Do you have a bad habit? One that’s unethical and potentially illegal? Here’s mine.

Christopher Hitchens once told the story of how, when Mother Teresa was being railroaded towards sainthood, he found himself arguing against her canonisation to a priest, a deacon, and a monsignor. He soon learned that Pope John Paul II had abolished the office of advocatus diaboli, ostensibly to fast-track his favourites to the sainthood rolls. Hitchens noted that he was happy to represent the Devil pro bono.

I am happy to be an unpaid (and nonconsensual) copyeditor. When I see other people’s words, I want to change them. And when I quote other people’s, sometimes I give into the impulse. I don’t necessarily mean editing them for clarity and length. I mean editing them so that they are more aesthetically satisfying.

It feels very wrong to do this. Almost like straightening a crooked picture in someone else’s house. And they’re usually words written by much better writers than me. And yet…

“The way to get good ideas is to get lots of ideas, and throw the bad ones away.” – Linus Torvalds

I like the first part of the quote, but the second part is a benign tumor – not deadly, but unnecessary. It’s obvious, weakens the impact of the insight, and verges on being patronising (I should throw bad ideas away? Thanks for the gamechanger, Linus.) It would be sharper and punchier like this. “The way to have good ideas is to have lots of them.”

Or consider: “Music has always been a matter of Energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel. I have always needed Fuel. I am a serious consumer. On some nights I still believe that a car with the gas needle on empty can run about fifty more miles if you have the right music very loud on the radio. A new high-end Cadillac will go ten or fifteen miles faster if you give it a full dose of ‘Carmelita’.”

The bolded sentence is great, almost electrifying. The sentences preceding it aren’t as strong. And Hunter S Thompson didn’t need to actually mention songs. That makes him sound like a hacky 70s radio deejay, spinning Golden Oldies and Platters that Matter. I think the part about the gas needle should have ended the passage.

I realise that this quote is part of a book, and has to make sense in a larger context. You can’t just have lots of cool sentences suspended in a vacuum (or can you?). But that’s the whole thing: when I quote, I change. Books are sometimes altered for film to preserve the strengths of the medium, so why shouldn’t passages from books be altered so that they work better as free-standing quotes?

Sometimes quotations are unflattering, or ungainly. Some writers are at their best when they have a whole blank page to work their art, and can’t really be dissected and broken down into little fragments. So maybe changing their words is for the best. Photoshop and makeup, for written prose. Maybe she’s born with it, maybe it’s mutatis mutandis.

Not the best Japanese gore porn film (who would want to be the best?) but one of the most famous. A man abducts a woman and dismembers her with a camera rolling. It doesn’t sound like much when I describe it, but it won’t seem like much when you watch it, either.

Apparently Charlie Sheen thought it was real (no doubt while tooting more than just his flute) and called the FBI. That seems to be the time-honored route of fame in the gore porn film industry – try to hint that it might be real. Eventually an actual snuff film will make it to market, and we’ll all call it a boring publicity stunt.

Supposed horror legend Hideshi Hino both directs and plays the killer. He’s more often associated with manga, which are a different beast entirely. His manga efforts (Hell Baby, and so forth) resemble a Japanese Goosebumps, complete with fill-in-the-blanks storylines and a cast of characters that you wonder even he doesn’t forget. The gore is offset by a cartoonish, exaggerated art style – you can imagine children reading Hino’s manga, but this, not so much.

Viewers will find two possible routes of enjoyment: first, the gore, and second, analysing the special effects. It’s a low budget film, and a lot of it isn’t very well done. The woman’s flesh has a rubbery quality. The blood seems like copiously squirted cherry juice. Much of the film is shot in extreme close-up, focused on a single body part that’s an obvious prosthetic. The production quality can be described as “muddy, dark, and distressed” – adding a gritty grindhouse quality at the expense of us actually being able tos ee see what’s going on. You’ve heard of Hollywood’s famous L-shaped bedsheets? Where the male lead has his chest exposed and the female lead has her chest covered? Here the woman’s body spends so much time covered up, she’s practically a goddamn Quaker. The movie takes a lot of care to hide bad special effects, but it’s all in vain.

The admin of the legendary shock site rotten.com was once asked how he knows the gruesome pictures on his site are real. He said something to effect of “I just do”, which is pat, but also probably accurate. He also mentioned that they received large volumes of fake pictures, and that they were usually quite easy to spot.

Little tells always gave the fake pictures away – tricky camera angles, harsh lighting, conveniently poor photo quality. It’s pretty obvious: if a murderer really did dismember someone and make a snuff film, he’d capture it in the best quality possible. Remember the Mitch Hedberg gag about Bigfoot being a blurry, pixelated monster roaming the landscape? It’s the same for gore porn. If the real stuff ever appears, we can assume it will be in 1080p. Fuck this dark, murky crap. It’s for wannabe auteurs and professional fakes.

