#Social critique

[weirdlookindog]

Heinrich Kley (1863–1945) - “Devil sniffing smoke from a factory chimney” & “Interruption of production”, 1909

[tinkerbitch69]

My favourite part of dot and bubble (besides ncuti’s performance in the last scene my god!!!) is that the episode kinda misleads you into thinking Lindy is so dismissive of the doctor and the disappearance of others because of the social media echo chamber she has isolated herself in. That she is scared to leave it and that she could be a better more empathetic person if given the chance to leave.

But then the final scene happens!

All of her actions, from putting Ricky in the firing line before her to lying about it to refusing the help of the doctor because of her thinly veiled racist beliefs, reveal that this refusal to acknowledge the reality around her to the point of putting people in danger and inevitably allowing the problem to become worse was a choice. She was not some innocent victim of media manipulation but had complete agency in her denial of the danger others were and just didn’t care about them.

The reveal is an important part of the episodes critique of social media echo chambers, I think. Their danger isn’t that they obscure information that challenges the users but that they allow people to choose not to be confronted with information that challenges their worldview or their behaviour. Which is an experience vital to developing critical thinking skills and being a compassionate, empathetic human being. But by removing the agency of people who choose not to break from their bubble, we also enable the insularity of these echo chambers!

God I love this episode so much <3_<3

[screaming-in-the-corner]

There's something about RPF that really irks me. I know that people get attached to real people and all, but a lot of the time it goes too far. These are not characters for you to play around with. These are real, living people with lives of their own. They are not toys for you to play with just because they seem so far from where you stand.

I get it. People have fantasies. People have celebrity crushes. But you cannot headcanon REAL PEOPLE. These ideas will bleed into the public perception of them.

This happened with Septiplier. This happened with Dan/Phil. THIS HAPPENS TO SERIAL KILLERS. And my particular point of interest today is Luigi Mangione. Yes, I know, I've made a post or two about him before, but the way that the internet has treated him is atrocious.

This is a real-ass person who is on trial and facing the death sentence. And people are writing smutty self-insert fanfiction about him. They are sexualizing a man that they have never met and really don't know much about. We are so focused on how attractive he looks that we are COMPLETELY missing the bigger picture. This is a man who is being charged with crimes against one man. And the murder of this one man is being called an act of terrorism and Mangione is potentially going to die for this.

We are missing the fact that one rich, powerful man's death is worth more than countless students, teachers, queer people, trans people, and many other communities because of the way that they have shaped this system. Cruelty is allowed, but not when it's one of them.

Remember that Luigi Mangione is a person. He is a living human being who is facing consequences for a crime that he may have not committed. And yet he is facing death for it. Don't let that fade away.

[cotidianoseeder]

Conservatives pov:

[traewilson]

So on Twitter, a post is going round of a lame fan fiction speculating the ending of Calvin & Hobbes. It's awful. It's completely out of character and tone with the story. It's basically Calvin giving Hobbes to his daughter. I don't really care to talk about it beyond the fact it exists, and commentary around it sparked Thoughts in my brain.

For those of you who don't know, the actual ending of the comic is intentionally open - they hop on their sled and go on another adventure. That's it. They are metaphorically frozen in time, and yet made perpetual, in this ending; there will always be more adventures. There is no ending - even as you grow up and stop being a child, childhood is always happening somewhere. It ends for us individually, but it marches on as a constant of human life. Calvin & Hobbes, the symbol of childhood that they are, shall remain as such long after those who were first raised on it when it was new have passed on.

The reason I'm here writing on this is I suddenly realized - this is a symptom of a wider societal swing in America. One which we've all seen but maybe not had pinned down. People who feel the compulsion, the URGE, to drag their childhood to their adulthood, and, because the people who want to do this tend to be miserable soulless people, they take that thing that gave them so much joy in their youth and rip out everything that made it so special to you as a kid, and make it as grey, realistic, and lifeless as you are.

This mindset is what leads to the live-action / hyper-realistic animation from Disney lately. Very Serious People want to watch The Lion King, but are embarrassed and ashamed of the film they loved as a kid. They still love it, but they need a "socially acceptable" way to watch it.

And that's where the "live action" remake comes in.

