They live half-dead from hunger, just a bunch of desperate losers. Why? They've no free lunch, No real security. There, all live by the knife.


Le Loup déjà se forge une félicité
Qui le fait pleurer de tendresse.
Chemin faisant, il vit le col du Chien pelé.
"Qu'est-ce là ? lui dit-il. - Rien. - Quoi ? rien ? - Peu de chose.
- Mais encor ? - Le collier dont je suis attaché
De ce que vous voyez est peut-être la cause.
- Attaché ? dit le Loup : vous ne courez donc pas
Où vous voulez ? - Pas toujours ; mais qu'importe ?
- Il importe si bien, que de tous vos repas
Je ne veux en aucune sorte,
Et ne voudrais pas même à ce prix un trésor. "
Cela dit, maître Loup s'enfuit, et court encor.

A vat of oil : A house that falls down in fire



This : its historical moment

as

Stieg Larsson film adaptations : our own

98 years on, the prosecution's long durée concrete evidence in  The Case of the General Worsening of Popular Cinema and the Mutual Incapacity to Throw This Thing in Reverse.

Of course, the defense has a very strong argument: well, beyond the exigencies of nitrate film stock and large fires, what do you think tends to get preserved?  Remember all that was lost, all that was to its historical moment as Gigli is to ours?  Remember the canon and the retroactive construction of a falsely elevated standard of taste that had little to do with what was watched and even less to do with how?  Just because something is tinted and intertitled, that doesn't mean it is better, you pissy nostalgites!

There is a tremendous scuffle in the courtroom.  "Contempt!  This is no hall of justice!  Hang them all!"  A red cloud of smoke pours up from the witness stand.  It clears.  Someone has made off with the judge.  In his place, a small obsidian gavel.  Very fragile.

[I am beginning a loose project winding through the Feuillade-Franju-Allain-Souvestre hallows of Fantômas-Judex-Les Vampires.  Henceforth, reader be aware: plot, conspiracy, and to get masked up may come to mean, for a brief period, something rather different than they have in previous writing...]

All black everything

Oh, I'm sorry.  I didn't hear you come in, you eater of light.

You're just in time.  I was just finishing up a document that will not change these circumstances.

This, of course, after it had lived for 24 years impaled on a spike above Westminister Abbey.  After it had been separated from his body, which had already been dead, which had been dug up to reopen old wounds, to be dragged through the streets and hanged.

The multiple executions of one already expired.  Such is the State's really good comeback line thought of the next day.

Insurrection for a prom night


John Maus - Cop Killer from Know Phase on Vimeo.


Riot porn has found its soundtrack of the times, a stateless coup d'état dreamed up drunk in the backseat of a car.  Yet this is no adolescent fantasy of the few.  More the scent coming through the open window, something much larger, slow, something magisterially ugly.

With all the formal driftiness of grainy footage.  With the grandeur and delay of pixels that can't quite register the speed with which a scatter of gasoline takes off, along the tar, up the body, across the shields, already fire before it gets there or got itself lit.

Baby, don't move.  Don't move a muscle.  The landscape has come in through the window.  I don't know how.  It is an ideology of nature or something, off its rocker.  I don't know.  But it falls on us like a monolith, like a guillotine, like a pastel, like...


You're beautiful like this, you know that, don't you?

capable of sweeping men out of existence

Applied Nonexistence


Check and track and know: promising (in the sense of that which aims to break tacit promises, including its own) project from Oakland environs, Applied Nonexistence.  It is, after all, "for the refined connoisseur of anti-political negation theory."  Judging from proposed projects getting off the ground, it's laying a few negative lines to follow out.  And insofar as such lines deserve the designation negative, we'll take as many as we can get.

After all,

For every tumor, a scalpel and a compress.


For every scalpel, a scalpel.

Oh my goodness



Not drums as chronometer to set a pace over which to talk about guns and how they might sound.  Drums as - and is and are - guns. In a sometimes hurry, like martial order breaking into a scared run. They sputter.

Voices learn - or do not, at their own peril - to catch up.  They stutter.

I'm not going forward...

