#We need our fiction to reflect the power of community and not just the individual
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ktempestbradford · 2 years ago
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In my acceptance speech I talked about the importance of healthy communities and how that shaped the worldbuilding in Ruby Finley vs the Interstellar Invasion.
Community is fundamental for humans. Story is fundamental for humans.
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“SPACE BETWEEN US’’
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                                     “SPACE BETWEEN US’’ (2017)
This movie explores the fascinating concept of human colonization of Mars, and what life might look like for those who grow up in isolation from Earth. Let's delve into the themes and ideas presented in this film, and share my personal analysis and reflections.           
In this blog, we’ll be delving deeper into the themes and ideas presented in the film, as well as providing my own personal analysis and opinions. One of the most striking aspects of "Space Between Us" is the way it explores the idea of human connection and the importance of relationships. "The Space Between Us" is a 2017 American science fiction film directed by Peter Chelsom. The movie is about a boy named Gardner Elliot (Asa Butterfield), who is the first human being born on Mars. His mother was an astronaut who died during childbirth, and he was raised in a scientific facility on the red planet by a team of scientists.
As Gardner grows older, he becomes more curious about Earth and longs to explore the planet he has never known. With the help of an online friendship with Tulsa (Britt Robertson), a teenage girl from Colorado, Gardner escapes from the facility and embarks on a dangerous journey to find his father on Earth. As he travels across the United States, Gardner experiences the wonders and dangers of Earth for the first time. Along the way, he learns about love, friendship, and the importance of human connections. However, time is running out for Gardner, as his body is not accustomed to the Earth's atmosphere and he risks dying from the trip.
This movie is a unique and heartfelt science-fiction film that balances its young adult themes with a mature and imaginative story. It's a sweet and sincere love story with high-concept aspirations and charming performances. It is an enjoyable film that is a mix of teen romance and science fiction, with interesting ideas and themes about our connection to Earth and what it means to be human. Another interesting aspect of the movie is its portrayal of the future of space exploration and the possibilities of human colonization of other planets. As we continue to explore and expand our reach into the universe, what will be the ethical and moral implications of creating new societies on other planets? The movie raises important questions about the future of humanity and the choices we will make as a species. The movie's stunning visuals of both Earth and Mars also create a sense of awe and wonder, and serve to remind us of the vastness and beauty of the universe.
The performances in the movie are excellent, particularly by Asa Butterfield as Gardner and Britt Robertson as Tulsa. Their chemistry is palpable and their emotions feel authentic and raw. 
The movie doesn't just examine personal relationships. It also raises important questions about the role of technology in shaping human society. From the advanced space travel technology that makes it possible for Gardner to be born on Mars, to the social media and communication technology that he uses to connect with people on Earth, the movie shows how technology has the power to both bring people together and keep them apart. The film asks us to consider the impact of technology on our own lives and on society as a whole.  However, I think it is also a dull and formulaic teenage romance that never quite reaches for the stars and a derivative young-adult sci-fi romance which is predictable. 
“The Space Between us ” can offer several valuable lessons, which can help us grow as individuals and strengthen our relationships. How distance can teach us about perspective, appreciation, communication, independence, and trust. This film leaves us the importance of human connection and relationships. Throughout the film, we see Gardner's longing for human connection and his desire to find his father and connect with other people. The movie shows us that we are social beings, and we need meaningful connections with others to truly feel alive and fulfilled.The film teaches the idea that we are all connected, no matter how far apart we may be physically. Gardner's journey from Mars to Earth is a metaphor for the journey that we all take in life, trying to find our place in the world and connect with others. The film reminds us that we are all part of a larger, interconnected system and that our actions and choices can have a ripple effect on others. This film teaches us to be true to ourselves and follow our dreams, even if they may seem impossible or unconventional. Gardner's dream of visiting Earth and finding his father may seem far-fetched, but his determination and perseverance eventually lead him to achieve his goals. The film encourages us to have faith in ourselves and to pursue our passions, no matter how difficult or unlikely they may seem.  
For those seeking a movie that evokes strong emotions and stimulates reflection, I highly recommend giving “Space Between Us” a watch.
Writers:  Eliza, Nicole, Jomar, Kc
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saniyahwedidit24 · 6 days ago
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Break The Shell - Be Unrecognizable
Ignite your transformation- your best self by mastering these fives habits as discussed by Sree Krishna Seelam in his best selling book ‘ 5 Killer Habits - Be A Rebel’
Arise, Awake and Kickass! The core idea presented in the first chapter highlights a common trait among successful individuals - discipline specifically manifested in the habit of waking up early. From having a morning routine to setting goals the chapter exposes everything you need, to achieve that you desire. The text underscores the importance of morning routines in decision making, proper sleep pattern, effects of sleeplessness with an insight on how much should one sleep, what should you do if you’re a night owl and how love can be a motivation in upgrading yourself as a human that can lead to better outcomes. With various research, popular personalities, daily life examples in very simple words a very important message has been delivered here. 
Be A Hero
Real heroes spend their time, energy, and sometimes even their lives for other people. They remind us how important it is to give back to others. Like Mother Teresa and Mahatma Gandhi; tell us being a hero is really about being selfless and brave. Aitzaz Hasan, a 14 year old boy from Pakistan who showed true heroism by sacrificing his life to save around 2000 of his classmates and teachers from a suicide bomber. Volunteering for a cause is one such way we can contribute to the community and protect the planet. This chapter is going to make you question your actions - What are you doing to help others?
3. Become A Dromomaniac
Solo traveling is a powerful avenue for personal growth and self discovery. When you travel alone, you step out of your comfort zone and embrace new experiences. It pushes you to interact with diverse cultures and people, broadening your perspective about the world. The solitude allows for deep reflection and self rejuvenation, helping you to understand your strength and values better. Each journey becomes an opportunity to learn more bout yourself, build confidence, and create lasting memories, making solo travel not just about exploring new places but also about nurturing your own identity.
4. Live A 100 Lives
Reading, an important habit that everyone should acquire. It enriches our imagination, broadens our perspective, and enhances observational and articulation skills. It’s an excellent way to practice grammar, expand vocabulary, and engage with a variety of ideas. Through reading, we gain insights into different viewpoints which fosters empathy and a deeper understanding of others. This ability equips us to discuss complex issues with confidence. Specifically reading non fiction books can be pretty fruitful. Furthermore, reading promotes critical thinking. In a world where propaganda can easily sway opinions, an informed reader can see beyond biases and recognize that conflicts often stem from differences rather than hostility. This awareness cultivates a more nuanced understanding of global issues.
5. Stay Curious : The Why Habit
Curiosity is fundamental for rational thinking and discovering the truth, especially in an era rife with fake news and misinformation. We must hold religious leaders, influencers, and officials accountable by asking critical questions like "why" and "how," rather than accepting their statements without scrutiny. It's essential to seek credible sources and apply common sense in our evaluations. The true objective of any belief system should resonate with its purpose. If the methods or outcomes do not reflect that purpose, they likely diverge from God's true intention. Questioning established norms is not an act of rebellion; rather, it is a vital journey toward truth and understanding.
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Seelam has got all the ingredients you need to transform, to ignite yourself. Don’t be surprised when you achieve your ‘that’ self after reading this book, you deserve it. Moreover, all proceeds from this book go towards educating girl children in rural India making it a book that transforms not just your life but the lives of many. Guys, it’s a win win situation!!
You can access the FREE kindle edition here
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alexzandriathegood · 2 years ago
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I’ll admit it, occasionally I indulge in a little woo woo shit. Since we exist in the same timeline, I don’t have to tell you that it is a challenge to exist peacefully - not only out in the world - but inside oneself. Mental health requires maintenance. Introspection is a dire necessity. 
When I mentioned the “woo woo” astrology probably came to mind. Honestly, beyond laughing at the occasional “Scorpios are like…” or “avoid Geminis like the plague” joke I don’t really get into horoscope stuff too much. I also don’t keep up with my inspiring quote journal (which was prudently color coded and organized by type and name) anymore. I’m actually embarrassed to admit it featured words from Russel Brand. 2020 was a tough year! 
However, I did manage to expand my spiritual toolbox in healthy ways by incorporating a little something called “Mirror Work.” It’s the strange practice of speaking to yourself out loud in the mirror. Worst case it brings up images of psychopathic, power hungry men droning on about their future conquests (i.e. Patrick Bateman as the American Psycho or his spiritual son, Tyrell Wellick. “I will be the CTO!”). Best case it looks like me saying something really sweet to myself and tearing up a little bit.
We ALL need positive encouragement. 
You may be asking yourself why should I entertain this practice? Mirror work is a tool to bring about positive change and it is completely unrestricted. You don’t need anyone else to do this positive thing for yourself. In fact, it’s best if no one else is around. All you got to do is (1) create some affirming things to say (2) say them into a mirror. If you are direct and honest throughout this process it can really start to take a hold of you. Just as a thoughtless, hurtful statement can affect you on a visceral level, a thoughtfully put together positive statement can do the same. 
If you’ve been told repeatedly directly or indirectly that you are deficient in some way, then that feedback has undoubtedly shaped the way you live your life. It may have shaped your life so significantly that you begin to think it was all an individual choice. However, in reality we are interacting with so many ideas created by other people that are communicated to us through misunderstandings, body language, tone of voice, advertisements, social media, and overhearing conversations. We have to take time to digest what we are exposed to and separate fact from fiction. Mirror work is my fact making process. I set my intentions for my own growth. I ask myself for clarity. I return to check in. And most of all, I truly believe that I can make a difference in my own life. 
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My latest art project, “Meditation Portals” has me all in my feelings. They’re magnetic glass prints bursting with colors that radiate happiness in my soul. Yes, I unashamedly feel this comfortable with something I am actually responsible for. Talk about growth. Anyways, so one day I was enjoying a print in my living room and I saw my own reflection within the piece. It was weird. I stepped away to not see myself and that decision was provocative to me. “Why,” I asked “am I trying to erase myself from this moment?” Why are we constantly trying to erase ourselves? Is there anything we can do to restore our esteem and move about more positively in the world? The answer is yes. It may not specifically be Mirror Work, but, I’d specifically like to challenge you to try it for yourself. Also, check out my art shop feelthegood.bigcartel.com. Watch the companion video to this blog to learn how to get started with Mirror Work here: https://youtu.be/C387SK0vSuY
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haich-slash-cee · 2 years ago
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“Hurt/Comfort as The Heart of Fandom” - Fan Studies at the Crossroads: An Interview with Lynn Zubernis and Katherine Larson (2012)
“Hurt/Comfort as The Heart of Fandom” - Fan Studies at the Crossroads: An Interview with Lynn Zubernis and Katherine Larson. A 2012 interview and some responses to Bacon-Smith.
Part 1, Part 2, Part 3, Part 4.
Excerpt below:
Lynn: H/C seems like the last subgenre to remain determinedly in the closet. Slash has been written about. BDSM has come out of the closet with a flourish thanks to 50 Shades of Grey. Hurt/comfort remains less discussed and more hidden – perhaps because it is less displaced and therefore more vulnerable to shaming. In some ways, H/C is a more primitive drive than even sex. We are all, at some level, still helpless and frightened little children, dependent on others for comfort and, quite literally, survival. H/C fic taps into those primal needs, expresses the depths of pain and fear, and then rewrites the ending of the story to include the healing that may never have happened in ‘real life’ but is continually wished for. The increased ability to comfort and heal oneself seems to result from the unfolding of the narrative, and especially from the willingness to accept the support and comfort of the group after the telling.
While H/C fanfiction carries the built-in displacement of using recognized fictional characters instead of being autobiographical, the genre seems less displaced than slash. In the Supernatural storyfinders community on Live Journal, posters commonly request fanfic about their own physical and emotional afflictions, explicitly seeking mastery through reading H/C fic about their own challenges. Writers in the genre are less likely to tie their topics to their own experience, maintaining the distance that displacement offers, but some do discuss their motivations as the same drive for mastery.  This tendency to consciously recognize the individual writer or reader’s motivation may be part of the need to keep H/C secret.
H/C fic tackles themes that cultural norms strongly discourage us from expressing openly – namely vulnerability and rage/revenge. Acknowledging vulnerability only makes one feel more vulnerable. For women especially, rage is disallowed and unacknowledged, the human desire for revenge something nobody wants to accept. Incorporating all of these themes into H/C fic is both subversive and personally dangerous, but the drive to do so is powerful. Bacon-Smith recognized the role of emotional expression as integral to coping and healing twenty years ago when she identified hurt/comfort as the heart of fandom, but she also recognized her own negative reaction as one of the reasons that heart remained so hidden.
I think the genre’s secrecy has made it less visible to researchers. It seems, at least at first inspection, to be a smaller genre than slash, but that may just be a reflection of the layers of protection that have grown up around it and the fact that fanfiction which tackles H/C themes may not be labeled H/C. It may be labeled slash, het, or gen, yet essentially be hurt/comfort.
Kathy: It’s another one of those things that seems to reflect badly on women – the desire to see our men bloody. It’s a real turn on for (some) women to see men vulnerable, exposing aspects of themselves that are normally so closely guarded.  H/C knocks down those barriers, and it’s sexy as hell. It’s another glimpse into female sexuality.
(Note: As a non-binary person and a whump fan and also ace-spec, I have somewhat weird feelings about H/C being apparently tied to 'female sexuality' and 'sexy as hell'. However, all that is one aspect of H/C. Fascinating interview, have not read the book yet. Also, the 2020 ish update to all that - At least one authors was embracing using "Hurt/comfort" to market their books, so.)
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samwisethewitch · 4 years ago
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Everything You Need to Know About Pagan Deity
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As you’ve probably guessed by now, there are many, many, many different approaches to deity within the wider pagan community. While it would be impossible to summarize all of these different perspectives in a single blog post, this post contains some common themes and best practices that are more or less universal and can be adapted to fit whatever system you choose to work with.