The advertising on this film brazenly declaring a CGI animated film as "live action" is the height of madness, until you remember - to call it animation is to call it "kid stuff." If they call it a CGI animated film, Very Serious People think of Minions.

They add Very Serious Nuance in the form of generational warfare between the hyenas and lions; in the form of Scar's desire for power being rooted in cucking Mufasa by claiming his wife Sarabi as his own. They make the animation Very Serious and, therefore, Realistic. So Realistic in fact that, really, to even call it """animation""" is an insult to what they're doing here.

(Even though animation is, obviously, objectively, what it is.)

The animals barely emote, showing less emotion than what even real animals can express, because emotional openness is, to these Very Serious People, bluntly:

C R I N G E.

So, they barely emote. The songs are still there, but they're almost all shambling putrid parodies of the original musical numbers. Favreau didn't even want half the songs to be in the movie; famously Be Prepared was a last-minute addition after mass public backlash - and it shows that it's a last-minute addition. It's barely even sung; more of a spoken word poetry thing than an actual song. Because I feel like either Jon Favreau, his executive overlords, or worse I SAY WORSE both treated the musical aspect of The Lion King as a necessary evil.

It's telling the only song they gassed up wasn't Elton John's new song at the end credits - it was Beyoncé's number, Spirit. A pop number awkwardly slapped on to a musical film apropos of nothing but Those Sales and That Sweet Academy Award for Best Original Song, Baby.

And of course, it worked; the film made over a billion dollars because the world is chock-full of Very Serious Adults who want to take their childhood with them into adulthood, but demand it grow up with them.

They want their childhood, but are embarrassed by that very desire.

We live, in short, in a teenaged society. A society that's matured only in body but not yet in mind.

This is, naturally, because so many of us are, ourselves, adults who only grew up in age.

Some grow wiser; some just get older - if I may paraphrase Paul Williams. And THAT'S the hell of it.

Moral of the story: stop being ashamed of the things you liked as a kid. You CAN take your childhood with you into your adulthood - in fact, it's good and healthy to (in moderation, I must stress; dont overcorrect.) You don't have to do this thing where you make these bumbling shambling homunculi of the things you loved, but without any of that cringeworthy "charm" or "color" or "fun". Learn to enjoy things on their own merits. Fuck realism in art - we have enough reality all around us to ignore, and no matter how hard you push realistic CGI, it'll be never be reality.

[jean-elle-writing]

If I have learned anything of those who are advanced and civilized, it is this:

New technology is praised even as it wrecks the earth and is manufactured by children’s hands,

Rich men can kill millions so long as they do it sitting in a board room in a suit and tie, but let a poor man kill one rich man and he is quick to die,

Advancements in medicine are available only to those who can afford them, all the brilliance in the world distilled behind a paywall,

In the heat of all their innovation and progress, they have forgotten empathy. And that renders their advancements useless and backward, their intelligence only lets them be more unique in their cruelty.

[nympho-scene-boy]

ME AND MY FRIENDS GOT BOOKS SO NOW JUDGE US ON OUR CHOICES ♡♡♡

☆▪︎ME▪︎☆

~ANA~

♤SAM♤

[weirdlookindog]

Stefan Eggeler (1894–1969) - "Louis XV"

illustration from Hanns Heinz Ewers' Die Herzen der Könige (1922), a tale about a painter that uses the hearts of the kings of France in his paintings.

[slugsiebenneun]

Nightfall in Palermo

To all ye night-walkers,

day-dreaming knaves,

rogues, and ramblers,

witches and sirens bold.

Betwixt the fairy dust

and sands that close the eyes,

do roam those hollow

plumbers of the soul.

Freemasons guard the gate;

their knowledge kept unshown.

At Sunday’s dawn, the whispers come –

who clawed, who bit, who’s overthrown?

Hark – Paul betrayed his wife last night…

her mouth, a ruin torn and sore;

no man shall kiss her lips no more,

her name the town’s foul rite.

Salutations from Neverland,

where luck is never bought,

and far where pepper sprouteth wild,

we lay to rest

thy doves now cold.

[free-luigi]

December 21, 2024

Not sure if this was truly his X account or not. Can anyone actually confirm?