Salvagepunk In The Birthgrave


One week from now, in London.  Getting busy getting done with a concept we had been busy getting off the ground.

And you will be fried in a variant of the very substance that you are, separated by a thin armor, and you will be consumed by that which is you are, rendered almost mobile and often capable of speech. And the money exchanged, rest assured, will bear your traces.

Forget the whole "sugar without sugar", "coffee without caffeine."  We speak of a substance wrapped, soaked, and crisped in itself.

O homeland!  You are far from me now, they have taken our line of sight from us, they have erected oceans, and I have aided them in doing so.  


But still, still I can smell you, oil thick in the lungs of us all.


The dogs, sniffing, tracking the sodden earth, sudden lost the trail.  They turned in circles, doubled back on their paths.  And she knew then, the thought dawning slow, exactly had happened.  The scent they had been tracking all along had been nothing more than their very breath.

Other than all that (Notes on Transformers 3)

[It's rare to watch a film that produces a portrait so faithful to how it is to watch it.]

1. I have never sat through such a long porn film.  Or one with so little plot.

2.  It is oddly beautiful at moments.  A massive honeycomb grid planet, a Bucky Ball writ cosmic scale, almost touching the earth before collapsing in on itself with a soft implosion of rust and creeping fire.  But the rest of the time, it feigns beauty by simply making the eyes hurt.  But not the cognitive faculties: it leaves them dull and barely frayed.  For to wound those would be sublime, which this is not.

3.  There is no point in an ideology critique in the face of such a film, because it doesn't have an ideology.  It has a howling wind, dreamt up in the belly of a CGI rendering program, that lifts and carries things, that makes other things pass in front of our behind them.

Among those things are the bad robots.  They are coded as either Arabic (wearing scarves, despite the fact that no other robots wear clothing, camped in the same desert environment where we see the good robots kill bad - or at least wearing aviators, sweating, and with a severe expression - brown people), black (literally black paint, long flowing robot dreadlocks), cops (now we're getting somewhere!), murderous birds, giant Dune-like burrowing worm-snakes that burrow through and python-strangle skyscrapers, and trolls.



The good robots are coded as, alternately, assholes or the vehicles driven by assholes.


4.  Total, utter absence of desire, on all parts.  There is a young woman of sorts, who is supposed to be incredibly hot, or so the film goes to great lengths to point out, from an opening gambit of an ass-level tracking shot up the stairs, from nearly every character, to a degree that starts to erode its own belief in this fact.  But she is a pure cipher: can we all agree that this set of parts constitutes an approximation of an ideal of the kind of woman audience members want to stare at in 3-D?  No, not her in her particularity, but as an aggregation, as a technology, as likely at any moment as any car or truck to suddenly dissemble before our eyes, and reform into something that also does not especially resemble a human but can be expected to pass for one provided that the camera move away too quickly or linger too long, such that there is a false consonance between our gaping and hers.  OK, then, all on the same page?


[The absence of desire is aided and abetted by the absence of any real absence, other than things like modulated dialogue.  Not a thing lacks.  And where it might, fluttering papers, glints from a missing sun.]

5.  Many "people" "die."  But not particularly.  Rather, they run around a set on which some real fake rubble is strewn and, at some point, they are told to throw their arms out or fall down, at which point are erased from the film by a computer, and replaced by a quick, acceptable-for-PG-13 spray of something vaguely blood color, with a sudden visibility of a very polished skull and a femur or two.  They are, that is, vaporized.  Or the "camera" cuts away, such that they are probably crushed under big feet or lacerated by the spinning razors of a metal snake's tail. But there is no gore.  They are not torn to shreds.  They are whole, and small, boring and mediocre, and then they simply are not there.  Even the man thrown through a window to fake a suicide: we do not see the impact, we do not see him open onto the ground.

