café snake - gonzo CRTC

Episode Date: May 26, 2026

Daphné aborde les expériences journalistique de déconnexion numérique. Mounir commente l'annonce du CRTC de taxé les revenus canadien des grandes plateformes de streaming. Beef de streamer qc, la fenêtre d'Ooverton, la Victoire ++++NotesFenêtre d’OvertonOpening The Overton Window, Firuza Huseynova, Do Not Researchhttps://donotresearch.substack.com/p/opening-the-overton-windowpublication de Marie-Élaine Guay:https://www.instagram.com/p/DYiH0gokfdICapitalist Realism, Mark Fisherhttps://www.simonandschuster.ca/books/Capitalist-Realism/Mark-Fisher/9781803414300La Victoire de MontréalSport féminin : le vrai débat derrière les chiffres, Nathalie Vachon, La Pressehttps://www.lapresse.ca/dialogue/opinions/2026-05-22/replique/sport-feminin-le-vrai-debat-derriere-les-chiffres.phpTechnocratique: la drogue comme lieu communTout débranché, un mois sans internet, Jean Bourbeau, Antoine Mauthès-Lebel, Urbaniahttps://urbania.ca/infolettre/micromag-2026-05-16The Whale and the Reactorhttps://www.ratical.org/ratville/AoS/WhaleAndReactor.pdfDistracted By The Dopamine Slot Machine, Jesse Meadows, Sluggishhttps://www.sluggish.xyz/p/distracted-by-the-dopamine-slot-machineTranscription, Ben Lernerhttps://www.penguinrandomhouse.ca/books/824824/transcription-by-ben-lerner/9780771039065

Yo, it's my name. I think I'm going to lookie just to write up to meet up, hello, man, it's Daphne. Oh, but I'm obliged, I read a film of one hour on an or an orse. And I was just like, I don't know this film that.

It's Cafe Snake. Good morning. Hello, morning. Yo! Hello, everyone. Hello, everyone. Welcome to Cafe Snake. Today, a episode that is

available for all the world. You'll remind you that one episode on 2 is available on our Patreon atoprion at home

bar obelike Caffe Snake what you have talked on today I'm not the

last micro-mag of Urbaniah but like the avant the last May so a month without

internet and you to want to what you're about what you're talking

I'm on the decision of the decision to taxed the revenue Canadian of the

great companies of streaming of 15% So, talk a little of the application of the Code Reglementary

of the Law C11 that will start to be true the out by the CRTC

so it's like one of the first first end of the DG News

Tuduloo oooo Um Katie Perry and Justin Trudeau spotted downtown

Montreal It's Yeah Yeah Mention It's I'm interested

It's interested It's not prestigious No Okay, it is finally here. We've been waiting nine months for this.

This is the T1 phone for Trump Mobile. This is a gold phone. It's got American flag on the back. It's got the president's name on it. The company of tech menace to keep the country because of the project of law C-22. So, first DG News, the victory of Montreal

ran the Cup Walter. It's apparently an anguement historic. We've attained the summit with 670,000 telespectate on RDS. And even me and Mounier,

we've regarded a ball of the game final. You know, I'm not necessarily the hockey

d'embley. I'm made a little influenced by Munir for my year, I have a

bit of the beginning all the game. In any more the hockey feminine,

but this year, it's the first that I'm on my feed TikTok and even

Instagram, the content-li-li-li-li-hockey-feminine. I'm on some edits, of posts, and even, you know, discos, really organic in my friends, so, a friend, for example, who'd regarded the match in his

course, with the boys'ins, the match final of the victory. I'd have been to beunched, there's people who'd get some of the form of, I was an impression

that, okay, it's something, there's an experience collective, at which I would, I'd rather, could be participate. I've, like, used this desire that of inclusion, it never arrived. And it's that, it's a, it's

a subject that I've already in Café Snick. When we diffuse the sport, we diffuse not just the party, the players, but we're all, but we diffuse also in the space mediatic, the images, of the fans who regard the game, inmediaries. So, for example, so,

or at Casino of Montreal, or center belle, or out of the center of town. So, we consume not just a match of sport,

we consume also the fact of participate to an experience collective, that we have something is signifiant

because she has a representation mediatique. It's that, we consume also, I think, a sentiment of appartenance.

And at core of this logic that, if we push the logic at the extreme, in fact, it's like

if we were invested emotionally in an team, and we we were to to think that we

have been part of this team that. And it's that we want the fantasy of the sport or

the fandom sportive. It's the idea that we view also when our team gain

in a time to be a feeling of a community, and I think it's more

more significant in a place in a political where we have really

really the feeling that that's accomplishment common is not

very present, even that we We're satis, more than the fritement of the filet social, like, a regression collective. The sentiment that we're saying that it's so with the victor or with the Canadian of Montreal, I think it can be interesting to analyze. And maybe with the Canadians, it can't be a fun in-so, like, okay, we have a sentiment of accomplishment, we have a sentiment also of an identity collective that is created, and this sentiment that becomes a fine in

so, Tandis that with the victory, I'm the impression that's a kind of

of a kind of of a kind of kind of kind of this year, is that I think I'm thought it

not possible, it's to a little to a whole of a few of a few that I

think that's interesting in the measure where we talk about a realism

capitalists, like, there's many people there's many people that kind of

we have a default of an default of imagine other other things than the situation actual,

that the capitalism. There are there's a moment like that I said, hey, I'm sure I'm sorry, I'm not

thought that I'm at 36 I'm at a TV, at RDS on a match of the film, and finally

yeah, it's a series, and it's that's all of discussion on the visibility

on the publicities, I think we're talking about also the basketball female

that's the United, you know the impression that's circumscribes at Morale or Canada. It's like something

that's like a more large. There's a article of Patrick Lagasse also that's that I've not seen. I've been made in contact with

the replica where Patrick Lagasé said the Victoire VS, the Canadian of Montreal he presented a bit like the

