The ‘Authoritarian Capitalist’ govt of China did not allow Democracy 30 years ago.

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On this day 30 years ago about a million people demonstrated peacefully all over China and on the Tien An Men Square in Beijing, for more freedom and the rights of workers to co-decide. The Chinese government brought in tanks and troops with automatic shotguns. In the middle of the night the army raided the camps and killed an estimate of a thousand students in their sleep. And thousands others where imprisoned in camps.

They are not forgotten.

See also the analysis of historian Ian Buruma :  https://www.asiatimes.com/2019/06/opinion/deng-xiaopings-victory/

jaap van till, TheConnectivist

Candlelightvigil

Tiananmen2

Posted in authoritarianism, China, Demonstration, Tienanmen Square, Uncategorized | Leave a comment

GRM, Bestseller about the Apocalypse + Interview (in German) + translations

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You think YOU got problems? Well, you better start reading this book

GRM: Brainfuck” , roman (Deutsch), hardcover April 2019, by Sibylle Berg.

A bestseller in the German language. I hope it will be translated and published soon in English and other languages soon.

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This book is a historical WARNING. It is SF about what will happen in a few years. The Apocalypse, driven by millions of poor and only just surviving children. The children and young adults of the lower middle classes and the lower classes are treated as slaves to be exploited by the 1% super rich and upper class who are becoming ever more rich at the expense of hard working people in their employment and by extracting wealth from society and Nature. They do not care at all for the non-employed and the weak and sick.  This is the prevalent NeoLib (market thinking) political system which uses “Survival of the Fittest” slogans, which turn out to be false, see Peter Corning’s book . Evolution is based on Synergy created when cooperating as part of an ecology. Not only the lower class children are kept confined (can not maneuvre in any direction and chained by debts)  in the system, but even highly educated young people feel exploited and kept in stupid and underpaid 9-5 jobs without prospects on growth or significant future.

Slaven

Sibylle Bergs book describes the life of four of these dropout or refusenik children and what they do to survive in English slums. In fact it describes the #Apocalypse driven by children im Dreck of English poverty slums. And supervision and electronic surveillance is used to try and control them, in the name of the ruling class who is failing.  Is it already happening NOW? What can we do, or will Judgement Day be upon us soon ??

The book is as alarming as “les Miserables” of Victor Hugo,  and was compared by others as impactful as “1984” (Orwell) and “Brave New World” (Huxley). I Think the Meisterwerk by @SibilleBerg is comparable to “Freedom tm” by Daniel Suarez, 2010, Quercus, London.

  1. What CAN we do? The book shows that we together will have to make the Choice now very soon: between  #Revolution and #Apocalypse.

2. Is there hope? Yes the Revolution means that we will have to start creating new value instead of extracting and stealing it. How: by making New Combinations by Networking between a diversity of constructive and creative people.  Synthecracy: Synthesis creates Synergy. 

jaap van till, TheConnectivist

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============================ description of this book on Amazon.de =======

»Vermutlich war der Einzelne schon immer unwichtig. Es fiel nur weniger auf.«
Die Brave New World findet in wenigen Jahren statt. Vielleicht hat sie auch schon begonnen. Jeden Tag wird ein anderes westliches Land autokratisch. Algorithmen, die den Menschen ersetzen, liegen als Drohung in der Luft. Großbritannien, wo der Kapitalismus einst erfunden wurde, hat ihn inzwischen perfektioniert. Aber vier Kinder spielen da nicht mit – sondern gegen die Regeln. Und das mit aller Konsequenz. Willkommen in der Welt von GRM.
Sibylle Bergs neuer Roman beginnt in Rochdale, UK, wo der Neoliberalismus besonders gründliche Arbeit geleistet hat. Die Helden: vier Kinder, die nichts anderes kennen als die Realität des gescheiterten Staates. Ihr Essen kommt von privaten Hilfswerken, ihre Eltern haben längst aufgegeben. Die Hoffnung, in die sie sich flüchten, ist Grime, kurz GRM. Grime ist die größte musikalische Revolution seit dem Punk. Grime bringt jeden Tag neue YouTube-Stars hervor, Grime liefert immer neue Role-Models.
Als die vier begreifen, dass es zu Hause keine Hoffnung für sie gibt, brechen sie nach London auf. Hier scheint sich das Versprechen der Zukunft eingelöst zu haben. Jeder, der sich einen Registrierungs-chip einpflanzen lässt, erhält ein wunderbares Grundeinkommen. Die Bevölkerung lebt in einer perfekten Überwachungsdiktatur. Auf der Straße bleibt nur der asoziale, vogelfreie Abschaum zurück. Die vier Kinder aber – die fast keine Kinder mehr sind –, versuchen außerhalb des Systems zu überleben. Sie starten ihre eigene Art der Revolution.

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Excellent interview met Sibylle (in the German language) http://allgood.de/features/interviews/grime-ist-widerstand-spass-hoffnung/

Buch Trailer video: https://www.youtube.com/watch?v=gaZo0Kd_9kI

Sibylle Berg»Grime ist Widerstand, Spaß, Hoffnung.«

Der Roman »GRM« der Schriftstellerin Sibylle Berg ist kein Buch über Grime selbst, aber HipHop-Lektüre allemal. ALL GOOD-Autor Lukas Klemp hat mit ihr gesprochen.

Sibylle Berg

Romane über Musikgenres scheitern oft an ihrem Anspruch, sowohl eingefleischten Fans als auch interessierten Neulingen eine Subkultur literarisch näherzubringen. Diese möglichst glaubhaft einzufangen, ist sicherlich kein dankbarer Job: Fans sowie Kritiker*innen schauen mit Argusaugen auf jede Referenz, auf die Korrektheit des noch so penibel Dargestellten, während das unbefangene Publikum sich mit unzähligen nerdigen Verweisen konfrontiert sieht. Sibylle Berg umgeht diese Problematik mühelos. Ihr neuer 600-seitiger Roman »GRM« ist kein Buch über Grime selbst, es handelt von jenem beunruhigenden Zustand dieser Welt, der das Genre überhaupt erst entstehen lassen konnte. In einem Großbritannien, das vom Neoliberalismus zu Tode privatisiert wurde, folgt »GRM« über Jahrzehnte vier Kindern und ihrer Rebellion gegen das, was vom Land noch übrig ist. Die Kinder zetern gegen eine Welt, die sie längst aufgegeben hat, gegen einen Staat, in dem für sie kein Platz vorgesehen ist, und gegen eine Elterngeneration, die ihr nur Überforderung, Verachtung oder Desinteresse anbieten konnte. Doch Grime hingegen, Grime hat immer zugehört.

Dein neuer Roman »GRM« beginnt in der britischen Kleinstadt Rochdale und erzählt von einem England in allzu naher Gegenwart, das sich durch neoliberale Politik, staatlicher Überwachung und Nationalismus in einen unmenschlichen sowie unbewohnbaren Ort gewandelt hat. Warum findet diese Geschichte ausgerechnet in England statt? Was unterscheidet das Setting von, sagen wir mal, Amerika oder Deutschland, wo sich diese Entwicklungen in Grundzügen auch abzeichnen?