In my Baby Witch Bootcamp series, I talk about the “Four R’s” of working with spiritual beings, including deities: respect, research, reciprocity, and relationship. However, when it comes to gods and goddesses specifically, I think it’s important to include a fifth “R” — receptivity.
If you’re completely new to this kind of work and want to avoid making rookie mistakes and/or pissing off powerful spiritual forces, sticking to the Five R’s of Deity Relationships is a good place to start. The Five R’s are:
Respect. It’s always a good idea to have a healthy respect for the powers you choose to connect with, whether you see those powers as literal gods and goddesses or as archetypes within the collective unconscious (see below). While not every ritual needs to be incredibly formal and structured, you should always conduct yourself with an air of respect and reverence when connecting with deity. There’s no need to humble yourself to the point of cowering before the gods (and in fact, this kind of behavior is a turnoff for many deities), but you should strive to be polite and follow your system’s proper protocol for things like cleansing, offerings, and prayers.
Research. I am of the opinion that you should do serious research into a god or goddess before any attempt to make contact with them. This can be controversial, but in my own experience things seem to go more smoothly when I know what I’m doing. Books are really the way to go for this — the Internet can be useful for connecting with other worshipers and hearing their stories, but it isn’t a good source for nonbiased factual information. I recommend starting with academic sources written by secular experts for a purely historical account that won’t be colored by personal religious experience. Once you have a decent understanding of the basic historical context, look for books by pagan authors who have experience working with this deity. These sources will give you a framework for your own interactions with them.
Reciprocity. As we’ve discussed before, reciprocity is a core value of virtually every pagan tradition. Reciprocity is a mutual positive exchange where all parties benefit in some way, and this quality forms the backbone of all healthy relationships with deity. While we benefit from connecting with the gods, the gods also benefit from our worship. Upholding reciprocity in your relationships with deity means making regular offerings to show your appreciation as well as living in a way that your god or goddess approves of.
Relationship. At the end of the day, connecting with a god or goddess is about creating a healthy, fulfilling relationship. Like any relationship, it takes time and effort to keep the connection alive. The gods are living, thinking, feeling beings just like you and me, though on a much larger scale. Just like you and me, they have likes and dislikes and require certain things from those who want to work closely with them. Try to approach the gods as individuals, and connect with them as you would with another person. This will naturally lead to much more authentic and organic relationships.
Receptivity. To be receptive is to be open and ready to receive whatever comes your way — this is an essential quality for anyone who is serious about connecting with a god or goddess. Connecting with the gods means allowing them a place in your life, whatever they choose to bring with them. It means forming a relationship with them on their terms, and that requires us to give up a certain degree of control. While you should never feel afraid or completely out of control when connecting with deity (if you do, stop contacting that deity immediately), you may very well experience things you did not expect or ask for. Be prepared for these surprises, and understand that when the gods surprise us in this way, they do it in order to help us grow. Let go of any preconceived ideas about what a relationship with this deity “should” look like, and instead let it unfold naturally.
Though there is much more to working with deity than just these values, keeping these values in mind will get you started out on the right foot in your relationships with the gods.
Deity or Archetype?
As odd as it may sound, not everyone who connects with the gods through study and ritual believes those gods to be literal spiritual beings. Some pagans (I would even say the majority of pagans, based on my personal experience) connect with the gods as individuals with their own personalities and agency, but others connect with them as symbols that represent different elements of the human experience. This latter group is working with the gods not as deity, but as archetypes.
The term “archetype” comes from academia, particularly the fields of psychology and literary analysis. An archetype is a symbol that embodies the fundamental characteristics of a person, thing, or experience.
Swiss psychoanalyst Carl Jung argued that archetypes are powerful symbols within the collective unconscious (basically an ancestral memory shared by all of humanity) that arise due to shared experiences across cultures. For example, Jung would argue that Demeter, Juno, and Frigg all represent the “Mother” archetype filtered through different cultural lenses, reflecting the important role of mothers across Greek, Roman, and Old Norse culture. For Jung and his followers, archetypes allow us to connect to latent parts of our own psyche — by connecting with the Mother archetype, for example, you can develop motherly qualities like patience, empathy, and nurturing.
For comparative mythology expert Joseph Campbell, archetypes represented types of characters that appear in some form in most or all global mythology. In his book, The Hero of a Thousand Faces, Campbell identified the “hero’s journey” as the archetypal narrative framework on which most stories, from ancient myths to modern films, are based. (If you’ve taken literally any high school literature class, you’re probably familiar with Campbell’s work.) Like Jung, Campbell has been hugely influential on modern pagans who choose to connect with the gods as archetypes.
Working with an archetype is a little different than working with a deity. For one thing, while archetypes may manifest as gods and goddesses, they can also manifest as fictional characters, historical figures, or abstract symbols. Let’s say you want to tap into the Warrior archetype. You could connect with this archetype by working with gods like Mars, Thor, or Heracles — but you could just as easily do so by working with superheroes like Luke Cage or Colossus, literary figures like Ajax or Achilles, or the abstract concepts of strength and honor.
When pagans worship a deity, it’s because they want to form a relationship with that deity for some reason. But when pagans work with an archetype, it’s usually because they want to embody aspects of that archetype. In our above example, you may be trying to connect to the Warrior archetype to gain confidence or become more assertive.
The biggest difference between worshiping a deity and working with an archetype is that a deity is an external force, while an archetype is an internal force. When you connect with a deity, you are connecting with a spiritual being outside of yourself — a being with their own thoughts, feelings, and drives. When you connect with an archetype, you are connecting with a part of your own psyche. Because of this, archetypes tend to be more easily defined and behave in more predictable ways than deities, although some archetypes can be very complex and multi-faceted.
On the surface, worship and archetype work might be very similar, but the “why” behind the action is fundamentally different.
If you choose to worship the Morrigan, for example, you may have an altar dedicated to her, make regular offerings to her, speak with her in meditations and astral journeys, and/or write poetry or make art in her honor. If you choose to work with the Wild Woman archetype, it may look very similar to an outside observer — you may have an altar dedicated to the Wild Woman energy, speak with manifestations of Wild Woman (perhaps including the Morrigan) in meditation, and write poetry or make art dedicated to this archetype. However, these actions will have a very different intent behind them. Your Wild Woman altar is not a sacred space but a visual trigger to help you connect to the Wild Woman within you. Your meditations are conversations with different aspects of your own personality, not with a separate being. Your art is an expression of self, not a devotional act. The result is a deeper connection to yourself, not a relationship with another being.
I hope I’ve made it clear that archetype work and deity worship can both be very worthwhile spiritual practices, and that each serves its own purpose. Many pagans, myself included, work with both deities and archetypes.
There is some overlap between worshiping a deity and working with an archetype, and many pagans start out with one practice before eventually ending up in the other. Sometimes working with an archetype leads you to encounter a deity who embodies that archetype, which can lead to a relationship with that deity. Likewise, your relationship with a deity may help you become aware of a certain archetype’s influence in your life, which might lead you to work with that archetype.
Making First Contact
First impressions are important. This is true for making new friends, for job interviews, for first dates — and for your first meeting with a god or goddess. In many cases, the way you behave in your first meeting with a deity will set the tone for your relationship with them.
That being said, don’t overthink (or over-stress) about your first impression. You aren’t going to be cursed or punished if you mess this up — at the very worst, the deity might lose interest in connecting with you, and even that can often be remedied with an offering and a polite apology. While it’s always best to get off on the right foot, don’t feel like you need to be perfect.
So, how do you make a good first impression on a god or goddess? Honestly, the rules are largely the same for making a good first impression on any other person. Make sure your physical appearance is clean and tidy — some systems, such as Hellenismos and Kemetic paganism, have special rules for cleansing before contacting the gods, but it’s always a good idea to take a shower first and make sure you’re wearing clean clothes. Likewise, make sure the physical space you invite the gods into is relatively clean — it doesn’t need to be spotless, but take a minute to tidy up before beginning any ritual. Be polite — there’s no need to be overly formal, but you should be respectful. Don’t immediately ask for favors — how would you feel if you met someone at a party and they immediately asked you to do some sort of work for them?
Beyond the basics, it’s wise to make sure you have an idea of who this god is and what they are like before you reach out to them. This will keep you from accidentally doing something offensive. For example, you wouldn’t want to invite them to an altar dedicated to a deity they have a rivalry with. Likewise, you want to avoid offering food or drink that would have been taboo in their original worship. (Of course, there are exceptions to every rule, but when you’re just starting out it’s a good idea to follow the historical framework as closely as possible.)
At the risk of sounding like a broken record: this is why research is so important. Knowing who you are dealing with allows you to deal with them respectfully, gracefully, and competently.
Callings
There’s one aspect of deity worship that is controversial in modern paganism: the idea of being “called” by a deity. This is a question you’ll find many, many heated discussions about online. Do you need to be called by a deity to form a relationship with them? Do deities choose their followers, or do we choose them? How do you know what a call from a deity even looks like?
As I said, this is a controversial topic, but I firmly believe that 1.) you do not have to feel called to a deity beyond being interested in them, and 2.) feeling drawn to a deity’s image, symbols, and myths is a form of calling.
Many pagans do feel like they were called or drawn to the deities they walk most closely with. They may have encountered myths of that deity as a child or teenager and deeply resonated with them, or may have always had an affinity for that god’s sacred animals. They may have dreamed of this deity before knowing who they were, or may have felt a spiritual presence around them before identifying it as a god or goddess.
Many people first encounter the gods in fiction, only for this fictionalized depiction to spark a deeper connection that eventually leads to worship. In the modern era, it’s entirely possible for someone who worships Loki to have first encountered him (or at least a character loosely based on him) in Marvel comics and films, or for someone who worships the Greek pantheon to have first discovered them through the Percy Jackson books. As far as I’m concerned, this is also a valid “call” from deity. The gods are very good at communicating with us through the means available — including fiction.
That being said, just because you don’t already feel a strong connection to a god or goddess doesn’t mean you can’t or shouldn’t worship them. The connection will come with time and effort, just like in any relationship.
Dedication, Patrons, and Matrons
In online spaces such as Tumblr and TikTok, a lot of inexperienced pagans parrot the idea that every pagan needs to have a designated matron and/or patron god and/or needs to be formally dedicated to a god in order to have a close relationship with them. Not only is this untrue, but such restrictions can actually cause harm and/or stunt spiritual growth.
Let’s address dedication first. To be dedicated to a deity means to outwardly declare yourself a servant of that deity, usually with a formal dedication ritual — think of it as the pagan version of joining a convent or going to seminary. It is an outward expression of your devotion and loyalty to that deity. Dedicants are held to a higher standard than the average worshiper by themselves, their communities, and the god(s) they have dedicated to.
Dedication can be a powerful and fulfilling spiritual experience (it’s the backbone of many peoples’ spiritual practice), but it should not be taken lightly. Dedicating yourself to a god or goddess should be a sign of your commitment to them and a deepening of your relationship — it should not be the beginning of that relationship.
Dedication is a lot like marriage. Just like you wouldn’t marry someone you’ve only been on a handful of dates with, you shouldn’t dedicate to a deity just because you’ve had one or two positive experiences with them. Like marriages, dedication can be difficult to get out of — ending your dedication to a deity is possible, but it’s a messy, complicated, uncomfortable process that is sure to shift the foundation of your entire spiritual practice, and not always for the better.
My advice to new and inexperienced pagans is not to even consider dedication until you’ve been practicing for several years. As you begin your journey, your focus should be on exploring your options, forming meaningful connections, and developing a practice that works for you and your unique spiritual needs. Now is the time for experimentation, not lifelong commitments.
But let’s say you are an experienced pagan, and you feel like you are ready for dedication. How do you know if you should dedicate to a given god or goddess?
Dedication may be the logical next step in your relationship with a deity if:
This deity has been an active part of your spiritual practice for at least 2-3 years, with no major gaps in contact with them
You are comfortable upholding this deity’s values for the rest of your life — and are willing to face consequences if you fail to do so
You are willing to dedicate a significant amount of time and effort to the service of this deity
You are willing to face major changes in your life outside your spiritual practice — dedicating to a deity often leads to major shifts that may affect our career, family, and/or relationships
If you answered “yes” to all of the above, dedication may be appropriate. This may seem overly cautious, but remember that dedicating to a deity is a serious, lifelong commitment akin to joining the clergy. For context, it takes at least five years of study and practice to become a Catholic priest, a similar amount of time to become a Jewish rabbi, and three years to become a high priest/ess in Traditional Wicca. If you don’t have the patience to maintain a relationship for a few years before dedication, that is probably a good indicator that dedication isn’t for you.
If you are dedicated to a deity or are planning to dedicate, you may actually choose to attend seminary or receive some other formal religious training. This training will help you to better serve your deity in a public capacity, as you will learn skills like religious counselling, leading ritual, and building community. If your program of study includes ordination, it will also allow you to perform legally binding religious rituals like marriage ceremonies. Depending on your path, attending seminary or training may be your act of formal dedication.
Finally, let me make it clear that dedication does not make you a better pagan than someone who is not dedicated. The choice to dedicate or not dedicate is only one element of your spiritual practice, and it is possible to have a fulfilling and life-affirming practice without dedication. Some of the people who do the most work in the service of the gods are not dedicated to them. You may be one of these people, and that is totally okay.
Patron/matron relationships are a specific type of dedication.
The concept of patron deities comes from Wicca and related neopagan religions. As we’ve previously discussed, Wicca is a duotheistic system with a God and Goddess, whose union is the source of all creation. However, because Wiccans believe that all gods are manifestations of the God and all goddesses are manifestations of the Goddess, some covens choose to work with the God and Goddess in the form of other deities (say, for example, Osiris and Isis), which are referred to as the coven’s “patron” and “matron” deities. In these covens, initiation into the coven’s mysteries (traditionally in the form of first, second, and third degree initiations) typically acts as a form of dedication to these deities.
