The Witching Cats of New Jersey

The history of the European settlement of North America goes hand in hand with the history of occult practices—particularly witchcraft—on the continent. A large and unfamiliar land with an indigenous population that had recently died out under mysterious circumstances (now of course known to be largely due to disease brought by contact with Europeans) and in which esoteric movements were tolerated was fertile territory for individuals and groups with practices of worship at the edges of Christianity and even beyond. While at the archives at the Germantown College Archives in New Germantown, New Jersey, I recently had an opportunity to visit the noted Witchcraft Collection. Visually, the record is dominated by a peculiar obsession with cats reputedly engaged in witchcraft in the “Mosquito State.”

Silas “Grim” Cole, Cat owned by Hattie Simpson of Cape May, 1782, courtesy the Witchcraft Collection of the Germantown College Archives, New Germantown, New Jersey

A wealth of paintings and photographs document the obsession with these animals and their connection to the occult in the state and I am delighted to share them with you on this Hallowe’en since so many of you have reacted positively to the ones I have posted on my Instagram account.

Cats are the most popular pets in the world, and certainly on the Internet, but the history of domestic felines is inevitably linked to the idea of the witch’s familiar. Cats are mysterious creatures (I suppose) that are active at night (not mine) and often, especially when in heat, make otherworldly sounds (Roxy is guilty as charged). Given their further association with femininity, they wound up historically linked with witchcraft.

The Witch and her Familiar, American Primitivist Painting, Artist Unknown, Morristown, New Jersey c. 1824. 
DALL·E 2022-07-30 22.15.22 - A thomas cole painting of __ “a black cat with white belly and white paws” dressed like an evil witch
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DALL·E 2022-07-30 22.24.33 - A thomas cole photorealistic oil painting of __ “a black cat with white belly and white paws” dressed like an evil witch, 1810
DALL·E 2022-08-01 11.07.19 - A thomas cole painting of __ “a black cat with white belly and white paws” dressed like an evil witch, 1810 (2)
DALL·E 2022-08-01 11.08.18 - A thomas cole folk horror painting of __ “a black cat with white belly and white paws” dressed like an evil witch, 1810
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DALL·E 2022-08-02 20.38.44 - primitivist painting of a “a black cat with white belly and seven white paws” 1610 Blair witch carcosa wicca thomas cole (3)
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New Jersey, unlike Massachusetts, was not settled by a single, religious community, thus diverse faiths were tolerated here. Moreover, the colony was not originally British but originally was composed of New Sweden (by the Delaware river) and New Netherlands (by the Hudson), becoming a colony only in 1664. A land for free-thinkers, the colony embraced Huguenots fleeing from France, as well as Baptists and Presbyterians from Ireland and Scotland, as well as other faiths while Quakers crossed the Delaware from Pennsylvania and brought their beliefs here as well. The Presbyterian leader of the First Great Awakening, Gilbert Tennant (1703-1764) came “to blow up the divine fire lately kindled there.” Thus began the colony’s early affliction with the supernatural, something made vividly clear in a young Benjamin Franklin’s accounts of the Mount Holly Witch Trials in 1730. If witches were a source of pre-revolutionary terror, by the late eighteenth century, archivist Alistair Cailleach-Crone told me, the burgeoning New Jersey merchant class in New Jersey began to commission portraits of their cats as witch’s familiars or “witching cats.” There is little documentation left of this fashion, save for this text by one Pieter Heks, 1783:

There are, and ever have been, cats and other felines, who converse Familiarly with the Spirit Realm and while some say they thus receive Power to both hurt and deceive, others claim them as happy mediums who, by their very being, keep a home free from plague, louse, and the lyke. Others, particularly, the wives of merchants in our land, keep these animals dear and hold them the pride of their house even, as the fashion holds, having portraits made of them.

Odd as it may seem, the best artists of New Jersey’s first decades as a state were involved in this work, as well as artists from the neighboring states of Pennsylvania and New York. After scolding sermons and threats from Presbyterian ministers, the fashion of Witching Cats fell out of favor among the wealthy, who soon went back to commissioning portraits of themselves, their children, their families, and noted racehorses. More than one artist was relieved. Famed painter Benjamin West, whose paintings of the subject have been lost, wrote unaffectionately in his notebook: “Damned cats and their owners. To the devil with them! These Jersey brutes love their animals but to have them sit for you would try any man’s patience. And half do seem to be possessed by the devil. I will never lose the scars from these accursed creatures, all claw and fang.”