Canadian of Montreal as making part finally of the ADN of the Quebec which was not necessarily

the same with the victory. And there Natalie Vachon Rappliced in the Press the 22 May

I'm going to make the article in the notes, it's the ancient vice-president strategy communication of the Rose of the Montreal, the team of soccer feminine, and she said, fundamentally, presently, the domination of Canadian as a phenomenon

that would be natural, like if our love for this team that had jaied as a totally out-up of blue in a way completely spontaneous.

At the contrary, it depends of destiny, of a coverage mediaatic that continues, it depends also of investment

massive. If, if, if, for example, we have chate the rights of diffusion of the match at TVA, well, it's clear

that we'll try to mousse the hockey, because we've already paried on this anguument mediatic, so we're going to

make the bouchetubb. There's a phenomenon of medification, yes, but that is dependent also

of choice of choice editorial media, I'm just read a phrase that I think I'm

quite quite, it said, the Quebecers am the Canadian because we know the Canadian

because we're the new culture sportive emerges, it's to accept to do you have a place more grand.

Brief, it's that, the visibility mediatics, it's never something that's something that's an affair of choice, it's an affair

of the volunteer collective. But it's because with the Canadian, it's like imbriqued in also the revolution

tranquil, in plenty of things, I've talked the Canadian for 10 years, but one of the victory that's in

any way, and it's in the world, and it's just the, it's not a game, it's not a victory.

on his hype, there's a playoff run at the end, he had a big push. It's not to get rid of the racies of

the United to the profit of the victory, but it's more to be how a discourse, a recit, a story that

I'd not be possible that's to make a form, it's on my screen, you know?

So, I'm going to a little on a new new world in the world of streaming emerging

quebecue, which is kind of because I think it's like cyclic, in fact it's repetitive.

So, There's a podcast in Quebec that's called Parlon Straight and it's

anewing by two animators who are straight, so I can how do how they

it's they're they're they're they're they're they're they're

they're straight up without detours I guess yeah and they have seen

many they're people people and they're their audience are really in the

East of Montreal in the bans of Montreal. Maybe a little in other

Centurvian of Montreal but it's these people who are from all used from the diversity where we're

talking about Seffi, Elijah, Papi Melv and there they've made a clip this podcast

where we saw see see if see if look me, I've made

some we've got the same we're not the same audience, like you know the New York

and New York and there's like this division that's like they're they're they're they're

they're not a division really like cached there's like a big debalancement

demographical and the density of population between Montreal and the rest of that their audience

respond to these codes proper to people that people who have maybe the background

ethnic it's that's just it's just to go to the same in the division

to say they there there we're we're we're we're we're

we like this victory and this this clip has

circuled There was circulate. There was one part, it was that, and the other part, it was just, like, Papymel, a YouTuber, a YouTuber, who is there, it's like, the same age than me, who is even more years than Cheyenne, I think, he's like, ah, Cheyenne, it's even not a real Iranian. There's some guys who made, they're saying, when he shares his story during the war in Iran, it's just for the clout. You know, an attack purely personal. The clip was perfect for being viral. I never done my opinion on, but, like, we're saying, well, honestly, we're not, we're saying, Louis, it's all. We're not the people.

No, Zob, Zob, Zob. Like, you know, I've already with Cheney, but, like, you know, what do you know, what's the difference? You know what the audience are not the same? Like, he's a,

it's an Iranian, but, but you don't know, we're saying, straight, you know, it's a Quebec, yeah, because we, we're the guys of Montreal,

we're some guys of the good, New York, he's a guy of Quebec, but it's a Quebec who are a European, you can't,

you can be, a thing that I I've been for example, he had made a post he wanted

just to represent a something of some home country and I'm talking to the culture and they're

like you're like a little bit of it's not a new, like I'm like, I'm like,

I'm going to get some it's very that's it's a yeah, it's interesting because it's

true that the streaming IRL is really in trying to set up in Quebec

the there was just really one figure that's like Louis Lewis

the there's there's like there's that they're with different backgrounds, different imaginerers, who are not in this moment

do these gross shifts, but like down the line, if we're seeing the trajectories of all where the streaming has emerged as a form of content, it's going to be a strong to croissant in, it's inevitable.