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Das Buch beginnt zu Beginn unseres Jahrtausends und spielt in einem Fast-Jetzt, klugscheißere ich ein wenig herum. England vereint zwei wunderbare Faktoren, die für die Recherche zu meinem Buch wesentlich waren, in einer brutalen Fast-Perfektion zusammen. Also perfekter als in anderen westlichen Ländern. In England hat der Neoliberalismus, den Warren Buffet vor einiger Zeit als Krieg der Reichen gegen die Armen betitelte, mit Margareth Thatcher begonnen und jetzt fast gewonnen. Ein großer Teil der Bevölkerung, es sind nahezu 20%, werden für die Erwirtschaftung des Bruttosozialproduktes nicht mehr benötigt. Sie scheinen wie ausgelagert an Orte wie Manchester Salford, Teile von Liverpool, und wie all die Orte, an denen es keine Arbeit und keine Perspektiven gibt, noch alle heißen. Die Bewohner*innen dort werden durch privatisierte – in Großbritannien ist der Traum der weitgehenden Privatisierung gesellschaftlichen Eigentums auch am deutlichsten fortgeschritten – Hilfsleistungen, Tafeln, christliche Güte und bürokratische Schikane nur noch mäßig am Leben gehalten und scheinen auf ihr Aussterben zu warten.Zum anderen ist die Überwachung der Bevölkerung auf einem hohen Grad der Perfektion angelangt. Ein Zustand, von dem Neoliberale anderenorts noch träumen. Die USA sind natürlich auch ein wunderbares Beispiel für alles, was auf der Welt trotz dieses angeblich wunderbaren Zeitalters der allumfassenden Verbesserung der Lebensbedingungen schief gehen kann, nur wollte ich mein Buch in einem Land spielen lassen, das uns hier im deutschsprachigen Raum näher ist. Was sozusagen wir sind.

Deine jugendlichen Hauptfiguren Don, Karen, Hannah und Peter erscheinen als Humanist*innen in einer völlig korrumpierten, empathielosen Welt, die die unzähligen Generationen vor ihnen verschandelt haben. Im Laufe des Buchs und Älterwerdens rebellieren sie gegen den Überwachungsstaat, der sie umgibt, auch weil ihnen nichts anderes übrig zu bleiben scheint. Siehst du da Parallelen zum Archetyp des Grime-Künstlers?

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Die Rebellion, das Nichtfunktionieren in Erwartungen und der Nicht-Glaube ans System zeichnet HipHop aus und Grime unterscheidet sich nicht davon. Die Musik, die eine politische Kampfansage ist, die Jugendlichen hilft, Selbstbewusstsein und Würde in beschissenen Lebenssituationen zu bewahren oder zu bekommen. Es geht im Buch und in der Musik darum, sich nicht mit dem Platz zu begnügen, der für einen bereitgestellt scheint. Nicht apathisch zu warten, sondern wütend zu werden. Energie zu bekommen, die die Voraussetzung ist, um wenigstens zu versuchen, sein Leben zu verändern. Grime war mit eines der Puzzleteile, als ich an dem Thema des Buches studierte. Ich sah den sehr alten Devlin-Track »Community Outcast«. Grime ist die Musik, die alle Jugendlichen, die ich in UK besuchte, hörten. Grime ist Widerstand, Spaß, Hoffnung.

Manchmal kann man dich in Instagram-Stories erwischen, wie du im Auto Grime hörst. Welche Künstler*innen, Songs oder Musikvideos haben dich während der Recherche beeinflusst?

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Vollkommen unzusammenhängend nenne ich mal Abra Cadabra, Ruff Sqwad, Wiley, Marger, Kozzie, Young M.A, Lady Leshurr, Stefflon Don, Bonkaz, Devlin, Lady Shocker, Lil Simz, Bugzy Malone.

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Statt klassische Lesungen für »GRM« abzuhalten, bist du auf Tour gegangen mit dem 14-jährigen Grime-Rapper T. Roadz aus Birmingham. Wie kam es zu dieser Zusammenarbeit?

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Es war ziemlich schnell klar, dass ich auf meiner Tour, die ich ja fast immer mit Musik kombiniere, eine Grime Artist*in aus UK dabeihaben möchte. Ich habe während der dreijährigen Arbeit an dem Buch ungefähr zweitausend Grime-Videos geschaut, Lieblinge gefunden, verworfen, und kam dann über Ruff Sqwad-Videos zur Ruff Sqwad Arts Foundation. Einem sozialen Projekt, unter dem Motto »Grime Pays«, das Slix und Prince Rapid gegründet haben, um Kindern und Jugendlichen in Grime ein Zuhause zu geben, ihnen Rappen, Mixen und Videoarbeit zu lehren. In einem Video fand ich dann T.Roadz, der damals 13 war. Ich sah ihn und dachte: Treffer. Er verkörpert für mich Grime wie wenige andere. Es dauerte dann Monate und viele Gespräche, bis klar war, dass es vielleicht funktionieren könnte, denn die Grime-Szene ist wie im HipHop oft ein wenig hermetisch. Als wir den Buchtrailer in Birmingham mit Chas Appeti drehten, bin ich fast irre geworden vor Glück. Sie waren alle gekommen. Tatsache.

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Auf deiner Bühnenshow reichst du das Mikro wortwörtlich an Grime-Rapper weiter. »GRM« selbst erhebt die Flagge für Arme, Außenseiter*innen, Nicht-Weiße, queere Personen, Menschen mit Behinderungen, kurz Communities, deren Stimmen immer noch kaum zu hören sind. Welchen Stellenwert hatte Repräsentation beim Schreiben von »GRM«?

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Wie eigentlich in fast allem, was ich mache, sind die Nichtangepassten, die an den Rand gedrängten, die nicht im System Funktionierenden die Menschen, die ich liebe, die ich verstehe, für die ich etwas mache. Der Rest braucht mich nicht. Den Rest brauche ich nicht. Die sogenannten Freaks – für mich eine Ehrenbezeichnung – machen meine Welt lebenswert.

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Ich musste über eine Stelle am Anfang des Buchs schmunzeln, in der du sehr präzise die männliche Kennerhaltung sowohl im Rap als eigentlich auch im Musikjournalismus generell zusammenfasst: »Scheinbar war für sie Grime erfunden worden. Don wusste nicht von wem, auch nicht, aus welchen Bestandteilen – das war Diskussionsstoff für junge Männer, die sich mit Fachbegriffen eine Aura von Unbesiegbarkeit verleihen konnten.« Wie denkt Grime Geschlechterfragen? Wie emanzipatorisch ist Grime selbst?

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Geht so. Es ist wie fast überall im HipHop eher geprägt von fraternisierenden Männerbünden. Von Männern oder Jugendlichen, die anderen Männern gefallen wollen. Einzig die Inhalte der meisten Songs sind weniger sexistisch, als das oft bei deutschsprachigen Knalltüten der Fall ist. Und es gibt immerhin eine ganze Bandbreite an recht erfolgreichen weiblichen Grime-Artists. Bei dem Nachwuchs in der Ruff Sqwat Arts Foundation gibt es sehr viele junge Frauen. Ein kleiner Insta-Tipp am Rande: @Femaletalent.

