GENOCIDAL KITSCH

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(PHUKET, 2017)

I spend the day writing, and before sunset I drive a couple of miles to Ya Nui, a small beach where I can watch the sun go down. I need to refocus my eyes after hours too close to a screen. Holiday families are packing up and drifting away from the beach. Thai guys and their girlfriends are fishing from the rocks. Sometimes, there’s a bride and groom in full wedding dress, with a camera crew, posing in front of the sea and the sky. Or some dude doing a fire-dance, filmed by an attendant drone. I climb around the rocks to a favourite vantage point near the water, and sit and watch as it gets dark.

Or I drive up into the hills. All along the coast road there are views out over the sea towards the West. I go and see my pals at the elephant camp, or glide down a jungle road to Jamrock reggae bar, where I sit on the top deck smoking with Nung, or chatting with whoever is around. People from all over find their way there, and sunset is the best time.

We’ve been getting some amazing shows. Astonishing colours, incredible reach. Some evenings half the sky lights up with flaming oranges, intense pinks and magentas. These super-bright, fire and candy sunsets have been happening for a while now. People bask in the beauty. At touristic viewpoints they arrive by the coach-load to take selfies as the sun sets over the sea. On Facebook people share these benedictions of light. I’ll take a photograph too, if something especially kaleidoscopic is happening. I like the way the slanting light reveals whatever is in the sky, like an X-ray. AGK DSC_0417

There’s something strange about this palette of colours, and the way the light boomerangs from horizon to horizon as the angle of light changes. Often the opposite horizon lights up in a mirror display. Sometimes when the West is blanketed by cloud, there’s a kind of reverse sunset, with the East alight and the West dim. Clouds in the middle of the sky catch fire. Where I’m sitting, the whole horizon of the sea is layered with salmony pinks and greys, the canopy airbrushed with pink striations. The general luminosity means that shadow rays are sometimes projected across the sky, showing up starkly in what is to me a completely novel effect. Sometimes criss-crossing rays and trails create a geometrical hatching on the horizon.

I don’t always take my camera with me; I don’t want to be some kind of obsessive sunset anorak. But there’s something in these kaleidoscopic displays, this celestial kitsch, which I can’t take my eyes off.

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The word ‘kitsch’ entered the English language from German (kitsch, meaning gaudy trash, from the dialect word kitschen, to smear or coat). It was much used by art critics in the thirties to distinguish avant garde values from sentimental ‘picture postcard’ art of the autumnal woodlands or kittens in baskets variety. Sunsets over the sea, that kind of thing.

In his great novel of ideas, The Unbearable Lightness of Being (1984), Milan Kundera takes the word and expands its horizons to include not just taste in art but world-view or cultural attitude. He defines it, in a metaphysical sense, as ‘the absolute denial of shit’.

“The fact that until recently the word “shit” appeared in print as s— has nothing to do with moral considerations. You can’t claim that shit is immoral, after all! The objection to shit is a metaphysical one. The daily defecation session is daily proof of the unacceptability of Creation. … The aesthetic ideal of the categorical agreement with being is a world in which shit is denied and everyone acts as though it did not exist. This aesthetic ideal is called kitsch. … Kitsch is the absolute denial of shit, in both the literal and the figurative senses of the word; kitsch excludes everything from its purview which is essentially unacceptable in human existence.” (The Unbearable Lightness of Being, Part 6: The Grand March)

‘Kitsch’ is a worldview which denies the unacceptable, acting as if it did not exist. In fact every outlook or movement is liable to devolve into a kitsch version of itself: romantic kitsch, patriotic kitsch, religious kitsch, communist kitsch. In totalitarian kitsch, the ‘shit’ is dissenting thought, and the gulag becomes the septic tank of the totalitarian system.

In bourgeois kitsch, shit consists of sexuality, social unorthodoxy, status-lowering behaviour, dress, language or occupation, and certain political ideas.

As well as actual shit, naturally.

As a small child I sensed the familial constriction of kitsch. I wondered, for instance, why the grown-ups mowed the lawn. It seemed to me, to paraphrase Kundera, a denial of grass.