As Eclectic Wicca has gained popularity in the last few decades, there has been a growing trend of individual Wiccans and eclectic pagans choosing personal patron and/or matron deities. Some Wiccans will have a single god or goddess they are dedicated to, while others feel that it is very important to be dedicated to exactly one masculine deity and exactly one feminine deity. This second model is the one I see most often in online pagan spaces, especially Tumblr and TikTok.
The patron/matron model can be useful for some pagans, but it is not one-size-fits-all. As I mentioned, this model of dedication comes from Wicca, and is a very modern concept. In ancient pagan religions, most people would not have been dedicated in this way. That does not mean that this isn’t a valid form of worship (it absolutely is), but it does mean that those who practice reconstructionist paths may not be inclined to interact with deity this way.
The guidelines for patron/matron relationships are similar to the guidelines for dedication in general, but these relationships often (but not always) have a more parental nature. For some people, having a divine mother and/or father figure is ideal — especially for those who are healing from parental trauma or abuse. If you feel drawn to this type of deity relationship, I encourage you to explore it.
On the other hand, you may not have any interest in the patron/matron model, and that’s totally fine! It’s called polytheism for a reason — if you prefer to maintain less formal relationships with many gods, you should feel free to do so.
I hope this post has helped clarify some of the murkier aspects of polytheism and deity work. Obviously, this is only the tip of the iceberg — I could write a book about this topic and many, many authors already have. However, I think the information here is enough to get you started, and I hope that it will provide a first step on your journey with your gods.
Resources:
Wicca for Beginners by Thea Sabin
A Witches’ Bible by Janet and Stewart Farrar
The Spiral Dance by Starhawk
Where the Hawthorn Grows by Morgan Daimler
The Way of Fire and Ice by Ryan Smith
Jessi Huntenburg (YouTuber), “Dancing with Deity | Discovering Gods, Goddesses, and Archetypes,” “Archetype, Deity, and Inviting Transpersonal Experience,” and “10 Ways to Bond with Deity”
Kelly-Ann Maddox (YouTuber), “How to Have Deep Connections with Deities”
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strangertheory · 4 years ago
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Do you think that portraying a portion of our characters as alters would remove their depth? Would portraying female characters and characters of color as alters of Will remove their agency? This is not my personal opinion but I’ve seen this topic come up as a concern with the DID theory and seeing as you answer every ask so thoughtfully.
DID is a widely misunderstood condition due to the way in which it has been portrayed in a lot of popular media, but also because it is a unique condition that most people have not spent a lot of time learning more about. When fans are ignorant and say incorrect things like “alters aren’t real” they are perpetuating incorrect information about DID and being prejudiced against those who have DID.
“El is her own person! With her own free will!”
- Nancy Wheeler, season 3
DID is a real medical condition. People need to educate themselves more on the topic before they engage in (incorrectly) asserting that El being an alter would somehow make her less important or “less real” than Will. If the theory that Will and El are both part of a DID System is correct: they share the same mind and their brain belongs to them both. They’re two different, separate states of consciousness in their shared mind. Shared.
Alters are not imaginary friends, and they are not hallucinations. Alters are distinct, separate states of identity within a single human brain. A host in a DID System does not “control” other alters. They are not puppets or characters in a fictionalized story that was invented by a person’s imagination. And it’s very important that people treat alters as unique individuals.
Describing an alter as “not real” is incorrect and ignorant. Alters are just as real as you or me. Fans, when discussing or criticizing the theory that Stranger Things is about a DID System, need to be aware that any time they criticize this theory and say something like “alters are not real” that they’re being prejudiced against real alters in real DID Systems who might read their comments online and be hurt. Alters are each unique individuals, and they are real.
Alters have their own agency. They have real feelings and experiences. They have their own free will. Their sense of identity and their memories and experiences are separate from the experiences of other alters. Even when alters are co-conscious together they will still perceive of those shared experiences differently.
To make a very simplistic analogy: imagine many people living in the same body that sometimes can interact with one another face-to-face in spaces within their shared subconscious mind. (Those spaces are referred to as “internal worlds.”)
Do you consider yourself real? How do you define your identity? You probably, like me, define yourself by the many experiences you have had throughout your life and by your memories and your relationships with other people. That is how Alters develop their sense of identity, too: through their real memories, relationships, and experiences. But a key difference is that they exist together in one mind and body. But they are all real. One alter is not more or less “real” than another alter.
Anyone that takes issue with the concept of El and Will possibly taking turns being conscious in their shared body in the external world might need to be wary of seeming prejudiced against trans identities and experiences. El is a girl and Will is a boy.
Regarding your point about the concept of Lucas potentially being an alter: I personally suspect that Lucas exists in the external physical world as a friend no matter what is going on in the story, but if there were also an alter in the DID System that was named Lucas and was based off of their friend named Lucas, then that alter-Lucas would be understood to perhaps have the same physical appearance within the internal world of the mind but would not have a Black identity in the same way that friend-Lucas does (obviously) because the lived experiences that this alter has would not be the same as a Black person. (This is a very good and complex question. I’m not sure I can do it justice. But it is definitely important to clarify that no, an alter in a DID System is not going to have a racial identity that is equivalent to racial identities and experiences in the external world unless that identity does, in fact, reflect their body’s physical appearance and cultural heritage in the external, physical world.)
Many DID Systems will have alters with different genders, ages, races, etc. but this is not the result of a conscious choice. Hosts, who are simply alters that are in control of the body the most often in the physical external world, don’t consciously “create” their alters or control them in any way. And from what I currently understand about DID (and keep in mind I am just a layperson that has done some research of my own, I’m not a medical professional) the appearance of an alter is speculated to oftentimes be based on a person’s subconscious understandings of traits they’ve observed in the external world that they believe would empower them to deal with a specific traumatic situation better. Their subconscious brain went “Who would be the most capable of dealing with this horrible situation? Who could deal with this more easily?” And this is why oftentimes an alter might be based on a person that they know in their life. I think that it is highly likely that the DID System in Stranger Things might feature many alters based on people that they know in the external world. Friends, family members, local bullies (like Billy Hargrove, perhaps?) etc. Alters based on the subconscious mind’s impression of people from the external world are referred to as introjects. But an alter is not an imaginary friend: that alter then becomes part of their own mind that has taken on these traits subconsciously.
Will as a host in a DID System would not have any conscious control over his alters any more than he has control over any other person in his life: that’s not how DID works. Alters have their own agency. Alters with certain roles have greater access to the DID System than hosts out of necessity, and therefore I believe a case could be made that at times Will is the one that has less agency. In some DID Systems hosts sometimes have absolutely no access to their internal worlds at all, and when they lose consciousness everything is like being asleep for them. And in other cases DID System hosts might have only partial access or a lesser level of awareness in the System’s internal worlds. From what I’ve read each DID System has its own unique structure based on what was needed by them in order to survive certain traumatic events in their shared lives.
Part of the reason hosts have limited access is because the DID System is an elaborate subconscious coping strategy that the brain has constructed in order to protect hosts from trauma so they can continue surviving and dealing with every day life and taking care of themselves. If hosts were given complete access to the System in the same way that certain alters have access then hosts would be exposed to traumatic memories and experiences that they might not be ready to deal with and that would defeat the entire purpose of the DID System having been established in the first place. Think of it as levels of security access in a building: not everyone has the same access granted on their little door swipe cards. Hosts oftentimes have very limited access because their brain is storing their memories beyond their reach. Alters will each have memories that the host(s) do not.
If any fans dislike the concept of Will being a host in the System because they perceive of this as some sort of “controlling” or “powerful” role in a DID System: hosts generally have to deal with an arguably frightening and intimidating lack of control over their own mind and over the System. Hosts need to establish communication with their alters and trust in order to coordinate shared decision making because they generally, by design, do NOT have access to certain parts of their mind and the internal worlds because they’re not supposed to. The only influence that hosts have on their alters’ decisions is established through communication and agreement just like if you made an agreement to pick your neighbor up from school at 3pm. There’s nothing stopping you from deciding not to do that, but you choose to do so because you’ve established trust with your neighbor and they know they can rely on you.
“Friends don’t lie!” The importance of alters telling the truth to each other would be critical to their shared survival. I should hope nobody is lying if you have no way of being sure what your body had been doing all day while you weren’t conscious in the external world and you need to check in and ask other alters what they did. (Have a great day! Don’t forget to lock the front door. Can you cook some pasta and make sure we eat tonight? Okay, cool. Thanks! Wait: you had a fight with mom? And you didn’t tell us? Not cool! Now we don’t know why she’s angry at us and have no idea what was said. Ugh.)
But to return back to your original question: although I understand that many fans might be unfamiliar with DID and with the concept of alters, I hope that fans would seek to better understand the condition and would not be so deeply disrespectful of real DID Systems that exist and suggest that they’re somehow not “real” because of their condition. Inevitably there will always be those that don’t understand and who don’t respect others’ experiences.
I hope I answered your question sufficiently! This was such a good question, and I’m really glad that you Asked. Thank you!
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81scorp · 4 years ago
Text
21 tips for writing humor
 This was not written by me. It was written and uploaded to deviantart  Jan 13, 2017 by DesdemonaDeBlake.
All credit goes to her. I just copied and pasted it here.
There are many theories as to the nature, science, and reason for humor. It's an element of human behavior that seems objective in the skill that is required to execute it successfully, and yet just as subjective for how unpredictably it can hit every individual audience member. Today, I'm going to talk about the various forms that humor takes, and give you some tips for making your humorous story a success. To start with, lets look at what I will call the “five scales of comedy”. (Please note that the following is not intended as definitive list of the only sources and scales of humor in the world, only the ones that I have been able to identify within my own life, time, limited understanding, and culture. Also note that I will use the word “Humor” instead of the word “Comedy,” simply because I do not want this discussion on genres to be confused for the type of story that is opposite of Tragedy.)
The Five Scales of Comedy
A story or other source of humor can usually be found along the lines of five different scales. These are: High Humor vs Low Humor, Sweet Humor vs Acidic Humor, Distanced Humor vs Close Humor, Predatory Humor vs Reflective Humor, and Clever vs Ridiculous Humor. These scales stand apart from the sub-genres of humor (dark, slapstick, dry, etc...), and have to do with how the humor affects the audience. Note that there is no “best” type of humor; there is only humor that works in different ways and which impacts different sorts of people. So wherever you find your story in the scales, know that there is no need to change it unless you want to. Also, the names of the scales are just that—names. Just because your story falls into the category of “low” humor, doesn't mean that it is any less valuable than “high” humor.
Range 1: High Humor
Within the range of High vs Low humor, what we are discussing is the how large an audience we are trying to reach. High humor involves jokes and comical situations that are only understood by a very select group of people. An example might be a comedy series that focuses its humor on the experience of working in a corporate office (like … The Office), or perhaps political commentary. These are only funny to those people who have shared the experience or the political knowledge of the person generating the humor. Basically, the higher the humor, the more the entire set-up begins to resemble an inside joke. This type of humor is excellent for gaining the interest of select demographics who you may want to address. For example, if you only want to talk to nerds (I say non-insultingly because I am one and am proud of it), you might have lots of references to science fiction and fantasy.
Range 1: Low Humor
On the opposite side of the range, you have Low Humor. Low Humor deals with topics, jokes, and situations that are more universal to the human experience. An easy example of this is a fart joke. Everyone in the world farts, and most people are in touch enough with their inner child to think that it is funny if the joke is skillfully set up. Again, there is nothing wrong with low humor; and in certain situations it is even preferable. The lower your humor, the larger your potential audience can be. Other examples of low humor might be family life, slapstick, and situational comedy based on everyday experience. Shows like Spongebob Squarepants, for example, involve such a low degree of comedy that people of all ages, demographics, and locations across the world are able to find delight in it.  
 Range 2: Sweet Humor
The next range of humor, Sweet vs Acidic, deals with the intensity of the humor itself. Sweet Humor involves jokes, situations, and characters that require less pain and cynicism to appreciate. For example, a story that involves simple characters bumbling around, making mistakes, overcoming, and becoming better people for it would generally fall into the range of Sweet. We don't laugh at their misfortune (or if we do, its lighthearted and with limited consequences, like slipping on a banana peel), we laugh because their situations are joyfully amusing.  
An example of this are the sort of jokes and humor found in Youtube “Lets Plays,” like those of Markiplier and Jacksepticeye. We don't laugh because of anything bad happening to these people (or the characters that they play); we laugh because they are eccentric, silly, and joyful in a way that also makes us feel joyful. This form of humor can be tremendously encouraging and uplifting to the types of readers who enjoy it.
Range 2: Acidic Humor
On the other hand, we have Acidic humor. Much like with food, most people have strong preferences and limits to how acidic (spicy, sour, or bitter) they like their humor. Acidic humor deals with laughing at topics that are increasingly serious or even tragic, such as death, illness, social injustice, etc... A popular example of acidic humor is South Park. Those of us who enjoy acidic humor will find ourselves laughing at topics that would otherwise likely bring us to tears. The power of acidic humor is that it helps its appreciators to cope with the difficult truths of life, and also to acknowledge problems that we are otherwise tempted to ignore because they are too hard to think about.  
An example of an issue addressed in South Park is the elderly, their treatment, and our fear that we will face the same. Sure, when we watch an episode we laugh when the younger characters mistreat and abuse the elderly in the community. However, a conscientious viewer will then begin the chew on the issue, once the episode is over. We'll look at our own actions, and begin to wonder if our treatment of the elderly is just as bad. Because of the acidic humor, these difficult truths come to the forefront of our minds, we gain the courage to actually think about them, and we can even bring them up in discussion with others. This discussion can then lead to people changing the world for the better.