DALL·E 2022-08-02 20.38.44 - primitivist painting of a “a black cat with white belly and seven white paws” 1610 Blair witch carcosa wicca thomas cole
DALL·E 2022-08-02 20.38.36 - primitivist painting of a “a black cat with white belly and seven white paws” 1610 Blair witch carcosa wicca thomas cole (4)
DALL·E 2022-08-02 20.38.44 - primitivist painting of a “a black cat with white belly and seven white paws” 1610 Blair witch carcosa wicca thomas cole (3)
DALL·E 2022-08-12 18.51.00 - american primitivist painting of a witching cat, 1780
DALL·E 2022-08-01 11.15.20 - American primitivist folk horror painting of __ “a drunken black cat with white belly and white paws at a table in an old pub” dressed like an evil wi (1)
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DALL·E 2022-10-31 12.42.25 - American primitivist folk horror painting of a drunken black cat with white belly and white paws dressed like an evil witch wicca thomas cole
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By the 1820s, however, the Witching Cats found a resurgence in the vogue for alternately amusing and frightening paintings made by self-schooled Primitivist (or Naïve) painters in rural areas, notably the Pine Barrens. Whereas the previous paintings had largely been portrait-like in nature, memorializing specific favored pets, new paintings were often sold by itinerant painters as well as peddlers who purchased them elsewhere to sell from the back of their carts and wagons. This work—of varying quality, sometimes remarkably comical—comprises the bulk of the collection at Germantown College. More than one observer has noted that the cats in the paintings of both periods are dominated by tuxedo (or piebald) cats, which were a common “breed” in New Jersey at the time. As Benjamin Franklin (who owned an angora) wrote in 1745, “In the dark, all cats are gray, but in the light, only the cats of New Jersey are piebald.”

DALL·E 2022-08-11 18.51.04 - american primitivist painting by joseph whiting witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual obje
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DALL·E 2022-08-12 15.00.46 - thomas cole painting of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witch's room (3)
DALL·E 2022-08-12 15.00.46 - thomas cole painting of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witch's room
DALL·E 2022-08-12 12.03.24 - Sepia print of a witching cat black cat with white paws eating scary meat, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects “hand of (3)
DALL·E 2022-08-12 12.03.26 - Matthew Brady Sepia print of a witching cat black cat with white paws eating scary meat, 1840, Carcosa, in taxidermy surrounded by unclean ritual obj (1)
DALL·E 2022-08-12 12.03.28 - Matthew Brady Sepia print of a witching cat black cat with white paws, 1840, Carcosa, surrounded by unclean ritual objects “hand of glory” “stick figu
DALL·E 2022-08-12 15.00.46 - thomas cole painting of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witch's room
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DALL·E 2022-08-13 13.15.13 - thomas cole painting of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witch's room (6)
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The fashion again lasted about a decade, and toward the end of the period, a young painter from Speertown, in northern New Jersey named Theodore “Red” Baudrons (1810-1910) began a curious series of paintings in which cats were depicted in environments with strange objects that hinted more directly at witchcraft. This series, called “Cats in the Garrett” soon became controversial and he wound up leaving for New London, Ohio where he lived and worked on a farm owned by the Townsend family and depicted the wealthy farmers of the area instead.

If primitive, compositionally Baudrons’s art evidences an interest in the phenomenon of “the Cabinet of Curiosities.” Precisely where Baudrons learned about the artifacts and symbolism used in witchcraft is unclear, although there have been suggestions it may have been from his sister Hattie Cunnan or perhaps his mother Diana both of whom were spoken of as “cunning women” who could cure many aliments. Baudron, about whom little more is known, also left a few drawings behind at the Townsend farm, which are mixed with the paintings in the gallery above.