6.  Conversely, it is one of the goriest films of late, provided we properly anthropomorphize the robots as we are supposed to.  (Or see them as lesser categories of humans, as in the racialized, exoticized, and demonized bad ones.)  There is no anthrorpos violence, but there is a staggering display of violence enacted on the forms - for they have no matter or weight, just shifting colors and textures - of that which is formed [morph] as if anthropos.  They dig their hand-shaped extensions deep into something we are meant to think as a chest cavity, they leak red paint and oil and anti-freeze, large chunks of rust and chunky geared organs splatter the broken city, they wrap chains around their heads and pull hard, until they come free, sputtering cables leaving it unsevered.  And like the bodies of Dante's thieves, they are never all the way one thing or another: falling through the air, they are folding in and out, like seraphim with many wings and unexplainable differences in national accents.

7.  That violence is utterly without any pathos or sentiment.  This is due less to the very terrible story and absence of character development, which, contrary to a well-trod path of thought, is not a prerequisite for a stomach to fall and turn.  It is without consequence because it is without coherence: it is incredibly difficult to see just what is happening, which robot wrist is sawing through which.  This is the consequence of a terrible, terrible brightness and clutter, in which sheets of office paper rain down side by side with trails of smoke and glass that was never broken.  We simply shut off, the far limit case of our own visual processing power, which, it turns out, is far lower than that capable of being registered in HD.  And so it spins and hurls, spits in our faces, but our sight is a glass wall.  It is porous only to a point, until the eyes are filled with light and incapable of mustering a care in the world.  Particularly when that care is for the well-being of a robot that is also a truck, which is also a defense of American interventionism and the indissociable link between defense of the human and defense of the west, which is also none of these things whatsoever, just an algorithm, whirling in the midnight sun.



8.  Because, of course, this is a film that lays more waste to content represented on the screen, in its richly-grained detail and yet which, in the process of its production, destroyed almost nothing in reality.  Laid no waste to cities, sent rockets into no shopping malls.

Consumed nothing, that is, other than literal tons of coal required to power the CGI data processing, other than rare earths frying out from overload, other than little salmon, truffle oil, and pomegranate reduction mini-tarts for the cast, other than an extra permanently brain damaged from a rare piece of real metal, other than nerve endings and synaptic pathways burnt out, other than time itself, other than this time, writing these words, on something that is both as telling of our time as can be and as utterly indifferent to it, other than massive sums of money dematerialized and sunk into the faint shimmer of dust rising from the shuddering body of a robot rendered from scratch, other than all those hands and eyes through which these circuits pass, like that burrowing, winding worm, but without awe, without a speck of glint and worth and glimmer.

Other than all that.

"I believe you, and I'd like to help, but I'm a cop."

Woman on the Run

Oh honey, look! It's standing up on two legs! Aw, it's trying to short circuit its electric fence...



How cute, they say?  As Rilke should have said, cute is nothing but the warding off of terror.


Cute is the lustrous sheen painted over the dimmer, and flawless reflective, surface that is the uncanny.  (Valley, my ass: the uncanny is a vertical mountain, miles high, of polished obsidian, perfectly smooth, but for something, a certain crack, a bend that can be seen but not felt with the hands.   

I think I just saw something move inside there. 

Tom, it's solid, it's just a pile of rock, what could inside

I don't know... but it looked like a... pistons moving.  Like, like this thing is a machine...)  

Cute is the barbed wire fence we erect to prevent ourselves from straying onto enemy lines, into trenches and hands.

Oh look, it's pretending to be something it isn't!  Oh, how simultaneously like us, crafty Odysseusians we are, and unlike us, because we are authentic!

Oh, look, it is putting its ears back and hackles up!  It must be really mad! I love how fluffy they get like that!

Oh baby, the penguins understand monogamy!  And devotion and sacrifice!  (And how terrifyingly Beckettian, trundling 62 miles in the blind idiocy of a reproduction scheme that cannot adapt or relocate!)


Because cuteness is our age's first, and most skilled, act of camouflage.  Because it does not enacted by the cute thing in question - that would be to truly anthropomorphize.  It is a minimal display of characteristics that insist on a projection, an analysis, a designation by those who point and say: cute.  It is the declaration that all things in the world, from bears to cars, are species traitors, forgoing their adherence and accordance to a metrics and purpose proper to themselves.