Range 3: Distanced Humor  
This range has to deal with the necessary emotional distance we need in order to be able to appreciate a certain level of humor. Even with lighthearted humor like slapstick, which has very low acidity, the audience needs to be distanced in order to laugh. For example, if I watch Bugs Bunny wallop Elmer Fudd on the head with a mallet, it's generally pretty damn funny. I know that these characters are both flat cartoons with limited depth to their character, and that as non-beings they don't really feel pain. Therefore, I don't have empathy to Elmer's pain (because it is really non-existent), and I can laugh. However, if the show were to show me Elmer's life, how he's been a vegan but famine has caused him to need to find meat to feed his family, and how he struggles to even shoot at a rabbit because it makes him feel like he's betraying himself; then I'm not going to laugh if Bugs hit him with a hammer. I'm too close, and need emotional distance in order for my empathy to not get in the way of my humor.
Range 3: Close Humor
We do not need distance in order to find something funny. With close humor, the jokes and situations actually rely on how well we know the characters and how much we empathize with them. An example of Close Humor is Scrubs. In the show actually find ourselves within the mind of the protagonist, JD, and seeing the entire world through his eyes. He tells us about his insecurities, his genuine pain, his fears, and we actually really care about him as a character. Yet, we find humor in his minor misfortunes and even in his silly victories. The closeness of our perspective amplifies the events that happen in his life in a way that distanced humor cannot achieve. For example, when he stutters and says something embarrassing in front of someone he idolizes, we find ourselves giggling. If Elmer Fudd were to stutter in front of someone he idolized, we wouldn't laugh nearly so hard because we can't possibly understand the stakes of the moment or why meeting this person is so important to him. We need to be close to a character for Close Humor to work.
Range 4: Predatory Humor
With the range of Predatory Humor vs Reflective humor, we are discussing who will be the “butt” or target of the joke. (Note that a joke does not necessarily need a butt, as we will discuss later.) While often used in a negative way, in order to bully and shame others, predatory humor is not a bad thing in and of itself. Predatory humor can be used to tackle and harm negative constructs and ideas in our society. For example, Fairly Odd Parents used to frequently attack neglectful and abusive parenting. Note that the while Timmy's (the protagonist of the show) Parents were frequently the butt of jokes, they were also not the real target (just like parents in general were not the target). The targets were their selfish and non-reflective actions that had damaging effects on their son. We can use predatory humor to attack ideas, and point out the evils that are so often overlooked in society. The trick is to always keep vigilance of your own mind, actions, and motives to makes sure that you do not become a bully who targets the people themselves. Because even if someone acts in an evil way, bullying them will never cause that to change.
Range 4: Reflective Humor
On the other side of this range we have Reflective Humor, which serves to make fun of itself. Again using South Park as an example, the creators would often make their own beliefs and ideals the target of their ridicule. For example, it's fairly clear that the show speaks in favor of LGBT rights and for their being accepted as equals in society. However, they also go as far as to mock people who are so over-enthusiastic and pro-LGBT (to the point of hypocrisy). Another example is when the show begins to teach a moral lesson, the writers will often make fun of themselves through the character of Kyle for being so preachy. The effect of the show making fun of itself is two-fold. First, those of us whose beliefs South Park mocks feel like the show is being fair. Thus, we continue to listen to and respect the views of the creators, even if we don't always agree. Second, we trust the messages of a story more when it has the integrity to point out its own failings. Note that unlike with other scales, Reflective and Predatory Humor can actually be interwoven so that a joke or story makes fun of itself just as much as its target.
Range 5: Clever Humor
The last range of humor that we'll discuss is that of Clever vs Ridiculous. This range is fairly self-explanatory, but the core of its nature is what sort of punchline is delivered at the end of a humorous situation. Clever humor takes the audience expectation and amplifies or twists it to an unexpected place. You can see this in the work of comedians such as Louis CK and Demetri Martin. Martin, for example, has a humorous bit about doorways that say “Exit Only.” The joke then involves his compulsive desire to tell store workers that they underestimate the potential of those doors by about 50%. The delivery of the punchline is true and logical, but it such a way that it humorously exceeds audience expectation.
Range 5: Ridiculous Humor
Opposite of Clever Humor, we have ridiculous humor. This is when the punchline of a humorous situation is so absurd that we can't help but laugh. And example of this is the Spongebob Squarepants episode where he and Squidward get lost while delivering a pizza. They become lost in the wilderness and spend the episode becoming more and more so. Then, right at the end, Spongebob exclaims that they are saved because he's found a big beautiful boulder, the likes of which the pioneers used to ride for miles. And, to make matters even more ridiculous, the boulder works—driving just like a car. We find humor because the punchline is simply so grandiosely absurd that we can't help but enjoy it. Note that both Clever and Ridiculous humor require a great amount of skill and thought to pull off successfully, it's just a matter of your preference and your target audience.  
The Five Sources of Humor
Once we identify what type of humor we are employing by using the scales, the next thing to consider is what makes our stories funny. This is something of a challenge, because we don't generally put much thought into why humor makes us feel the way it does. The humor either hits or misses, and we laugh or we don't. Making matters even more complicated is that there are so many theories as to why and how humor works—with everyone from Aristotle to Freud interjecting an opinion. But if we look at the particular sorts of things that make people laugh, we can improve how we use humor in our stories.
Source 1: Misfortune  
Whether a cartoon character is slipping on a banana peel, or a character in a romantic comedy finds themselves in an embarrassing situation, the misfortune of others seems to be the most popular form of humor. This is why slapstick and funny home videos have been so prevalent in modern humor. Plato and Aristotle seemed to believe that this was because such humor made the audience feel superior to the characters being ridiculed (Superiority Theory). This seems especially true when we see unlikable characters (like the villain in a children's cartoon) experience misfortune in a comical way.  
Though Superiority Theory has its place, I would assert that there is an alternative way that people enjoy misfortune. Perhaps the experience of slipping on a banana peel or being in an embarrassing situation is funny because of our own memories of experiencing the same thing or something similar. Freud and others theorized that humor was a release of energy (Relief Theory). Maybe our camaraderie with the character, mixed with emotional distance from the scene we are watching, creates a safe space to release our own stored feelings of pain or embarrassment. Thus laughter really does become a healing force.
Source 2: Absurdity
In his essay “The Myth of Sisyphus”, Albert Camus defines and explains the absurd.
“It's absurd” means “It's impossible” but also “It's contradictory.” If I see a man armed with only a sword attack a group of machine guns, I shall consider his act to be absurd. But it is so solely by virtue of the disproportion between his interaction and the reality he will encounter. […] Likewise we shall deem a verdict absurd when we contrast it with the verdict the facts apparently dictated. (29)
Though Camus is not talking about humor (rather the existentialist question), I think that the absurd is a source of humor. Audiences are often entertained by the absurdity of a situation. And by looking at Camus' explanation, we can hypothesize that this form of humor comes from the disproportionate contrast of action and situation. An example of this might be one of the last battle-scenes in Braveheart. In this scene, victory looks unlikely, the dramatic tension is high, and it seems to be the most serious moment imaginable. Then, upon being signaled, the protagonist's soldiers pull up their kilts and reveal their bare asses to the enemy. It's so unexpected and so absurd, that many people cannot help but to keel over laughing.
This scene is completely disproportionate to what we would expect to see in this dramatic a moment. The action does not suit the situation, but in a strange way it also kind of does—with the action juxtaposing itself against the situation. Perhaps, just like with misfortune, absurd humor creates a needed release of energy, connected to our own sense of existentialist absurdism. The absurd could then serve to release our feelings of despair in a positive light. The show, Rick and Morty, seems to be built on this connection between absurd humor blended with existentialism and nihilism. Of course, this is just a theory. What you'll want to focus on when writing absurd humor is the relationship of your characters' actions to the situations that they find themselves in. Are they lost in the desert? Have them climb a boulder and ride it home. The stronger the contrast between action and situation, the higher you'll make the potential for absurdity.
Source 3: Wit
Wit is the essence of Clever Humor; its the pithy intelligence that makes us laugh because of all the thought put into a situation. When we hear a witty joke or are part of a witty situation, we find ourselves moving in a forward humorous momentum, instead of the backwards and diagonal momentum of the absurd. But we don't stop at the expected location. For example my mother called me a few months ago, asking me if I was going to wish my brother a happy birthday. The expected response for this sort of set-up/situation is to answer “Yes” or “No”. But I went forward and beyond “No” by asking why she wanted me to congratulate my brother for being one year closer to death (I have an acidic sense of humor sometimes). This reply was much more thoughtful than what my mother expected, and pointlessly taken beyond the realm of reason. Therefore, she found it funny.
Perhaps there is an element of the absurd in any given amount of witty humor. It's as if we are taking extra steps to be as intelligent and rational as possible—ending with us standing somewhere close to the absurd. Using Camus' illustration of absurdity, the soldier with a sword wouldn't necessarily attack the machine guns, but instead go home, refusing to sacrifice his life to be a metaphor. You can see this sort of humor in Youtube series such as How it Should Have Ended. In this series, animators take a closer look at popular movies and then make efforts to enforce logic in worlds and characters that didn't have them. This includes having Severus Snape use his time-travel gizmo to go back in time and kill Voldemort before he became a problem—an action that is so logical that it erases the need for any of the Harry Potter stories to even happen. So when you create witty humor, look to take things beyond the realm of expectation—aiming for the absurdly reasonable.
Source 4: Anti-humor  
Anti-humor is when something is so unfunny that it becomes funny, sort of like puns. As we find delight in the absurd and the unexpected, humor and jokes can begin to feel predictable. We begin to look for the solution in jokes, and we're usually smart enough to begin to be able to predict it. In this case, the expected becomes surprising. An example is the classic: “Why did the chicken cross the road? To get to the other side.” If you haven't heard it before, this anti-humor joke is actually kind of funny. A great example of this are the great collection anti-jokes found online.  
You can take anti-jokes to the next level using extremely acidic humor. This is where you take serious, grievous, or tragic topics and use them as the punchline for your joke. For example, a joke about a fatal illness is not funny because the person making the joke finds that topic amusing (otherwise that person needs some counseling). A joke about fatal illness can be funny to some people for the exact opposite reason—because of how dark and unfunny it is. Again, I believe this ties into a release of negative energy while in a safe space, and the processing of difficult emotions. If you plan to use the extreme form of anti-humor, please note that many people have very legitimate reasons for not enjoying it. So be careful, and give your audience some sort of forewarning so that you do not spring something so emotionally charged on them without their consent.
Source 5: Familiarity and Value
When I was taking university writing classes, I had an extremely eccentric professor who had all sorts of mannerisms that were unique to him. In the moments when he was particularly eccentric and acting out of his true nature (which he was quite comfortable with), I would find myself laughing, even if the situation wasn't funny. I think others can relate to this, as we all love to talk about fun people that we used to know, and find ourselves laughing even when what we are remembering isn't particularly funny. We laugh because those people acting happily out of their own nature gave us joy, and so anything they do creates a laughter that feels akin to humor.  
This mirth through familiarity can be accomplished in stories as well. In Bob's Burgers, for example, we really don't even begin to understand the humor until we develop an attachment and feelings for each individual character. Sure the situations are mildly amusing, but true laughter and humor doesn't begin until we know the characters, their likes, their dislikes, and who they are deep down inside. Once we know that, we laugh as each character acts out of their nature. When we see Louise (one of the protagonists) act with mischievous intent, we laugh even before we know what she's doing because we are happy that she is about to act out of who she really is. Note that this is a rather difficult sort of humor to pull off because you have to create a relationship between the characters and the audience before the humor will be possible.
General Tips for Humor
Tip 1: Create a patterned and uniform blend of humor for your story.
When you choose what sort of humor you plan to use in your story, the best way of maintaining audience enjoyment is to keep it constant. Just like when we watch a stand-up comedian, we begin to develop a taste and sense of expectation for whatever we are watching or reading. Over time, your audience will begin to really appreciate the flavor of your humor, and that appreciation will make your jokes increasingly funny (so long as they are creative and continue to be intelligently crafted). The pattern will also make all of your jokes seem, feel, and become purposeful. Your audience will enjoy this much more than if you seem like you are desperately trying to milk the humor from anything you can get your hands on (you perv).  
I recommend you begin by analyzing the origins of humor in your story's world. Is the world simply absurd, with unseen gods of chaos just dropping coconuts on people's heads for pure amusement? Does the humor come from a specific character? A group of funny people living in a serious world that they must learn to cope with through humor? A funny narrator with a unique perspective on life? Once you figure out the origins, determine where your humor will fit on the scales (it doesn't have to be on any extreme, you can stay in the middle of the scales and still be hilarious); and then figure out the source.
Tip 2: Create a genuine story with genuine characters, in order for humor to gain the most power.
If we value stories in terms of how much people enjoy and remember them, the best humor stories are those with good plots and characters. This may seem counter-intuitive when your intent is to make your audience laugh, but think of it this way. If an audience wants just concentrated jokes, they will read a joke-book. Your audience is choosing to dredge through the murky waters of story in order to find the humor with more difficulty because they want a blend of story and humor.  
An example of this is the movie,“Austin Powers.” Many people, myself included, watched these movies before we ever watched the James Bond movies that they were making fun of. And we enjoyed them greatly, and laughed the entire way through. Why? Because the characters and story, ridiculous as they were, were good enough that we actually invested our interest and emotions into them. As an added bonus, the story has become timeless and respected in its own right. Even if we face a future where nobody knows who James Bond is, the Austin Powers movies will be able to stand on their own merit because they are more than just jokes.  
Tip 3: Be careful about dating yourself.