But, especially for this market that has really not even got even not even got of the gross figure of the streaming, the community

urban of Montreal. Yeah, there had not the figure of ghost of the streaming in Quebec, and I'm surprised to have really

to like, like I've always like a couple of of weeks like a couple of of days, there was a streamer on the same time that was doing

a streamer was doing like on a son there was a back in Science Poe of Sherbrook and he was like the elections

2022 he streamed there are two guys who coming to with Urbaniott with Urboh yeah but I don't know

in which it's oriented politically I'm gonna no idea all right all I made to make you

all made to be a division that had had been between the rap Quebec

and the rap and the part of this division there, there's all the industry

of the industry of the music Quebecers. The people of people reprochee

people to like benefice to be the subvention of bourse for their music

there had kind of financial and now in this moment it's a same

the same because the people who are the people who are people who are not

when you compare to someone like Lewis Lefoo that, like, a deal with Beach Day and, like,

there's been, like, it's been to see to think it there's been a lot of just like, like,

Elijah, react to clip, after, Lewis, reactie to after, there's, like,

there's, like, there's, like, just, like, just, down the media,

I'm, I'm, like, oh, my God, he arrives to what, here, like,

he arrives to States every fucking , every, every, you know,

where's the streamers so, clip interposed. I thought it's kind of magnificent. On the

subject, I think one of the affairs that is arrived in France, by example, is that when the streaming

had emerged, rapidly, you had that, you felt like an kind of a kind of a species of streamer,

plus banlue, plus Arabophone, who, like, had these adiances, and they've rapidly been integrated

in the most structure that was built with squee and all, and one of the most

figure of YouTube French that will have the 11 All-Star on this,

it's a match of creator French, against creator English, they're going to play at the where they're

playing PSG in 60,000 people. It's been one of the big events in direct of the source of Twitch.

Amin Mottu the person who organized that, he was in this class of plus like,

creator, you know, his rebe of the people, they did you do you, see,

they're doing of Twitter who did some for the people of origin Arab, Marican

and who are have been mainstream and the scene seem not not divisive

in this affair that like oh, you're the Quebec there's the people

there's people who in the Quebec, because the Quebec, there's like if we're like

the choice in fact like a person is like no, I'm not, I'm not quite

I'm not quite I'm Canadian, I'm Maraleale all to say that I'm

my tise on that, is that is that you have adopt

something something that is more more more than that

it's process by decisions concrete of inclusion of people at different stages of

this industry to create a scene of streaming Quebec, like there's you can't not partire that by a clip

where you're like oh, yeah, it's a fake Iranian that's a shit on the war just for the clout,

or like, the Quebecers, it's these people, it's these things are being these dudes in their

clip farming, you know, it's full interesting to observe but I think it's that will

lead to something to give to a new that What is your What's your I'm in

I'm in the I'm doing with the With these dynamics like this dynamic that's of the opposition I'm sorry

I'm sure I think that's but it's true There's a There's a resentment affective We know We're in Quebec

Your audience are racist With us Yeah it's That's so That's not Like when we in your

We're in your We're in We're in We're so You know You know, It's like There's like

There's like There's like There's Like this You're From somebody Like Cepi She has

F Fee He is mentioned in my documentary, there's a woman, like, directly oh, you know, you know, and he's an origin of Marican, and he really, you know, I can't say

I'm saying, I'm saying, but is you view the same thing with the police than I? He talks these streamers of New Orleans,

a bit like these entities that would be whitewash. Well, the Channe, and we haven't not talking to me,

but the audience, in the case. Well, in fact, Shain, he literally said, he said, he said,

Sophie, he said, channe, she's a ran and you're not sure, I'm not sure that all this community that will not finish

by listening to this podcast but the rule number one with all of this discussion that is that is that to

not to reventique like the part of the perth is just for you know because you can't change a society

that you say that that's like that's like that's it's purely personal it's of what individual

before to be an projection identity of how you're you present to the

world just how you to consider and it's not in detachement to have

an for their country of origin. The things are more complex and nuanced.

So, one other DG News that I wanted was to return on the metaphor conceptual

of the furniture of I'm the impression that's a metaphor that's many times

in two lectures that I have made this week, when we're talking about when we're talking about

a phoneette to what's possible to say in a debate public, in a sphere mediaatic.

So what what is consider as acceptable or unacceptable, so it would it would be in the front of

Overtune. Nottably, in the movements social, in these imaginer political, where we're in a process of

legitimization of an idea. So, it will pass, it's, by example, an unacceptable

to acceptable, with the diffusion of discourse that will potentially make move

the future. I'm on a publication of Mary Lenge the 19

May, that I I'm still found interesting, so I'm going to let them

make to the idea that's the idea about the people are sometimes too long,

and there I'm this idea that would be interesting because she has used also a

function political, it's that are that the women that are that are

that are you make, that make to make to other figures feminists,

to happen to be menace because they joe of the displacement of this Feneres of the Possible. So I think that when we

talk of Feneettlement, we're doing reference to the famous Feneighton. So it's also what's also what makes the injunctions on calm so abrutist

because every time that we demand to be moderated or to be more strategic, what we exige to the return to a critic

that not derange not the rappors material existing, nor the structures of power. It makes I would like to do not

a other text that I've published the day. So it's out of 18 May. It's called

opening the Overton window. So we're talking about that in the moment, to open the

window of the possible. And it's published by Do Not Research. It's been written by a

Moralalheera Fira O'Saynova. It's in English, I make it also in the notes.

