THE INSECURITY OF SECURITY CAMERAS

Why Ryan Carson Didn't Save Himself?

Sociological Blindness that Stage Was Set for His Murder

“We are all just actors trying to control and manage our public image, we act based on how others might see us”. But behavior is quite different when we are on the Front Stage where there is an audience, compared to the Back Stage where the performance is prepared, or Off Stage where one can relax and be their real self. “Individuals are concerned not with the moral issue of realizing…. standards, but with the amoral issue of engineering a convincing impression that these standards are being realized. Our (offstage) activity, then, is largely concerned with moral matters, but as (onstage) performers we do not have a moral concern in these moral matters. As performers we are merchants of morality” (who sell ourselves to our bidders)….”To use a different imagery, the very obligation and profitability of appearing always in a steady moral light, of being a socialized character, forces us to be the sort of person who is practiced in the ways of the stage.....” -Erving Goffman, social psychologist

There is systemic racial policy in some American large cities where the District Attorneys are bought by George Soros to implement Critical Race Theory (CRT) that intentionally pits people of color against White people.  New York oligarch George Soros spent $40 million to get 75 district attorneys elected in big cities to implement CRT legal policies.  This policy refuses to incarcerate or prosecute perpetrators of Black on White violent crime, especially highly visible murders.  So, anti-White racism is now systemic and institutionalized not merely cultural or episodic. Contributing to this context is that mass media has depicted such murderers as playing the role of hero in a sort of a reality-TV series.

It is this context that served as a backdrop to the recent ironic street stabbing murder of Ryan Carson, age 32, a BLM supporter and Antifa member, by Brian Dowling, 18, a Black man in Brooklyn.  The entire incident was caught on a security camera, including sound.  An excellent discussion of the implications of this street murder by Tim Kelly and Joe Atwill can be found at Powers and Principalities Podcast No. 317 at 36.53 minutes.  

Using social psychologist Erving Goffman’s Drama Theory, the murder setting can be described as a stage that is already primed for a public performance of a murder and waiting to happen. Lights, Camera, Action! 

Onto this stage stepped Carson and his girlfriend sitting on a bench for the bus. He was formally dressed in a coat and tie and she in a long blue dress, as they had just come from a wedding.  Ryan’s girlfriend is a tattooed satanist who flaunts the BLM slogan “All Cops are Bastards” (ACAB shirt).  Ryan is a progressive activist who boasts on his webpage he was previously confronted by a Black street-mugger but talked him down by saying “I’m on your side, Bro”.  My guess is that this prior incident occurred where there was no camera.  

As the scene unfolded, the perpetrator apparently leaves his own Black girlfriend (later identified his twin sister) behind and walks past the Carson couple on the bus bench, indicating he recognizes the setting is perfect for an on-camera assault. He then proceeds to start damaging parked motor bikes some distance away from Carson.  Carson hears the bikes being knocked down.  Instead of fleeing he and his girlfriend both proceed to walk toward the vandalizing.  The perpetrator confronts Carson asking: “are you looking at me?” – probably afraid that Carson was going to identify him for police report purposes.  Dowling becomes enraged and says something to the effect “I will kill you if you keep approaching”, suggesting he was looking for a reason to attack Carson.   Carson tries to engage the perpetrator in conversation but instead Dowling brandishes a knife. Carson starts backing up into the bus bench and falls directly on his face (indicating he is not stage acting). Seeing him down on the pavement the perpetrator proceeds to stab him in the chest and leaves him bleeding.

Carson’s girlfriend calmly watches this attack, doesn’t scream, and does nothing to try and stop the perpetrator or run away.  Eventually, the perpetrator’s twin sister comes up to the dying Carson and apologizes for her brother, but Carson’s girlfriend tells her to go watch her brother. After the fact, it is reported online that Carson’s girlfriend refused to identify the perpetrator’s identity in a police lineup – call it Antifa occupational Stockholm Syndrome.

Atwill’s interpretation of this event is Carson could not recognize he was in a dangerous situation and refused to perceive the perpetrator in terms of a criminal stereotype, because of his progressive ideological delusion.  Carson was described by Atwill as someone without common sense nor a sense of a self to protect.  Atwill reported that Carson was so selfless that he wrote a poem “Anxiety”, expressing worry that whenever he died, he did not want his death to be a distraction for other people (from his dedication to his cause).    

Conversely, Atwill says the perpetrator saw an opportunity to be a heroic victim not stereotyped as mentally ill or a gang banger. But Atwill did not mention the enabling of the murder by the presence of the camera. A study of police body worn cameras found “paradoxical effects” because criminals were more emboldened to attack police if the cop wore a body camera. This is called a “perverse effect” or unintended consequence.

Something like the perverse effect seems to have been operating in the Carson murder. As social psychologist Erving Goffman describes this phenomenon a sense of morality and one’s real self, is often suspended in the presence of a camera as the actors want to portray themselves according to social expectations.  This is not to say that all persons put in such a situation would commit murder or stupidly would not run from an obviously threatening event.  Those persons who are “other-directed persons” seeking approval, as opposed to “inner-directed persons” acting on the basis of a personal moral code, are more prone to such temptations.  In the Carson case, both actors were “other-directed” and both acting out a common anti-White racism ideology by opposite virtue signaling.

Goffman says that persons in “Front Stage” situations where a camera or audience is present, often suspend their moral concern to please the expectations of the viewers.  When placed in an “Off Stage” situation with no camera or audience, their behavior may be the opposite where they could run from a threatening situation without being seen. In the victim’s case he wanted to portray himself as a street therapist not someone who was “racist”. Imagine if Carson was caught on film running from an anonymous Black person, his social work job might be imperiled.  Oppositely, the perpetrator was an opportunist who saw a chance to portray himself a heroic victim.

What has come to light afterwards is that few of the factors of structural Black crime are operative in this case: criminal record, lack of intact family, drug abuse, unemployment, lack of high school diploma, gang membership. His attorney was perhaps not entirely wrong, saying “he is a great kid who was not looking for trouble”. 

A second similar Black-on-White murder recently occurred in Baltimore.  A female CEO of a high-tech company was walking home from work to her apartment. A large, tattooed Black man was following her.  After she went through the security gate of the apartment, the man signaled her that he lost his key or password.  Against sound judgement, she let the man inside and rode an elevator together, whereupon he murdered her.  He was a violent career criminal out on parole from prison. She couldn’t stereotype or deny entry to a Black man caught on a security camera because she was an avowed political progressive.  

The Ryan Carson-Brian Dowling murder is reminiscent of Vaclav Havel’s play “Temptation”, where the occupational ideology of a totalitarian bureaucracy, and mass media, holds a monopoly over the sale of souls on both the victim and the perpetrator of a murder, in spite of, not because of, culturally systemic Black on White crime.  As Tim Kelly describes it, “there is no payday” incentive to opt out of the bureaucratic system and its ideology.

What is the bad chemistry of such crimes?

1.     Failure of common sense by victims to recognize and stereotype dangerous situations and persons.

2.     An occupational ideology by victims that overrides survival instincts.

3.     A systemic policy of anti-White racism that incentivizes violent crimes committed with impunity in “Soros zones”.

4.     Security cameras that influence acting out rage by perpetrators and false security and perverse virtue signaling by victims.