DALL·E 2022-08-03 19.03.36 - american primitivist silver albumen print of black cat white belly white paws witching cat of jersey witch unclean carcosa foul (2)
DALL·E 2022-08-11 17.38.46 - Sepia print of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects “hand of glory” “stick figu (1)
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DALL·E 2022-08-08 18.24.33 - american primitivist silver albumen print of black cat white belly white paws witching cat of jersey witch “ritually unclean” carcosa foul (2)
DALL·E 2022-08-11 17.34.57 - Silver albumen print of a witch’s familiar black cat with white paws, 1840, Blair witch carcosa
DALL·E 2022-08-11 17.34.58 - Silver albumen print of a witch’s familiar black cat with white paws, 1840, Blair witch carcosa
DALL·E 2022-08-11 17.35.01 - Silver albumen print of a witching cat black cat with white paws, 1840, Carcosa
DALL·E 2022-08-11 17.35.09 - Silver albumen print of a witching cat black cat with white paws, 1840, Carcosa, witch trial dock taxidermy
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DALL·E 2022-08-11 17.35.12 - Silver albumen print of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witche's room (1)
DALL·E 2022-08-11 17.35.39 - Silver albumen print of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a witch's room (3)
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DALL·E 2022-08-11 17.37.30 - Silver albumen print of a New Jersey witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects in a wit
DALL·E 2022-08-11 17.38.46 - Sepia print of a witching cat black cat with white paws, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects “hand of glory” “stick figu (3)
DALL·E 2022-08-12 12.03.24 - Sepia print of a witching cat black cat with white paws eating scary meat, 1840, Carcosa, in taxidermy surrounded by unclean ritual objects “hand of (3)
DALL·E 2022-08-13 14.08.27 - a silver albumen 1865 photograph of “a maine coon cat” , 1810 Blair witch carcosa unclean ritual objects stick figures (2)
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Again, the fashion for Witching Cats died only to re-emerge in the years immediately after the Civil War, this time in photography. One Thomas “Namir” Bastet (he claimed Persian ancestry) set up a photographic studio in West Bloomfield, where—along with the usual photos of widows and their errant children—he took an extensive series of photographs of cats that are clearly within the Jersey Witching Cat tradition although in fairness, some appear to be just ordinary housecats. Bastet, it seems, was both a student and friend of photographer William H. Mumler, noted for his notorious 1869 photograph of well-known cat-lover Mary Todd Lincoln and the ghost of her husband Abraham Lincoln—there are suggestions that Bastet actually pioneered the practice—but also was a friend of Swedenborgian Spiritualist painter George Inness who once told Bastet of his photographs, “Namir, you really have something there.” Inness wrote that Bastet—alone among photographers—understood the vital forces in his subject matter and the first image in the slider above is of his cat, Roxelana.

Bastet’s photos often seem influenced by the compositional strategy of Baudrons’s paintings: a cat perched on a shallow ledge populated by strange artifacts, but Cailleach-Crone suggested to me that this may have to do with deeper folkways and practices now lost to time. Compounding the supernatural nature of these images quality, the photographs of the day had long exposures, requiring a stillness an awake cat could hardly be expected to meet, resulting in a blurred image that gives many of them an especially otherworldly quality.

Together, these three eras of art reveal to us the nature of the most haunted state in the Union and the peculiar genetic misfits (by this, of course I mean the piebald cats, not the citizens) that have inhabited it to the present day. Long before the Internet, our fascination with cats—as well as with folk horror—was already common. Please visit the Germantown archives, or perhaps visit the Dall-E 2 site to learn more about these images and how they were made.

Regarding Twitter

I have another, much more interesting and important thing to talk about—e.g. the witching cats of New Jersey—but enough people have asked me for my hot take on the acquisition of Twitter by Elon Musk that I’ll take a stab at it. I will get back to my regularly scheduled programming in the very near future, but for now, I am going to celebrate the fact that moving this site to kinsta earlier this week has made a rapid response like this one much easier.

In the 2005-2006 academic year, I led a team of scholars at the Annenberg Center for Communication in researching the topic of “Networked Publics.” This project led to a book of the same name, published by the MIT Press in 2008 and an aborted project on the broader topic of network culture that faced too much opposition from entrenched interests in the academy to see the light of day. Our little group didn’t always see eye-to-eye, but if there was anything we could agree with, it was the grim conclusion of the brilliant politics chapter written by Merlyna Lim and the late Mark E. Kann: although the Internet is a powerful resource for mobilization, it is a poor venue for democratic deliberation.