As soon as I was old enough, I embraced bohemian values. Not only Velvet Underground and The Doors, Nico and Patti Smith, but Chatterton, Keats and Baudelaire, de Quincy and Shelley, Messiean and Bartok, Salvador Dali and David Gascoyne, all showed me something beyond the flimsy paper walls of bourgeois kitsch. They hinted at the sublime.

I didn’t discover Kundera until my thirties, and his musings gave me a new way to think about what I’d been trying to define all my life. What it is that has so bothered me, and made me so difficult and malcontented. Kitsch, perhaps, kitsches of all kinds, have induced this alienation. Anglican kitsch, bourgeois kitsch, Christmas kitsch, married-with-children kitsch, Guardian-reading, New Labour kitsch, educational kitsch, Globalist kitsch. New age, positive-thinking kitsch. Human beings produce kitsch as continuously as they produce shit.

Now, even with church and marriage and child-rearing and The Guardian and my international school career all in the past, I feel it more than ever. There are so many things I can’t discuss with my family members, or even most of my old friends. Certain realities we may never speak of.

There is a new kind of shit, which has given rise to a new kind of kitsch.

Sunset colours are caused by prismatic refraction, with blue in particular scattered by the greater depth of atmosphere the light travels through as the sun declines towards the horizon. Particulates in the atmosphere are also a factor – the ochre moons of harvest, for instance, yellowed by harvest dust. Atmospheric particles, or aerosols as they are called, come from many sources – volcanic activity, industry, smoke, sea-salt, carboniferous exudates from trees. 

But the strange new beauty we are getting reflects the fact that something has changed. There is a new source of particulate pollution: the micronised aerosols being injected into the stratosphere purportedly to create a solar shield. This deliberate form of air pollution is highly visible, whether in the form of fresh aircraft trails, veils and mats of white matter not in the known forms of clouds, or the general whitening of the sky, and must, I would think, be the reason for these candy-box colours, the kitschy sunsets I’m so devoted to.

Incidentally, I don’t fall for the contrails obfuscation. A condensation trail by definition consists of water droplets. Anything that nucleates cloud is not just water droplets, which under normal circumstances will quickly evaporate, mix and dissipate into the fluid medium of the atmosphere. As soon as you see a trail persist, you know it must contain particles, without which persistent clouds cannot be nucleated. A persistent contrail, in other words, is a ‘chemtrail’, except in conditions so rare as to be practically non-existent.

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In any case, it is not the changing appearance of the skies which proves it: it’s the air sampling. 

The sunsets, however, must be an effect of the particulate content of the atmosphere. The particles being injected into the atmosphere are nano-sized, and so the water droplets which condense around them are smaller than usual. Because of the increased surface area of water, clouds formed in this way are more reflective. That may explain why these sunsets are so luminous, and why clouds in the middle of the sky or even on the opposite horizon from the sinking sun catch fire in such spectacular fashion. It is metallic aerosols that are flooding our evenings with colours: magenta, tangerine, pink, salmon, ochre and flame.

The metallic salts ionise, increasing the conductivity of the atmosphere, which is why, sitting on my roof-terrace or on the top deck at Jamrock with its epic view out over the sea, I see pops and fizzes of dry, silent lightning backlighting patches of sky.

Once in a while I meet someone who knows about it. But most people don’t seem to have noticed anything at all. It’s strange. For me, this is the backdrop of our times – cobwebbed skies and summer lightning.

There are new clouds in the sky, newly designated by meteorologists. The long, hooked clouds are Cirrus Uncinus. The doomy, undulating blanket-canopies — Asperatus. NASA talks about ‘jet-cirrus’, the high, clumpy scuzz. Strange clouds, persistent haze and impaired visibility are ubiquitous phenomena. Why aren’t people talking about it?

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Curiosity has somehow been forestalled. Perhaps they sense, unconsciously, the presence of a lethal text, written huge in the sky. 

So mostly I confine my thoughts to these pages. Here on this big island in the Andaman Sea, I keep the sky to myself.

Yesterday, I was with friends visiting me here in Phuket. It was a beautiful day. Not a cloud in the sky — not a real one, anyway. Just smeared chemtrails, blending into the light aerosol haze that’s been whitening our skies for years now. Not enough to spoil the day, just taking the edge off the intense sun, so why even mention it? I didn’t.