And in so doing, it misses - always - the actual camouflage that is happening, the research, the readying of haunches and teeth.  Which is indifferent to cuteness, but which, rather than facing up to, rather than staring into that black wall, we focus on how big and moist are its eyes, how it would look to put a little sailor's uniform on it with a tiny cap through which the ears can pole out, how it approximates - although exactly wrong, wrong as a knife with no handle - something that looks like morality, like fidelity, like prudence, like care.

And indeed, camoufleurs are, and always will be, those who know how to care the most.  Who know how to read body language.  Who really know how to listen. 



Oh my god, the parrot can perfectly imitate your voice! That's adorable! He really sounds just like you!

Three days later, John was in handcuffs, at the downtown precinct.  His eyes were blank and dry.  A car had run over his wife as she left work the day before, throwing her like a bundle of sticks to the ground, killing her instantly.  The driver was apprehended, but after extensive questioning and accessing his voicemail, there it was: John's voice, clear as could be, putting a hit out on his wife.  He denied it again and again, weeping and furious, but even he couldn't deny that yes, it really sounded just like him.

Escape From Venice, Part Two

[Part One here]


They started by sinking all craft capable of leaving the island. 

 Elite forces in scuba gear swam the night water, around the island and through its canals, with welders and auto-muffling explosives, and boat after boat went down, gurgling and burping delicately. The few tourists awake and sober enough to catch sight of the slippery shapes moving between the wrecked hulls were promptly dispatched. However, the gondolas were left untouched, a mark perhaps of a gesture of decency that those stuck there be able to circulate their pen with relative ease, perhaps of a certain perversion that relished the thought of them fumbling themselves through the city, capsizing and cursing, without skilled pilots in costumes. The vaporettos, the large water buses that moved around and between the islands, were sunk off the south coast of Giudecca. While excessive, this was a necessary measure: no chance could be left that an Italian, out of greed or compassion, would attempt a rescue of the prisoners. 

 Migrant workers were massacred without notice, their makeshift rafts torched. More than one visitor, unable to sleep in the stifled air and looking out their flung-wide hotel windows, mistook the guttering flames as sign of a local holiday.

Although the truly rich had tended to forgo Venice in its drift toward total tourist saturation, the fact that the penalization of the city occurred on the last night of the Biennale meant that the gaucher varieties of the noveau riche were still there to buy contemporary art by the yard, pound, and hour, and their personal cruise ships, named things like SLAVIC DAWN and SHAHNAZ, were still anchored off San Marco. They were boarded, inhabitants taken down with silenced shotguns, and laden with incendiary devices on timers: they blew sky high around dawn, in a carefully paced percussion echoing over the city, like the tolling of bells. The rain of Gucci-logoed upholstery, body parts, and hissing champagne was the first opaque announcement to the population of what had transpired in the night.

While the boats were being scuttled, workers went down in the defunct sewers and welded new grates, installed laser sensors linked to cyanide gas jets. Floating smart mines were placed in the surrounding waters, and thermal-sensing turret guns were mounted at strategic points on the surrounding islands. San Michele, the already fortified cemetery island, became a barracks and armory, with a fleet of black Jet-Skis at the ready to hunt down any who managed, against many odds, to navigate the waters without detection. They launched predator drones, which started to circle gracefully on updrafts, as polished vultures.

Of course, many of the relatively poorer tourists had been staying on those surrounding islands. Following a long debate about two possible options (drugging them in their sleep and dumping them on the main island or strongly encouraging them that their vacations were over and that they should be glad that they couldn't afford the pricier hotels along the Grand Canal), a third, simpler option was chosen. They simply shot them in the night. A similar debate was held regarding the few Italians unlucky enough to still live and work in Venice. The hard decision was made to leave them were they were, a difficult but unfortunately necessary cost of the operation.

And so, in the course of less than 6 hours, Venice was transformed from the most popular destination city in Europe to a guardless Alcatraz. Just a generalized life sentence passed on 83,721 tourists, on those still asleep, crammed into luxury economy suites, those planning the sights to be seen the next day, those trying to get laid, those looking over photos taken an hour before, those tossing fitfully, those dreaming of strange glaciers of frozen squid ink and shameful, back-canal encounters with no less than five gondoliers at once.