»GRM« widmet sich sehr ausgiebig den gesellschaftlichen Folgen des Neoliberalismus und rückt die klaffende Spanne Arm gegen Superreich in seinen Fokus. Der Grime-Kunstler Stormzy hat jüngst bei einer Brit-Awards-Performance Theresa May für die katastrophale Handhabung des Grenfell Tower-Brands verantwortlich gemacht und folgende Zeilen für BBC-Zuschauer gerappt: »Just forgot about Grenfell, you criminals, and you got the cheek to call us savages, you should do some jail time, you should pay some damages, we should burn your house down and see if you can manage this.« Wird die Klassenfrage wieder präsenter?

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Natürlich. Die Klassenunterschiede, die es natürlich zu jeder Zeit gab, werden ja auch wieder schärfer. Der Überbevölkerung, den mangelnden Ressourcen geschuldet, sind sie erbitterter als früher, als die herrschende Klasse den Arbeitnehmer zur Wahrung der Produktionskette benötigte. Heute fallen durch die Digitalisierung viele Arbeitsplätze weg, das macht den Kampf noch härter, denn platt gesagt, wissen die wenigen Prozent der Superreichen nicht, wozu sie die Armen noch benötigen, und ihr Widerwille für sie aufzukommen, ist wieder auf einem fast feudalistischen Niveau. Genau um diesen Konflikt geht es in dem Buch. Um die Beantwortung der Frage: Wie hängt der immer größer werdende Kapitalunterschied weltweit gerade mit dem Erstarken der Faschisten, dem Erlassen immer neuer Überwachungsgesetze, und der Idee einer Überwachungsdiktatur nach chinesischem Vorbild zusammen?

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Dietmar Dath unterscheidet beim revolutionären Aufbegehren zwischen kalter und heißer Wut: »Heiße Wut ist Erregung, die zwar die Quelle des Übels erkennt, das sie reizt, aber nicht weiterdenken kann als bis zum unmittelbaren Gegenschlag.« Kalte Wut hingegen sei »der Zustand der Unzufriedenheit über Leiden und ausbleibendes Vergnügen, der zum kühlen, auf langfristigen Erfolg angelegten Plan aushärtet, statt sich in spontanen Eruptionen zu verausgaben.« Steckt tatsächlich revolutionäres Potenzial in Grime oder verpufft es in dem bloßen Ausdruck von Rebellion?

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Ja, wenn man das mal wüsste. In der Vergangenheit war Herrschaft – der »Herr« passt zum Dath-Zitat – immer mit Kapital verbunden. Revolutionen brachten immer eine kurzfristige Änderung der Systeme. Aber von Grime zur Revolution ist es ein weiter Weg. Allerdings herrscht selbst in libertären Kreisen gerade eine gewisse Angst vor Unruhen. Hoffen wir einfach, dass die Unzufriedenheit, die weltweit zunimmt, nicht noch mehr Zulauf in die neoliberalen Torhüter – die faschistischen Parteien – und den faschistischen Diktatoren bringt.

 

=======================ALL GOOD interview==============================

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Vertaling van bovenstaand interview van   in de Nederlandse taal:

Vertaling 17-5-19 @falsel_net

Sibylle Berg   “Grime is verzet, plezier, hoop”.                                                             

De roman “GRM” van de schrijver Sibylle Berg is geen boek over Grime zelf, maar helemaal hiphop-lectuur. ALL GOOD auteur Lukas Klemp sprak met haar.

Romans over muziekgenres mislukken vaak vanwege hun claim om zowel die-hard fans als geïnteresseerde nieuwkomers een literair begrip van een subcultuur te geven. Het is zeker geen dankbare taak om deze zo geloofwaardig mogelijk vast te leggen: zowel fans als critici kijken met Argus’ ogen naar elke referentie, naar de juistheid van wat zo nauwgezet wordt afgebeeld, terwijl het onpartijdige publiek wordt geconfronteerd met talloze nerdy referenties. Sibylle Berg omzeilt dit probleem moeiteloos. Haar nieuwe 600 pagina’s tellende roman “GRM” is geen boek over Grime zelf, maar over de verontrustende staat van deze wereld die het genre in de eerste plaats deed laten ontstaan. In een Groot-Brittannië dat door het neoliberalisme is geprivatiseerd, volgt “GRM” decennialang vier kinderen in hun rebellie tegen wat er nog over is van het land. De kinderen schreeuwen tegen een wereld die ze allang verlaten hebben, tegen een staat waarin geen plaats voor hen is, en tegen een generatie ouders die hen alleen maar buitensporige eisen, minachting of desinteresse kon bieden. Maar Grime, echt hè, Grime heeft altijd geluisterd.

Uw nieuwe roman “GRM” begint in de kleine Britse stad Rochdale en vertelt over een Engeland in de huidige tijd dat door de neoliberale politiek, staatstoezicht en nationalisme is veranderd in een onmenselijke en onbewoonbare plaats. Waarom speelt dit verhaal zich af in Engeland? Wat onderscheidt de omgeving van bijvoorbeeld Amerika of Duitsland, waar de belangrijkste kenmerken van deze ontwikkelingen ook naar voren komen?

Het boek begint aan het begin van dit millennium en speelt in het bijna nu, of is dat te betweterig : Nee toch? Engeland verenigt twee prachtige factoren die essentieel waren voor het onderzoek voor mijn roman, in brute bijna-perfectie. Dus perfecter dan in andere westerse landen. In Engeland begon het neoliberalisme, dat Warren Buffet enige tijd geleden de oorlog van de rijken tegen de armen noemde, met Margreth Thatcher en, het heeft nu bijna gewonnen. Een groot deel van de bevolking, bijna 20%, is niet langer nodig om het bruto nationaal product te genereren. Ze lijken te zijn uitbesteed aan plaatsen als Manchester Salford, delen van Liverpool, en alle steden waar geen werk en geen perspectief is, hoe die ook moge heten. De bewoners worden daar slechts een beetje in leven gehouden door privatisering – in Groot-Brittannië is ook de droom van een verregaande privatisering van het sociale eigendom het duidelijkst vergevorderd – van hulpdiensten, voedselbanken, christelijke goedheid, bureaucratische intimidatie, en lijken te wachten op hun uitsterven.

Aan de andere kant heeft het toezicht op de bevolking een hoge mate van perfectie bereikt. Een staat waarvan neoliberalen elders kunnen dromen. Natuurlijk zijn de Verenigde Staten ook een prachtig voorbeeld van alles wat er mis kan gaan in de wereld, ondanks deze zogenaamd prachtige tijd van alomvattende verbetering van de levensomstandigheden, maar ik wilde mijn boek laten spelen in een land dat dichter bij ons, bij de Duitstalige wereld ligt. Bij wijze van spreken.

Je jeugdige hoofdrolspelers Don, Karen, Hannah en Petrus verschijnen als humanisten in een volledig gecorrumpeerde, empathieloze wereld die door de vele generaties voor hen is misvormd. In de loop van het boek en hun coming-of-age komen ze in opstand tegen de controlestaat die hen omringt, ook omdat ze geen andere keuze lijken te hebben. Ziet u parallellen met het archetype van de Grime-artist?