Speaking of parody and humor losing its ability to be funny, let's talk about references that date our stories. Humor at the expense of popular culture (movies, politicians, celebrities) is a fun ploy of high-humor. It's especially useful for nighttime comedy shows that will be lost to time anyways, within a couple years. When you are writing a novel, however, you are trying to create something that will last a bit longer than that. Additionally, novels take a lot longer to write than an episode of a late night comedy show. This means that by the time you publish and people begin to discover your book, they may not know who the vapid pop star you're making fun of is. Your humor will be lost to time, and your book quite possibly forgotten. Of course, I'm not telling you that you can't use this sort of humor, just that you should be aware of the risks it holds.
Tip 4: Mark every line that is supposed to be funny, and make sure that it is.
Nothing detracts from a story or from a spirit of jovial humor so much as an obvious joke that falls flat. It's like watching an acrobatics show. If the acrobat falls on their face too many times you'll either be embarrassed for them or you'll empathize and start worrying for their safety. Either way, you won't find the situation amusing. In your own personal copy of the manuscript, mark every joke for analysis of whether it actually succeeds and whether it serves to empower the story. Then, ask your editors, test-readers, and writing partner to circle every point that they genuinely found funny. Be sure to pick test-readers who fall into the niche you are writing for, as well as those who do not. If nobody but you marked a specific joke, then you need to either get feedback for how to make it funnier, or else cut it.
Tip 5: Write within your own expertise and authority.
This does not mean that you can't laugh at things, and poke fun at things that are outside your realm of expertise, so long as you have done your research. But consider the power of an insider making a joke about something that you are a part of vs an outsider doing the same. It would be like the difference between me calling most writers narcissists (as I am one, and know that it is pretty true in most instances) and a politician making a joke and calling writers narcissists. I mean, what right does that asshole have to judge us, even if it is true? The point is that your jokes gain power when you can tell them with the confidence of an insider. Not only that, but your audience who is a part of the group at the butt of the joke, will be much more gracious and feel far less attacked when the joke comes from one of their own.  
Tip 6: Humor is personal  
Humor is something that is highly individual to specific groups and people. For example, I do not understand, nor am I really able to appreciate most British or Spanish comedies. This is not because they aren't funny; they are just as valid and hilarious as every form of comedy that I do enjoy. The reason is simply that because of either how I was raised, my life experiences or because of who I am by nature, I can't enjoy them any more than I can enjoy olives on my pizza (seriously, I hate them). It doesn't matter how artfully these types of humor are composed, there is simply no effect akin to joy, amusement, or laughter when I come across them. In other words, the problem is me and not them.  
All this is to make three points. First, it may be more difficult to find test-readers and worthwhile criticism for humorous work. Even if I'm really good at critiquing stories, I will not be able to give you any helpful feedback if your humor doesn't match with mine. And that isn't your fault any more than it's my fault. It's just a difference in taste. Second, humor is as personal and close to the heart as any other story or craft. When you create a joke, you are channeling whatever emotions and mixes of experiences have led you to the type of humor you have. So recognize the emotional bond between yourself and your humor.  
The third piece of advice is for those on the other end of the spectrum, those experiencing the humor of others and perhaps trying to give advice. Please recognize that others' sense of humor is just as valid as yours. Whether their sense of humor is simple, complex, dry, witty, dark, acidic, sweet, or anything in between, it is their sense of humor and not yours. Be careful in how you voice any attempts at criticism, as there are few ways to break your friends' trust and confidence as completely as when you tell them, “That's not funny.” You might as well be telling them that their heart sucks, and they are a sucky person.  
Instead, acknowledge the differences in people's humor, value it even if that humor makes you uncomfortable, and voice your criticisms accordingly. Try: “This joke wasn't successful with me, and might be perceived as racist/bullying/insensitive to some readers; so seek other feedback to see if it's just me.” You will voicing just as honest an opinion, without formulating a direct attack against the person who has trusted you with something so delicate to them.  
Weekly Recommended Watching: Doraleous and Associates by Hank and Jed. (A free animated fantasy Youtube series that manages to successfully mesh several humor types with an over-arching plot. Examine how even there are plot elements that are serious and even sad, the series maintains its humor through well-balanced distance and wit. And if this form of humor does not amuse you, that is perfectly valid and your own unique sense of humor is still a valuable thing.)
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zodiactalks · 4 years ago
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Totally Surprising, Unexpected Revelation About Each Zodiac Sign
We were all created differently, our personalities are distinct and unique. For example, you might love reading and relaxing by a warm fire on rainy days, however, you might also enjoy hiking and jumping out of planes.
We all have different qualities, therefore, it is important to refrain from assuming a person is a certain way based on appearance or their actions. People that appear very serious and somewhat boring could have a dark side too.
People are enigmatic, even someone who appears to be an open book, they might just surprise you one day with a different side to their personality that you truly did not expect. The great thing about getting to know someone new is the fact that you will discover new and interesting things about them as time goes on.
Sometimes these surprising characteristics can make people more interesting, in fact surprising traits and behavioral patterns in people make life more exciting.
You might think you know everything about a person however, you can never really fully understand or know a person. People evolve and change over time, nothing stays the same, nothing remains static.
Do you ever watch TV dramas? One thing that keeps us gripped and hooked on these fictional shows is the new and intriguing personality traits that are revealed about each character as the plots develop.
When it comes to astrology, every zodiac sign is known to have certain character traits. When we are aware of these traits it makes it easier to understand people. However, it is necessary to understand that people might not possess all the character traits associated with their zodiac sign. This is why it is important to get to know people before making assumptions about them.
In this article, we are going to outline some of the surprising and unexpected revelations about each zodiac sign.
Aries (March 21 - April 19)
Aries are confident, self-assured and fearless but there is one thing that terrifies an Aries is the fear of rejection. They cannot stand to be rejected and they will avoid it at all costs. They work hard to achieve their goals to become the best at what they do. They will always take the necessary steps to avoid being rejected, denied or refused.
Taurus (April 20 - May 20)
Taureans are extremely loving and caring individuals. They love the finer things in life like luxury sheets and fine dining. One thing that most people don’t know about Taureans is that they often exaggerate for example, if they have a slight headache or short-lived cold they will call in sick, cancel all meetings and stay in bed.
Gemini (May 21 - June 20)
Geminis are fun to be around, they are usually the life and soul of the party. They love to talk, and are experts at holding meaningful conversations. The surprising character trait for Geminis is they often conceal their true personality to avoid confrontation.
Cancer (June 21 - July 22)
Cancers are empathetic, caring and compassionate. They often lend a caring ear or a shoulder to cry on when someone needs it. However, they will also retreat into their own little worlds and ignore calls and other forms of communication when they feel the need to do so.
Leo (July 23 - August 22)
Leos are usually popular, well liked and extremely captivating. They enjoy being the centre of attention and always prefer to be the life and soul of the party. Notwithstanding, if a Leo does not receive the attention he/she wants, they turn into huge complaining babies. They simply cannot cope with not being the centre of attention.
Virgo (August 23 - September 22)
Virgos are wonderful, they make great friends, they are always there for you when you need them and they are extremely smart too. They are highly detail oriented and often strive hard for perfection in anything they do. One surprising characteristic that you will find in Virgos is that they do not like to be wrong, they find it extremely difficult to admit when they make a mistake. They will do whatever it takes to blame someone else for the mistake that they made just to avoid being that person who made the error.
Libra (September 23 - October 22)
Libras are very sociable, extremely alluring and they enjoy life to the fullest. However, there are times when they simply cannot stand life, they go into self-reflection mode where they want to be alone. When they feel like this, it is best to just leave them to think, give them some space, they will come around eventually.
Scorpio (October 23 - November 21)
Scorpios are highly passionate and they live their lives with intensity and zeal. One thing  that most people don’t know about Scorpios is that they love Disney movies, in fact anything that involves Disney, they love it with a passion.
Sagittarius (November 22 - December 21)
Sagittarius are nomadic, they enjoy travelling and seeing new places and meeting new people. They are incredibly fun to be around however, they are so full of themselves that sometimes their behavior can be questionable.
Capricorn (December 22 - January 19)
Capricorns are reliable, focused and practical. They are generally straight laced but there are times when they let their hair down. When they do, they go all out, enjoy themselves to the fullest and then they will return to their normal way of life.
Aquarius (January 20 - February 18)
Aquarius are exceptionally creative, they are unique and distinctive in the way they think. They  are also extremely friendly and open to anything. Sometimes they feel like switching things up for the sake of being different. For example, they might refuse something that they would ordinarily like just to appear unique and different.
Pisces (February 19 - March 20)
Pisces are kind, friendly and very compassionate. They often think that they have the power to save everyone and change everything. They are also very creative and often they slip into a world of their own and forget about the real world. The surprising thing about them is that they can often be totally oblivious to what is going on around them.
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eighthxjune · 4 years ago
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aixa writes black people + love #2 community: A “World” Still Necessary
It was 1987 when A Different World premiered.  I was young, like not yet double digits, young.  Every Thursday night, at 8:30, my mom, dad, sister, brother and I gathered around the TV, belting out the show’s theme song by Phoebe Snow in season one, Aretha Franklin in seasons two through five, and Boyz II Men in its final episodes.  Those lyrics were soon my alma mater:
I know my parents loved me Stand behind me come what may I know now that I’m ready For I finally heard them say
It’s a different woorrrrrld than where ya come from
Hillman College was a pinnacle place for me.  It personified cultural identity, and as someone who grew up in a predominantly white suburban town, the only Black pupil until high school, it was majestic and I wanted to be there.  Hillman displayed the cool factor our culture exudes so effortlessly; highlighting our style, dialect, posture, passion, and purpose from every region of the country, the continent of Africa and the Caribbean.  This “world”, was different than where I came from, and it was beautiful.  It gave me hope that a place - outside of my own home - supportive, caring and nurturing existed.
I saw Black teachers champion students who didn’t see their own unique potential, and dorm directors give sage advice. Witnessed roommates with nothing in common become best friends, and confidants.  I got hyped, and danced when adamant voices rallied together until a donor ceased support of South Africa’s apartheid.  And understood what loyalty looked like when a friend rescued his homegirl from what nearly turned into a date rape.  I cheered on two Black men fighting the weapon of racial injustice brought upon by a rival school, and marveled in a student reclaiming the image of Aunt Jemima, realizing her imperial complexion was to be treasured.  I observed discoveries, rejections, failed attempts, triumphs and losses, and empathized as if they were my own, because honestly they were.  Hillman was a community, a Black community, our community, an extension of who I was, who I am.  At such a young age, it was introducing me to myself.  This “different world” was a reflection of my desires and dreams.  It was an aspirational exhibit of Black successes - a rarity shown in media. Hillman was a place that encouraged you to stretch your capacity of thought and understanding.  It valued unlearning stifled ways of thinking, to learning expansively and with zeal.
Debbie Allen, an HBCU alum of Howard University, and the show's brilliant producer, as of season two, understood the importance of telling Black stories with all of their complexities.  She used television as a tool to address what was most difficult and challenging about us.  “If we’re not doing that, we’re not doing a good job.”  She expressed to Netflix’s Strong Black Legends.  When brought on board she excitedly wrote a storyline for character Denise Huxtable (Lisa Bonet), who, at the time, was pregnant in real life.  She thought it would be great to present the experience of a young Black student from an upper middle class family, not married, about to embark on motherhood.  Though the idea got nixed by the show’s creator, Bill Cosby - who didn’t approve of Denise being pregnant in college - I wonder what her story would have developed into as a student mother, a credible notion, and one I’m certain would have advanced her role.  
See, at Hillman, students strived to be the best versions of themselves, and looked forward to reciprocating care to those who raised them.  But, even more vital, they knew their obligation to boost those who were succeeding them. They cherished their Blackness and its power.
The hub of the campus was The Pit - the school’s eatery that made an appearance in practically every episode.  It was where students solely exhaled after a day of grueling classes and friends merged to catch up on the latest of tales.  Conversations flowed candidly at this hangout and with comedic flair.  Everyone passed through the beloved grumpy owner, Mr Gaines’ (Lou Myers) spot.  Even my forever heartthrob, Tupac, made a stunning guest appearance as Piccolo, an old flame from Baltimore coming to put claims on his childhood love, Lena James (Jada Pinkett Smith).
Relationships played a significant part in character maturation at Hillman, and the love story that tugged at my heartstrings was Whitley and Dewayne, performed by Jasmine Guy and Kadeem Hardison.  Cleverly laced throughout the show’s entire series, we journeyed with a high maintenance southern debutante from Richmond, VA and a Brooklyn native in J’s and flip-up glasses, who got a perfect score on his math SATs.  Allen took us on an exciting ride while these two people - growing individually - were also hesitantly falling in love with each other.  It was the ingenious love story I needed, and subconsciously yearned for, even if I were only in the fifth grade.  How could I not gush over this attainable fairytale that spoke my love language. I kept twinkling at the idea that, ‘In just a few years, this college life will be a reality for me.’  
Although Hillman College was a fictional place, its impact tripled enrollment of Historically Black Colleges and Universities.  As you may have gathered by now, A Different World ignited my love for HBCUs, and then began my search in finding one most suitable for me; a place that served as a home and fostered my voice, since it was currently muffled, allowing others - who didn’t look like me - to feel comfortable in the presence of my Black skin.  By the time I got to high school I attended the Black College Tour, twice.  Not because I was having trouble finding a good school, but really I was in awe of the noteworthy offerings provided at these historically Black schools.  The curriculums were impressive, the faculty resembled me, and the alumni were groundbreakers.  I was visiting institutions that are irreplaceable.  There was so much to learn about myself, and it was to happen in this next phase.  During my visits, I watched students purposefully carry themselves across campus, greet friends with hugs and daps, expressively admire each other’s gear and hairstyles, pause on building steps to continue debatable class discussions, only to be interrupted by an eye-catching smile.  The exploration alone made my heart flutter, and shortly after I was back at home flexing in my new Black college apparel - showing off the schools I toured.  By senior year of high school I decided to attend Howard University in Washington, D.C. and it was more than I imagined it to be; finding me in a way I didn’t think it could.  It met me where I was and readied me to rule the world.