Well if it is his account it is back up. But have some Reddit discourse regarding censorship and surveillance anyway:

[screaming-in-the-corner]

I love that we've gotten through a grand total of two weeks of 2025 and things have already gone sideways in the US. Something about everything that that man says is so exhausting to hear. The absolutely ridiculous things that he spouts astound me. I genuinely don't know if he's doing it on purpose or not, but I'm almost inclined to think that he does.

There's a thing that cult leaders do where they put themselves in the position of the prosecuted. They victimize themselves to appear like an underdog or revolutionary to their followers. "If they think that I'm stupid, they think YOU'RE stupid. But I think that you're smart. I understand you like they don't." It's pitching the narrative of "Us Vs. Them" and it helps with control.

It also serves the secondary purpose of throwing a flashbang into the argument. If we're more focused on the ridiculous things that he's saying, we're more likely to overlook the things that are happening behind the scenes. If we're focused on the confetti thrown in our face, we're less likely to see the birthday candles burning up the presents. It's important to overlook the things that he says. Treat him like a toddler throwing a tantrum and look around at what's actually happening instead of focusing on the shouting.

Take your time to take a jab or two if you want, but don't stop to look at the smoke and mirrors. Take a look at what it might be hiding. You might find more than you thought you did at first glance.

[omegaphilosophia]

The Philosophy of Youth

The philosophy of youth explores the nature, experience, and significance of youth from multiple philosophical perspectives, focusing on the transitional stage between childhood and adulthood. Youth is often associated with growth, potential, identity formation, and freedom, as well as the tensions that arise between independence and societal expectations.

Key Themes in the Philosophy of Youth

Identity and Self-Discovery:

Youth is often regarded as a time of intense self-exploration, when individuals question their values, beliefs, and sense of self. Philosophers like Jean-Jacques Rousseau and Erik Erikson have written about this phase as critical for the development of personal identity.

The search for meaning, purpose, and authenticity is a central concern during this stage, leading youth to challenge norms and societal expectations. This period of self-discovery involves existential questioning and the formation of individual beliefs and goals.

Potential and Idealism:

Youth is often associated with idealism, where young people envision and strive for a world that aligns with their evolving values and principles. This potential for innovation and change has been recognized by philosophers like Karl Marx, who saw youth as a driving force for revolution and societal transformation.

The idea of youth as embodying unrealized potential is central to discussions of education, activism, and personal development, where young individuals are seen as agents capable of shaping the future.

Rebellion and Social Critique:

Philosophically, youth is often seen as a time of rebellion against established authority, tradition, and norms. The desire to break away from societal structures can be interpreted as a pursuit of freedom and authenticity.

Existentialist thinkers like Jean-Paul Sartre have emphasized the role of youth in questioning societal values, expressing individual freedom, and seeking autonomy. Youth often acts as a force of social critique, challenging the status quo and proposing alternative ways of living.

Transitional Phase:

Youth is understood as a liminal phase between childhood and adulthood, marked by uncertainty and transition. Philosophers such as Rousseau and G.W.F. Hegel have recognized this period as one of becoming, where individuals are shaped by their experiences, education, and social environments.

This phase is also marked by the tension between dependence and independence, as young people navigate the responsibilities of adulthood while still exploring their place in society.

Freedom and Responsibility:

Youth is often characterized by a heightened sense of freedom, as young people explore their independence, experiment with different ways of being, and exercise autonomy over their lives. This freedom, however, is often accompanied by new forms of responsibility.

Philosophers like Søren Kierkegaard and Simone de Beauvoir have reflected on the existential freedom that youth experiences, particularly in the context of making choices that define one’s future. Yet this freedom also leads to angst or anxiety, as young people face the weight of decision-making.

Education and Development:

The philosophy of youth often intersects with theories of education and development. Philosophers such as Plato, John Dewey, and Rousseau have explored how youth is a time of intellectual and moral development, where education plays a crucial role in shaping a person’s character and worldview.

Dewey, for example, emphasized the importance of experiential learning in youth, where education should be an active, participatory process that encourages critical thinking, creativity, and self-directed learning.

Existential Questions:

Youth is a time when individuals grapple with existential questions about life, meaning, purpose, and death. Philosophers like Albert Camus and Friedrich Nietzsche have explored the existential dimensions of youth, where young people often confront nihilism, existential dread, or the search for meaning in an uncertain world.