The writer written on the racine historic of term, which will appear in the

90 90 by, a denomie Overton, who talked about these discourse socialally acceptable and who worked for

a tink tank that's called Mackinac Center for Public Polices, which was a thing tank that served to

promote these ideas libertarian. In the idea, in the ideology libertarian, it's the

most possible of interventionism of the state, so there's a rapport really, by a

property individual, if we're going to be there the rights of the property, the rights, by example, the more tax possible, etc. And during the years of 90, it's so, so Mr. Overton, was there. And there, he has talked of his theory personal, this metaphor that, that,

that he's been a lot of his boss, and it's become very quick a hit from the thing-tank. So it's interesting to think to this idea of metaphor conceptual, who, before all, has the racine libertarian. You see the fenet, when you gogouled, let's the representation visual, it's on an axis vertical, rather than to be on an axis horizontal. We talk, let's, let's, let's see,

of politics, the right, in function of, just, of, the horizontal, but now we're really in the high, the bottom, the more you go on the whole, more you're in what we're in, in the, quote, guillet, the liberty. You're approach to an sort of an espete, you

or we would have nothing to with the government or the government will be malere not of our things. Then,

then you go to go back of that, more it's the control total of the state. In the Feneet

of Overtoon, you're all the discourse that are considered as the or the ideas,

the politics as acceptable, reasonable, popular, and to political public, so something

that has been legiferate. And what is in the door of the net, it's all what is considered

as being radical or even more largely impassable. It's used in a governmental or by the

public, it can't identify these ideas that are acceptable, which can be adopted by a government,

in a process let's a democrat and other ideas that are not even. And the role of the Tintang

would be just to make circulate these ideas that that would be impassable or that we could not adoptive, but for de-placet the window of Overtun, and that eventually, well, these ideas concomitant,

perhaps not also impassable, be adopted. And there, we say that in this metaphor conceptual, that, all the idea, which we could discuss or debatted publicly has the potential

to make, to beplacce this famous fence. At the gauche, by example, in the circles, well, we have,

often invobey the front of Overton just to say, why not propose these discussions on these measures

political that are not necessarily accepted, who are never adopted, for that we can't

the window and that the version maybe more socially acceptable, so a bit more

progressive, they're acceptable, eventually to be being to be able to be

different. The argument is to push these positions extreme for enlarger the

chance of possible. The autrists we make not in guard, but it's important to be

important to say that this metaphor conceptual is there has the racine liberatorian

and it's also a idea that's a mode of functioning that is very linear

it's on a axis that's on the axis I'm to be to be an example

of the front of Overton that post 7 October what's that we'd

feel capable to say or not in the discourse, and then I said the discourse public, I'm not not the Assembly National,

but, let's on, on the social, I think there person, post 7 October who did it

revendiqued pro-AMass, or in the case, it was a lot of the money current, let's,

and the more it was the discourse evolved, the, more, finally, we could

be, we're, we're not necessarily the terrorists, it's constitue of resistance, you,

it's an army of the resistance. The genocide has not the 7th October. It's been that's due. We see a regime of apartheid.

So, all of it appeared as being a good example of how the discourse and the window

move. Brief, it makes refect to all the principle of the window of Hoveuton. I've

I've never panche there on as much in time, you know, militantism political.

And as we live in a system or in a reality that is really extremely extremely

mediatic, which is also fashioneded by the architecture, of the platforms that we use, these platforms that are political, in the sense where they have an orientation, you know, particular by rapport to power, and, you know,

it's an economy of the attention, and they're going encourage certain postures for the generation of engagement. But all that is very oriented, you know, on the discourse. We're always in the discourse. When we think of the fnette of Overtune,

we're more in the idea to have applied certain laws or certain measures political, but we're more in what we have the right to say or what we have not the right to say in the measure in the culture

of the edge lord to marches to marches where there's a president the president of the president of the United who every year will have a discourse

that's constantly of the window at which point is that this idea to deplacate the fence is effective politically I'm, I'm

I'm not parvenue to really a really a response necessarily I'm an impression that I'm not in a paradigm or like there are some things that are impassable or, let's not I would not imagine that we'd say. For me, it's more of the idea of in-imaginable. And there are some of Café Snakeer,

Snakers, who are talking to Mark Fisher, a thinker that I see to sit there a bit partoo, and he revere a lot in the text that I read. He seems to live a kind of renaissance, even in the podcast. And he, in all the case, I want to read his book that's capitalism realism, but he

said that just the capitalism, even if we're let's say, let's go whatever, it's like

if we're having adhered to fact that the capitalism was the sole system political economic

viable, in the case, we're not we're not able to imagine a alternative

that's a point that, where it's a where it's my angle,

more, it's really on the imagination. And Mark Fisher will

often cites, you know, the famous citation, I don't know if it's at who that it's attributed, it's as far as if it's a person or Slavov Zizek, we don't know, but like, it would be more easy to imagine a fine of the world than the capitalism? Is it a power of a power political real, to have a power political real, to have moved this, set-inette-la? When the people, like, who seem, in our eyes, to have the plus of exposition media,

