TITLE: What I’m Posed to Do, Not Beat Off to this Caramel Stallion with Big Ass Naturals that Are Straight Up Poking Out, Affix My Tongue to Her Asshole Immediately and in Perpetuity
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Introduction by Dr. Charles V. Irrinquist
The following story is a tableau, told in the science fiction genre, of an alternate reality, in which the government has passed and enacted a law to attempt to deal with human vulnerability to the deceptions of deepfakes and other AI-generated imagery. The law states that, if all of the persons depicted in any AI-generated image or video (called “Aimages,” for shorthand) “hang” said Aimage in their own, respective Encrypted Accounts, then what is depicted in the Aimage is considered to be legally “real” (i.e.: to have “actually” happened or to “actually” be happening), and society at large has accepted this. Society and law do recognize that the depicted events “really” happened, but not in our world, rather “real” in whatever virtual reality world the Aimage was created with.
Developed by various, major techcorps, in conjunction with US government departments identified as “Interested Parties,” Encrypted Accounts (EA) serve as “digital safes,” where users (i.e.: citizens) store important and sensitive information, such as social security numbers, digital birth certificates, bank records, crypto account passwords (Titgroin, or even Getmoin), digital family pictures, Aimages, etc. They are similar to social media profiles but are specifically designed to be nonpublic. These accounts are said to be unhackable and are insured. Each United States citizen is entitled to their own EA; it is just a matter of signing up, a process which they have made so simple it would be foolish not to set one up. The vast majority of citizens of the ensuing story’s world have set up their EAs.
One of the features of EAs is the “Gallery,” which, just as the name suggests, looks like a digital art gallery, with white walls that have spaces to “hang” images/videos/Aimages (users are able to customize the look of their Gallery). When an Aimage is hung, an ovular icon appears on the white wall below it, called an Indicator, which turns a bright green when each of the subjects portrayed in the Aimage have also hung the same Aimage in their EA, indicating not only the Aimage’s legally “real” status but also the implication that each participant is wanting to (continue to) participate with the others performing whatever activity is being portrayed in the Aimage.
Further, the government imposes a tax on these hung Aimages, which then naturally governs the amount of Aimages that are (and stay) hung. Not only does this limitation have the effect of maintaining the integrity of the “real” legal designation, but it helps to deal with the incredible amount of power required to keep these Aimages hung in the EAs (said to be several levels higher than what is required for mining Bitcoin, Titgroin and even Getmoin), and also to curb the use of resources required to tax assess Aimages by the Department of Auditing.
We will look at how these policies were developed, and what such a world, in which humans and AI robots live together, may look like. The main narrative revolves around the generation of an Aimage involving our protagonist known only to us as Narrator and his escort neighbor, Caramel.
However, a word to the reader: though portrayed in narrative form, as mentioned above, these scenes may be most appropriately considered as tableaus–-these are not works of criticism or satire but rather intended to evoke an impression or feeling about whatever-it-is that is being presented. As such, base language is used in order to most efficiently attempt to express that whatever-it-is.
This baseness is reflected in the logic of the story’s world. For example, the childish insult of calling someone or something “gay,” whether in the homophobic or just generally derisive sense, is in the story’s world not so much an insult but something holding serious rhetorical heft. In the story’s world, the term has been largely stripped of the nastiness it carries in our culture, instead denoting a general (unspecified) negative quality (and that which has been evaluated as such). Despite this “stripped” meaning in the story’s world, it is intentionally understood that (hopefully) the hypothetical reader would be reading it in this world’s “unstripped” context.
Another word (and perhaps warning) to the reader: this piece contains graphic sexual content. Sexual-drive motivates much of the action in the story, but in the story’s world this isn’t just perverts running amok. In our real-life world, sexual motivation is primarily related to pathos, whereas in the story’s world, it is primarily the story world’s ethos. The characters are speaking through these base, sexual acts and language; it may be useful to think of the characters’ actions as metaphors for the whatever-it-is mentioned above.
Conceptually, what connects this baseness to the AI concerns mentioned above? It may revolve around the notion of the “real;” due to the tax constraints imposed to have an Aimage considered “real,” it is likely the only type of Aimages people would be willing to keep hung in their EAs would be those portraying enactments of great devotion, and at least in the story, these are of a religious or sexual nature. The motivations behind belief/faith and sexual impulses may be described as “base.” If, as represented in the story, the religious/sexual is (legally) “real” and also “base,” it may be deduced that the “base” is “real.”
The story begins with a seemingly unrelated prelude, revolving around a real-life incident about Swedish twin sisters who came to national attention in the United Kingdom in May 2008 after an apparent episode of folie a deux (“shared psychosis”), when the twins ran across the M6 motorway, as captured by a small television crew.
The main focus of this opening sequence is on Bill Stoneham, a police officer’s experience on the scene, who is woken from a daydream and unsuccessfully restrains one of the twin sisters from running into traffic. Shortly thereafter he experiences an odd, phantom force physically pulling him by his testicles toward the accident site (the writer seems to be making a reference to pairs: the character’s “balls;’ the seemingly random paragraph noting embedded baseball references; the Swedish twins (possibly a reference to the Minnesota Twins baseball team–particularly because of the history of Swedish and Scandinavian immigration to that area)).
Let us begin the story.
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