At 8 in the morning, Furbino made his announcement, to the island and to the world.

Citizens of the world and prisoners of Venice,

I address you on a joyous occasion: the proud renewal of an Italy who has found her teeth once more. And in case you haven't realized, they are sharp and strong. They are the same teeth that gnawed away the fetid umbilical cord of currency that tied us to Europe.

That day, a year and a half ago, I announced a shot across the bow of Europe. A wiser breed than you all would have taken it very seriously. For we were not bellicose, were we? It was the shot of a proud and radiant beast, locked in a cage too small for its frame, a beast who had learned to use the tools of those who thought themselves its master, who held in its grand paws a weapon it knew how to use: this was the fire arm of law and finance, of will and decision. It was not a salvo to declare war: only to declare secession and warning, to tell you to keep you pasty hands away from the bars. To leave us out of your charnal games.

But you didn't, did you? You shoved your thick fingers through, you acted like you owned the place and us with it. You came by the thousands, eating our food, staining our soil, making little pouty faces for your camera phones in front of our monuments to our heritage, pissing, like sweaty, drunken boars, on the sides of our churches. You thought that you were doing us a favor by shoving your reeking money into any hole that would take it.

Well, we will not take it. And so today we offer a second shot, this time across the bow of humanity. Across the very rights you have assumed come with belonging to a nation, of having a passport, as if those allowed you to go where you wanted and do as you pleased.

As of this moment, therefore, Venice is a penal colony. We will not fill it with those who commit crimes elsewhere, but with those whose crimes took place there, on its soil and water, with those who didn't have the decency to acknowledge their crimes, calling them merely “vacations.”

Their punishment is a life sentence. They will not get the pleasure of the authentic Italian experience they so desired: we will give up none of our own to tend them, feed them, clean their filth, discipline them. You have evacuated this city of its past and its present. Very well. Let you therefore become its future. Let us see how you handle yourselves, amongst each other, with no home to which you may return. We have heard many of you saying how you “would kill to live in Venice.” I suspect you will find yourselves testing the truth of those words sooner than you think.

But we are not the barbarians here. That would be you, with your humdrum polyglot babble. And so we will not let you starve. Besides, you paid good money for your time in Venice. Therefore, crates with enough food to live on will be delivered to the docks. How you divide it up is for you to figure out.

As for you affronted nations, you loved ones back home, you shocked and appalled: are you truly surprised, or do you merely think yourselves obligated to act as such? In this day and age, what are a few lost to the damp winds of history? A few who had it coming, a few who should be proud – and will have many years to learn to be so, or to perish – to be the base material with which a nation proves that it matters, that it alone is the form capable of making sense, of erecting a proud lighthouse, in of the disastrous, darkening storm that is our age.

And for those who don't get it: don't worry, you will. Because you know that this isn't worth a war. Because you know that at the first sign of such a move, we will slaughter them all, and all your mobilizations will be for naught. Because you know, in your sluggish heart of hearts, that you will happily throw to the wolves a few of your own lambs rather than have to become hawks once more. Because you know they simply aren't worth the cost. Take it as a cheap deal on a lesson well learned. And leave us be. As an added reminder of this, from this moment forth, all of Italy's borders are permanently closed. All trespassers will be shot. We will set the hounds on you.

And for those on the island who don't get it: don't worry, you will. The passage of time is a remarkable teacher. Because you know – or you will know, when you feebly try – that there is no escape. I am sure some of you will devise grand schemes. I am looking forward to seeing their torched remains brighten the night. Should you get tired of your life, as you well might, there is plenty of water deep enough to accommodate you. But why turn your back on a lifetime in La Serenissima, even if it gets a bit wild?

I'd say I'm sorry to have to break the bad news to you. But I'm not. And it is, after all, a new dawn, on a new day, after so many years of darkness. See how clear the sky with not a touch of red, see how fast the sun rises high over us all! It looks like it's going to be a real beauty.