De rebellie, het niet-voorhanden zijn van hoop en verwachting en het ongeloof in het systeem onderscheidt HipHop niet van Grime. De muziek, een politieke oorlogsverklaring die jongeren in slechte levenssituaties helpt hun zelfvertrouwen en waardigheid te behouden of verwerven. Het boek en de muziek gaan over het niet tevreden zijn met de ruimte die voor hen (niet) beschikbaar lijkt te zijn. Niet om apathisch te wachten, maar om boos te worden. Om de energie te krijgen die nodig is om op zijn minst te proberen zijn eigen leven te veranderen. Genoeg stof tot nadenken dus en een van de puzzelstukjes die ik nodig had toen ik het onderwerp van het boek bestudeerde. Ik zag de zeer oude Devlin track “Community Outcast”. Grime is de muziek waar alle jongeren die ik in Engeland heb bezocht naar luisterden. Grime is verzet, plezier, hoop.

Soms kan men je zien in Instagram-verhalen wanneer je naar Grime in de auto luistert. Welke artiesten, liedjes of muziekvideo’s hebben je tijdens het onderzoek beïnvloed?

Volstrekt onsamenhangend noem ik Abra Cadabra, Ruff Sqwad, Wiley, Marger, Kozzie, Young M.A, Lady Leshurr, Stefflon Don, Bonkaz, Devlin, Lady Shocker, Lil Simz, Bugzy Malone.

In plaats van klassieke lezingen te geven voor “GRM”, ging je op tournee met de 14-jarige Grime-Rapper T. Roadz uit Birmingham. Hoe is deze samenwerking tot stand gekomen?

Al snel werd duidelijk dat ik op mijn tournee, die ik bijna altijd combineer met muziek, een Grime artist uit de UK wilde. Ik heb ongeveer tweeduizend Grime-video’s bekeken, favorieten gevonden, ook gedumpt, en ben vervolgens via Ruff Sqwad Arts Foundation via Ruff Sqwad-video’s naar de Ruff Sqwad Arts Foundation gekomen tijdens mijn drie jaren werk aan de roman. Een sociaal project onder het motto “Grime Pays”, opgericht door Slix en Prince Rapid om kinderen en tieners een thuis te geven in Grime, om hen te leren rappen, mixen en video’s te editen. In één video vond ik T. Roadz, die toen 13 was. Ik zag hem en ik dacht: Dat is ‘m! Voor mij belichaamt hij Grime als weinig anderen. Daarna duurde het maanden en vele gesprekken tot het duidelijk was dat het zou kunnen werken, omdat de Grime-scene vaak een beetje gesloten is zoals ook HipHop. Toen we in Birmingham met Chas Appeti de Boektrailer schoten, was ik bijna in extase van geluk. Ze waren allemaal gekomen. Is wel waar!

Op je podiumshow geef je letterlijk de microfoon door aan Grime-Rapper. De “GRM” zelf hangt de vlag uit voor de armen, buitenstaanders, niet-blanken, homo’s, queers, mensen met een handicap, in het kort gemeenschappen waarvan de stemmen nog nauwelijks gehoord worden. Hoe belangrijk was die vertegenwoordiging in het schrijven van “GRM”?

Zoals in bijna alles wat ik doe, zijn de non-conformisten, de gemarginaliseerden, de mensen die niet functioneren in het systeem de mensen waar ik van houd, die ik begrijp, waar ik iets voor doe. De rest heeft me niet nodig. Ik heb de rest niet nodig. De zogenaamde freaks – voor mij een eretitel – maken mijn wereld de moeite waard om in te leven.

Ik moest glimlachen over een passage aan het begin van het boek waarin je heel precies de mannelijke macho in rap en eigenlijk in de muziekjournalistiek in het algemeen samenvat: “Blijkbaar was Grime voor hen uitgevonden. Don wist niet door wie, of wat – het was discussiemateriaal voor jonge mannen, die zich een aura van onoverwinnelijkheid met technische termen konden aanmeten. “Hoe denkt Grime over genderproblemen? Hoe emanciperend is Grime zelf?

Hmm gaat zo. Zoals bijna overal in HipHop, wordt het eerder gekenmerkt door verbroederende mannelijke bondjes. Mannen of tieners die bij andere mannen populair willen zijn. Maar echt, de inhoud van de meeste nummers is veel minder seksistisch dan die van de Duitstalige plofhaantjes. En er is in ieder geval een heel scala aan succesvolle vrouwelijke Grime-artiesten. Bij de Ruff Sqwat Arts Foundation zitten veel jonge vrouwen onder de nakomelingen van de Ruff Sqwat Arts Foundation. Een kleine Insta tip: @Female talent.

“GRM” is zeer uitgebreid gewijd aan de sociale gevolgen van het neoliberalisme en richt zich op de gapende kloof tussen arm en superrijk. Bij de toekenning van de Britt-Awards beschuldigde de grime-kunstenaar Stormzy Theresa May onlangs van het catastrofale management tijdens en na- de Grenfell -toren brand, en rapte voor kijkers van de BBC: >> Grenfell vergeten, u misdadigers, en ons dan uitschot noemen? ; u zou de gevangenis in moeten, u zou schade moeten vergoeden! Zouden wij úw huis moeten verbranden en zien of u dit dan wel kunt managen?<<

Wordt kritiek aan de klassenmaatschappij weer actueel?

Natuurlijk. De klassenverschillen, die altijd al bestonden, worden steeds groter. De zogenaamde overbevolking, en het gebrek aan recources, is pregnanter dan voorheen, toen de heersende klasse de arbeider nodig had om de productieketen in stand te houden. Tegenwoordig gaan veel banen verloren als gevolg van de digitalisering, wat de strijd nog moeilijker maakt, omdat de paar procent van de superrijken niet weet waar ze nu nog de armen voor nodig hebben; hun terughoudendheid om te betalen is terug op een bijna feodaal niveau. Dit is het conflict waar het boek over gaat. Om de vraag te beantwoorden: hoe heeft de steeds groter wordende ongelijkheid in kapitaal en vermogen wereldwijd te maken met de versterking van de positie van fascisten, de invoering van steeds nieuwe bewakingswetten en het idee van een controledictatuur naar Chinees model?

Dietmar Dath maakt bij een revolutionaire opstand een onderscheid tussen koude en warme woede: >>”Hete woede is opwinding die de bron van het kwaad herkent, maar niet verder kan denken dan de onmiddellijke tegenaanval”.<< Koude woede daarentegen is “de toestand van ontevredenheid over het lijden en het gebrek aan plezier dat voert tot een koel duurzaam plan voor succes, in plaats van spontane uitbarsting”. Is er inderdaad revolutionair potentieel in Grime of verwatert het in de louter spraak als uitdrukking van rebellie?

Ja, wanneer we dat wisten.. Vroeger werd overheersing altijd geassocieerd met kapitaal. Revoluties brachten altijd een kortstondige verandering van systemen met zich mee. Maar het is een lange weg van Grime naar de revolutie. Toch, vergis je niet, in libertaire kringen zelfs is er een zekere angst voor onrust. Laten we hopen dat de ontevredenheid die wereldwijd toeneemt, niet leidt tot een nog grotere toestroom van neoliberale capo’s en hun handhavers – extreemrechtse partijen – uiteindelijk fascistische dictators.

