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To historians, the world has always imagined its own demise; to critics, the end of the world is imminent. Meanwhile, my generation demands to read both apocalypses instantly and for free—or in return for our own opinions, which we offer on similar terms. To us, Bosch’s Last Judgment is a screen saver; Terminator 2: Judgment Day is conveniently and illicitly downloaded from a server obscured within that shadow domain, .ph (the Philippines). It’s understandable, then, when professional critics nostalgize not just the culture of the past but also its technologies: the black and white of celluloid and newspapers, magazines as …

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