To this day, we have absolutely no evidence otherwise. The dramatic rise of algorithmically-produced content feeds in the nearly twenty years since our research year has made matters much worse. As algorithms respond to user engagement and reaction, they deliver the content that users want to see, creating a spiral of ever-increasing polarization (for a series of links to studies on this matter, see this piece from the Brookings Institution). Making matters worse are the social media “cops” on both sides who thrive on attacking viewpoints divergent from accepted consensus. If you say that vaccines are important and that the 2020 election was legitimate but your social media “friends” are right-wingers, you’ll get called out by an army of Trumpenproles if you say so. If you say that magic monetary theory is insane or that defunding the police will hurt African Americans more than anybody, you’ll get publicly shamed by the Internet cops on the Left. Then there are things that we know very well not to talk about with our peers. To take one example, virtually no academic would publicly say that doctoral programs are in crisis and universities are producing vastly more PhD.s than there will ever be jobs for just so that doctoral chairs can gain status in the academy and professors can get free research assistants, even though most academics I have spoken to about this agree wholeheartedly off the record. I am outside the academy so I can freely say this. But nobody in the academy can. The cops there have the power to destroy unorthodox thinkers so nobody will say it. Even outside academia, there are positions so politically dangerous that I won’t dare utter them out loud even here, notwithstanding that the vast majority of my peers agree with them privately (you’ll just have to guess, so sorry). Internet cops gain symbolic capital by dismissing ideas that don’t conform to the orthodoxy and it’s been interesting to observe as a few cops have, coincidentally or not, attained positions of minor leadership in the academy (probably because no sane person wants them). Cops tend not to think for themselves, but rather they are guided by what Venkatesh Rao calls beef-only thinkers, who demand unqualified support, folks like Glenn Greenwald, Michael Tracey, or Marjorie Taylor-Greene.

If, on the one hand, we have a social media landscape actively patrolled by cops, we also have a steady-state of outrage from the woke and the trumpenproles: everything is burning, right now/there has never been a more consequent election/there has never been a greater threat to democracy/etc. The news media—particularly TV news, but also online personalities—amp up the rhetoric in order to profit from the clicks. Outrage makes money, even as it makes us stupider. But after years and years of outrage, people are exhausted. It’s very much like pornography, searching for ever-greater stimulus, things got more and more extreme and eventually it wasn’t that people got scandalized, it’s that they got bored. Only the most politically active and the most insane want to the outrage to continue. After the nightmarish calamity following the 2016 election, COVID, the January 6 insurrection, and then the invasion of Ukraine, high levels of cortisol and adrenaline have literally taken their toll on our bodies, creating inflammatory reactions that leave us with no way to absorb more bad news. It may have been funny when a demented old grifter demanded to see Obama’s birth certificate, it was hilarious to see “America’s Mayor” stand up in front of the garage of a landscaping firm, burbling nonsense, his false teeth nearly falling out of his head, but nobody wants to see it again. In an economy sustained by growth, Facebook’s aging user group is down by significant numbers, and analysts are talking about a “death spiral.” Well, thank goodness. Nor is the subject of today’s diatribe, Twitter, immune, its active users are also fleeing, just in time for Musk’s ill-timed purchase. The only solution people are finding to this anxiety is disconnection, leaving all this crap behind. It will likely cause a rout for the Democrats in the 2022 election (I am not, however, entirely convinced of this), but if it does, it will be the far Left’s relentless barrage of alarmist news that will be, in large part, to blame.

What are the options? Clearly not Twitter. Elon probably should fire most of Twitter’s staff. Around 5,000 employees work at Twitter and, judging from the evidence, none of them save the people who make sure the servers don’t go down, do anything. The site has had virtually no innovation since its launch, the code is a notorious mess, and, well what do they actually do all day long?

Journalists like to promote TikTok as an alternative, but TikTok’s growth is limited to a high school and college age demographic in search of diversion. What political content exists there—a Johns Hopkins study suggests— is hardly any better than what can be found at Facebook and, in any event, like YouTube, TikTok is oriented less toward people producing their own content and more toward passive consumption and commenting. Instagram is not dissimilar, although there, the content-production tends to be aspirational and imitative in nature, contributing to body dysphoria and leading young women to seek to surgically reshape themselves into the “Instagram face” look pioneered by Jocelyn Wildenstein. The one healthy (for now) antidote for this is BeReal, an anti-Instagram that values immediacy and promotes looking real, or at least, candid and terrible, it’s only drawback is that virtually nobody except for college-age kids uses it (I know, you can visit mine, I have one follower). TIkTok and Instagram are terrible platforms for political messaging—although some will try—and BeReal is virtually useless for it. This, of course, is their charm.

