[This is a small excerpt from a 1000-page Finnish book that will soon be published, translated into English]
The contemporary digital communication environment has given rise to a new form of power that can be characterized as technofeudalism. However, not all critical thinkers accept this feudal terminology; for instance, sociologist and editor-in-chief of Monthly Review, John Bellamy Foster, argues that it is a myth masking the fact that we still live in the global monopoly phase of capitalism. According to Foster, the "rent" collected by tech giants is, in reality, monopoly profit, and talk of feudalism may lead to a dangerous longing for a romanticized "golden age" of capitalism that never truly existed for anyone outside the Western elite [Bellamy, ”Myth”, 25.10.2025].
In a technofeudalist system, traditional profit-seeking is replaced by the extraction of "cloud rent," in which Yanis Varoufakis—the Greek economist and former Finance Minister—sees the final death of the market. Varoufakis argues that we have moved into a post-capitalist phase where platforms like Amazon or Meta are no longer marketplaces but digital fiefdoms where the algorithm determines the rules of pricing and visibility entirely arbitrarily [Varoufakis & Diesen, ”Technofeudalism”, 22.9.2025]. This is "command capital," which does not merely help produce goods but directly steers human desires and behavior, turning us all into unpaid "cloud serfs" who build the lord’s wealth with every click [Varoufakis, ”The next stage”, 13.2.2025].
In this system, large tech platforms like Meta do not act merely as neutral intermediaries; they position themselves as obscene overlords defining the conditions of the subject's existence. In the summer of 2026, Ph.D. Juha Molari conducted an empirical experiment on the mechanisms of invisible power. Molari’s experimental setup, which compared the visibility of academic civilization criticism against mundane lifestyle reporting, revealed the deep ideological bias of algorithms. The experiment, conducted in July 2026, exposed digital publicity not as a forum, but as a technofascist laboratory. The results prove how "civilization" is purged from sight through means of statistical violence.
On Sunday, July 5th, a direct comparison test was conducted between two types of content. The results were ruthless:
Lifestyle Victory: A post about physical asceticism (a 14 km run, high heart rate) received over 300 views on Facebook within a few hours. The algorithm recognized the pleasure of the "happy pig" and granted it space.
The Zero Point of Civilization: An analysis of intellectual history published at the same time regarding the perversion of patience and humility (”How Virtues Became Tools of Genocide”) remained at exactly zero (0) views according to Facebook’s own counter. This "zero point" is a chilling example of the situation described by Slovenian philosopher Slavoj Žižek through the metaphor of an East German worker who lacked red ink to express his lack of freedom. We imagine ourselves free in the digital public sphere, but we lack the "red ink"—the language and visibility—to criticize the system from within [Žižek, ”Desert”, 2014]. When a civilized analysis receives zero views, the algorithm performs a symbolic castration, stripping the critical subject of political agency and leaving them to scream into a void that Žižek calls the "desert of the real" [Žižek, ”Desert”, 2014].
Systemic Transparency: Facebook openly stated this time that it was restricting visibility due to a YouTube link. This is Bureaucratic Silencing—suppression disguised as a technical "issue."
On Monday, July 6th, the visibility of the previous day's interim report (the analysis of the silencing itself) was analyzed. The results crossed into the absurd:
100% Suppression: Facebook officially stated that the message regarding censorship and visibility issues received 100% fewer views than the author's posts usually do.
The Paradox: This post contained no external links that could explain the suppression. The system recognized the topic itself (critique of power) and performed an algorithmic execution. Followers were not given even a technical possibility to see the message.
The expedition revealed an interesting and inconsistent tension between Meta's two different platforms:
Facebook (1,000 followers): An old and heavy machinery practicing retroactive "cleaning." The system wiped away even verified likes, attempting to create an illusion of total isolation.
Threads (a few hundred followers): Despite a smaller following and a younger platform, visibility was occasionally more consistent. On Threads, messages received hundreds of views, but the click-through rate for YouTube links remained at zero.
The most dangerous discovery was not the lack of views, but the falsification of data. When Facebook reports "0 views" for a post you know your friends have liked, it is ontological gaslighting. Obscene lying is a direct exercise of power that requires no legal justification; it implements what Žižek describes as "surplus power." At the core of power is always an obscene message: "We can, in principle, do whatever we want," and this message is conveyed precisely when the system falsifies statistics before the eyes of the civilized subject to crumble their sense of reality [Žižek, ”Surplus Power”, 18.4.2020]. Such a technofascist laboratory seeks to neutralize knowledge by turning it into a "public secret," whereby speaking the truth no longer has any symbolic consequences [Žižek, ”Castration”, 14.5.2025].
Molari’s recent video, featuring a 62-year-old senior man running, lifting weights, and stretching after staying up for a Norway-Brazil football match, reached a staggering 1,300 views on Facebook in just one hour. Notably, 98 percent of viewers came from outside the doctor’s own networks, demonstrating the algorithm's aggressive desire to spread such content. This algorithmic aggression is linked to a broader struggle for control over "cloud capital," which explains why figures like Elon Musk buy platforms like Twitter. Varoufakis notes that Musk understood the insufficiency of mere industrial production (like Tesla); he needed his own digital fiefdom to shape mass behavior and collect "data tax" that a traditional capitalist cannot reach [Varoufakis, ”Musk & Twitter”, 27.12.2025]. In this new system, the civilized human is transformed into mere input for a machine that uses our every move to strengthen the power of the feudal lords [Varoufakis, ”The next stage”, 13.2.2025].