and the plus of the power political in this moment in the world, we have the

impression that exists even not in the paradigm of the window so that they say,

respond not to the injunction of the acceptability social. So, my subject

this time, is that the CRTC is out of grand pomp for us

for us during the series limelato at the festival the final

the F1 that they had taxed to 15 percent the revenues canad

of streaming, Disney, Amazon, Apple, Netflix. It's kind of interesting because it's a point of tension in this moment in the negotiations of the Libre Exchange between the Canada and the States United, the exception cultural, the clause cultural, is a lot of question by the administration Trump, even by the Congress American who wants to launch these inquiries to see the Canada enfrain not, just, there's an issue of libel exchange with these dispositions that

that they want to make in order to that these giants American invests in the system financial of the creation of the

Canadian. They want that they investis also of the 15%, 30% in content francophone.

There are all the dispositions also for the content of the language minoritar, that it's

the same the English or the content of the language autoctone. The goal is

really to fully integrate these companies in these structures like the the media of Canada.

It's kind of interesting to go to see how it's always, they're the project of law. It's called, in English, the Online Streaming Act, the law on the content of

diffused in line. But what's what is legislatively? It's a issue of the law on the law on the law that had been

written a long time, it's what they had made in this law that the creation of something radio Canada.

They have made to get a this law that for integrate the distribution

of content or just even the internet as far the communication

but in the point of view like that because before it was really just a

flue of language of terminology they were to define things of the content

can't a user canadian a creator can't a creator of a creator

of the all the then after the reason why that's there's the scale of Canada, the project of law, he has been adopted in 2003, but it's something

that's something that's working, not only even, even even, when Melanie Jolie, had been minister of the patrimone, just after that Justin Trudeau had gained, he's talking, but it's really Pablo Rodriguez who had made the charge

at the beginning, with this project of law that, that had, like, flopped because Justin Trudeau had decided to decalched the elections in 2021, so it's Stephen Gilbo who had reprie the flambeau for, finally, that it was adopted on Pascal St. Tonge.

Really, this project law has been written by the functionaries, the ministers, have anything made for you're saying, it's not true to be, like, some say, like, some people,

too, too, tall, if we're just just the discussion that I've had with Sylvain the France, who is president

of the CIA of Telefilm Canada, in my documentary, after me, the Lidugue, he, in certain, it's something

that would have potentially to be able to the history, when historically historically, the C.

had decided that, you know, the internet, it's perhaps a mode, it's probably it's probably it's been

too complicated, it's been not on our jurisdiction. In a certain fashion, let's one a company like Netflix,

if for it's implanted to see, to arrive on the market Canadian, the condition had already

had already that they would have to get to pay, and the tax, and the data to

the infrastructure of the country can't be that has been that it's being implanted to their

yeah, you have to get to the economy, so I'm I'm in there's really really a

a lot of pushback, and they're really, and how it's it's actually it's really, the CEO of Silicon Valley who have

access to them, who they're saying, they're saying, they're doing they want to get to be able to get to

a commission, like, they've, they've got to protection of the innovation American, and it's really one of

the chival of battle of Donald Trump because Mark Ernie has even ceded, he has reculled on the clause

that had already had been accepted just of the grand platform, the technology that they

had paid , So I feel like the CRTC who has made this decision in this moment I don't know if it's from the cabinet of Mark Carney

I don't know where is that it's just to do in his strategy of negotiation of free exchange. In fact, it's the thing is I know

not how the instance decisional of the CRTC function, I know at how point it's

disconnected to do politics. It's really like an angle more that I'm interesting with the CRTC

is that on their site, all the species of demarch legal are are laid down.

T'all these companies Google, YouTube, Amazon and the companies, they are in these processes

of regulation with the CRTC. So you see their kind of their request and their

demands, and the responses, and the decisions of the I'm to know,

at what it's has interacted with the politics if it's a process that

has quite less than in there is there is there there is

there is there, there they're will sort, how they want to apply this, and how these platforms that would make to the advance of the content of Canadian,

and then we've defined what the content that's produced, so by a Canadian or by a company that's just 25% of Canadian, so that's kind of interesting also, it's not, like, that's a company

could have an actionaria of 25% to Canada and then participate to, like, or reclomely of whatever of this ecosystem, but I guess it's good for favorizier

like the versement or the deversment of capital estrange in the industry of visual Canadian. Maybe that's it interests also justly the gross US Americans that come to turn in these villas like Vancouver or Montreal, to create the companies here, of roulette, of loge,

of maquiature, to the type of company. I think it's so much interesting that it's a few weeks after the story of my documentary because I think it's really, at force to do research on this subject that it's really that's

the gross burden on a flexibility of the industry cultural cultural Quebecoise is the card

Reglementary Canadian in how they can't use use these funds for make certain types of

content, is that is eligible to tell funds, just how it has been dense.

