthem by clever art-school musicians. I love this kind of stuff.
CPO at https://t.co/BNZzlkTfVp. Founder of https://t.co/hOAmca8qLm and https://t.co/dRwgbZCSOw. Coffee-making, parenting, building, exploring: RU → CN → NZ → CL → UK → NZ → PL → UK?
“Cube” (1997) once felt like a nightmare; today it feels like a high-school maths puzzle. So vanilla. After 30 years of desensitisation, audiences need “The Platform” (2019) levels of horror – 10x more gore, sweat, and moral rot – just to feel something.
CPO at https://t.co/BNZzlkTfVp. Founder of https://t.co/hOAmca8qLm and https://t.co/dRwgbZCSOw. Coffee-making, parenting, building, exploring: RU → CN → NZ → CL → UK → NZ → PL → UK?
RT @lana_asanin: 🇵🇱 25 year old Polish guitarist, Marcin Patrzalek 🎸 Incredible talent!
CPO at https://t.co/BNZzlkTfVp. Founder of https://t.co/hOAmca8qLm and https://t.co/dRwgbZCSOw. Coffee-making, parenting, building, exploring: RU → CN → NZ → CL → UK → NZ → PL → UK?
Nice one. https://t.co/gjhI5Rv0Ye redirects to some guy's LinkedIn profile. Good work, Andy Day.
CPO at https://t.co/BNZzlkTfVp. Founder of https://t.co/hOAmca8qLm and https://t.co/dRwgbZCSOw. Coffee-making, parenting, building, exploring: RU → CN → NZ → CL → UK → NZ → PL → UK?