There have always been skeptics who find HBCUs to be limiting.  But, honestly there isn’t a place that will “teach you how to love and know yourself” like one - a necessary move after centuries of oppression; especially as a Black woman who receives bare minimum support when it comes to this country’s level of respect. These institutions encourage you to go inward and prepare yourself for life ahead, beyond Black communities.  On the backs of scarred ancestors, almost 200 years ago, HBCUs were created, reshaping American history.  Literally built by their hands, these Black forebears constructed a place to acquire a well desired education, and for once, as a majority, marked a setting where Black issues could be discussed. Despite what history instilled upon us, Black people were thriving and these HBCUs had a strong hand in making sure of that.
Howard University is a big part of my DNA, a connection made due to A Different World.  It’s not easy expressing to those who have never attended an HBCU how magical those four years were, and how much rich history is seeped in the campus soil.  However, the show is the best demonstration; restoring a feeling that will always remain in my heart, reminding me of friendships built that reside at my core.  I graduated from Howard years ago, started a career in New York and since moved to Los Angeles to begin a new chapter.  But every autumn, when I can, I race back to celebrate Howard’s homecoming, in high hopes of reliving just a taste of some of the greatest years of my life.  It's never quite the same, but I don’t expect it ever will be.
A Different World came to an “end of the road” in 1993, and now I stream its episodes to emotionally reconnect with a missed experience; watching amusingly as if I hadn’t seen each one several times already.  Because I still yearn to explore a “world” that inspires me to reach for more of myself, and a Black love story that provides hope.  And though this “world” may be different, I know, I’m not alone.
Take care of yourself.
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adrianodiprato · 4 years ago
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+ “Whose voice is missing and how is that impacting our understanding of the world?” ~ Pernille Ripp, Series Two | Game Changers guest
Game Changers | Series Six Reflection
For Series Six, we turned our attention to A New Story: human-centred, technology enriched, people and place conscious and intentionally purposeful as we attempted to unpack the provocation So, what’s hope got to do with it?
In Series Six of the Game Changers Podcast, we once again had ten remarkable educators and entrepreneurs – a Learning Director, an Australian Educator of the Year, a global thought leader, a highly accomplished Equity Expert, the Executive Director of Catholic Education (Parramatta Diocese), the Head of Education (ABC), a Film Producer, a Teen neurodiversity champion, a global Research Officer and a Top 10 Finalist in 2020 Global Teacher Prize. Each challenged our binary thinking and inspired us with this new hope – all Game Changers who continue to light the torch for us and show us the way to build schools (and even society) differently.
Each Series Six Game Changers guest reminded us that all revolutionary ideas begin with a far-fetched dream, grown from the hope for a better world someday, somewhere. And that we were remined that the fierce urgency of now relates to the imperative that we connect our purpose to the needs of our COVID Children and all those that follow. That we now need a new story, a new social contract, a new hope - one that reimagines schooling and all of society - one that is deeply human-centred and highly inclusive, technology enriched, people, place, and planet conscious, and intentionally purposeful. And one that is daringly hope-filled.
Today, we should make this type of learning ecosystem our difference. Our audacious hope-filled aspiration. Our own great adventure. The great adventure of truly becoming – for self, place and the other.
Episode One | Tim Barrett
We started Series Six with Australian educator and leader Tim Barrett.  
Key learnings – Tim’s educational philosophy and leadership as a Director of Learning highlighted the need to foster character dispositions of adaptive expertise, emotional competency, and self-efficacy via a dynamic experiential learning framework in today’s schooling, with each helping us to pay attention to the needs of yesterday, today, and tomorrow, in serving our people and place through enacting our purpose in our intentional practice. Our chat also emphasised the value of social justice learning and immersion opportunities in our learning communities, positioning the aspiration of an active responsible citizen. All in the wheelhouse of remaining forever hope-filled, that society sees and values all, through the lens of humanity first.
Episode Two | Eleni Kyritsis
Key learnings – Our conversation with the dynamic award-winning Australian educator Eleni, brought into sharp focus the value of learner agency and self-determination in school communities. She provided us with practical expressions of creative and critical thinking, via how design thinking protocols can lead to greater student autonomy and independence, better preparing them for the reality of a world in constant flux. That good design can be a source of empowerment, a way of delivering value to everyone. And how excellent STEM programs are fundamentally about adopting a futures thinking paradigm, creating a generation of hope-filled solution architects and continuous learners and unlearners.
Episode Three | David Price
Key learnings – David reminded us about the urgency of now and why it is imperative that we seize this moment to re-imagine education and schooling for today and tomorrow. Our conversation with David amplified the Otto Scharmer quote I shared in the Series Six | Prologue, “Our society must move from ego-system to eco-system economics. This requires that we shift from ego-system silos to eco-system awareness that considers others and includes the whole.” David invited us into this ecosystem space and intentional tuning-in journey. Representing our capacity to imagine the world with fresh eyes and to suspend the legacy of old habits of thought and practice. It is deeply hope-filled, as it requires us to begin to act with care and empathy, not just for ourselves, but our planet and every living “other”. Calling all school leaders into the space of future builders.
Episode Four | Aiko Bethea
Key learnings – This conversation was an insightful example of why we should always be asking Pernille Ripp’s powerful question “Whose voice is missing…?” When we started to explore the notion of belonging Aiko challenged our thinking. The best way I can explain this is via a line in the book “You Are Your Best Thing” edited by Tarana Burke and Dr. Brené Brown, where Aiko is a contributing author, she says, “You walk into every room at a deficit. Unacceptable. Unaccepted.” Profoundly powerful insight. And she also said this in our episode and in the chapter from the book I just quoted, Aiko invited us into the profound space of creating new prevailing narratives, that amplify self through the notion of “I’m speaking” and why we need to accept all before us, on their own terms stating, “Even if this white supremist society never agrees to see us on our own terms, we’re creating our own spaces. Pulling up a chair to a table setting of white supremacy? No thanks.” I remain hope-filled because of good people like Aiko. 
Episode Five | Gregory Whitby AM
Key learnings – Greg is an important figure in education. Not just because he leads an entire system of schools across the Parramatta Diocese, NSW, but because he is a cathedral thinker. Inspired by authenticity and faith, Greg has the reflectiveness, sensitivity, and strength to manage complexity by honouring the legacy of yesterday, attending to the needs of today, and looking forward to what tomorrow will require of us. School leaders prepared to incorporate a cathedral thinking mindset can spark new life in education, provoking a shift from a focus on the status quo of what’s comfortable and familiar, to a long-term shared creative value proposition that truly realises education systems that promotes excellence and equity of opportunity for all – including for those not yet born. It’s all part of taking the big step forward and up into the new social contract of education that connects our purpose with our practice through a greater understanding of our people and our place.
Episode Six | Annabel Astbury
Key learnings – I kept asking myself this question during our conversation with Annabel, Head of Education at the ABC, When will the Australian education system realise the importance of digital literacy in today’s schooling? Digital literacy is the doorway to other literacies, that we must wrap our heads around, to ensure that technology serves all our best interests. As we step through that door, we can develop deeper understanding of Algorithmic literacy, Data literacy, Political and economic literacy, and, as Annabel rightfully points out, Media literacy. Annabel highlighted to us that literacy, in its traditional definition, isn’t just the ability to read or write – it’s about the capacity to reflect, analyse and create. It’s about taking a book, a newspaper or magazine article, a fictional story or a media article and reflecting on what’s behind it, who wrote it, what their assumptions were, what world they were a part of and what other information there might be on a similar subject.
Episode Seven | Ted Dintersmith
Key learnings – Ted Dintersmith is a highly successful venture capitalist and father of two who is devoting most of his time, energy, and millions of his personal fortune to education-related initiatives that call for a radical remaking of what and how students learn in today’s schooling and education systems. So much of Ted’s work has remined us that most teachers are motivated by a passion to transform the lives of the children and young people in their care. And how do we allow students and teachers the permission, space, and trust to define their own approach to learning. A narrative consistent with the work of a School for tomorrow and the mission of Game Changers.
Episode Eight | Shadia Hancock
Key learnings – In this episode Phil referenced the famous E. E. Cummings quote, “The hardest challenge is to be yourself in a world where everyone is trying to make you be somebody else.” Our chat with Shadia amplified the notion to be nobody but yourself in a world, is all that truly matters. And that we, in schools, should imagine a school developing from the inside out, that was the aggregate of the many lived experiences and personalised journeys of each individual, rather than the imposition of an ill-fitting average of everybody else, that often comes with the standardised education, that far too many have become accustomed. Shadia showed us the feeling of empowerment through the running toward, not away, from our uniqueness, our different minds and our inherent worth. And that all of us are part of a neuro diverse community, with each bringing something different to the table. Truly Inspiring.
Special Series | Santiago Rincon-Gallardo & Hà Ánh Phượng
Key learnings – Both Santiago and Ha Anh reminded me of Proverbs 11:25 “A generous person will proposer; whoever refreshes others will be refreshed.” Santiago and Ha Anh shared with us the importance of being authentically seen by creating safe spaces for all learners to enter – to learn, to lead, to live and to work, from a fully flourishing personalised context. Two remarkable globally recognised educators, both deeply passionate and generous about young people, who continue to find opportunities to help others, particularly their students, to understand the place within and outside of themselves, to shine in this new world environment.
From each of our Series Six Game Changers guests, we learnt the significance of learning communities that deeply tune in to the importance of psychological safety. Each of our guests reminded me to encourage teachers and school leaders to consider Timothy R. Clark’s four stages of Psychological Safety in which you feel:
Inclusion safety - a deep sense of belonging,
Learner safety - safe to learn and take risks,
Contributor safety - safe to use learner agency, voice & contribute, and
Challenger safety - safe to challenge norms & conventions — all without the fear of being embarrassed, marginalised, or even punished in some way.
This authentic and intentional connectedness of people to place and planet, linking our purpose to our practice, where all are seen and valued, was most pronounced with our Series Six guests, each left be feeling deeply hope-filled. 
Thank you to Tim, Eleni, David, Aiko, Gregory, Annabel, Ted, Shadia, Santiago and Ha Anh for sharing your story and passion. And thank for reminding us all that each person in our learning communities is home to a life. It is as simple and complex as that. Born from the construct of love – of self, for place and the other.
Listen to our Series Six: Epilogue via streaming platforms - SoundCloud, Apple Podcasts, Spotify, and Google Play.
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hannidae · 5 years ago
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The Value of Forgiveness
Why Reylo is one of the most valuable elements of Star Wars Mythology
And why Disney should not let Reylo end with The Rise of Skywalker if it wants to take the moral high ground.
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As an American, I’d like to suggest that Americans have a lot to learn from Rey and Ben. Forgiveness, hope, and redemption, while recognized as nice ideas, are so often not given the deference they deserve. Instead, we’re so much more focused on the pursuit of justice and power, which reflected in film leads to resolutions like Kylo Ren’s/Ben Solo’s death. Or, in real life, leads to paradigms like those present in American criminal justice.
We are doing an unarguably terrible job with criminal justice and reform. We are not forgiving or empathetic as a society. Our justice systems cling to our grudges and desire for punishment when nothing good can come of it. I can only hope that we can recognize our faults, learn, and grow--with a little help from film and story-telling.
As does all good mythology, Star Wars presents morals. The intentions in the sequel trilogy are *ahem* perhaps less thoughtfully crafted than the previous trilogies, but there’s still something to be learned. In TRoS specifically, moral guidance is best sought in critically analyzing the filmmaker’s choices and identifying the fallacies presented. 
Enter Reylo, the age-old enemies-to-lovers archetype where a heroine and anti-hero restore justice and find happiness. TRoS did it, then killed Ben. Why? Because in the American mindset Ben did ‘horrible’ things, and he should recognize his failures and welcome his own death in order to preserve the ‘pure’ deserving soul, Rey. Criminals don’t deserve a redeemed life of happiness, according to the American creators.
I object.
Now, before I get into how wrong this is, here’s a shout out to all of the incredible works out there that have analyzed Reylo and all its glory and value. Here’s a wonderful masterpost by raven-maiden. 
The impact of Reylo in analyzing criminal justice
Our current criminal justice system, at least within the American cultural setting where Star Wars has been developed, is a self-defeating, myopic mess.
There is the profit-driven corporatization of its structures that ignore best treatment practices opportunities for convicts within the system. There is the systemic discrimination that plagues fair treatment of both individuals and groups in the criminal justice and judicial systems from beginning to end. There is the unwillingness and/or lack of resources in our criminal justice system to address and improve the mental health concerns and socio-economic disadvantages of its prisoners and, as a result, cultivate reformed behaviors and improved opportunities among people who have committed crimes. There is also the hypocritical tendency of the criminal justice system to bolster the privileged and penalize the disadvantaged.
Regardless of a person’s place in society, our criminal justice system is focused almost entirely on punishment and removal of people within society who have been convicted of crimes. This doesn’t fix anything. It either maintains or worsens the causes that encourage people to commit crimes. Additionally, our criminal justice system does very little to promote actual justice in the forms of restorative justice.  Generally, people who have committed crimes are not provided avenues that offer meaningful opportunities for reparation, or counseling to recognize and alleviate the social, economic, or physical issues that caused people to commit crimes in the first place. No one is born bad, or wants to be evil, except for perhaps psychopaths.  And it’s clear that Ben/Kylo is not a psychopath, despite of and evidenced by the crimes he has committed.
The Problem with Shunning Reylo or shunning criminals
Those who are Anti-Reylo are generally concerned about abuse, imbalances of power, and toxic behavior and relationships, which they associate with Kylo. I get it. None of those things should ever be tolerated, much less promoted. All people, including Antis, can be assumed to condemn at least most criminal behavior, like Kylo’s. However, the hitch is when people are not willing to tolerate and accept individuals who commit crimes into their communities or relationships ever again—like permitting Kylo to repent, atone, and have a romantic relationship with Rey.