======English Translation of Interview====================================

http://allgood.de/features/interviews/grime-ist-widerstand-spass-hoffnung/

Buch Trailer: https://www.youtube.com/watch?v=gaZo0Kd_9kI

GRIME Music: https://www.youtube.com/watch?v=PafJ6AvkSTg&list=RDPafJ6AvkSTg&start_radio=1&t=17

Interview, May 16th 2019, by Lukas Klemp:

Sibylle Berg “Grime is resistance, fun, hope.”

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The novel >>GRM<< by the writer Sibylle Berg is not a book about Grime herself, but hip-hop reading is. “ALL GOOD”-author Lukas Klemp spoke to her.

Screen Shot 2019-05-21 at 11.53.54

Novels about musical genres often fail because of their claim to give both die-hard fans and interested newcomers a literary understanding of a subculture. To capture this as credibly as possible is certainly not a grateful job: fans as well as critics look with Argus- eyes at every reference, at the correctness of the meticulously portrayed, while the unbiased audience is confronted with countless nerdy references. Sibylle Berg bypasses this problem effortlessly. Her new 600-page novel >>GRM<< is not a book about Grime herself, it is about the disturbing state of this world that allowed the genre to emerge in the first place. In a Great Britain that was privatised to death by NeoLiberalism, >>GRM<< follows four children for decades and their rebellion against what is still left of the land. The children clamor against a world that they have long abandoned, against a state in which there is no room for them, and against a generation of parents that could only offer them excessive demands, contempt or disinterest. But Grime, on the other hand, has always listened.

Your new novel “GRM” begins in the small British town of Rochdale and tells of an England in the all-too-near present that has been transformed into an inhuman and uninhabitable place by NeoLiberal policies, state surveillance and Nationalism. Why is this story taking place in England of all places? What distinguishes the setting from, let’s say, America or Germany, where the main features of these developments are emerging?

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The book begins at the start of our millennium and plays almost now, and I shit around a bit. England unites two wonderful factors that were essential for the research on my book in a brutal almost-perfection. So more perfect than in other Western countries. In England, the NeoLiberalism, that Warren Buffet called ‘war of the rich against the poor’ some time ago began with Margaret Thatcher and has now almost won. A large part of the population, almost 20%, is no longer needed to generate the gross national product. They seem like outsourced to places like Manchester Salford, parts of Liverpool, and like all the places where there is no work and no prospects, nor all of them are called. The inhabitants are kept alive only barely by privatised – in Britain the dream of extensive privatisation of social property is also most clearly advanced – aid, food, Christian goodness and bureaucratic harassment and seem to be waiting for their extinction.

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On the other hand, the surveillance of the population has reached a high degree of perfection. A state that Neo-Liberals elsewhere still dream of. The USA is of course also a wonderful example of everything that can go wrong in the world despite this supposedly wonderful age of all-encompassing improvement in living conditions, but I wanted my book to play in a country that is closer to us here in the German-speaking world. What we are, so to speak.

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Your youthful protagonists Don, Karen, Hannah and Peter appear as Humanists in a completely corrupted, non-empathic world that the countless generations before them have disfigured. In the course of the book and growing up, they rebel against the surveillance state that surrounds them, also because they seem to have no other choice. Do you see parallels to the Grime artist’s archetype?

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The rebellion, the non-functioning in expectations and the non-belief in the system characterises HipHop and Grime is no different. The music, which is a political challenge that helps young people to maintain or get self-confidence and dignity in shitty life situations. The book and the music are about not being satisfied with the space that seems to be provided for you. Not to wait apathetically, but to get angry. To get the creative energy that is necessary to at least try to change one’s life. Grime was with one of the pieces of the puzzle when I studied the subject of the book. I saw the very old Devlin track “Community Outcast”. Grime is the music that all the young people I visited in the UK listened to. Grime is resistance, fun, hope.

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Sometimes you can get caught in Instagram stories listening to Grime in the car. Which artists, songs or music videos influenced you during the research?
Completely incoherent I recall: Abra Cadabra, Ruff Sqwad, Wiley, Marger, Kozzie, Young M.A, Lady Leshurr, Stefflon Don, Bonkaz, Devlin. Lady Shocker, Lil Simz, Bugzy Malone.

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Instead of giving classic readings for “GRM”, you went on tour with 14-year-old Grime-Rapper T. Roadz from Birmingham. How did this collaboration come about?

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It soon became clear that on my tour, which I almost always combine with music, I wanted a Grime Artist from the UK. I watched about two thousand Grime videos, found favorites, discarded them, and then came to the Ruff Sqwad Arts Foundation via Ruff Sqwad videos. A social project under the motto “Grime Pays”, which Slix and Prince Rapid founded to give children and teenagers a home in Grime, to teach them rapping, mixing and video work. In a video I found T.Roadz, who was 13 at the time. I saw him and thought: Bingo! For me he embodies Grime like few others. It then took months and many conversations until it was clear that it might work, because the Grime scene is often a bit hermetic like in HipHop. When we shot the book trailer in Birmingham with Chas Appeti, I almost went crazy with happiness. They had all come. Fact.

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On your stage show you literally pass the microphone on to Grime-Rapper. >>GRM<< itself raises the flag for the poor, outsiders, non-whites, queer people, people with disabilities, in short: communities whose voices are still barely audible. How important was representation in writing >>GRM<<?

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As in almost everything I do, the non-conformists, the marginalized, the people who don’t function in the system are the people I love, I understand, I do something for. The rest don’t need me. I don’t need the rest. The so-called ‘freaks’ – a title of honour for me – make my world worth living in.

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I had to smile at a passage at the beginning of the book in which you very precisely summarized the male connoisseur attitude both in rap and actually in music journalism in general: “Apparently Grime had been invented for them. Don didn’t know by whom, not even from which components – that was discussion material for young men who could lend themselves an aura of invincibility with technical terms.” What does Grime think about gender issues? How emancipatory is Grime himself?

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It works like this. As almost everywhere in HipHop, it is rather characterized by fraternizing male associations. From men or young people who want to please other men. Only the contents of most songs are less sexist than is often the case with German-language pop bags. And there is, after all, a whole range of quite successful female Grime artists. There are a lot of young women among the offspring at the Ruff Sqwat Arts Foundation. A little Insta tip on the side: @Femaletalent.

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>>GRM<< is very extensively devoted to the social consequences of NeoLiberalism and focuses on the gaping gap between the poor and the super rich. Grime artist Stormzy has recently blamed Theresa May for the catastrophic handling of the Grenfell Tower fire in a Brit Awards performance and rapped the following lines for BBC viewers: “Just forgot about Grenfell, you criminals, and you got the cheek to call us savages, you should do some jail time, you should pay some damages, we should burn your house down and see if you can manage this.” Will the class question presented again?

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Of course. The class differences, which of course existed at all times, are getting sharper again. Owing to the overpopulation and the lack of resources blaming, they are more bitter than before, when the ruling class needed the workers to maintain the production chain. Today, digitalisation is causing the loss of many jobs, which makes the struggle even tougher, because, flatly put, the few percent super-rich don’t know what they need the poor for, and their reluctance to pay for them is back at an almost feudalistic level. It is precisely this conflict that the book deals with. To answer the question: How is the ever-increasing difference in capital worldwide related to the strengthening of the fascists, the enactment of ever-new surveillance laws, and the idea of a surveillance dictatorship based on the Chinese model?

