Orange pilling the word one day at a time 💊

You can choose to save in #Bitcoin and, thus, escape from the sinking fiat monetary ship

Or...

You can have fun going down with the sinking ship.

Choose wisely.

GM 🫡

"In a world that's changing so quickly, the biggest risk you can take is not taking any risk."

- Peter Thiel

I know this isn’t quite the answer to your question, but the villain that always comes to my mind is GARY OLDMAN.

The man is a CHAMELEON and nails the depth of every character:

That’s good schtick! 😂😂😂

Good Evening

Still using corn cobs, good point!

Mary Shelley's Frankenstein is an amazing read, and so far ahead of its time. The subtitle is 'Frankenstein: or The Modern Prometheus '. it raises so many pertinent questions about life,death acquiring knowledge and the boundaries of science.

"The subtitle "The Modern Prometheus" in Mary Shelley's novel Frankenstein serves several important thematic and symbolic purposes. Here are the main reasons:

Mythological Reference: Prometheus is a figure from Greek mythology who defied the gods by stealing fire and giving it to humanity, symbolizing the quest for knowledge and the consequences of overreaching. Similarly, Victor Frankenstein seeks to transcend natural boundaries by creating life, embodying the spirit of scientific exploration and ambition.

Consequences of Creation: Just as Prometheus faced severe punishment for his actions, Victor Frankenstein suffers dire consequences for his hubris and his desire to play God. His creation, the creature, becomes a source of horror and destruction, reflecting the idea that the pursuit of knowledge can lead to unforeseen and tragic outcomes.

Themes of Responsibility: The story explores the responsibilities that come with creation and innovation. Victor's failure to take responsibility for his creation parallels Prometheus's plight, emphasizing the ethical implications of scientific advancement and the importance of considering the impact of one's actions on society and individuals.

Modernity and Science: By calling Victor "the modern Prometheus," Shelley highlights the Enlightenment ideals of her time, particularly the belief in progress through science and reason. However, she also critiques this belief by illustrating the dangers of unchecked ambition and the moral dilemmas that arise from scientific experimentation.

In essence, the title encapsulates the novel's exploration of the complexities of creation, knowledge, and the ethical implications of scientific pursuit, drawing a parallel between ancient mythology and contemporary issues in the realm of science and morality."

The simple version:

Money has the ultimate network effect, and its core values are in TRUST, liquidity, and stability (not price, but supply). The value is not in payments (this has always been served by a million layers on top), wingdings, “smart contracts,” writing stuff on it, or the million other arbitrary “improvements” that a million shitcoins sell people on.

The “crypto” market is something that will consolidate over 30-50 years with the trend we have seen from the beginning. And everything that isn’t Bitcoin will slowly die, in my humble opinion…

ETH will be a particularly bad one. Their “staking” system for “security” is a disaster of permissioned, unreliable nonsense. Trust is the last thing they have built and everyone wants it for hyped up marketing nonsense that has no lasting staying power.

Want the in depth version:

I’ve covered thousands of hours of the history of money, network effects, Austrian economic theory, and crypherpunk history on my show, Bitcoin Audible

Beyo d Good and Evil is a very interesting and thought provoking read for sure. This is one of the aspects of Nietzsche that is easily overlooked by people who want to see him as simply nihilistic and destructive.

"For Nietzsche, the construction of the self is not a religious act, an obligation, or an act of submission to nature, as variously seen by 'moralities' -- it is an art form. In The Gay Science he says something to the order of 'One must make of one's Self a work of art, carving away something here, growing something there, repurposing some mass of unavoidable ugliness elsewhere to present a more pleasant view from the distance...' (I do not have a copy here, and I cannot find it online, if someone can give me the words...)

Edited to add

"it is only they [artists] who have taught us how to estimate the hero that is concealed in each of these common-place men, and the art of looking at ourselves from a distance as heroes, and as it were simplified and transfigured,—the art of "putting ourselves on the stage" before ourselves. It is thus only that we get beyond some of the paltry details in ourselves! Without that art we should be nothing but fore-ground, and would live absolutely under the spell of the perspective which makes the closest and the commonest seem immensely large and like reality in itself."

-section 78 of The Joyful Wisdom

A monster is one whose 'self' lacks 'art'.

Power may be the medium of morality, and its goal, but tasteless use of power is like tasteless use of any other medium. To see his aesthetic, you can look at his own artistic process, which he displayed over and over again by choosing mythological or poetic representations, or you can look at his critiques of other's work. Particularly, I think it is why he bothered to publish 'contra Wagner'.

He accuses Wagner's music of being an assault on the audience, brandishing its scale in a way that shocks the senses and bruises the organs, and of having too little consistency and comprehensibility -- winding an endless melody, rather than a theme.

In this context, I think the quote about monsters indicates there are aesthetic choices that we should restrain ourselves from making even though they would be effective. We should choose scale, elegance and consistency. If others' use of power lacks art, we should not simply confront them with more power, if that involves less art. We should restrain ourselves.

In particular, I think 'an abyss' is a sort of monster, the monster of complete cynicism and true nihilism -- the completely empty man that early 'beatnik' post-modernism seems to favor. There is always power to be uncovered by renunciation of boundaries, but pursuing an utter lack of restraining form leaves one 'powerfully empty', and perhaps incapable of recovering one's artistic nature."

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