Here’s my issue, many people, for the most part, are sufficiently intolerant to be willing to forgive a person who has committed certain crimes. Clearly, some crimes are beyond redemption. In the spectrum of the severity of crimes, what role does a line in the sand have in story telling? Where does society draw that line? Typically, once crossed the criminal cannot be redeemed. In this way of thinking, reformed behavior, with or without atonement or restitution, would be not be sufficient for welcoming a person who has committed certain crimes back into a community. Like Kylo. Now, it’s not that there shouldn’t be a line. But sometimes we draw that line sooner than we should, and we’re not helping anyone (ourselves included) when we do if forgiveness is never an option.
Just Kylo’s association with the First Order, who as an organization murdered multiple world populations, is past the line for a lot of people. For some, it might be his order to kill the villagers at the beginning of The Force Awakens. Or kidnapping Rey and pushing into her mind during the interrogation scene. Or calling her ‘nothing’ on the Supremacy. Whichever.
I’m not going further into that because for my argument I don’t consider him to have crossed the line, and most Reylos don’t either. Here’s why, and why it matters.
First, Star Wars is mythology. It’s about a god Force and space wizards with laser swords. It teaches values and morals through fantasy and fictional dramatization. It is meant to serve as symbolic guidelines, not hard rules for interpersonal relationships in daily life.
Second, someone argues that Kylo Ren/Ben Solo has irrevocably crossed that line, there is very little to learn or gain from his attributes, his experiences, or his sacrifices. There should always be something to learn. Some *may* be willing to forgive Ben. That forgiveness would have qualifications for the redemption such as certain acts of restorative justice or a sacrifice. But empathy here is limited, if not lacking. And to function as a healthy society, we need lots of empathy.
Third, while Kylo’s representation in the trilogy films is less dimensional that in the extended comics and novelizations, one can not argue that he was abused, neglected, and manipulated into the circumstances of his portrayal. He also was never given an opportunity to truly explain his justification for his actions or the conditions that led to his choices. 
Overall, I’m not interested in where that unredeemable line is for people who support his death, or what redemption might entail. It’s likely they would never be willing to support his reintegration into society/the light side or consider him an appropriate love interest for Rey. Thus, what matters about him only matters in how it reflects on the heroes to whom he is an enemy. That would make him a black hole. But he is an anti-hero, and an amazing opportunity for self-reflective growth. We all make mistakes; he is just an extreme example from whose mistakes we can learn from.
Why Rey’s forgiveness is a necessary component of functional criminal justice
I am interested in the value of forgiveness, and the role mythology has in teaching that value. I’m fascinated by Rey’s willingness to forgive Ben Solo, especially since he turns and supports her once he knows she would forgive and welcome him if he renounced the characteristics that make him a villain.
Society is never going to improve if we lock up our criminals and throw away the key. Or execute them.
Now, I’m not expertly qualified to summarize the fields of criminal psychology or criminology in relation to Kylo Ren. However, I do hope to take a stab at why his criminal behavior is relevant in a tale of forgiveness.
Crime is cyclical. There will always be more people committing more crimes, and people committing crimes over and over. Also, most people who commit crimes, if released, will not be persuaded by punishment alone to stop doing whatever they’re doing that is criminal. This is because, for the most part, people with a history of delinquency have already experienced enough suffering in some form to create the impression that criminal acts will help them avoid the suffering they fear. The most commonly imposed societal threats of repercussions to their behavior, such as imprisonment, would be less severe to them than the punishment though suffering they’re attempting to avoid.
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Kylo was abandoned by his family and betrayed, almost murdered, by the Jedi. The supposed crime of associating with Snoke/the First Order initially provided him shelter from those who wronged him. Then, a means of recuperating the power he needed to survive. However, he continued to be abused, manipulated, and neglected. Thus, his crimes continued though which he sought escape of fear and suffering through the pursuit of power in order to provide the needs he was lacking.
The motivations that cause one to commit a crime are generally recognized as related to the absence of any of Maslow’s hierarchy of needs: physiological, safety, love/belonging, esteem, and self-actualization. Maslow, A.H. (1943). "A theory of human motivation". Psychological Review.
Maslow’s Pyramid 
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Kylo suffered from an absence of up to four of those five levels of the pyramid.
Now, society will never improve if we believe all criminals are evil and will always be evil unless we scare them into being good. People who commit criminal acts typically act through fear due to lack of a need. Threatening people into behaving well is not going to take their initial fear away; threats don’t provide missing needs. However, it may foster in delinquents a sense of desperate hopelessness, which would only cyclically perpetuate the conditions cultivating their criminality.
For most of the Star Wars Sequel Trilogy, no one criticizing Kylo’s esteemed role in the First Order is going to convince him to abandon the people who have welcomed, protected, and admired him in order to return to the ‘murderers, traitors, and thieves [Rey] calls friends.’ Not until Rey offers him a place by her side and an opportunity to make things right.
Trust, counseling, and pathways that allow people to meaningfully reenter society into a safe place through proof of intention by reparation, are the conditions through which criminals most effectively break out of the cycle.
We should be providing people who have committed a criminal act with:
1) the security of a route to acquiring their missing needs; 2) the confidence and recovery to be gained through restorative justice; and 3) a safe place to re-enter society. If we want delinquents to go from inclined to commit a crime, to not, then society must give people with criminal pasts a means to reform. To redemption.
That requires forgiveness.
Rey offered these things to Ben. She wasn’t willing to take him as he was in The Last Jedi as Kylo Ren. But she was willing to help him meet the needs he was missing: safety, love and belonging, esteem, and self-actualization. And if he turned, which provided him a pathway to meeting those needs when the dark side and First Order would not (despite his hopes), then she would take his hand. Ben’s hand.
Rey’s forgiveness of Kylo would provide a necessary step in the path to him becoming a better person. To reform. To become a hero that the galaxy desperately needed.
In the Rise of Skywalker, perhaps Rey didn’t need him to defeat the Emperor. She might have done it on her own. But she likely wouldn’t have survived if she did. And then the Jedi, the light side, peacekeepers who attempt to maintain balance in the world where the dark doesn’t over take the light, would have disappeared.
Ben’s turn, his choice to change, is what all people who have committed crimes should be permitted. But Rey’s forgiveness, and empathy before that, is a necessary part of Ben’s redemption. Why change criminal behavior, if it is somehow necessary to survive meaningfully, for nothing? Because it’s the right thing to do? That’s not how we work, fundamentally. We’re not angels.
It’s time to say it:
To err is human, to forgive, divine. -Alexander Pope
Rey’s compassion and empathy for Kylo, and her subsequent forgiveness, to me, is the most important thing to come out of Star Wars. Her willingness to respect and admire a person for who they are, despite a dichotomy, despite a criminal history, is a lesson we urgently need today.
Rey learned this herself, which is perhaps the best story telling choice in TRoS. After she stabbed then healed Ben on Ker Bir, she never again chose to engage in attack. She only saved what she loved. She never again used her lightsaber for assault, only deflection. With her potential for mercy, she convinced Kylo to turn. With only self-defense, she defeated the true threat to the Galaxy, the Emperor. The psychopath.
Retaliatory violence would have only made her become part of the cycle of evil. As our criminal justice system does.
Rey and Kylo teach us empathy. They teach us to be better.
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Ancestral archetypes embodied through Reylo, and how they’re wasted
If Ben had lived to atone fully, apart from helping Rey free the galaxy of the true source of evil in fascist totalitarianism, Palpatine, he would have lived to cherish and reward Rey for her empathy through their relationship. The ‘dyad in the Force’ that connects Rey and Ben is related to the long-standing concept of dyads representing two parts of one soul, or soulmates that come together to protect humanity.
Dyads have been seen throughout the history of Western philosophy and literature and have played a role in archetypes as discussed by well-recognized voices including Carl Jung, Joseph Campbell, and Plato. These archetypes, dyads included, have ­­been seen as ‘universal, archaic patterns and images that derive from the collective unconsciousness and are the physic counterpart of instinct.’ They serve to inform and instruct, to help us digest our psychologies and nurture our societies. We’ve seen this dyad in many forms, including that described by Carl Jung as the anima and the animus, and reflected around the world in various cultures and spiritualities including Adam and Eve, Yin and Yang, etc. Essentially, a dyad represents balance. Through Ben and Rey’s archetypal dyad, we can learn so much on why to reform our criminal justice system and mindset. And this is not a new thing.
Behold, Plato’s Androgyne.
"The man was originally the child of the Sun, and the man-woman of the Moon, which is made up of sun and earth, and they were all round and moved round and round like their parents. Terrible was their might and strength, and the thoughts of their hearts were great, and they dared to scale the heavens, and they made an attack on the Gods.”
Connecting this to Star Wars, as perhaps (we could only hope the writers considered, or through the pervasiveness of Jungian’s theories of archetypes we can assume was inadvertently manifested) we see representations as both Rey and the light side (or also the Sith due to her parentage being of the darkness/the Moon), and Kylo, as the dark side (but also of the Rebellion/Resistance due to his parentage). Either way, there’s so many ways to relate this. Regardless, Rey’s and Kylo’s ancestral battles are embodied through the balancing of the light and dark sides of the Force. "The Gods took council and Zeus discovered a way to humble their pride and improve their manners. They would continue to exist, but he cut them in two like a sorb-apple which is halved for pickling.”
Assuming the Gods and Zeus are expressed in the Force, here is where Rey and Kylo are separated from their families and tread their separate ways into the light and dark respectively. The same can be said for the Jedi and the Sith. "After the division, the two parts of man (the Androgyne), each desiring his other half, came together and throwing their arms around one another, entwined in mutual embraces, longing to grow into one; they were on the point of dying from hunger and self-neglect because they did not like to do anything apart; and when one of the halves died and the other survived, the survivor sought another mate, man or woman, as we call them--being the sections of entire men or women--and clung to that. “
Now, because it’s clear that Kylo and Rey are obvs meant to be together, I’m going to connect the Androgyne to the Sith and the Jedi. "They were being destroyed when Zeus, in pity of them, invented a new plan. He turned the parts of generation round to the front, for this had not always been their position, and they sowed the seed no longer as hitherto like grasshoppers, in the ground, but in one another; and after the transposition the male generated in the female in order that by mutual embraces of man and woman they might breed and the race might continue; or if man came to man they might be satisfied, and rest, and go their ways to the business of life: so ancient is the desire of one another which is implanted within us, reuniting our original nature, making one of two, and healing the state of man.
Here the Force is Zeus, and the “seed [that is the] male generated in the female” is the birth of Rey. And through ‘the mutual embraces of man and woman’ Rey and Kylo, turned Ben, they ‘breed and the race might continue…reuniting our original nature, making one of two, and healing the state of man.”
Plato. "The Symposium". Benjamin Jowet, trans., Great Books of the Western World
Thus, the value of Reylo.
Through recognition of: 1) the unintended flaws in our humanity need-based motivations for crime; 2) the cyclical nature of crime within our psychology and society; 3) the requirement for forgiveness, support, and acceptance to stop that cycle; 4) and the requirement for man and woman to come together to create new life;
we find that the pairing of our Heroine and our Anti-hero, and the forgiveness and compassion of Rey, serves to restore the balance and heal the wounds in our story.
However, the filmmaking choice to kill Ben, even if in self-sacrifice, is characteristic of society’s unwillingness to tolerate a criminal’s reintegration into society. Despite this, even I started out after the film thinking, “they couldn’t let Ben live. Not for Rey to reach her full potential as a Jedi. He’d drag her down.” Would that necessarily be the case? No. End of discussion.
Thus, Rey’s forgiveness and compassion are devalued and defeated with Ben’s death. There is no hope for those who have been neglected, manipulated, and abused into committing crimes, and our Heroine is left without her soulmate amidst a society that cannot relate to her. With our need for ostracism and retribution, despite the inherent suffering of our repentant villains, we only subtract from the light in society, not add to it. And we’re back where we started.
So. In conclusion, Rey and Ben’s story cannot stop here. Looking at you, DLF. Fix it.
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ill-will-editions · 5 years ago
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QUARANTINE LETTER #4
A fourth letter in our quarantine series, from our friend Icarus.
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EVERYTHING IS TRUE, NOTHING IS PERMITTED
“They’ve already destroyed everything, all the structures we believed in, trusted. Maybe we’re in a transitional phase, you know? There’s some sort of substitution going on. Meanwhile, we’re navigating in a tremendous vacuum, vaguely oriented by the stars but with no true reference point. Our compasses have gone wild, spinning madly, attracted by thousands of magnetic poles. We might as well throw them out the window, they’re obsolete. It’s just us and the night sky, like it was for the early explorers, while we wait for new, more advanced navigational devices to be invented. My only fear is that the stars have somehow gotten out of place and will be no help as references either.”
- Ignacio de Loyola Brandao, “And Still the Earth”
Dear friends,
It can be strange to intervene in someone else’s debate, but I don’t believe you’ll hold it against me if I do. Over the past weeks, I’ve rather enjoyed the commentary and exchange of letters between my friends, August, Kora, and Orion.  Something about the reflections of my friends is missing for me still, so I’ll chime in without wasting too much time, I hope.
QUARANTINE: INCOMPLETE—WHAT WE THINK IS HAPPENING IS ONLY SOMEWHAT ACCURATE
Today, millions of people are working. In warehouses, in offices, in fields, kitchens and storerooms; from the computer, the sorting room and at construction sites, millions of Americans are sharing the coronavirus with each other and with their neighbors. Many of them are asymptomatic, a portion are not sick yet, and certainly some of them are still hiding their symptoms from their families, employers, and coworkers. No zombie apocalypse is complete without the inconsiderate hot-head who insists, deceptively, that his injury is “nothing, it’s fine, let’s keep moving”. Orion wrote that the virus imposes “its own temporality, which immobilizes everything.” If only.  