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Dietmar Dath distinguishes between cold and hot rage in the revolutionary revolt: >>Hot rage is excitement that recognizes the source of the evil that irritates it, but cannot think further than to the immediate counter-attack<<. Cold rage, on the other hand, is >>the state of dissatisfaction with suffering and lack of pleasure that hardens into a cool plan for long-term success instead of spending itself in spontaneous eruptions<<. Is there indeed revolutionary potential in Grime or does it fizzle out in the mere expression of rebellion?
Yes, if we only knew that. In the past, domination (Herrschaft) was – the “Herr” fits the Dath quotation – always associated with capital. Revolutions always brought a short-term change of capital distribution systems. But from Grime to Revolution it is a longer way. But even in libertarian circles there is a certain fear of unrest. Let us simply hope that the dissatisfaction, which is increasing worldwide, does not bring even more influx of people into the NeoLiberal gatekeepers – the fascist parties – and the fascist dictators.

# transl: JvT

============================================================

Mijn advies/ my advice: ga stemmen/ go VOTING in the EU election. DO IT.

Posted in Apocalypse, Revolution, surveillance, Uncategorized | Leave a comment

Interview with Maximo Ibarra, CEO KPN

Schermafbeelding 2019-04-24 om 12.42.43

The famous Tech Watcher Vincent Evers interviewed Maximo Ibarra, the recently started CEO of KPN, one of the Netherlands Telecom Operators, after one year in that position. See: https://www.youtube.com/watch?v=Q-Fi4heyJ84&feature=youtu.be

In my humble opinion the most revealing of his answers where:

  • A clear formulation of the new/enhanced POLICY / Mission for the company “Building the digital infrastructure of The Netherlands, digital highways of the country”…..”for a super huge community of integrated customers: business and consumers”
  • A confirmation of the position and plans with Internet network access Service Provider (ISP) XS4ALL, fully owned by KPN. “Improve the quality & experiences of customers”… “pleasant surprised by the positive reactions of XS4ALL users. Keep that passion in the company and expand it” .

====> I hope that is an echo of what I wrote some time ago about the possible dissolving of the xs4all brand: https://theconnectivist.wordpress.com/2019/01/16/mijn-reaktie-op-de-aankondiging-van-kpn-om-het-merk-xs4all-te-termineren/

PS I then even proposed a new brand name for the new combined Network Access Services of KPN & XS4ALL:    K4PN

PS. Here is Ibarra’s keynote speech at the recent European FTTH 2019 Conference in Amsterdam. https://www.youtube.com/watch?v=2wrTQQ2Yg6U&list=PLUFjZltyMF71iXEfKgbl35UTuCTHBF8xd&index=9

FttH = Fiber-to-the-Home is being rolled out all over the world and is a disruptive technology, in the sense that the copperhead Telco’s and Cableco’s have tried to slow it down (and even sabotage it) as much as possible to not reach homes and offices all the way. Now the wind is changing because even they will need copper to connect massive amounts of 5G basestations.

jaap van Till, TheConnectivist              “Schaduwminister voor Digitale Infrastructuur”

Posted in Uncategorized | Leave a comment

Carole Cadwalladr’s TED talk

Screen Shot 2019-04-17 at 11.39.45

(updated April 21, 2019)

“My question to you is, is this what you want? Is this how you want history to remember you? As the handmaidens to authoritarianism?”

Watch as calls out the “gods of Silicon Valley” for being on the wrong side of history:      

She is a tower of braveness. My respect !!!

Kroon 2

update: Today Easter April 21, 2019 I have decided to award journalist Lady Carola Cadwalladr the “Crown of Freedom” see: https://theconnectivist.wordpress.com/2015/11/13/the-crown-of-freedom/ for her unrelenting work to find and expose villains attacking democracy, as published in the #Guardian and this TedTalk.

jaap van till, TheConnetivist

Posted in authoritarianism, belief system, Benkler, Brainwashing, Brexit, Cambridge Analytica, Crown of Freedom, democracy, denocracy, disinformation, Election, election meddling, elections, Ethics, Facebook, Fake news, Freedom, influencing peoples perception, Internet Freedom, Mass Mental Manipulation, Media, micro targeting, mindfucking, moral values, polarisation, populism, privacy, profiling, PsyOps, Russian mass manipulation of foreign elections, social media, statue of Liberty, Uncategorized, Voter manipulation | 2 Comments

The Future Is ASIAN, now in Dutch language version

9789000358847_download.jpg
1. Dear readers of my theCONNECTIVIST blogpage, in May 2016 I reported about an important book by Parag Khanna describing the worldwide main infrastructures for [transport of goods&people/ transport of energy / transport of information] : https://theconnectivist.wordpress.com/2016/05/03/book-connectography-mapping-the-global-network-revolution/ 
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2. Now Parag has published a new book which describes what is happening in EurAsia: “The Future Is Asian”.  The positive coverage and reviews can be seen at: www.paragkhanna.com/ourasianfuture
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At a time when Europe is facing inner frailty and strains in the transatlantic relationship, Asia presents enormous opportunities for boosting trade along the new Silk Roads. See also my blogs here about my prognosis for the upcoming “Corridoria” Trade Route: https://theconnectivist.wordpress.com/2014/04/13/the-list-of-booming-city-regions-on-the-corridoria-trail-april13-14/
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3. And he is very pleased to announce the release of the Dutch edition of his new book
 About the Dutch edition published by Het Spectrum : (will be available April 19, 2019)
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This is what Parag Khanna wrote to me about this new book and its connection with The Netherlands:
Some of you may recall that I have written in the past about the Dutch imperial model of maritime commercial enclaves and its relevance to understanding China’s global mercantilism today, as well as Holland’s role in inspiring Singapore’s port development.
In this book there is even more emphasis on the emerging Euro-Asian convergence that I look forward to discussing with you during an upcoming trip to the Netherlands and any other moments we may have to discuss the most important geopolitical and economic issues of our age.
I very much hope you enjoy Azië is de toekomst and I look forward to your feedback “
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Jaap van Till
TheConnectivist
Posted in #Corridoria, China, Connectography, EurAsia, infrastructures, new silk route, OBOR, Uncategorized | Leave a comment

Junglenomics: making the world Economy part of Nature

Screen Shot 2019-03-22 at 11.23.27

Bookcover of Junglenomics by Simon Lamb – the Tree of Life

My strong recommendation is to read this new book as soon as it comes out on Amazon and in bookshops: Junglenomics – Nature’s solutions to the world environment crisis: a new paradigm for the 21st century and beyond – by Simon Lamb. 

Here is my short review:

The crux of this super relevant book is that we have to organize human society as an Ecology and collaborate, to fit into Nature’s Ecologies, if we want to survive as a species. Instead of still concentrating on exploiting everything around us and extract value from others and nature, to enrich ourselves. We have to stop this colonist mentality. In an ecology synthesis creates value which can be shared by all participants and parts of Nature. And the book gives guidelines how to build such P2P cooperating Ecology. It is a joy to read that our children CAN have a future.