My friends are younger than I am, smart, educated, and creative. But still there are things you can’t mention without spoiling the mood. We can talk about sex and shit, and drugs and shit, and film and books and families and relationships and shit, and… everything.

But mention chemtrails? 

Forget it.

That’s a ‘conspiracy theory’.

Kitsch has not gone away. After all these years, I still haven’t found a way through its smothering, mothering embrace.

Kitsch is the determination to control the conversation. Kitsch will decide the rules. Kitsch will decide what is to be discussed.

It’s as if everything important is now considered indecent. It’s weird. And weird is the right word. I feel our destiny in these silences: the kitsch that is killing us.

The phenomenon has many names. The popular term is chemtrails, which has no scientific standing or definition. Academics and scientists use various acronyms. SRM – Solar Radiation Management; SPICE – Stratospheric Particle Injection for Climate Engineering; SAG — Stratospheric Aerosol Geoengineering; SAI – Stratospheric Aerosol Injection; and a number of others.

Whatever you call it, it is happening on a global scale. Regardless of denial about purposes and funding sources and measures taken to keep the reality from public consciousness, our skies have been visibly transformed by a global program of particle injection. This is incontrovertible. We can debate its significance, but for any thinking person to refuse to discuss it is simply a denial of reality. Wilful blindness to threatening realities may not be anything new – but the scale and visibility of this is so great that the act of not seeing involved is almost miraculous.

Having seen what we are seeing, and having substantiated it with a congruence of laboratory tests, visual evidence, documentary evidence, whistle-blower testimony and official pronouncements, we have to ask: Why? What is the purpose of this global operation, and what will be the results?

The official cover-story – the kitsch version – is that it’s all about climate remediation, but this explanation can quickly be discarded. The global warming scare, i.e. anthropogenic climate change through carbon dioxide emissions, is baseless and illogical. Carbon dioxide does not drive climate, and the aim of ‘stabilising’ the climate is hubristic and absurd. Even if this were the true purpose, and had any chance of working, the idea of toxifying the atmosphere and the soils, disrupting the hydrological cycle and shredding the ozone layer in order to prevent a little sea-level rise is tragically insane. It can’t be that. So what is it?

For a long time I accepted the hypothesis that it was all about depopulation: that the contents of the trails might be designed, for instance, to progressively weaken the human immune system in preparation for a global pandemic which would eliminate huge swathes of population across the planet. The depopulation agenda is justified by the global warming myth, and is one of the primary motives for the creation of the myth, but what really drives it is the economic implications of automation, robotics and artificial intelligence. Bill Joy’s seminal Wired article, ‘Why the Future Doesn’t Need  Us’, is a thought-provoking introduction to the general futurological drift embraced by the technocratic and financial elites. In the intermediate term the biosphere will be collapsed into the waiting arms of Monsanto and Google, with their aluminium-resistant plants and robotic pollinators. Once all our food is synthetic, sucking up nothing but poison from killed soils, once our immune systems are sufficiently wrecked and our minds sufficiently blunted, the war of attrition will be progressively turned up under a political system of total surveillance and control. Zbigniew Brzezinksi, one of the most influential political theorists of his generation, was not alone in envisioning technocratic collectivism as the goal of a global oligarchy; all thinkers on the New World Order take it for granted that totalitarianism is the necessary corollary of the technological Singularity. Nano-technology, robotics, and genetics, the twenty-first century trinity, will all play their part in achieving the aim of reducing humanity, the ‘new enemy’ in the words of the Club of Rome, to a hyper-controlled remnant.

That’s what I thought at first. Then I realised it was worse than that.

As I’ve learned of the thousands of mass animal die-offs reported across the planet over the past seven years or more, I have begun to wonder whether the effects of these atmospheric pollutants on the entire ecosystem is so destructive, added to the effect of huge toxic and radioactive disasters over the same period, that what we are looking at is nothing less than total biospheric collapse. Quite apart from the acute toxicity of elements like aluminium and barium, the aerosols are having a devastating effect on the ozone layer, leading to increased penetration of Ultra Violet B and C radiation, which is killing the plankton upon which the oxygenation of the atmosphere as well as the entire oceanic food-chain rests.