If there are genuine alternative social media spaces right now, they are Discord and Substack. Both are flawed, but it’s Substack—not Twitter—that holds the only potential for a future social media platform right now.

Discord is a set of “servers” (not really servers, but they are called that, they are virtual spaces for micropublics) dedicated to a given topic, e.g. Minecraft gaming, Roblox, GTA, (Discord started as a space for emergent gaming communities), online generative art generators, techwear, eurorack synthesizers, alt-space, AI generative art, Arduino programming, white supremacism (this has since been banned) or whatever excites you. Discord is growing rapidly, but it has two major limiting factors. The first is that because of the conversation-like organization, unless one is actively engaged with a server, one rapidly loses track of what is being talked about. Catching up is neither intuitive nor, well, interesting. The second is that there is no broader link between these micropublics. Each server is a walled silo and there is no communication between them.

Substack is a platform for content-creators—mainly writers but also some podcasters— in which subscribers pay subscriptions for content and content-creators are promised income directly from their subscribers. Unlike the similar Patreon, however, it is more oriented around discovery and community. Log into the Substack site and you will be shown a sidebar with recommendations for other Substacks that are, shades of Facebook and Twitter, algorithmically recommended for you. Subscribe to a right-wing Substack, you’ll definitely be offered more. So, basically, another Facebook or Twitter. The up side is that Substack allows comments (depending on settings), and also has recently allowed users to incorporate RSS feeds from outside of Substack into their feed. If—and it’s a big if, one that likely won’t take place since it’s only my idea, not Substack’s—the platform can find a way to create glue between Substacks and users—such as making it easier for users to follow each other and talk directly to each other— it has some hope. The reason I hold any hope for Substack is that unlike Facebook or Twitter, it promotes long-form writing. This post makes no sense on Facebook or Twitter, but it will easily work on Substack. The second hitch is that Substack is heavily tied to a subscription economy. Most newsletters, it seems, cost about $10 a month. That’s great but can rapidly become unaffordable in an era where we are already paying for one or two newspapers, a couple of magazines, Netflix, Spotify, Hulu, and you get the idea… People are getting tired of subscriptions, very tired.

This leaves us with with WordPress. WordPress is not only the dominant worldwide blogging platform, it has a reader that allows readers to follow blogs and participate in dialogues in the comments. Again, it’s a long shot, but users are also implicitly encouraged to become bloggers and, well, why not? In the 1970s and early 1980s mass media seemed to be all-powerful, but then we had the Zine revolution and the explosion of the Internet, back when it was still fun and potential seemed everywhere. Substack and WordPress may not be the future, but I still think a platform with some future in it (I am no longer comfortable thinking it will be any lasting solution, let alone a utopian space of deliberative democracy) is coming if we have any hope of talking to each other online.

A final reflection on all this is how deeply sad this is for Elon Musk. Although he has recently shifted from being an icon of the Left to being an icon of the Right, he is the Steve Jobs of this age, having made both electric cars a reality and creating the first successful reusable rocket system. Ten years ago, even five years ago, owning two electric cars by 2022 would have seemed entirely implausible to me and yet, we replaced both our cars with Teslas in 2020. These cars require less maintenance than any other vehicles we have ever owned (thus far, our total repairs involve a heat pump valve on the Model Y and some issues with the rear gate on our Model S, plus some cabin air filter replacements oh, and new tires), have excellent performance (I’m a car guy, but my wife loves driving hers as well), and it is delightful to skip the weekly trips to the gas station. SpaceX’s phenomenal success speaks for itself (not only am I car guy, I’m a space nut) and Starship promises to revolutionize the space industry, and even though I am concerned about Starlink’s impact on astronomy, it has the ability to deliver secure Internet communications at broadband speeds virtually everywhere and has made a big, positive impact in military operations in the Ukraine. That, for whatever reason, Musk is spending his time and money on Twitter is very sad. If he wanted to have fun, wouldn’t it make better sense to just book a flight on a crew Dragon? I would. It’s not like he doesn’t won the only company that ever regularly sent people into outer space; eat your own dog food, Elon. Running Twitter seems incredibly boring. Moreover, Elon has a long list of failures to go along with the successes—Tesla Solar (I just put a new roof on my house, why wasn’t it from Tesla Solar?), Tesla’s Full Self-Driving has been around for almost two years and hasn’t gone anywhere (remember when Elon said we’d have self-driving Tesla taxis by 2020), and Tesla not only hasn’t released a single new vehicle since 2020, it has raised prices on existing vehicles while cutting out features such as front-facing radar and rear-facing ultrasonic sensors but hasn’t found ways to compensate. I own Tesla stock but I think they are in trouble unless Elon spends some time there soon and Twitter is a distraction he hardly needs.