I like extreme art, but for something like this you really need…more. Of what? Almost anything. Some individuality. Some personality. Something that would separate it from a film generated at random by a sophisticated computer. There’s exactly one interesting angle (Hino wears a samurai outfit), and a lot of fake WWE blood. Apparently, some of the other Guinea Pigs are more story focused. I’ll probably never know. The sad truth is that a perfect gore porn film will probably never be made: anyone ready to outlay the necessary money will want it to be marketable enough to sell. Flower of Flesh and Blood is an interesting historical curiosity, but those who don’t learn from history are condemned to repeat it.

Why is propaganda stupid – almost by definition?

I don’t mean it’s wrong, or evil. Like the Human Centipede, propaganda exists in a space where concepts like that don’t even seem to apply. What I mean is that it’s dumb. Cartoony. WW2 propaganda posters (for any side) look like bad science fiction movies made by Ed Wood.

Where’s the intellectual propaganda? Where are the Cold War posters that outline the intellectual and moral case against communism, rather than characterising it as a creed of the inhuman Ivan out to sap our bodily fluids?

If your first thought is “well, Joe and Jane Sixpack are dumb and they won’t understand smart stuff, so you have to speak their language” then I hope you have a second, because I’m not satisfied. Common folk have a lot of respect for their intellectual betters, so long as they don’t feel patronised or bullshitted. An easy influence technique is to convince someone that something’s over their head, and that they’d better just leave it in your hands. That’s the basis of the Stanley Milgram experiments. “I have a lab coat, and I know better than you, so just shut up and press the button, faggot.”

I think that we’re looking at the wrong side of the black box. Dumb propaganda isn’t popular because it’s easy to consume. It’s popular because it’s easy to spread.

There is a man called Mike Huben, who has produced a large body of material (of varying quality) arguing against libertarianism. Probably his best insight is this: libertarianism’s success (beyond a heavy PR campaign by the Koch Brothers) is that it breaks down to a few concepts that 1), sound good, and b) are easily spammable, even by stupid people. It doesn’t take a smart guy to shout “FREEDOM” like Mel Gibson, and if you can emotionally identify libertarianism with that simple, idealistic concept, you can turn any moron into an evangelist. You don’t make people argue for consequentialism or minarchism or fewer tariffs. You make them argue for freedom itself.

According to Huben, the philosophy’s success is based, not on being especially intellectually compelling, but by being really good at creating new followers. Hence, you get stuff like /r/EnoughLibertarianSpam. It’s one of those philosophies that has an incredible ability to turn people into characters from Snow Crash, their brains overwritten by a hyper-catching mental virus.

For years, we’ve tried to make spambots sound like humans. Libertarianism achieves the opposite, it makes humans sound like spambots.

Some religions could be described along similar lines. I’ve heard many atheists complain about “Godbotting”, where believers don’t actually engage in discussion or debate, but just repeat simple, canned messages (“God loves you!”, “I’m praying for you!”, etc). Without taking a position on either libertarianism or religion, it seems like a big part of surviving in a memeplex is that you have lots of short, mantra-like messages for quick and efficient spamming. In-depth arguing is a waste of time. It’s better to take that same effort and blast a thousand strangers with ads for intellectual V1AGR4 and C14L1S.

It seems things are still a volume game: quantity trumps quality, the effective positions are the ones that are quickly able to deploy lots of shock troops. They say nations are often still mentally fighting the last war. In the case of the internet, it that war is the American Civil War.

Regarding the ACW, historians often say that the Confederate cause was a Lost one before it even began. The North held all the cards. To quote Rhett Butler, “I have seen many things that you all have not seen. The thousands of immigrants who’d be glad to fight for the Yankees for food and a few dollars, the factories, the foundries, the shipyards, the iron and coal mines–all the things we haven’t got. Why, all we have is cotton and slaves and arrogance. They’d lick us in a month.”

But on the other hand, remember that the Union had a much more difficult strategic goal. They had to impress the rogue states back into the Union, while the Confederacy only had to continue existing. And various dominos fell in the Union’s favor. The Confederacy never thought they’d be fighting a war alone, they counted on support from sovereign nations like Great Britain and France (who needed cheap cotton). When that didn’t come, the Confederacy found themselves outnumbered, outgunned, and staring down the barrel of a blockade. But even then, the Confederates held out for nearly fifty times Rhett’s pronouncement. Why?

In large part, because footsoldiers were cheap. All you needed was a musket, and a bandolier with 40 rounds. At no other time was the role of huge numbers of men so evident. Cavalry was losing prominence, artillery had yet to come into its own, and the chief way to fight wars was via a numbers game.

If the Confederates had invested in a small number of elite, well-trained troops, they’d have been horsefucked. As it was, they eventually lost the war, but their ethos lives on in propaganda. Spam your way to success. We are Civil War Re-Enactors, all of us. Did I mention that one of the reasons they failed was because they finally ran out of manpower? A problem that will never occur in an intellectual arena where keyboards can copy and paste?

Ecclesiastes 9-11 has the following quote: “I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.”

That might have been true in Ecclesiastes’ time, but in the 21st century we have a more idoneous answer: the race is to the dumb.