#Social critique

[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.

[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

[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.

[k-i-l-l-e-r-b-e-e-6-9]

Decapitated - Last Supper

[nympho-scene-boy]

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

☆▪︎ME▪︎☆

~ANA~

♤SAM♤

[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.

[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.

[duplicitousdamsel]

Me: feeling sad

Also me: reads Hardy

[weirdlookindog]

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

[4ngels3gg]

Construção a Personal Analysis

Brazil has always been great at hiding protest from censorship in harmony and nostalgic beats. My favorite artist who is famous for his songs of this sort is Chico Buarque I believe he is 77 years old.

This is a song made 52 years ago by Chico Buarque. From my research, at the time there was a military dictatorship in Brazil going on and heavy censorship was pushed down upon the slightest critiques, just as it's seen in many dictatorships in history. I put the video with the English subtitles in this post. It's a shame that a language can never be truly translated since the tone of voice and vocabulary along with intentions can't be understood with just words, leaving only the native speakers to enjoy.

Anyway, the same story is told 3 times but with different words being used at the end of each sentence. There are also a lot of metaphors which reminded me of the Bible and the time some of the books were being written. Because like before censorship was rough so almost anything needed a metaphor that people could understand but not get in trouble for writing. The song is a social critique that much a listener can get from just one listen.

"Amou daquela vez como se fosse a ultima." This line one of the lines that gets repeated and altered. The first time is saying that the man loved his wife as if it were the last time he'd ever love. It's also told that he kissed his sons as if they where the only ones paying attention to each of them. I won't repeat and explain every line for that is extremely tedious. But you can get an idea of what the story in the song attempts to convey.

The background music and orquestra plays a huge role on how a listener may perceive the story since it starts out calm and catchy but at the climax of the story A.K.A the workers death it suddenly gets quiet and erupts to a loud noise of various instruments that, for some, makes you really feel how the situation is plating out. The man dies in in the public sidewalk and it's described as "atrapalhando" The death of the man is bothering, annoying, agonizing the public that's there to watch a drunken desensitized worker. And the background noise translates this feeling to the listener even when there is a language barrier you can just feel the urgency.

I want to jump to my favorite part that's near the end that comes after the climax of all the three repeated stories "Morreu na contramao atrapalhando o sabado" (I apologize for the lack of any accents.) After this the critiques become obvious and the background noise keeps the feeling found at the end of the stories, and there is no longer one single calm voice but three I believe correct me if there are more. They all sing in union.

The lyrics thank a higher power for simple things such as a floor to sleep and bread. What got my attention was the thanking for the privilege to smile. "A concessao pra sorrir" The singer views something like smiling, which everyone is entitled to in their lives, as a privileged. "Por me deshar respirar, por me deixhar existir." One can really notice how such simple things that should be something you get along with life are thanked for. "Deus Lhe Pague." This line is what I struggled with understanding. Are they really thanking the Christian God or are they thanking an entity who has power over them such as say, a politician. But it could just be me and my hurry to find meaning in everything.

I really recommend giving it a listen and making your own opinion of it. The genre is really worth it especially the artist so if you do decide to dig down to Brazilian music and history I'll be really glad if it started with me. Sorry for rambling so much about 5 word sentences.

[zwei2x]

"We wear them; the skin, the burdens, of the past selves, of the beloved people we left behind."

Offered in high resolution to Patrons!

--

So this started out as a critique of society-enforced circumcision. Then as I was sketching, the character pulling the skin became female-presenting because it just FELT right. Then it became a gender expression study. Then it looped back to female circumcision, and abuse. Then it went back to pulling the skin of the past, as a burden.

All this to say; the message is about wearing the skin of those left behind; including our past selves. The interpretation is up to y'all! :)

[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

[thesaturnianwife]