There was a moment of silence around the globe. First, a brief peal of nervous laughter. After all, remember the fake declaration of war on Norway hackers released from Finland's State Department World in '16? And then world leaders muttered, in a chorus of many languages, oh, you little piece of shit. You miserable, monstrous, inflated little prick. For they had been apprised of the fact that this was not, unfortunately, a tasteless gag. The footage that streamed from a set of security cameras mounted on Venice, plus the immediate condemnation from other countries, quickly convinced all that this was very real indeed. A horrible shout arose, from those in front of their screens, those pouring over email and Facebook for word from those vacationing, and from those on the island themselves, who were beginning to register the lack of vaporettos, the wrecked craft littering the canals. The corpses borne by the waves, slapping up against the stone stairs, their heads open like violet and maroon flowers. The fact that they couldn't find a cafe open for a decent cup of coffee.

Still, despite the hyperventilations, the mad rushes toward other docks where perhaps a barge remained, they maintained some degree of order. This will all get sorted out. They can't leave us here. We'll just stay calm, stick together, and wait it out. Even when a Canadian man jumped into a gondola and began rowing out toward San Michele, even when a hollow-tipped sniper bullet eviscerated him not more than 20 yards out to sea, even then they decided to keep quiet.

The normal denunciations from nations and humanitarian organizations came immediately. U.S. President Newt Gingrich denounced Furbino as “a child who has stumbled onto his father's gun cabinet and who doesn't know muzzle from butt.” Others accused him of desiring to ignite a new “Mediterranean powder keg,” albeit a century later and 300 odd miles to the west of their point of reference. The Red Cross demanded immediate access to the island. They were told “their time would be better spent elsewhere, where hope remained.” World leaders gathered quickly in Geneva to draft a resolution. Global news outlets speculated on its content, but it was generally assumed that it would involve full economic blockade, swift international censure, and threat of coordinated military intervention if the prisoners were not immediately freed.

And yet, amidst the frenzy, when they emerged from their meeting, what was presented was, to be sure, strongly worded enough (“an unprovoked war crime in a time of peace”, “unpardonable actions unthinkable from any nation considering itself a responsible part of the international order”, and other attacks relying heaving on the prefix un-). Yet it was clear to any and all that what it truly amounted to was an early admission that real action would not be taken. To be sure, they declared immediate economic sanctions and exclusion from trade, but wasn't that what Furbino himself had urged and desired for the last several years? An ultimatum was given - “You have 36 hours to immediately release those unjustly imprisoned to their loved ones and home nations” - but its careful wording excised any specific reference as to what exactly was meant by “or else you will face the full consequences of your actions.”

In short, by not explicitly declaring war, and readying for invasion the assembled nations made it clear that while they would see out the time of this ultimatum and “weigh the difficult options necessary in the face of such an unconscionable act,” they would actually follow the out given by Furbino: sever ties, leave the Italians to their own cursed devices, and take this as a relatively low loss way to avoid a larger, messier, more expensive, and, most importantly, geopolitically destabilizing war. After all, Furbino had, in a rather brilliant move, managed to align himself with a number of OPEC countries (in part by playing Italy as a victim of the ungrateful EU and their “unquestioned assertion of right to resource access”) and the Russians, whose control of westward bound natural gas had become of crucial importance in the last decade. Hence while none of these openly supported the penalization of Venice, they nevertheless crucially noted, in a joint statement that afternoon, that they were “entirely opposed to plunging Europe back into a retrograde interstate conflict.”

And so while there was a ceaseless set of deliberations, threats, sanctions, blockades, secret mission plans, and attempts to palliate the growing cries of the families of those lost to the island, it was in the night of that first day that the new Venetians knew all too well that help, if it was coming at all, was not hours away but, at the best, weeks and months off.

And it was then, abrupt as the first rock through a window, that things took a turn for the very, very nasty.

The pack, they fear, is now "killing for fun."



"It's like 'Cujo.' "


---


Webb told the AP it's possible some of the four or five dogs in the pack aren't wild and go home to their owners during the day.