It's, it's not the only thing there's not the thing there's

many ways there's not that. And also, what's what's what is what is the

new decision of CRTC, which, that's not very clear in their document, like they say they're in

a part of it's a part of it's a point of the money, but that justly, with this apport

that will come of the grand diffuserer American, the app of investment that will

come, the diffuser private canad will be diminue because they they'd

they'd they'd they investis 30, in a 20 to 30 to their

revenue in the ecosystem, but there it it will descend also, I think, the 15 points, it will descend to 25%. The idea, is that there is

more of marge of manoeff, and more of oxygen, and it's a response to someone like Pierre Carl Pellado, you know, so to have also, you know, like Pierre Carl Pellado who is all over two

a day, well, there, there, there had a part of what he wanted, and it's not just the content in the funds, not just to give the money to these funds

of investment in culture, but it's also to produce their same, the content made with the companies of production canadian on their platform.

But the amount, it's really 15% of their revenue canadian who are going to be done in the ecosystem. So that's also of the charge fiscal that they've got paid, in plus,

in plus, there's they're in plus the tax. So they're really that's really that argument. It's interesting because one of the

group of the group of travel on the future of the audiovisual Quebec, you know, we've got to

understand, they had a budget firmed in the sense that they'd reimagined the function of

the the Ministry of the Culture Quebecua, but without demand a more gross envelope, like in imagining the Minister of the

culture Quebec-cault, as it's a fact it made in a sort of it would be not really do it

new programs and new programs, but there's one of their recommendation that's, in the phone, the system

of television, how it has been very financed in the the second month of the 20th

year, it's by the fact that each person who is aboned on cable there's a percentage of this

price of abodement that's going to in the funds that's going to directly to see the chain and the diffusor and this

money is reinvested so there was there was the money that was there was the they were to what they recommend in the rapport

or what's they recommend in the rapport it's to reproduce the same system a bit but with the

abodement of Wi-Fi and internet it's that means to bring in the TVQ that is

already paid when we pay our abodement of internet, not to add a tax, but really, you know, when you pay your Wi-Fi, there's a TVQ on, there's the point of percentage of this TVQ that, and then get it in the system

audiovisual, Canadian, and Quebec. That, I think that's a good solution, but, again a time, you, it's all the time to be in the pillage, justly, and to imagine as the sole enge of this industry, the fact that it is not not necessarily like

the audiovisual that is the more well financed in the industries cultural Quebecoise. There are plenty of other form of

art, the form of distribution cultural that they're so financed. I'm really in this

state of the state of I'm to get to what's what I'm seeing what I'm going to

talk about to a other subject. I'd want to a product media and there

it's the micro mag Urbania a month without internet, so a

journalist that has a month without internet who troy to some experience

and I want to me attack to Urbanya or new journalists in as a tell. It's just, for me, it's an example

of a kind of discourse that we're really all right to be able to see, and I know also that when

we produce the content journalistic, we jongle with a constraint, the contract, of time of

all of that, I'm concerned of all that. I'm interested to a type of discourse in particular

when we talk to talk to techno-critic. So, the reportage micromag is called

All-D-Branched, it's out the 16 May. It comes from the journalist Jean Bourbo

but there also another person who is cited in the case in the fact that's Antoine Mottes Lebel,

and I'm going to make that down the notes. We say the journalist is prete to the exercise of the connection,

so he's pogned a flip phone, and he had medited on the place in our life, he's

made a cabai, and even in this experience he had encountered quote-and-quote

an old old, an ancient co-bye of the deconection, it's to say Patrick

Lackace who has who has he many, he has many, so I

understand So we're so we're a filiation, you know, that's not the

first, you know, to be the first of the first of the end of the situation

is that the situation, it's like it's like it's because we're our rapport to technology

change to day on day. D'clock, I think there's an issue documentary

of curialte at the Telekebeck that's in 2025 Covey or the screen

Cobbe, I don't, who they He'd recounted, just, the experience of family who'd be disconnected during a certain lap of time to tell me to how the screens fascine our lives. I don't know, I don't know.

I'm not even the documentary, but, you know, that's not, this genre of experience that, it's kind of legion. I don't know not be the sole to be pathetic at force to check my cell, it's notarren. It's not a choice, it's a reflex. A mini-dependence

that, year after day, gruge a little the image that I have to me And it's gotse. I'm goss. I'm going to goce. I'm going to goate. And it's just going to because it's

janean. But we're many there in a sense of a kind of a kind of a kind of tolerated, normalized. So,

not just Instagram, not just Facebook, too. Puts! Puts! PURG to goin' to the corner of the Rueuebett,

the Ruechreels the Correase of Corre Cours, YouTube, Reddit, LinkedIn, Twitter, Turnup, Uber, Netflix, Marketplace, DoorDash, Amazon, Zwift, Spotify, TikTok, even Communoto, we're all right to all. Fini the music or the ballado nonstop in my AirPods.

Demandah, chat, GPT, how regl the hour on my foe. Finer Google Chat, Google Meet, Google Agenda. Google if I go gobble if I'm going to watch a film without checking my cell, and more capable to finer a leave, not able to be able to be able to be able to dream. It's always joan-a-lienable, so let's try to debranched a month without internet.