The process of finding one’s place in the world can lead to periods of crisis, as young people confront their mortality, the transient nature of life, and the expectations placed upon them by society.

Youth and Time:

Philosophically, youth is often associated with a unique relationship to time. The youthful experience is one of both anticipation of the future and a longing to seize the present moment. Henri Bergson and other philosophers have explored how youth engages with time differently, often characterized by a sense of urgency and immediacy.

Youth can also be viewed as a fleeting moment, with a deep awareness of the passage of time, leading to reflections on aging, the impermanence of life, and the desire to live authentically.

The philosophy of youth emphasizes the dynamic, transitional, and often paradoxical nature of this life stage. It encompasses themes of freedom, responsibility, identity formation, rebellion, and the search for meaning, while also recognizing the challenges and uncertainties that accompany the journey from childhood to adulthood. Youth is seen as a critical period for personal growth and societal change, offering both potential and idealism but also existential questions and social tension.

[blueheartbookclub]

Dubliners: A Captivating Exploration of Ordinary Lives

James Joyce's "Dubliners" is a collection of short stories that offers readers a poignant and vivid portrait of life in early 20th-century Dublin. Published in 1914, this seminal work of modernist literature is renowned for its richly detailed character studies, evocative prose, and incisive exploration of the human condition.

At the heart of "Dubliners" is Joyce's keen observation of the everyday lives of the people of Dublin, capturing the hopes, dreams, and disappointments of ordinary individuals with precision and empathy. From the working-class neighborhoods to the middle-class suburbs, Joyce paints a multifaceted picture of Dublin society, revealing the complexities and contradictions that lie beneath its surface.

One of the most striking aspects of "Dubliners" is Joyce's mastery of the short story form, as he skillfully crafts each narrative with economy and precision. From the atmospheric opening story, "The Sisters," to the haunting conclusion of "The Dead," Joyce's stories are united by a common theme of epiphany, as characters grapple with moments of revelation and self-realization that illuminate the hidden truths of their lives.

Moreover, "Dubliners" is celebrated for its richly drawn characters, who range from the disillusioned alcoholic in "Counterparts" to the young boy experiencing his first crush in "Araby." Through his vividly depicted characters and their inner lives, Joyce offers readers a window into the social, cultural, and psychological forces that shape their experiences and interactions.

In addition to its exploration of individual lives, "Dubliners" also serves as a poignant meditation on the broader themes of Irish identity, colonialism, and the search for meaning in a changing world. Joyce's portrayal of Dublin as a city caught between tradition and modernity reflects the broader tensions of Irish society in the early 20th century, as it grapples with its colonial past and uncertain future.

In conclusion, "Dubliners" by James Joyce is a timeless masterpiece of modernist literature that continues to captivate readers with its vivid depiction of Dublin life, richly drawn characters, and profound exploration of the human condition. Through its evocative prose and incisive insights, "Dubliners" offers readers a deeply moving and thought-provoking journey into the heart of Dublin and the lives of its inhabitants. With its enduring relevance and universal appeal, "Dubliners" remains a testament to the enduring power of Joyce's vision and storytelling prowess.

James Joyce's "Dubliners" is available in Amazon in paperback 15.99$ and hardcover 22.99$ editions.

Number of pages: 312

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[mentholdyke]

how do aspects of western culture create the conditions for wide spread disease? first, we have to dispel the myths of individualism vs collectivism. the argument of people from western cultures are inherently more individualistic is a farce. the very fact that many individuals seek outlets for altruism, though they may be flawed and difficult to make real change through, even when we live in a system that rewards anti-social behaviors such as resource hoarding and deception for personal gain, is some proof of that. individualism is a capitalist concept - the idea that personal advancement and enrichment is reliant on the self - self independence, self esteem, self interest - and though this may be the case in capitalist societies where a focus on the self is rewarded and collective action is punished, is it really fair then to say that the people are inherently more this-or-that when the very structures our lives depend on, rely on our ability to function as socially isolated, nonempathetic beings? certainly to survive and thrive in such a world many people have to “turn off” the parts of their brains that lead to pro-social behavior.