Finally, as far as the future of Twitter. Who cares? It is a dying platform. I have met some great friends on it—many more than on Facebook—but if it dies and Facebook dies, it will be better for everyone. If Captain Dementia joins back up over the weekend, or Monday, or whenever, what does it matter. It’s not like anybody listened to him on Truth Social anyway.

A New Career in a New Town

I moved Varnelis.net to Kinsta yesterday, widely seen as the best WordPress host around. I also updated the site theme to GeneratePress which I first used at the Native Plant Society of New Jersey where I am the head of advocacy and, to help out, brought the Web site to WordPress. The site struggled after I had serious security issues earlier in the year. Not only was that a crummy experience for you, the backend that I write posts with glitched constantly and it was frustrating for me to enter new content. The new site is a delight for me and, I hope, is interesting for you as well. The theme is ultimately based on Indexhibit, which was admirably minimalist in a way a Lithuanian artist could love but never worked for me as a content management system.

I have lost count of how many times I have said that I will be posting more on this site, so I won’t make promises I can’t keep, but at least the site won’t be an excuse anymore. So what about blogs? Aren’t they dead? Archinect’s blog, aggregat:456, archidose, ballardian, javierist, m.ammoth.us, markasaurus, sit down man you’re a bloody tragedy, strange harvest, subtopia all gone, lgnlgn a record of an aborted restart ten years back. Even bldgblog barely posts more than I do now. But I refuse to go. Loos titled his first collection of essays “Spoken into the Void.” Being untimely may be the strongest position of all.

Now, there’s not that much to say about architecture anymore, but that’s ok. Times change. Architecture is at its lowest point in my lifetime. There is no excitement. When is the last new building that interested you, I ask my friends? Nobody knows. Maybe the Casa da Música, one said. That’s like saying the Ford Foundation building was the last great building in 1981. Not one great building on this list of top ten buildings in the 2010s, not even one good building. The scandal isn’t that there is a scandal, the scandal is that nobody cares and nobody talks about it. Conceptual architecture is dead in the water. Architecture fiction was the last burst of a shooting star deep in the atmosphere before it disappeared. In fairness, I don’t know if either AUDC or the Netlab will do anything again, although I continue my own work in earnest (more on that work another day).

But there is plenty to talk about; we can talk about late network culture and the sorry state it has brought us to, the failure of networked publics. we can talk about art, and we can talk about the environment and the importance of native plants in the landscape. We can even talk about architecture since art forms that seem to be things of the past have an uncanny way of coming back to life. I have a lot to say about these things and, with the end of (native) planting season upon me this week, I may be doing just that. But I won’t be doing that on social media. Sure, you may see these posts on Facebook or Twitter, but I’m not really there much anymore. After logging off Facebook for a year, I found I didn’t want to use it anymore. Facebook doesn’t create a feeling of belonging, it creates anxiety and depression. No wonder young people don’t want to use it anymore. Facebook’s troubles are deepening and it’s ridiculous foray into virtual reality will, we all hope cause its utter demise. Twitter stayed relevant for longer, but I am noticing many fewer posts from my friends there these days. Growth at both of these platforms has ceased, even reversed. So Elon Musk is buying Twitter. That’s the equivalent of buying a new gasoline car today, a dying platform terrible for the environment. Twitter is dying. If Elon brings back the seditious, short-fingered vulgarian now suffering through mid-stage dementia, it will just bring end Twitter to an end and wipe out his ludicrous $44 billion investment. Young people increasingly hate these platforms, regardless of what money-chasing analysts want you to believe. Yes, there are podcasts. I love them, but I worry about the effect of constant voices in my head, perhaps because I read Julian Jaynes many decades ago. There are Medium and Substack, but the endless demand for money is tiresome. You may read this on Substack. Great. But you don’t have to. Read it here instead.

The social media era is over. Long live the blog. My posts may be few and far between, they may be late, they may be bad, you may not read them but they are still something I own. I can say what I want, unbeholden to anyone else and I’m not going anywhere anytime soon.