This is such an obvious and profound risk that I do not believe it can be accidental. Instead, I would put the question: How do you remove six billion people from the surface of our planet? It’s a more than Herculean task, which requires a full-spectrum approach. Malthusian population checks – war, disease, and famine – are not enough, though they will play their part. The poisoning of air, food and water will be necessary. Enzymic, microbial, chemical and radiative attacks on human fertility and longevity will be required. Ultimately there is only one way to rid the earth of the scourge of so many ‘useless eaters’, and that is ecocide.

Bearing in mind the deliberations on purposeful environmental degradation detailed in ‘The Report from Iron Mountain’, On the Possibility and Desirability of Peace, I suspect that the conclusion has been reached that the human species, adaptable and ingenious as it is, cannot be reduced to near-extinction levels without deconstructing the environment which sustains it – which will then be genetically recreated and redesigned. The genocidal onslaught on humanity through food, water, air and radiation is not enough. Nature itself must die and be reborn. The chosen will escape underground and wait out the carnage – and then return to reseed and remodel the world as they see fit.

It’s not just genocide, it’s omnicide: the death of everything.

Or so I thought.

But now I realise it’s worse than that.

Clifford Carnicom is one scientist who has devoted himself to investigating the aerosol phenomenon. Carnicom is independent, working without grants and often with jerry-rigged equipment. That is what academic freedom looks like, and it cannot be found in the Academy. He is a paragon of the scientific method, painstaking, pedantic and exacting, and his papers represent the result of years — often more than a decade — of work. He is the founder of CarnicomInstitute.Org, and his papers can be read there.

When Clifford Carnicom first started sharing information online, he noticed a strange — and strangely validating — pattern of visits to his site. While at that stage he had zero public profile and his site drew very few visits from the general public, it attracted intense interest from high-level official bodies including the Pentagon, multiple Air Force and Navy bases and commands, the US Senate, NASA laboratories, aerospace corporations, military agencies, government environmental and health agencies, national security, intelligence and emergency agencies, pharmaceutical corporations and weapon and defence system contractors, research organisations and the media, all of which he was able to document. As narrated in the documentary Aerosol Crimes:

“Over the next few years a glaring disparity evolved. On the one hand, a high level of monitoring of documentation, sampling, research analysis and disclosure efforts… on the other, a campaign of continuous dismissal of the significance of the issue and a refusal to investigate was conducted by those very same visitors.”

This contradiction would seem to undermine the US Air Force’s public position that the entire subject is a hoax. In the meantime, Carnicom’s scientific studies have revealed how huge, and how hugely significant, the field is.

Carnicom’s researches have led him to some startling conclusions. Firstly, his initial analyses of samples showed a predominance of metallic salts, which absorb water, leading him to become interested in the specific salts being used and the reasons they might have been selected. Barium is extremely toxic, and its prevalence has huge implications for interpretation. But Carnicom’s breakthrough was in realising what these particular metallic salts – barium, magnesium, calcium, potassium — have in common. They all belong to a particular class that ionise — i.e., become electrically charged — if subjected to energy, even at low levels. Sunlight is sufficient to ionise this class of material. Electrically charged gas, or plasma, can conduct energy without a solid medium, as in a neon light bulb, for instance, where there is no filament. In a plasma, not all the particles have to carry charge. The ionosphere is an electrically-charged atmospheric layer, but only 3% of its mass is charged, and that’s enough to completely change the physical properties of that medium.

Carnicom argues that our atmosphere has been transformed into a plasma. Again, this has massive implications for interpretation.

Over the course of seven years, Carnicom has developed a list of potential applications of the aerosol program — ie, potential answers, some of which overlap, to the question of purpose, and has settled on seven — not necessarily a complete list, but possibilities he can envisage, which satisfy all the data.

1 Environmental modification and control/ weather modification

2 Military operations

3 Elecromagnetic operations

4 Biological operations

5 Geophysical effects

6 Surveillance using LIDAR – light detection and ranging

7 Detection of exotic propulsion systems within the atmosphere

The second type of material found in the air samples consists of fibres and filaments. Like the metallic salts, these are now thoroughly disseminated and ubiquitous in the environment and living organisms. In Sofia Smallstorm‘s darkly illuminating presentation ‘From Chemtrails to Pseudo-Life: The Dark Agenda of Synthetic Biology’, she shows black-lit footage of particle storms whirling in the air, full of these fibres, which are luminous in UV light.