To hold a bird like a stone

Escape From Venice, Part One

[I decided that John Carpenter's Escape From New York and Escape From LA needed to become a trilogy.  I decided also that serial fiction is an under-utilized form.  Here, then, is a response to both those lacks.]


for Erik

 In 2020, Venice had its best tourist season since 1981. This might appear surprising, given the recent state of affairs. Italy had, over the course of a decade, become increasingly volatile. In the midst of a protracted and severe global financial crisis, just after Greece finally slipped through the grasping fingers of the European Union and into open revolt, filling the world news with the rather indelible image of forty-three riot police trapped inside the Treasury by external barricades and burned alive, the fire fed by reams of worthless promissory notes, Italian Prime Minister Silvio Berlusconi finally stepped down from office on April 11, 2012.

He did so, however, on the condition of two emergency resolutions. The first was an executive order for his own execution by guillotine in Rome's Piazza Venezia. This was carried out promptly, and the footage left little doubt that after the decapitation, his severed and perma-tanned head still managed to whisper one last dirty pun, as if it had been his final snickering thought as the blade dropped. The second resolution, only revealed to the public after his execution, had been long in the works. It involved the transposition of his personality and memories into an algorithm which was allowed permanent veto power on any bills drafted by Parliament. It showed itself quite willing to do so, as it brought proceedings to an extended halt, and thereby proving that the condition demanded as input by the algorithm – a warehouse full of 16 year old women in their underwear dancing 24 hours a day, their presence registered and analyzed by thermal cameras, motion sensors, and facial recognition software – be ceaselessly maintained.

In a roughly two year period that followed, from the summer of 2012 to the fall of 2014, a dispute raised by a dairy farmer turned into a 6 day general strike and threw Spain for a loop, the Eurovision contest was won by a toddler, Luxemburg was taken in a surprising coup d'etat launched by a Swiss bank, and Greece continued to intensify, as it descended into brutal civil war and was subsequently occupied by IMF-Blackwater forces. It was during this time, referred to as “The Long Pause,” that the EU disbanded, discovered new heights of currency instability, and hastily reformed, having in the meantime conveniently booted out its troublesome southern nations, with the sole exception of Italy. Despite the fact that it showed almost no prospect of a rapid economic turn-around, the political sequence following Berlusconi's mathematicization convinced Merkel and her followers that they simply couldn't do without Rome, the new anchor in the Mediterranean. 

 After Berlusconi got himself beheaded, a nearly unknown young politician from outside Verona named Alessandro Furbino – known earlier only from his brief spell in prison for “accidentally” killing an Algerian auto mechanic – rose with alarming speed to the top ranks of the far-right Northern League. Elected to national office, he pushed ahead a set of extraordinarily conservative, xenophobic, and isolationist measures. It turned out to be just what the EU wanted, despite the annoyance of Furbino's attempts to always put Italy first in the list of EU nations and his constant empty threats to return to a national currency, known by all to be a leap into the financial void no country would dare take.

All turned out to be very wrong, however, as he took just this step in winter 2018, announcing it during his immediately infamous “A Shot Across the Bow of Europe” speech, which promised, among other things, a “slashing of our sham ties to this odious continent of bankers and pansies,” “a new era of Italian solitude and fortitude,” and, more particularly, a rigorous new coding of regionally specific food, gaining him some accidental and utterly unwanted respect from sustainability movements and “locavores.” And in the hurried space of a few weeks, Italy reverted to the Lira, which – to the surprise of no one – fell drastically against all major world currencies.

However, due to the already imposed near-martial order, Italy managed to maintain a semblance of stability. And combined with the insistence on preserving regional specificity, a new commitment to the upkeep and polishing of monuments and historical sites (with the exception of Napoli, where trash fires, stray dogs, and, in an unconfirmed report, stray dogs who had learned how to set fires had been gaining more than the upper hand of late), the strength of foreign cash against a Lira desperately in need of some inflow, and a sense that it may not be far off before the borders would be closed to any and all visitors, an utterly perfect storm of tourism was created, one that even the increasing lack of disposable income and cheap credit couldn't dampen.