So, the experience that's what he has been Jean Bourbo, it's really what we call the journalism Gonzo, this idea to seemerce in a subject, and, and, you know,

just to meet, I'm, some of the experts or a source to interviewer someone, well, the journalist,

and he will be a time experience that is, sometimes personal, sometimes subjective. I think that's like

a modus Superandi, the Urbania did so, for example, he had made the reportage live 30

years, with 829 dollars, is possible? So, a month on social, I think that the name

of the journalist was Florence La Rochelle. And I'm a reproached to this type of journalism that. I mean,

essentially it's not good or not bad, I think it's important also to talk to probably to say,

just, to live in your life in the experience contend to circumscried. But I

think also that you have a rapport critical with the experience content in

time to in the case, in the in what the discurs mediatic that frame the technology for the most 20 years will come in tinting my proper perspective

of the experience or even, why is there an omnipresence mediatic of disconnection and what's that makes that make live the disconnection? What is that

did, finally, on our rapport to the technology and like the framing mediatic of the thing? Because, because, from the

the beginning, in fact, we enter in rapport with the screens, the connection, like a drug. You know, it's that that's used at the micro-mag

it's the metaphor filet, and also it's circuled enormously in the media, then we employ the terminology of the dependence

to drug when we talk also of sobriety numeric, because the sobriety, you know, it's something that's in the

vocabulary of the dependence. It's like if, d'emble, you frame your experience like a

sewrage. You recount the experience of a sevrage. And that, it's kind of interesting. Because I don't say that there's not a place to talk to dependance. But what I think interesting is that the dependence is become the place common by excellence in the domain of the technocritics,

in the media mainstream. So, yes, we, we, we need all sorts of form of dependence on technology, you know, but it's often one of the own of the privilege, who is developed, you know, Why, for example, we could not

talk of, I don't know, of, I don't know, of, desapprentices of de-skillings when we talk about via, for example. There's already also many people who are produced on the fact

that it's a angle mediatic that's a little superutilized. And I've seen a few, justly, that used, the space of

an angle, dependence, drug, you know, it's the equivalent to do you have an TETTOK where you're sure to have an ovation.

You know, it's a moment of reconnaissance collective. like, yeah, a problem. And she said, well, it's a form of critique,

technocritics, if we're in a form of spectacle. It's like a way where we have the impression collectively that we're more

cleared on these systems, but finally, we continue to use the same way, and we have not more

more of, the rapport to that. At final, there's a form of inercy in this type of

discour mediatic, then. And, so often, if we're talk of sobriety numeric, we have,

we have, we have, we're the right to control and we have a capacity to do that to do that

to do you, it's a demand a discourse that's kind of kind of on the individual, it is responsible,

and it doesn't necessarily to mediter on, for me, the place of these technologies that in our

life, because I think that sometimes it's not possible really to just to

be able to be to that. Not so if it's the way, I've seen this year

that's a word it's not a lot of an application on my telephone for generate a code numeric.

And I lian a classic of the literature technocrite in the moment, I want to the link

open to the world and the reactor, so the ballin and the reactor. It's been being

before the radio social in 1989 by a denomé landin winner. It's is available

in line, so I'll put the PDF in the notes if you never you're interested. And, you know, this type, I mean, I would say, the responsibility individual, it's a long time that

exists. For example, when we talked to television and of dependence to the TV, but we'd say that also, you know, to just switch off, you know,

take your manette and firm the TV. But it's to ignore also a, all, a discourse we could have developed on

the place central of the television in the life cotidian. The fact that has changed so much of our culture,

It's a subject of conversation, a liens social, in the place, in the school, in the reassemblement social. So it's a phenomenon cultural, on-off, and it's not, in-off, that we're in suescrath, finally. And it's interesting, because in his report, the journalist for Urbania, said that, yeah, effectively, you know,

to be disconnect, finally, it's finally, it's finally to finish by to marginalize. To put a little bit at the core, maybe, like, just, of a conversation on a subject that you've not seen on the internet

but I'd like it developed more he'd say when he'd get back the last the last tendency

algorithmic he'd pass it completely by the head so he's so it's what you mean by

tendency algorithmic? Is what you mean do you do you mean these actualities don't

all the mode on TikTok and what kind of of care of soin is that

before or when you can't be and as that journalist, I think that this position is interesting because we have

like this devourer or this injunction to be at the few of the publicer more than the effect

like dependence and like drug and I'd have that have a contrendue of how the technology finished

by structuring our experience of the world. And then he said that the news he says that the

news comes to his consumption mediatique like he's to read the journal obviously, and the newvels that's

it's just a bribe and it's deformed. He reads the manchette. But why is they're disformed if he access to, you know, to get a media paper to the old school? I want to develop? You know, what's he does,

is it the fact that he is there a new temporality in the media numeric, it's the instantanee, is it, is that is that change their rapport to media

paper, and even at the pertinence of these media papiers? Is it that it would say that it accords more than advantage of credibility now on news that will receive, that seem not

have been filtered by these institutions mediatics in amort? I don't know, it's just these questions, but it's like, it's like, it's like, it's like,

and, justly, like, as an economy of the attention and it's mentioned by the journalist, it's, it's, it will restructuring necessarily the chant

mediatic, that it's all in line or non, the subjects to decide to the interest, the manner that we have to see