What are they?

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These filaments have been the main focus of Carnicom’s work for the last few years, yielding significant discoveries in the area of synthetic biology. Firstly, that these ambient environmental filaments are unique, and unidentifiable: no fibre of that size — less than a micron — exists in nature. For comparison, asbestos fibres measure two microns, bacteria range in size from 1-10 microns and human hair from 60 to 100 microns.

The US Environmental Protection Agency was provided with samples and has refused to identify them, or even acknowledge the existence of the samples. 

Sophisticated laboratory tests by experienced microscopists partnered with Carnicom have concluded that these fibres are completely novel: they do not exist in nature, or in the database.

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But to some people they are horribly familiar. Contemporaneously with the ramping up of the spraying programs in the 1990s, we have seen the appearance worldwide of a nightmarish disease called Morgellons Syndrome, which the medical profession refuses to recognise, calling it ‘delusional parasitosis’. Wikipedia speculatively describes it, if you want to hear a nice Gibsonesqe bit of science-fiction, as a ‘mimetic infection spread through the internet’.

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Morgellons sufferers develop agonising lesions all over their bodies, which do not heal but ooze continually and extrude coloured fibers – similar to the airborne fibres in many respects. Carnicom acknowledges that no direct linkage has been proven, stressing the need for further investigation.

Looking at samples from Morgellons patients and samples of environmental filaments, physical similarities can be observed, especially at microscopic range. No natural filament, a4665bcb9b1b1144a2dcd2925c7a9561whether hair, spiderwebs or anything else, at that size level exists in nature. There are resemblances in physical morphology and constitution. A single fibre, maybe 15 microns in diameter, will contain a sub-series of numerous fibres at the sub-micron level.

Many of these are carbon nano-tubes, which can be cultured to produce colonies. They are motile, and continue to live and reproduce outside the body. Carnicom has concluded that their coating is keratin, the durable protein used by insects in their wing casings. The tubules are segmented, with visible structures inside them. Airborne filaments have been identified over and over as carrying unusual biological components. Some of these turn out, amazingly, to be desiccated erythrocytes (red blood cells) – human, but engineered in such a way as to allow them to survive independently of the human body. Such a thing represents an extraordinary breakthrough — the creation of artificial blood is the holy grail of biological science, and has been achieved but kept secret.

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In a study of huge significance (and of course receiving an amount of publicity in inverse proportion to its significance through the corporate media), asthma researchers at the University of Paris-Saclay in France in 2016 found carbon nano-tubes in the lung fluid of all 64 children in its sample. This finding left a New Scientist writer grasping at nothing; nor do the experts he quotes possess any context for the information, and they struggle to make sense of it.

“The level at which the nanotubes are present is unclear, as is their source,’ writes the author, “although the team found similar structures in dust and vehicle exhaust collected in Paris.”

Jonathan Grigg, a leading paediatrician in the effects of air pollution at Queen Mary University of London, opined that if we are breathing in nanotubes, it’s probably nothing new and fossil fuels are a likely source. “I guess we’ve been breathing them for a very long time. But it needs more work, for sure.”

Yet another confirmation that the Academy is asleep, which is why independent scientists like Carnicom are so important, having both the expertise and the courage to follow disturbing avenues of inquiry.

Everybody is nano-infected. The fibres can be cultured from samples taken from both people and animals. For the last few years Carnicom has worked intensely with filaments cultured from oral samples. Tissue cultures from randomly selected individuals who are not Morgellons sufferers also contain and grow the same hybrid, transbiological forms.

One of the most shocking observations is that the blood cells and other structures found inside carbon nano-tubes produced by Morgellons sufferers or cultured from air samples show the characteristics of all three life kingdoms: bacteria, archaea and eucharia. Bacteria and archaea are simple forms, with no subcells; archaea are the hardiest of all life forms, able to withstand grinding pressure, extreme heat or cold, acidity or alkalinity – they can exist in volcanoes, geysers or ice shelves. Morgellons filaments endure fire, bleach, acid, and replicate outside the body in a petrie dish. The materials inside them look like bacteria, are as tough as archaea, and self-replicate like eucharia. They resemble bacteria, but are not. The fibres might be classified as fungal, but contain forms from the other two groups. This combination of the three life kingdoms does not occur in nature. 

