ON PRISON plus A CARD GAME FOR THE END OF REALITY
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For the past year and a half, Iâve been using palm-sized cards as the central medium to organize my work, life, ideas, and projects.
This is one of the first batches of âidea cardsâ:
These are monthly decks/stacks that accumulate from my visits to the local cannabis club.
And in todayâs episode of Kosmopolitika, youâll see the latest version of the medium: a kind of a game board Boris and I are starting to use to organize our biweekly conversations.
Hereâs what it looked like at the beginning of the two-hour stream:
Hereâs what it looked like at the end:
And hereâs what it looks like right now [https://admin.psychopolitica.com/kp/table]:
The texts on the other sides of the cards are drafts of ideas and stories I donât think I want to share widely, but any PsyPol member can play with the cards on the site [https://admin.psychopolitica.com/kp/table]: read their contents, drag them around, stack and unstack them, etc. If Boris or I change or add something, it is reflected on the site in real time. You wonât be able to edit cards or save their positions, but I plan on adding real interactivity in the coming weeks. Youâll find the password at the end of this message.
Here is an excerpt from a draft in the Escapism deck.
ON PRISON
The LukiĆĄkÄs prison was at the very cutting edge of the Russian correctional system when it first opened in 1905, my Lithuanian guide tells me. The main innovation wasnât so much the design (a panopticon) and the architecture (neo-Romanesque), or the heating, ventilation, and sewage systems, which were all quite impressive for their time, but the very idea of âcorrectingâ the prisoners, rehabilitating instead of simply punishing or isolating them. He cites the beautiful Orthodox church weâre in as evidence â why would you need a church, if not to improve the souls of the inmates? There are also a Catholic church and a synagogue on the premises.
The change heâs pointing to is a sequence of reforms to the Russian criminal code that phased away corporal punishment and introduced prison confinement as a penalty in itself â before then, imprisonment was only a temporary measure as one awaited his sentencing, and usually didnât last long. The actual punishment came mostly in the forms of death, physical pain, katorga (forced labor in harsh conditions), and exile (most commonly to Siberia).
Given the kinds of hell prison replaced â whipping, nose-slitting, beating with rods, among others â itâs hard to argue this innovation wasnât a positive one. Still, I canât quite see it as such. Thereâs something uniquely bleak about it: walking through LukiĆĄkÄs, I see a whole little world built entirely around the idea of stripping one of his freedom and making that fact the center of his existence; thereâs nothing else going on. A katorzhanin went to the mine to extract gold, silver, or coal (somebodyâs gotta do it?), but a prisoner only extracts the experience of what itâs like being trapped. The âcorrectionalâ narrative rings hollow even now, at least in the Russian and, it appears, Lithuanian settings, and itâs been more than a century since LukiĆĄkÄs first opened its doors.
This is my first time in a prison (a night at the police station followed by a day in court is the biggest trouble Iâve gotten from my own state so far), so itâs strange how familiar everything about it feels: the grey and muddy-green paint on the walls, the musty smell, the sickly light that gets dimmed at night but never fully goes out, the hole-in-the-floor shitters in the corners of cells. The guide looks at those in the group who were born in the USSR: âYou guys had those in school too, right?â Heâs right, schools are one of the environments this reminds me of. Also kindergartens, trains and train stations of my youth, state hospitals, the state itself.
LukiĆĄkÄs was in operation between 1905 and 2019, and at different times belonged to the Russian empire, Poland, Nazi Germany, the USSR, and, finally, after the fall of the Union, independent Lithuania. After Covid, it reopened as a cultural hub: there are bars, cafes, concert venues, open-air movie screenings, and guided tours in Lithuanian, English, and Russian. I wonder about the vibe at the parties.
We play a game: the guide shows us different objects and invites us to guess whether they were allowed or banned on the premises. To wired headphones, I say âbanned: one could strangle a cell mate or hang himself with them.â Iâm wrong: the guide explains that the right way to strangle yourself is by tying yourself to the bed, by the neck, with a wet towel or bed sheet, after several days of sleep deprivation. You fall asleep, you never wake up. He has a polite look on his face, which says âI thought you might find that interesting,â and I nod with appreciation, as if saying âright, that makes sense, thanks.â
He gives a chance to ask a follow up to the rest of the group, but nobody has one, and he moves on to the next object: a tiny cell phone, maybe 1/6th of my iPhone, with buttons. We are invited to guess the maximum number of phones that was recovered from a manâs rectum at one time. I think, âSix? Four?â Somebody else gives their guess. The guide lights up: âVery close! Eight.â
I spend more time than the rest of the group looking at drawings and reading the writings on the doors and walls of the tiny box-like rooms for preliminary detention: a third, maybe half are in Russian, but I also recognize Georgian and Armenian letters, thereâs some Arabic and, of course, Lithuanian.
In the bigger cells for long-term confinement, Russian dominates. âBusiness language,â the guide shrugs, âlingua franca.â The biggest graffiti turns out to be fake though, put on the walls during the filming of Stranger Things 4.
Taking pictures in the cells is prohibited except for the one with a cardboard cutout of Putin (Vilnius is absolutely covered in Ukrainian flags). Most are empty, maybe a dozen were turned into some kind of art objects, and one preserves a frozen image of what life here actually looked like: a TV in the corner, light erotica on wall posters (Russian pop bands from the 90s and 2000s, which I recognize), books, bedding. Two men step in to look around, the guide asks how they like it, one says âI could live with this,â and the guide responds by shutting and locking the door. People chuckle. He delivers the next bit of trivia to us, with his back to the door. Itâs all very playful, gently immersive, with smiles, raised eyebrows, an occasional sigh, a thoughtful nod.
None of this is about the LukiĆĄkÄs prison for me.
Itâs about the fact that, a week or two before this excursion, I was looking at tickets to Russia. I hadnât been home in three years.