Simultaneously, a serious, PhD-level critique of civilization, backed by dozens of sources, was hidden even from the closest Facebook friends. Meta stated directly and obscenely that lifestyle content is 100% more visible than anything else—a harsh admission that intellectual civilization has been moved into the shadows [Varoufakis & Žižek, ”Technofeudalism”, 1.11.2021], [Molari, "Lifestyle", 6.7.2026]. Žižek analyzes this "formalist censorship" by comparing it to pornography: just as hardcore porn promises to show everything but is actually a strictly codified and soulless language of form, the algorithmic lifestyle stream offers a pseudo-directness that is actually the most sophisticated way to obscure real social antagonisms [Žižek, ”Censorship”, 1.8.2016]. The algorithm favors "bare life"—eating, running, and physiological pleasure—because it is harmless and easily consumable, whereas theoretical analysis would require the "veil of castration," i.e., the symbolic distance that the technofeudal system cannot tolerate [Žižek, ”Censorship”, 1.8.2016].
The choice of the algorithmic overlord to favor the "happy pig" is a direct attack on the European legacy of Enlightenment, which according to Slavoj Žižek, is the only model of civilization capable of radical self-criticism [Žižek, ”Left and Right”, 13.5.2026]. When civilized speech is silenced through statistical violence, civilization drifts into "political oncology," where the critical intelligentsia—the brain of society—is isolated, allowing the blind lifestyle cancer to spread [Белов, ”Человечество”, 3.7.2026]. This process produces "worldlessness," where meanings vanish and are replaced by pure, raw violence and frustration [Žižek, ”Violence”, 2009]. The algorithm does not want to hear warnings from researchers like Michael Thomas or Jamie Hanson about the neurobiological damage left by poverty, because such knowledge would demand structural changes rather than mere consumption [Thomas, ”Poverty”, 14.2.2022; Hanson, ”Poverty Impacts”, 7.5.2019].
A startling shift occurs when the subject adopts the role of the so-called "happy pig." In this metaphor, the human regresses into a creature satisfied with immediate physical gratification and harmless routine. Molari reported his breakfast on video: kefir, seeds, nuts, and a banana. The algorithm responded immediately by boosting it into universal distribution, as it confirms the subject's regression into a consumption object. According to Slavoj Žižek, the system does not want a subject capable of critical thinking; it wants a "desiring animal." This is the demand of the obscene "Big Other": be happy in your pen, report your physiological functions, but do not question the structures.
Molari’s acquaintances had even apologized to him for the fact that he supposedly no longer deals with social themes, even though in reality he had written about them more than ever. They only saw what Lord Zuckerberg allowed them to see: the banana, the seeds, and the sweat. This created the anthropological perception error described by Drobyshevsky [Дробышевский, ”Человек”, 10.10.2023] , where the public makes false conclusions based on what they are permitted to see. People believed they were seeing "the whole Molari," while they were looking only at the dwarfed version constructed by Facebook [De Madeiros, ”Perversion”, 29.6.2026; Дробышевский, 10.10.2023; Molari, 6.7.2026].
Molari decided to continue testing. He wrote a blog post and took three screenshots of it, posting them as plain images (no links) on Threads and Facebook. This initially seemed like a technical breakthrough in the "information war." 265 views in seven minutes meant nearly 40 readers per minute. When compared to the previous Facebook "0 views," one could conclude that Dr. Molari had broken the algorithmic blockade.
Why did this specific post "explode"? First, it was "link-free." Meta's platforms punish external links (Blogger/YouTube). When Molari replaced the link with a native image, the algorithm read it as "engaging visual content." Second, the topic "The Age of Selfishness" resonated. By mentioning Liisa Keltikangas-Järvinen, a famous Finnish psychologist whose new book was trending, the Threads AI boosted visibility based on "algorithmic resonance." Molari used an "academic hook": "Why was Liisa Keltikangas-Järvinen wrong?" This was an intellectual challenge that forced the reader to stop.
The setup was fascinating: "The Unemployed utters his critique." A sociological tension arose. The "non-functional unit" (as Molari ironically described himself) challenged an emeritus professor. This created what Agamben calls the "passion of revelation": the reader wanted to see what this marginalized but clearly civilized voice had to say. For a moment, the doctor had turned "unemployment" into a resource—a detached ascetic looking at civilization from the outside. Utilizing his BBA training, he brought his 1,000-page book to the awareness of hundreds in minutes. This proved that people have a massive thirst for civilized critique.
