Music
Diaries to Nietzsche. Top Story - January 2026.
Quotation from Friedrich Nietzsche "He who wrestles long with monsters should beware lest he himself become a monster. And if you gaze long into an abyss, the abyss also gazes into you. Man is not destroyed by suffering, but by the meaning he makes of it."
By LUCCIAN LAYTH11 days ago in Critique
Speaking to Time Instead of the Room
Much of modern communication is oriented toward immediacy. Writing is framed as something meant to be consumed quickly, reacted to instantly, and replaced just as fast by whatever comes next. Under this model, the value of a piece is measured almost entirely by its initial reception. If it does not land immediately, it is treated as a failure. This assumption narrows the purpose of writing and misunderstands how meaning actually travels through time.
By Peter Thwing - Host of the FST Podcast11 days ago in Critique
Practice vs Performance
One of the quiet pressures shaping modern communication is the assumption that anything written should be immediately shareable. Drafts blur into declarations, and exploration is mistaken for conclusion. Under this pressure, writing becomes performative by default. The moment words are placed on a page, they are treated as finished statements rather than steps in a process. This expectation distorts both how writing is produced and how it is received, collapsing practice into performance and leaving little room for genuine development.
By Peter Thwing - Host of the FST Podcast12 days ago in Critique
He’s a Tramp
Like everyone else in the States born in the seventies or later, I grew up on Disney animated films, and I have some favorite songs from some of the films. First and foremost is “He’s a Tramp” from Lady and the Tramp. It was so unexpected, a jazz number in the middle of a culturally inappropriate Disney film. We won’t talk about the cats in this one; we’ll save that for The Aristocats.
By Harper Lewis14 days ago in Critique
AI as a Reflective Surface
Much of the confusion surrounding artificial intelligence comes from treating it as an agent rather than a surface. When people speak about AI “doing the thinking,” “creating the ideas,” or “speaking for someone,” they are often projecting agency onto a system that does not possess intention, belief, or understanding. This projection obscures what is actually happening in many real-world uses. In those cases, AI is not acting as a source of meaning, but as a surface that reflects, redirects, and reshapes what is already present.
By Peter Thwing - Host of the FST Podcast21 days ago in Critique
When Is a Move Final?
The Commitment Problem in Modern Chess Modern chess operates under a fractured commitment model that no longer aligns with how players think, how turns function in most games, or how chess itself is actually played across physical and digital formats. At the heart of the problem is that chess treats physical contact with a piece as binding commitment while simultaneously relying on a separate explicit action to end a player’s turn. This creates a logical contradiction: a move becomes final before the turn is over. In most turn-based games, interaction with game components is provisional until the player explicitly signals the end of their turn. Chess is an anomaly in this respect, and the inconsistency becomes increasingly visible in modern play.
By Peter Thwing - Host of the FST Podcast29 days ago in Critique
Autotune Tears
Digital Tears and Ghosts in the Studio The script has become a seasonal awards-show classic: an established artist, face solemn and trophy in hand, uses their acceptance speech to denounce the latest technological heresy. Today, the monster is artificial intelligence (AI)—a soulless threat, a soul-less automaton poised to usurp human creativity and devalue artists’ livelihoods. Yet this moral panic is not new; it is merely the latest chapter in the music industry’s long, repetitive history of resisting progress—a predictable cycle of fear, rejection, and, inevitably, assimilation.
By Francisco Navarro2 months ago in Critique
The Man on Fire: A Story of Love, Sacrifice and Redemption
The Man on Fire, released in 2004 by Tony Scott and starring Denzel Washington, is much more than just an action film. It is a poignant dive into the twists and turns of the human soul, where violence mixes with raw emotion and redemption takes shape in the simplest gestures. But at the heart of this gripping thriller, what stands out above all is the unique relationship that develops between bodyguard Creasy and young Pita, a kidnapped girl.
By Baptiste Monnet4 months ago in Critique
I went back and watched Twilight: New Moon (2009)
The Sophomore Slump New Moon, the second installment in the Twilight saga, attempts something genuinely daring for a blockbuster franchise: it removes its male lead for the majority of the film's runtime. This bold narrative choice serves the story's emotional arc but simultaneously exposes the franchise's structural weaknesses. In an era where young adult adaptations were rushing to capitalize on the success of the first film, New Moon takes the unexpected route of dwelling in darkness, depression, and absence—a risky gambit that doesn't entirely pay off.
By Parsley Rose 5 months ago in Critique