𝚃𝚑𝚒𝚜 𝚎𝚜𝚜𝚊𝚢 𝚒𝚜 𝚊𝚗 𝚎𝚏𝚏𝚘𝚛𝚝 𝚝𝚘 𝚋𝚞𝚒𝚕𝚍 𝚊𝚗 𝚒𝚛𝚘𝚗𝚒𝚌 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚊𝚕 𝚖𝚢𝚝𝚑 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕 𝚝𝚘 𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖, 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚖, 𝚊𝚗𝚍 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕𝚒𝚜𝚖. 𝙿𝚎𝚛𝚑𝚊𝚙𝚜 𝚖𝚘𝚛𝚎 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕 𝚊𝚜 𝚋𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚒𝚜 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕, 𝚝𝚑𝚊𝚗 𝚊𝚜 𝚛𝚎𝚟𝚎𝚛𝚎𝚗𝚝 𝚠𝚘𝚛𝚜𝚑𝚒𝚙 𝚊𝚗𝚍 𝚒𝚍𝚎𝚗𝚝𝚒𝚏𝚒𝚌𝚊– 𝚝𝚒𝚘𝚗. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚑𝚊𝚜 𝚊𝚕𝚠𝚊𝚢𝚜 𝚜𝚎𝚎𝚖𝚎𝚍 𝚝𝚘 𝚛𝚎𝚚𝚞𝚒𝚛𝚎 𝚝𝚊𝚔𝚒𝚗𝚐 𝚝𝚑𝚒𝚗𝚐𝚜 𝚟𝚎𝚛𝚢 𝚜𝚎𝚛𝚒𝚘𝚞𝚜𝚕𝚢. 𝙸 𝚔𝚗𝚘𝚠 𝚗𝚘 𝚋𝚎𝚝𝚝𝚎𝚛 𝚜𝚝𝚊𝚗𝚌𝚎 𝚝𝚘 𝚊𝚍𝚘𝚙𝚝 𝚏𝚛𝚘𝚖 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝚜𝚎𝚌𝚞𝚕𝚊𝚛–𝚛𝚎𝚕𝚒𝚐𝚒𝚘𝚞𝚜, 𝚎𝚟𝚊𝚗𝚐𝚎𝚕𝚒𝚌𝚊𝚕 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚜 𝚘𝚏 𝚄𝚗𝚒𝚝𝚎𝚍 𝚂𝚝𝚊𝚝𝚎𝚜 𝚙𝚘𝚕𝚒– 𝚝𝚒𝚌𝚜, 𝚒𝚗𝚌𝚕𝚞𝚍𝚒𝚗𝚐 𝚝𝚑𝚎 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚜 𝚘𝚏 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚝–𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚙𝚛𝚘𝚝𝚎𝚌𝚝𝚜 𝚘𝚗𝚎 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚖𝚘𝚛𝚊𝚕 𝚖𝚊𝚓𝚘𝚛𝚒𝚝𝚢 𝚠𝚒𝚝𝚑𝚒𝚗, 𝚠𝚑𝚒𝚕𝚎 𝚜𝚝𝚒𝚕𝚕 𝚒𝚗𝚜𝚒𝚜𝚝– 𝚒𝚗𝚐 𝚘𝚗 𝚝𝚑𝚎 𝚗𝚎𝚎𝚍 𝚏𝚘𝚛 𝚌𝚘𝚖𝚖𝚞𝚗𝚒𝚝𝚢. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚒𝚜 𝚗𝚘𝚝 𝚊𝚙𝚘𝚜𝚝𝚊𝚜𝚢. 𝙸𝚛𝚘𝚗𝚢 𝚒𝚜 𝚊𝚋𝚘𝚞𝚝 𝚌𝚘𝚗𝚝𝚛𝚊𝚍𝚒𝚌𝚝𝚒𝚘𝚗𝚜 𝚝𝚑𝚊𝚝 𝚍𝚘 𝚗𝚘𝚝 𝚛𝚎𝚜𝚘𝚕𝚟𝚎 𝚒𝚗𝚝𝚘 𝚕𝚊𝚛𝚐𝚎𝚛 𝚠𝚑𝚘𝚕𝚎𝚜, 𝚎𝚟𝚎𝚗 𝚍𝚒𝚊𝚕𝚎𝚌𝚝𝚒𝚌𝚊𝚕𝚕𝚢, 𝚊𝚋𝚘𝚞𝚝 𝚝𝚑𝚎 𝚝𝚎𝚗𝚜𝚒𝚘𝚗 𝚘𝚏 𝚑𝚘𝚕𝚍𝚒𝚗𝚐 𝚒𝚗𝚌𝚘𝚖– 𝚙𝚊𝚝𝚒𝚋𝚕𝚎 𝚝𝚑𝚒𝚗𝚐𝚜 𝚝𝚘𝚐𝚎𝚝𝚑𝚎𝚛 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚋𝚘𝚝𝚑 𝚘𝚛 𝚊𝚕𝚕 𝚊𝚛𝚎 𝚗𝚎𝚌𝚎𝚜𝚜𝚊𝚛𝚢 𝚊𝚗𝚍 𝚝𝚛𝚞𝚎. 𝙸𝚛𝚘𝚗𝚢 𝚒𝚜 𝚊𝚋𝚘𝚞𝚝 𝚑𝚞𝚖𝚘𝚛 𝚊𝚗𝚍 𝚜𝚎𝚛𝚒𝚘𝚞𝚜 𝚙𝚕𝚊𝚢. 𝙸𝚝 𝚒𝚜 𝚊𝚕𝚜𝚘 𝚊 𝚛𝚑𝚎𝚝𝚘𝚛𝚒𝚌𝚊𝚕 ��𝚝𝚛𝚊𝚝𝚎𝚐𝚢 𝚊𝚗𝚍 𝚊 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚊𝚕 𝚖𝚎𝚝𝚑𝚘𝚍, 𝚘𝚗𝚎 𝙸 𝚠𝚘𝚞𝚕𝚍 𝚕𝚒𝚔𝚎 𝚝𝚘 𝚜𝚎𝚎 𝚖𝚘𝚛𝚎 𝚑𝚘𝚗𝚘𝚛𝚎𝚍 𝚠𝚒𝚝𝚑𝚒𝚗 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚝–𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖. 𝙰𝚝 𝚝𝚑𝚎 𝚌𝚎𝚗𝚝𝚎𝚛 𝚘𝚏 𝚖𝚢 𝚒𝚛𝚘𝚗𝚒𝚌 𝚏𝚊𝚒𝚝𝚑, 𝚖𝚢 𝚋𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢, 𝚒𝚜 𝚝𝚑𝚎 𝚒𝚖𝚊𝚐𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚌𝚢𝚋𝚘𝚛𝚐.

𝙳𝚘𝚗𝚗𝚊 𝙷𝚊𝚛𝚊𝚠𝚊𝚢, 𝚃𝚑𝚎 𝙲𝚢𝚋𝚘𝚛𝚐 𝙼𝚊𝚗𝚒𝚏𝚎𝚜𝚝𝚘. 𝟷𝟿𝟾𝟻.

[k-i-l-l-e-r-b-e-e-6-9]

Decapitated - Just a Cigarette

[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.