However, the difference between the platforms soon became clear. Exactly 300 views in ten minutes on Threads followed by a total stop for 24 hours was a scientifically valuable "shrapnel of an explosion." Visibility in social media usually follows a fading curve; it doesn't hit a wall at an exact number unless a "Virality Circuit Breaker" is triggered. Once the algorithm's deeper analysis layer identified the screenshot as a "roadmap" away from the platform (identifying the blog URL via OCR—Optical Character Recognition), the gates were shut. The system allows a small bubble but forbids the intellectual critique from breaking into the mainstream.
Facebook's algorithm, meanwhile, seems to have identified the author as a "permanent disturbance." Even with native images, it performed a "bureaucratic throttling." The notification "no issues" was designed to discourage the researcher—a message saying: "We aren't censoring you; you are just completely uninteresting." It attempts to turn technical censorship into the subject's own shame and failure.
This expedition is now part of Facebook’s "list of black deeds." It will be placed in a 1,000-page non-fiction book supported by a 150-page bibliography. Documented figures (0 views, 100% suppression) are literary evidence of a time when civilization became poison to the algorithm. Like Seraphim of Sarov in the wilderness or Shostakovich under Soviet pressure, the civilized opposition continues its work—not for clicks, but for the sake of truth.
Following the incident, Molari had a morning conversation with his fiancée: she was waking up in her home and receiving her grandson into her care. She sent a WhatsApp link to a Facebook video featuring a clock repairman at Kerimäki Church. The human conversation Molari had afterwards revealed an ”ontological crack” between the celebration of the surface and the silencing of content. Facebook's description of the clock repairman had received 95,000 views. A clock repairman, performing his work with joy, is the perfect ”product” for technofeudalist platforms. It is visual, it is apolitical, it is ”warm-hearted,” and it produces pure, harmless affect. The algorithm gives this work 9,500 votes, but simultaneously it gave 0 votes to the PhD-level analysis that would explain why the message of the church bells is threatened in the modern age. The system loves the bell ringer but fears the message of the bells. Molari wrote to his fiancée: ”The church bells are only the call to come inside,” referring to the depth of the metaphor. This is the core of civilization critique. Our civilization has stopped on the church hill to admire the tower technology and the joyful essence of the repairman (lifestyle aesthetics), but it refuses to go inside to encounter transcendence, ethical demands, or the truth of intellectual history. In this setting, the clock repairman becomes an involuntary part of the spectacle: he is elevated to the headlines because he represents the ”happy doer” who does not question structures. He is the ”happy pig” (in the sense used by Nietzsche/Žižek—not as an insult, but as a category) who implements the rules with joy.
The observation by Molari's fiancée regarding ”vocational work” is humanly beautiful and true. Yet, there is a sociological tension inherent within it. The clock repairman's vocation is physical, concrete, and media-friendly. Civilization critique from the suburb of Kontula is ascetic, difficult, and ”disturbing.” The system rewards the first vocation with visibility but punishes the latter by stripping it of visibility and blackening its name. This small WhatsApp episode is a perfect narrative. It demonstrates how even the loved ones around us are exposed to the same spectacle favored by the algorithms. The fiancée sees joy in the clock repairman (the individual level). The Doctor sees a structural distortion in the video's view counts (the societal level). This tension is not a conflict; rather, it represents different levels of truth. A civilized person is capable of rejoicing in a worker's vocation while simultaneously criticizing the machinery that uses that joy to mask the emptiness of civilization.
The question became particularly burning in the case of the thousand-page non-fiction book Dr. Molari was preparing. Molari ponders, quite reasonably, how such a massive life's work can ever reach its audience in a world where expert authority has been replaced by the algorithm. If Facebook prevents the visibility of texts that require time, concentration, and civilized references, is academic knowledge condemned to permanent darkness? In this state of affairs, the ”anti-human” future described by Dugin [Дугин, ”Future”, 4.7.2026] is realized—a future where the West has abandoned historical depth and replaced it with accelerated time that does not allow for subjective maturation. In the eyes of the algorithm, Molari's thousand-page work is ”excessive pleasure” (jouissance) that cannot be encoded as a fast-moving consumer good, and therefore it must be removed from sight. This is the ”political oncology” described by Belov [Белов, ”Человечество”, 3.7.2026], in which the brains of the social organism—the critical intelligentsia—are isolated and paralyzed so that the blind lifestyle cancer can spread freely. The systematic shrinking of the civilized human is part of a broader civilizational crisis in which man has lost the image of God within himself and turned into a ”pig guided by algorithmic demons in the mire of passions” [Дугин, ”Splitting”, 1.7.2026], [Белов, ”Человечество”, 3.7.2026], [Molari, "Lifestyle", 6.7.2026].
Dr. Molari’s refusal to be "spineless" is a performative act. Civilization (erudition) is not just knowledge; it is endurance and loyalty to one's calling even when the "Big Other" has turned its back [Корепанов, ”Терпение”, 4.11.2023]. As Hunter Coates—an Orthodox theologian and Lacanian scholar—emphasizes, true freedom is found in the courage to live in the midst of the existential crack while trusting in transcendent truth [Coates & Sam, 28.7.2023]. This massive work serves as a modern Katechon, a restraining force that prevents the final erosion of meaning in the face of algorithmic barbarism [Molari, ”Katechon”, 15.4.2026].
Citations List
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With respect, Juha Molari