To Greta Thunberg i can say: “buy this book for your parents to read”, for the #ExtinctionRebellion , #YouthforClimate and #EggKids” .

In my humble opinion this Junglenomics book connects very well with the constructive idea’s of:

and https://theconnectivist.wordpress.com/2012/07/15/the-evolution-of-cooperation/

Jaap van Till, TheConnectivist

========This is what Simon Lamb wrote about the book======

A New Plan and a New Mindset for Protecting Our Planet .  See: https://junglenomics.com/

“Junglenomics is far more than an idealistic proposal, it is a blueprint for managing and reversing the rapid decline of our shared planetary ecosystem. An unrecognised power source of evolution is brought to light in a way that is both bold and compelling, and ultimately, overwhelmingly convincing. This book is essential reading for those who wish to see an end to the jeopardy that threatens our world. Future generations, and indeed Nature itself, will judge us on whether we accept the desperate need for a major re-appraisal of our approach to protecting all inhabitants of this treasured Earth.”

About the Author:

Simon Lamb is a writer on evolution, economics and the environment. He was born in London in 1951, and studied economics, maths, languages and art at Wellington College. He began his working career in finance, but a passion for nature, countryside, and natural science convinced him to return to his childhood stamping ground in Dorset. Simon is senior partner in a successful Fine Art business and has also been involved in farming for most of his working life.

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Posted in Climate, climate change, climate turbulence, Darwin 3.0, Diversity, ecology, Environment Crisis, Evolution, global warming, Junglenomics, Life on Earth, Nature, Nowak's Law, Renaissance, The Connected Universe, Uncategorized, Value Creation, Vital for Life | Leave a comment

Big Impact expected from STADIA Google’s Streaming Game Platform

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(updated. Version April 16 , 2019)

On 19 March 2019 Google announced STADIA, its streaming gaming platform for nearly anything that has a screen.

Essential is that for online gaming  Google’s will use its own worldwide network infrastructure (not the internet) as much as possible and its nearest Google cloud of datacenters. So do not be fooled it is a new device, it is a global interconnected network of : your device, for instance Smartphone + little handset(Wifi); the digital infra of your ISP, preferably FttH; Google’s optic fiber links ; connected to Google datacenter (cloud of computers).Screen Shot 2019-03-25 at 14.50.16

Here is the appetizer for what you will see:

https://www.ign.com/videos/2019/03/19/google-stadia-announcement-trailer

and the explanation of what they do and intend to do.

It is obvious that while other companies and telco’s are trying to copy the Netflix success with low cost streaming media CONTENT (films) and their CDNs (content delivery networks), Google goes a step ahead. They are building up a STREAMING REAL TIME INTERACTIVE GAMING AND GROUP COOPERATIVE CREATING platform. And it can be scaled up in image quality, processing power and storage capacity for the users.

Below is that analysis of the expected impact of STADIA, re-blogged here with the permission of the author Rudolf van der Berg.

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Some extra assessments of myself:
* The announcement spoke of ALL devices with a SCREEN that can be used.
   In practice this will mean that a “model” of the environment of the game, let’s say a      STADIUM is loaded once to the device, and then only the positions of the player and its instruments have to be transmitted constantly.
This concept is derived from the ancient development of the Vocoder which filtered all redundancy out of the secret voice transmissions of heads of state. This compression worked in order to be less vulnerable to decrypting, by only sending the positions of certain parts of the vocal tract of the speaker + some hiss tones(white noise)
* Latency on the processing of the devices and the end-to-end connection must be at least CONSTANT and as small as possible to have a good streaming image and sound performance.
* so the crux of Stadia is to exchange patterns in real time between computers over high capacity stable network connections. Can ISP’s deliver on that?
* Two more things we have to watch: (a) the quality of the sound. This is always underestimated. Actually the perception of the images depend very much on the quality of the sounds. That is why you still go to a movie theatre right !
(b) I wonder what will happen when hundreds of millions of users go gaming, cooperating and going to interact with each other like birds in SWARMS……
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And if in the coming years the Euro politicians will moan and groan about the dominant position of Google and Silicon Valley, I can show them this: I told them so, right? NOW is the time to assist the GAMING DEVELOPERS in Europe to make use of this
platform and roll out the most creative and challenging GAMES and group simulation
tools for collaborating whizz kids :-))
Jaap van Till, TheConnectivist
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What Google Stadia will mean for broadband and interconnection (and Sony, Microsoft and Nintendo)

Google Stadia is Google’s new games platform based on Youtube. It demoed Tuesday and will launch later this year. It competes with Playstation, Xbox and Nintendo for the $67B console market and it may also eat into the mobile gaming market, itself a $70B market. Yes, gaming is the biggest content market in the world. It is a cloud-based gaming platform, done very differently than its Microsoft and Sony competitors, because it is built on Youtube and Google’s position in the world’s broadband networks and peering/transit interconnection.

I wrote this because I wanted to understand what leverage Google has to break into this market and how it will affect telecom companies and internet service providers. My conclusion, most of this is built on Google’s datacenter play and access providers will see a wave of traffic coming. This is the killer-app for FTTH/Docsis 3.1. Sony and Nintendo can go home and Microsoft needs to become a cloud player for real now.

What is Google Stadia?

What makes Stadia different than current gaming is that any device that can run Youtube in HD at 30/60 frames per second is good enough to game on. It just needs bandwidth (roughly 15–25Mbps). If it’s a laptop or PC, any controller connected to it can work. A Chromecast would work too, turning any display into a gamestation. The controls then will have to come from a dedicated controller, that looks just like what Sony or Microsoft offers, but is different, because it hooks up to your WiFi. Yes, the controller connects directly to the home network and Internet! All the processing is done in Google’s cloud and they send a 25Mbps Youtube video-stream to your device. A Samsung or LG TV would know from the URL which clip of your gameplay to request and receive. So for the price of $30-ish for a controller, your TV could display games that normally would require a 300 dollar console.

What sets Google apart in my opinion is that it treats games as Youtube video clips/web-pages that you as a player or viewer can interact with in real time. Any game session that is played can be broadcasted to, viewed and interacted with by others. Your friends could be playing this game and if they send you the URL via Whatsapp you could jump straight in from a mobile device. Or your friend is happy she did the Kessel Run in 12 parsecs and you could copy the starting point and do the same thing but try to beat her. Watching gaming via Youtube is already massive. Now you can join, broadcast, copy, play, monetize and create straight from watching someone else. You can embed the gameplay into any webpage or online video platform.It merges the two platforms and could create a massive interactive online experience. (and boy will we find some new forms of abuse)

How does this affect Google’s infrastructure?

Online gaming has always put stress on broadband networks not for their bandwidth demands, but for their latency demands. These two are linked to some extent, because if you need to send 1MB of data over a 1Mbps line, it will take a minimum of 8 seconds. Physics is what it is. However here it is relatively small inputs, but many of them, in rapid succession from the player and then a stable stream of 15–25 or more mbps back from Google. This puts strain on broadband networks. They have to find a way to optimally deliver traffic to Google with the shortest path possible. And vice versa they have to deal with massive incoming streams of 15–25Mbps per player to display HD and more for 4K.