Artefacts emitted through lesions in the skin of advanced Morgellons sufferers include filaments, crystalline forms, meshes, plaques, shards, structures, grooved metallic devices — some of these branded with letters and numbers — motile strands and flagella.

We are becoming a hybrid form.

“Materials are forming in our bodies that are not native to us, not natural, and entirely new,” says Smallstorm. “Artificial materials are being introduced into living things to create new processes which over-ride our own natural biology.”

Since both healthy bodies and Morgellons sufferers produce the same tissue cultures, the difference may lie in the individual host. We cannot assume that any of us are immune to whatever processes are being initiated within us by this bio-technological infection. It is probable that all our bodies are being invaded by the same transformative processes, and that Morgellons sufferers are simply those whose bodies painfully reject these foreign materials. 

Suddenly I understand the art of H R Giger.

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We are supposed to pretend nothing is happening. And make small-talk, kitsch-talk.

Here in this open-air mental ward, lunatics snicker at the sane.

Which am I?

What I see, in this luminous veil, this silvery night-haze, is the glitter of a trillion tiny Damoclean Swords. If what we have already is not a depopulation weapon in action, it can become one at any time. As long as the delivery system exists, then the mix can be altered at any point. Last year there occurred several frightening toxic smog events affecting population centres in Kuwait, Paris, London, and Australia (the ‘thunder-asthma‘ which killed a number of people and hospitalised thousands). Are these events natural or some kind of genocidal beta-test? Can they possibly be unrelated to the chemical and nano-technological saturation of our atmosphere? It is only rational to be extremely suspicious about the provenance of these suffocating cloud-storms.

What I see is war — the war on humanity itself. In these metallicised, conductive skies, I see omniscient three-dimensional imaging of the planet’s surface, and electro-magnetic weapons of unimagined magnitude. In my crazed, hyper-vigilant mind, the silvery haze in the air is the zeitgeist made visible, the transhumanist spirit of the age, the precursor or leading edge of a system known in both fact and fiction as Skynet.

What I see is, in a word, the Singularity. It’s not here yet, but it’s coming – slouching toward Bethlehem to be born. We are being driven into a new world: a transhuman future which ‘ends Nature’, augments reality, and turns us all into simulacra. I see machine intelligence: the deification of an omniscient dead soul.

The technological Singularity must entail a corresponding political-economic Singularity (as Professor Darrell Hamamoto has pointed out) and to that must be added its most disturbing corollary, a biological Singularity, already happening in our bodies. 

Like William Blake’s ‘The Sick Rose’, eaten out from the inside by the invisible pseudo-worm.

The Singularity is the Precession of Simulacra is the death of the real.

So yeah, definitely worth taking a photo of that, and posting it on Facebook.

Genocide is beautiful.

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So now you know; I’m fully delusional, living my life against an imaginary backdrop of epic science-fiction skies. That’s the reality I’m stuck in. The abyss stares out of me, as I wait for the sky to fall and the insects to come burrowing out of my skin. Sitting on my roof with dry lightning flickering around the margins of my vision, that’s what I see. I see the century of change, a transition to something unrecognisable.

Let’s at least acknowledge that it’s happening, and be grateful to be alive at this most significant moment in human history; we are the ones who get to see this apocalyptic kitsch, as understanding dawns, right before the end.

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3 thoughts on “GENOCIDAL KITSCH

  1. Love your writing, Ann!

    I am with you on your observations, feeling so much the same as you – only I’m hoping there’s more that we cannot perceive that will tip the balance toward some reason to hope. Maybe that’s delusional too, but we do know there’s much we cannot perceive. And it provides reason to live, and watch the sunsets.

    Best to you ~

    1. Jean, this piece is by me (Paul Dunbar), and Ann linked to it on her site. But I appreciate your comment, and agree with you — never despair, but despise the hubris of the geoengineers.

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