so, we have a culture that discourages collective action, so much so that attempts to self-establish community care by staying at home while sick usually end in us losing our jobs — even though those of us who do fight to stay home while sick do not usually have enough of a support system to stay at home in the first place, as the ruling class wrings us dry. it is more important for us to make money for the ruling class than it is for us to have a healthy and enriched life. that is the end of the question of, why isn’t anything changing as far as the amount of multiple global pandemic catastrophies since the inception of violent white supremacist and capitalist colonization.

our government legitimizes leaders who don’t believe in science, and they make decisions for communities they aren’t a part of. businesses have become somewhat “apolitical” entities who have some levels of immunity to law, since we know state law is not a suitable measure of accountability.

fighting through the law as a means of “regaining our rights” simple is an overdone conversation, and it has been for over a century. we must be the own arbiters of our fates - the information we and our neighbors recieve (education), the measures of care we provide for each other (mask blocs, no strings attached mutual aid to get through periods without income during quarantines, providing each other with medical care), our ability to fight for the people we love - these are the real things that matter.

this is going to be an extremely active, long-term effort. the HIV/AIDS fight lasted for arguably over 50 years. COVID doesn’t have to keep killing us for that long.

[blueheartbooks]

"Unveiling the Tapestry of Ambition and Redemption: A Review of 'Great Expectations' by Charles Dickens"

Charles Dickens' magnum opus, "Great Expectations," stands as a testament to the enduring power of storytelling and the complexities of the human experience. Set against the backdrop of Victorian England, the novel follows the journey of its protagonist, Pip, as he navigates the intricacies of ambition, social class, and the pursuit of self-discovery.

At its core, "Great Expectations" is a bildungsroman, tracing Pip's evolution from a humble orphan living in rural Kent to a gentleman of means in bustling London society. Dickens' masterful prose and vivid characterization breathe life into the rich tapestry of characters that populate Pip's world, from the enigmatic Miss Havisham and her ethereal ward, Estella, to the kind-hearted blacksmith, Joe Gargery, and the mysterious benefactor, Abel Magwitch. Through Pip's encounters with these characters, Dickens explores themes of identity, guilt, and the corrosive effects of ambition, weaving a narrative that is as poignant as it is profound.

One of the novel's most enduring themes is the tension between ambition and contentment, as Pip grapples with the realization that his "great expectations" may come at a cost too dear to bear. Dickens' portrayal of Pip's moral and emotional journey is both nuanced and compelling, as the protagonist confronts the consequences of his choices and learns the true value of love, loyalty, and forgiveness. Through Pip's trials and tribulations, Dickens offers a poignant commentary on the human condition, reminding readers of the importance of humility, integrity, and the bonds of friendship and family.

Moreover, "Great Expectations" is a social critique of Victorian society, exposing the stark disparities between the privileged elite and the disenfranchised underclass. Dickens' keen eye for detail and his incisive wit shine through in his portrayal of the class-conscious society of 19th-century England, where social status and wealth dictate one's prospects and opportunities. Through characters such as the conniving lawyer, Jaggers, and the opportunistic clerk, Mr. Wopsle, Dickens highlights the hypocrisy and moral bankruptcy that permeate the upper echelons of society, while also celebrating the resilience and dignity of the working class.

One of the novel's greatest strengths is Dickens' evocative prose and his ability to create vivid, atmospheric settings that transport readers to another time and place. From the haunting desolation of Satis House to the bustling streets of London, Dickens paints a rich tableau of Victorian England, immersing readers in a world that is as vibrant as it is unforgiving. Through his vivid descriptions and keen observations, Dickens captures the essence of a bygone era, while also exploring themes and issues that remain relevant to contemporary readers.

In conclusion, "Great Expectations" is a timeless masterpiece that continues to captivate and inspire readers with its richly drawn characters, intricate plotting, and profound insights into the human condition. Dickens' exploration of ambition, redemption, and the search for identity resonates as strongly today as it did when the novel was first published over 150 years ago, reminding us of the enduring power of literature to illuminate the complexities of the human experience.

Charles Dickens' magnum opus, "Great Expectations," is available in Amazon in paperback 23.99$ and hardcover 29.99$ editions.

Number of pages: 520

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[weirdlookindog]

Stefan Eggeler (1894–1969) - Six etchings for Gustav Meyrink's 'Walpurgisnacht', 1922

source