The incoming streams are completely different than Netflix’s streams at similar resolutions. Netflix’s streams are optimally compressed to take as little bandwidth as possible and still give a great image. It is quite robust too. If Netflix needs to pre-load 30 seconds, it doesn’t matter, your TV has enough memory to cache this. If bandwidth deteriorates, so will your image quality, they just send you a different version of the same movie, at slightly lower quality. Plus, Netflix has OpenConnect, its CDN that is deep into most metrocore locations of telcos. Traffic often has to travel less than 30km to your home. Each instance handles up to 35Gbps/~7000 streams per 1u rack unit (equivalent to 21K-42K customer premises) and saves telco CTO’s thousands of dollars per node in uplinks as traffic is handled locally.

All of this will be harder to do for Google. The player will expect a maximum roundtrip time of 200ms, preferably less than 150ms. Each game and each player is different and that messes everything up. You can forget about caching, pre-loading, compressing, because everything that the fingers do now, needs to be shown on the screen now. Google has the same infrastructure for Youtube and caching video as Netflix has, together with Akamai they are the Big Three of bits. Google says it is in over 7500 locations in the world. However that infrastructure is based on the idea we’re not that original and roughly watch what everyone around is is watching too. Amazon, Facebook and Microsoft have big heads in the cloud, but they aren’t in every metro-core location, because they push less data and don’t care so much about latency.

So, the big question is how Google will deliver on the promise that it can handle gaming of any kind. Will it actually deliver a number of gaming racks in each of its 7500 edge nodes? Or will it deliver its connectivity from the over 100 peering and interconnection points it has in the world? Or will it be in the datacenters it has around the world.

Latency is the killer and it will have to deal with a lot of factors. Eurogamer has an overview of some latency figures, they achieve 166ms on a laptop playing a game on Stadia. Which would put Google on par or better with a local instance of an Xbox One X! If we break that 166ms down. We get the following:

  • 10ms Wifi delay (a number Eurogamer uses, but I don’t see on my own and my employer’s Wifi with FTTH. 9ms roundtrip time to fast.com and 10 to AMS-ix.net is fine.)
  • between 40ms and 80ms to process inputs and calculate all the game state and encode it. based on how much time Call of Duty and Doom needed for it. (apparently it takes the Xbox more time, so it acts as a nice extreme case.)
  • 20 ms delay in encoding Youtube stream .
  • 20 ms delay in displaying the video on a TV-screen.

This would leave Google with roughly 36ms to 76ms for round trip time from user to server and back. Which is actually more than I expected. To reach Sweden’s Sunet.Se I need 29ms round trip and to reach Cern.ch it’s 28–35ms from the Netherlands. To travel that distance my data has passed a number of Google datacenters already. The Netherlands now has one Google datacenter and soon two. Denmark will soon have one and Belgium is expanding. There are likely some more builds across Europe.

The better the network performs, the more space Google gets to allow developers to trade-off latency with graphics. A developer that has a slow paced, but scenic game will use the latency budget to squeeze out more image quality. A twitchy football game will likely sacrifice some image quality for reduced latency. A battle royale game with lots of simultaneous players will use it for intra-server latency and syncing of state.

However, this also shows that it is really unclear why Google mentioned its 7500 Google caches at all. Why would these devices have any use at all, unless maybe to serve the video content of people watching other gamers. However, for the game developers, this would be rather useless to know. So yes, it’s fantastic Google has a massive cache system all around the world, but it’s the datacenters that appear to be the basis of the success.

BTW I would love to see a guestimate of how many PS4 equivalents could stuff in one rack. Also a guestimate of how much it saves in packaging, transport and retail of boxes to consumers would be welcome. My gut feeling is that just by cutting out retail, logistics it saves half of the cost of a PS4. That figure is than halved again, because the systems are shared resources. So roughly a PS5 equivalent for 100 dollar per user. I’m also fascinated if developers can use TensorFlow and AlphaGo based AI (and if players want them to)

Why telcos/ISPs should be afraid

The impact on networks of Stadia shouldn’t be underestimated. If Google gets any decent uptake for this system, then the amount of traffic it generates per home can be staggering. Currently most users don’t peak past 100mbps unless their Playstation has to download the latest updates. On average during peak hours (20hr — 22 hr) consumers use roughly 1mbps, of which a third is Netflix and another third is Google. All of this is served locally. The average bandwidth for a Netflix series is 4–5mbps, slightly higher of course for those that watch 4K. Even if you have a couple of teens, it’s likely consumers won’t hit more than 20–30mbps sustained traffic over longer periods.

Stadia could change all that. It promises 25mbps per device for HD level play, more for 4K. Stadia could make it fun and realistic to play with multiple players in the same home. It wouldn’t be weird or difficult to have 4–8 kids playing on iPads, TV’s and laptops. That could well be 240mbps sustained for long periods. Even in normal circumstances having many homes reach 30mbps sustained for hours would hit the averages.

On a larger scale, if Google can deliver, it wouldn’t be odd to expect 2.5% of all households to play a game between 20hr and 22hr. If you have 4 million customers, that’s 100K streams in parallel or 2.5Tbps in additional traffic. BT was very proud of handling a new record of 12Tbps on its access network and KPN said it did 6.5Tbps peak over 2018. No matter how you look at it, it will require some upgrades of core switches and private network interconnects between Google and telcos.

Mobile networks would likely buckle under the load if every user really gets 25mbps. LTE was never designed for sustained delivery of a large number of concurrent streams. It’s fast because everyone gets their webpages quickly and then vacates the air to read the content they received. 5G is sweet on paper, but far from reality and also not designed 10–40 people 25mbps sustained per cell.

Another troubling bit for networks can be the surprise peaks during the day. Let’s say on a Saturday morning a famous Youtube star demo’s some great new game and challenges his viewers to defeat her in the game. She posts the link and instantly 10k kids respond. That’s 250Gbps that just has to be handled. Mind you, that’s less than 1 percent of the following of the major Youtube stars in the Netherlands. Of course you should be able to handle it, but still it is 10–20% extra traffic out of nowhere.

For both Google and Telcos this means massive, massive upgrades to peering and private network interconnects. CTOs will likely have to upgrade links between major cities and the PNI locations.

Conclusion

Google Stadia looks very promising. Google’s mastery of the datacenter lies at the heart of its challenge of Sony, Microsoft and Nintendo. It may deliver a gaming environment at a quarter of the cost (first guestimate). Neither Sony, nor Nintendo are datacenter companies and Microsoft would need to change quite a bit in its approach. The plan looked too ambitious at first, but it appears Google Stadia could well deliver on its promises as latency is likely not an issue in modern broadband networks.

It is the networks themselves that will have to worry. FTTC/VDSL just doesn’t cut it in many instances. It may deliver one stream, but at the expense of all other traffic. Docsis 3.1 promises 10Gbps shared over a number of customers. That number of customers that share may have to be a bit lower than expected by the CFO. FTTH networks should be able to handle the load. All networks will have to work on uplinks, peering and interconnection. None of the traditional tricks of generating and keeping traffic local will work anymore. It is coming from Google and it’s a flood.

A more technical analysis below that is the basis for Eurogamer’s review.

(tech specs, yes this is important to understand what STADIA is and how it will develop.
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