This storm hit nowhere harder than Venice, which gained a extra push from a particularly lurid and widely read report on global warming that took as its prime example the destruction of Venice beneath the rising seas and fleshed this out with a battery of expensive CGI catastrophe – The ghetto becomes a soggy grotto! – for its prime time special report. In short, one had to come to Venice while there was still something left to come to. And so they did, in droves: American, Dutch, Chinese, German, Argentinian, French, British, Finnish, Japanese, Canadian, Swiss, Thai. Even the infrastructure of a city as utterly dependent on tourist cash as it long had been couldn't handle it. The last of the residents were squeezed out of their apartments, and walls either broken down to form new luxury suites or, more frequently, added, as the combined facts of a desire for a room of one's own and the teeming quantity of those who wanted to experience Venice meant that they packed them in with a rather uncanny echo of Soviet apartments. The poorer and relatively tourist-free zones near Calle Drio ai Magazeni and Calle Sagredo, with their De Chirico minimalism of poured concrete,were transformed into hostels and multi-story gelato shops. 

 But even this wasn't enough: there simply weren't enough buildings to remodel or take over. “Authentic Venetian” shanty town motels crowded the squares, and new floors were hastily thrown on top of whatever houses had the load-bearing capacity to take it. (The first collapse of one such addition, ungracefully dumping sixty-one primarily German and Malaysian tourists in the midst of brunch onto a piazza six stories below, in a terrible wet crunch of bones and croissants, had almost no effect on their continued construction.) New barges were anchored to the island and stacked with shipping containers hastily retrofitted with tasteful Swedish design and tiny pictures of San Michele hung off-center in polished aluminum frames. The design for the barges was borrowed straight from the Croatian Pavilion in the 2015 Biennale, in which it appeared as a mocking exhibition of yuppie sustainability and salvage fantasies, evidently nailing its mimicry a little too well.

The non-tourist population was reduced to near zero, as waiters, police, and gondola drivers gave up their houses for reasons of turning a decent profit and, more importantly, fleeing from the further horror their city became. (This relative absence of cops provided a unique opportunity taken up by a splinter group of the recently formed Italian Insurrectionary Anarchist Federation, but their attempt to destroy what remained of the high-end retail district was foiled by a rather terrifying spontaneous mob of tourists hell bent on protecting their shopping district who, armed with tripods and water bottles, killed four of the anarchists and drove the rest from the island. The communique that followed the disastrous action was the shortest ever released by the IIAF: “Fuck that place and its visitors. They deserve one another, like a corpse deserves its vultures.”) 

 The workers who could afford to commute moved further and further from the island and the surrounding ones, crowding into Spinea and Jesolo, as even Murano and Sant'Erasmo become uninhabitable. Many simply gave up on working there. Those who couldn't afford a long commute – the immigrant populations to whom the new xenophobia turned a partially blind eye in recognition that they alone would take up the slack of the nasty work – slept on massive, makeshift rafts, tethered to the island like leaky balloons. The prison became a hotel – though one of the cheaper ones, to be sure. The food got cheaper and worse, although still local. The city gave up on any illusion of waste management, rerouting the sewers and dumping the trash off the sides of the island, such that it was constantly ringed with a reeking, fish-shaped halo of empty bottles, small neon objects that flashed and spun in the air when thrown high with a slingshot, tampons, unfinished squid ink risotto, and a whole lot of fecal matter.

And still they came, in their very responsible sandals and gimmick hats, their massive camera bags strapped like bandoliers over chubby middles, their common smile of those who have nothing to do in an era of decadence but “experience” and document it. They came and walked, iPads held in front of their faces, its architectural recognition software beeping and cooing when the material city aligned with the image offered by Google street view. So they walked, clattering thick into one another, jabbing slippery fingers onto the screens to capture the images, to send them to friends who, it turned out on many occasions, were unbeknownst to them on the island as well, perhaps a few steps behind. The sound of sweaty thighs rubbing against themselves sang a low and constant hush, over the shrieks, babble, and exclamations of the phrase “off the beaten path” spoken in twenty-seven different languages.

Despite all this, it still came as a real surprise to the world when unannounced, on July 8, 2020, the Italian state transformed Venice into a penal colony in the course of a single night, trapping the still-sleeping tourists as prisoners with no escape other than death.