interested, the title, the cadrage, this idea of experience, of I'm cut, of the radio social, of the connection internet, during a month, this, this, cardage of drug, well, it's a part, it, it's in the economy of the attention, because when

we talk of dependence, well, it's a culture mediatic that will attire the attention. And it's interesting, door to the media, and the discourse that we can have on these medias, and these technologies, in fact, because the Analogies, to the addiction, to the drug,

well, there's been when we've talked about about the radio, when we're talking about

these films, even when we know about the band of the cinn it's not new, so why,

why is that this metaphor that's really, is also the word. You know,

the word, you go to visit the center of the hospital, I think it like,

it's like in region, in the case, he goes to get an map,

and it's a center where we say that we treat these problems liy to cyberdependence, so,

people who, for example, have some of the problems of the video, of shopping in line, of porno,

all. So, it's all these affairs very varied. For me, it's like to make a thing to make

a lot of what's the thing that's what we're saying, it's vague. And the thing I'm

got the plus with the framing of the dependence to the drug, it's not because it's not valid,

and there's not an aspect of dependence in our rapport to the technology, but it's that it's

me seem a bit depolitized. It's it's like if we're really touch to something, it's also it's also

to touch to the political. And because the technology is political, she has some quality political,

and when I say politics, and it's not going to go to right, but it's really how

she will structure our power to and the authority, it's what that amends that amende

as a changement structural in the public in the media, when we investigate the technology.

One other novel that I've seen quite circuled, it's a whole discourse around the collation of the grads in the U.S. In various universities, there are people like the old CEO of Google

who had made these discourse, because there's always like a person who will make a discourse inspiring to the graduate, and he

is going to do make a discourse, but there are all all mentioned the intelligence artificial. And there are these videos of that that circuled

that circuled on the web in this moment. Multiple colleges are getting booed for bringing up a controversial topic. AI. AI. Artificial intelligence. Because AI is going to touch everything else as well. Whatever path you choose.

AI is rewriting production as we sit here. I know it. Deal with it. Like I said, it's a tool. Where you see, the graduates of the university who are ure these discos to mention of the IA. And there's Brian Merchant

who has been written on the technocrite who says that in this case that it's not because the universities are

anti-technology or anti-progress but because in this moment the I am perceived like an extension of a system

that is already inequitable, like an accelerant also of this inequity that,

of this inequality. Something that works the technology that works the technology, you it's an accelerator of capitalism.

So it's for that that we're talking in the ball. You can't talk of an experience, to cut the social, of the connection

without talking about this dimension important, political, which is the capitalism. And it's also a book that I've

learned of Ben Lerner. Ben Lerner, is an writer American, who is, like, quite, his last book is

called Transcription, and, and, just, he's, he's proposed to explore a little rapport with the technology. And the coverture of the

book, you'd have really the impression to be at the entire of the application dictaphone of your iPhone. It's like a coverture with a button rouge like when you want to register your

voice, or even a memo vocal. It's a sort of meditation on the memory, the memory grand theme in the literature contemporary.

It's a little cliché, but it's in link with also how we depend of the technology. maybe for this memoir that, justly.

And the premise of the book, it's a guy who, the years after having graduated of

the university, return on his campus university for interview his mentor in literature, I think,

and he plan if he plan for to register this interview, and there Cochmore, he will

be chaper his cellular in the lavabo, so he will break his thing, and he has

not am an option B with him, there, he has not his laptop, there's

nothing, there's for enregistry the famous interview. So that's the premise. It's a cochemor

that's already actually made any other than I've ever registered, and finally, the sound had never

enregistry, but, I'd probably, I had some time, during the first part

of the book, he will talk, he's, you know, he's, he's also,

he's also, he's also, he's also, he's, so, so, so, so,

so, impossible to distinguish of a lest, the pageas my parrace the page more pierce

than ever when I was suddenly disconnected, incapable to bring the photo, to be

to partage my position, to receive an alert my chart or an email of the job, a little

dose toxic of actuality or the shit posting. I've a experience in habitual of presence,

more conscious of silicates scintyant in the asphalt, the little nuage of vapor that formed my soul, of the articulation

of the branches and of their ombs on the trotoir. But I marched also back because it was a page of such dense

of souvenir and of event formate, and because that it's that's just in the past that I

had been that I'm realise in fact that me also I've had a moment in my

life like that, you know, pre-media social, pre-telephone intelligent, you,

you've had a part of my life that I 've lived without the prolongment technological

of my and of plenty of other things. It's also a meditation on what is what is to not have

the telephone bicyclists. A little little book, it's slid and I really really liked, it's quite

to write, which is rare, because I read very few of fiction. But more largely, also, you,

in the paradigm of the drug and the dependence to the drug, you how is that, for

example, it can influence our way to our way our way, our way, our way

to envisaged the things, to see the things, because I've already talked to that, but, you,

by example, we develop a vision documentary where we're going to be to see a world,

at the light of the telephone, you know, how is that could be able to see,

there's a there's a other things that we're able to that, I'm

that's all for me. So, so it's all to be all of all of all of

all of all to have So the episode next will be the episode of next to be in the music of intro and

by Azulow A-Z-L-O A-Z-L-O So. You know,