   Logistics, shipping, freight, warehousing: these are some of the largest sectors of the 21st century workforce, and they are all on overtime. From Whole Foods to Old Dominion, these disposable workers are simultaneously killable - insofar as the market facilitates their endangerment via assured contact with the virus - and indispensable, insofar as they must not be allowed to strike, unionize, or cease working that this society may minimally function. In these industries, overwhelmingly, black men and immigrants are crammed into job sites without any protective equipment. In other words, they are proletarians in the classical sense, and they are still at work. A true quarantine, a dignified exodus from the commodity society and its extensive productive apparatus, would halt all forms of labor and toil, a circumstance as yet unrealized. If we can say we are living in a quarantine, we must say that it is still incomplete.
AUTONOMY OR AUTOMATA?—THE PANDEMIC AFFECTS ALL OF HUMANITY—WHICH NO LONGER EXISTS AS SUCH
What we once called "society" (an entity which now insists it can survive unity and distance simultaneously, even distance for the sake of unity), has been replaced by billions of apparatuses. These apparatuses constitute a vast ACEPHALOGRAM - a system of machines designed to trace and retrace the consciousness of a world that has definitively lost its head.
The period of real domination opened by the aggressive economic and political restructuring in the 70s, 80s, and 90s - “globalization” - has pushed a vast quantity of workers out of manufacturing and into service related industries. Services being overall less profitable then commodity manufacturing and heavy industry, other technological implements such as we see emerge from Silicon Valley have filled the gap, so to speak, of lost profits for the economy by allowing large advertising and analysis firms to mine directly the collective human ambitions in art, sex, politics, culture, and society. To open up this mine, which has produced an existential ruin comparable to the environmental ruin associated with mineral mining, the internet has developed as a global network of pseudo participatory information systems. The data thirst of these industries cannot be sated by the administration of facts from the center or top, they must be produced by the masses directly. But technology does not simply catch data falling naturally from the sky or running off the gutters of consciousness. It produces data by arranging relations such that they produce content that can be bought and sold. Under such conditions, the medical, political, technological and ontological crisis of a pandemic cannot help but be experienced as a video, a collection of tweets, graphs, memes, as background noise, as a conspiracy theory, as a genre in the endless relay of notifications.  
THE MIDDLE OF THE BEGINNING OF THE END—WHAT MAKES INDIVIDUAL INTERPRETATION POSSIBLE, MAKES COMMON UNDERSTANDING IMPOSSIBLE.
The truth is that social media has allowed billions of people to coordinate themselves into large and small containers of meaning and virtual energy. These containers, ecosystems of signs and signifiers, by dint of their polycentralized arrangement, function as an epistemological subversion of established truth-making infrastructures that require a certain amount of hegemony or global purchase: the scientific method, fact-checking, and debate. Occasionally, the understanding produced in these containers, theory-fictions more than anything else, incidentally conform to an intensity with physical correlatives capable of overpowering police infrastructures and seizing public space, as we saw across the world in 2019. More often, the echo chambers, as they are often called, curtail feelings of common dialogue and the perception of shared futurity that would be seemingly embedded in such a “global” sharing of information. This curtailing allows people of all “types” to be bundled together as data sets, insulated from the experience of true diversity of thought, of experience, of analysis. The polycentralized arrangement of the internet today may be even less participatory than previous eras of information sharing, even though it doesn’t feel that way.
Commentators and critics have used the ongoing crisis to delay the moment of our collective education with unwavering ideological entrenchment. At work, it is not uncommon for me to hear small business owners and day traders talk about the failures of socialized medicine in  Italy, implicitly endorsing greater privatization in the US. Among activists, liberals, and leftists, it is impossible to imagine a greater indictment on the privatized, decentralized, healthcare system than what is taking place. Apocalyptic Christian sects believe the government is going to repress churches for gathering, and social justice advocates believe the coronavirus crisis will be “the same, but worse” on every oppressive axis. It’s hard to imagine another reflex.
While they recognize that the internet has plunged billions of people into a pulverized simulacrum, some of my comrades would have us devote ourselves to the dissemination of real news, of verified and sober analysis, of scientific rigor, in order to combat the prevailing disarray. This warms my heart just as it saddens my intellect. We have always been machine-breakers, in a way, revolting against the forward and crushing movement of industry to preserve a less alienated experience of reality, labor, and community. We aren’t wrong for that. We should be reliable sources of information, but not because we will convince people with our reports — which may no longer be so possible online — rather because we believe it is the right thing to do, and because we can at least proceed on a clear and shared basis with each other. But what other strategies could we utilize for analyzing the world that would allow us to act within the protracted vertigo, without trapping ourselves or others in ideological camps, and without losing revolutionary aspirations in a world where global verification of facts seems impossible, but where universal need for a transformation, fascistic or revolutionary, feels like common sense?
EVERYTHING IS TRUE, NOTHING IS PERMITTED—THE SYSTEM REDUCES ITSELF TO A PURE FLUX OF DYNAMICS
“We dreamed of utopia and woke up screaming
A poor lonely cowboy that comes back home, what a wonder”
-Roberto Bolano, “Leave Everything, Again”
For millennia, the administration of public facts was the cornerstone of political power, and stamping out alternative readings the chief objective of the repressive machinery. The ruling bureaucracy has organized itself to prevent any global loss of control. They’ve always done that. What is surprising is how readily, since 9/11 at least, perhaps much earlier, they have abandoned many important methods for doing so. As the possibility of imagining its own future became increasingly stamped-out, the reigning order abandoned any pretense of pursuing the ideals it propped itself up on, its sole promise being to ward-off unforeseen eventualities. Without embarrassing myself with long-winded arguments about things I am ill-equipped to discuss - certainly less knowledgeable than my dear friends are on such matters as philosophy and critical works - I’d prefer to refer to an argument advanced by Brian Massumi in his essay “National Emergency Enterprise”. In this piece, he argues that a primary strategy of governance is to identify all possible causes of a scenario. The market refashions environments that submit the living tissue of relations one and all to technological “dataveillance”, information which, in principle, allows the administrators of such a system to model its every possible outcome, translating every action into a trans-action, while ensuring that every aberration meets a form of control. He utilizes the example of a forest fire, but we can just look at the pandemic and it’s consequences.
   The ruling class everywhere, has argued and governed as if the coronavirus is "merely the flu", justifying late responses and insufficient care, while also closing borders and taking emergency measures as if we are living in a veritable plague. There are strategies attached to every discourse, interests silently advanced with each interpretation, and powers produced and mobilized by every kind of theory and operation. Anyway, we have been living in the fall out of multiple convergent strategies for controlling and responding to this situation.  The governors of the world, at least of the democratic countries, are basically throwing things against a wall and seeing what sticks.  We can imagine that modeling and predictions are conducted endlessly based on analytics produced through data mining and network analysis purchased from Google, Facebook, Twitter, and elsewhere. As technocratic governments subordinate welfare states to the "science" of neoliberalism, the nihilism of the powerful today subordinates everything to the "science" of control.
Anyway, who organizes oblivion today acts with no principles and can only speak in lies. What does this mean for the rest of us?
NOTHING IS EVERYTHING, TRUE IS PERMITTED—TRUTH DOES NOT REQUIRE A SUBJECT ONLY LIES DO. LET'S KEEP IT REAL, WHATEVER THAT IS.
   We can and are responding to this situation. The most important thing, from my perspective, is that we develop a vibrant enough ecosystem of strategies, corresponding to the largest possible interpretation of facts, without dividing our sympathies and concerns into rival fiefdoms and ideological sects. There are benefits to arguing that nothing of the situation is unique, that in fact the worst off before are the worst off now, that today simply represents an opportunity for us, etc. I am not among the comrades advancing this position, but I want to see the results of that framework as soon as possible, if it does not in fact raise the threshold for meaningful interventions. There are benefits to arguing that the quarantine is not deep enough, that the politics of mobilization have failed utterly to devastate the economy, but that a true lock down of the world could resemble the worlds first ever international wildcat general strike. I want to hear advocates of this position contend with the possibility of carceral interpretations of this argument. For those planting survival gardens, for those running autonomous rent strike hotlines, for those training in firearms, I want us to develop a shared enough perspective to see that there is a simple unity in our strategies, which is what is precisely, and incorrectly, attacked in Kora’s most recent letter to Orion: our autonomy. Beyond any individualistic misinterpretations, it is my perspective that the ability of human beings to self-authorize our activity, to determine our shared destinies, to control supply chains, vital infrastructures, and means of subsistence without the mediating factors of the market, are necessary prerequisites for a dignified life on earth. This is not to say, as Kora has intelligently argued, that anyone could come to control the unfolding course of history - a delusion that preppers, governors, and revolutionaries have all held - but precisely that autonomous, self-organized, structures are the only structures capable of responding quickly enough to the destabilizing, frightening, and uncertain futures lying in wait regardless of what we or anyone else do. We must utilize the current situation to repolarize the circumstances to the best of our ability around foundational concerns of power: on the one hand, there are all of the people of the world, some of them bastards we would not live with, and our shared need for dignified healthcare, housing, sustenance, and livelihood; and on the other hand there are all of the bastards waiting this out on yachts, manipulating public data for the sake of a geopolitical PR battle, utilizing the pandemic to pursue totalitarian power fantasies and clampdowns. We don’t need to steer the ship forward, we need to be able to swim in the wreckage.
Sorry, I wrote too much. Thanks for reading and I look forward to reading what others think soon.
-- Icarus
04.11.2020
STATE OF EMERGENCY, DAY 40
UNITED STATES OF AMERICA
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hellzyeahwebwielingessays · 5 years ago
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Super Heroes are a HUMAN power fantasy Part 1
Master Post
Super Heroes are a HUMAN power fantasy Part 2
Osvaldo Oyola , J. Lamb and Noah Berlatsky (who hates super heroes on principle btw), along with other dumbasses, have often said they are male/white supremacist power fantasies.
Nah fam. They are nothing more and nothing less than a HUMAN power fantasy.
Follow me along here for a while.
Human beings are animals.
We are. That’s a simple matter of scientific fact.
When push comes to shove we are really, really, really smart monkeys who share something like 50+% genes in common with chimpanzees.
As animals and all forms of life the overwhelming majority of us are biologically hardwired towards one ultimate goal: survival.
The desire to survive drives us innately in ways that go unnoticed most of the time. As we evolved into smarter creatures with higher brain functions capable of comprehending the world around us and constructing complex relationships and societies, that survival instinct was reinterpreted through various means.
The survival instinct in human beings and other mammals takes several forms but most commonly can boil down to two things:
a)      Survival through preservation of the individual
b)      Survival through procreation
Type a) involves getting food, shelter, rest, avoiding and recovering from injury and of course defending one’s self from threats, which can take the form of other living creatures, including members of our own species.
Type b) involves spawning offspring and at the same time looking after their wellbeing.
But the survival instinct goes deeper than that because we are biologically hardwired to work towards the protection of our very species. That is the very reason why type a) and b) even exist. By preserving ourselves and our offspring our species survives.
We are also communal animals. Much like chimpanzees and gorillas we live in groups for mutual benefit and protection. Thus, as part of survival of ourselves, our offspring and our species, we have a biological investment in protecting members of our group and of our species.
But seemingly paradoxically we are also hardwired to compete with and fight one another. This likely a by-product of how in the wild we’d have to compete for resources like food and shelter. Sometimes this involves two different groups from the same species competing with one another for survival.
Why am I telling you this? Well, because deep down all those things I have just talked about are innate to 99% of all human beings. It is little wonder that as we as a species evolved we expressed these biological driving forces in certain ways no other creatures could.
This is where the concept of our deities, Gods and figures from folklore and myth come from.
Jupiter, Vishnu, Thor, Hercules, Sun Wukong, Sampson, the Biblical version of Jesus Christ.
Whether they adopt the form of human beings or other entities, virtually every single culture on Earth, even those in isolation of one another, have conceived of beings greater than themselves. Beings with abilities beyond the average human being. And they’ve also conceived of those beings from time to time using their abilities to defy the laws of nature (such as averting natural disasters), combat dangerous or malevolent forces/creatures/individuals, and/or safeguarding the lives of others.
It is a form of explaining the world around us, and an act of wish fulfilment of the human experience.
We want to survive and since we are by our nature group animals we desire to be protected. Thus we conceive beings greater than ourselves who could potentially do that.
We want to survive by preserving our individual selves, so we imagined beings that are so powerful that they are not as reliant upon rest and sustenance like normal people. And who are powerful enough that they either cannot be easily harmed and are are capable of defending themselves from potential threats.
We have within us a vested biological interest in preserving our species, and so are hardwired to protect members of our family/group; our kin. Thus as part of our human wish fulfilment fantasies we imagine beings we’d like to be who could have the power to protect members of our species.
We then come to the modern superhero.
Superman, Batman, Wonder Woman, Spider-Man, etc. Fundamentally they are the exact same thing.
Individuals with powers beyond those of the average human being, who use those powers to help and protect people, typically from numerous threats (which most commonly take the form of individuals with malevolent intentions). This can include perceived social ills which plague society and by extension pose a threat to the survival or quality of life of ordinary citizens.
One can exchange Hercules fighting the mythological Hydra for Superman fighting Darkseid or Captain America fighting H.Y.D.R.A. terrorists and it is ultimately the same thing. Batman battling crime in Gotham city fundamentally is no different from Theseus defeating criminals and bandits on his travels. When Spider-Man swings into action to save Mary Jane from the Green Goblin, it is an expression of much the same thing the Indian deity Rama went through to save his bride Sita.
Many super heroes though are also vigilantes, someone who imposes their own sense of morality whilst working outside of the law. Vigilantes in the real world and in myths, folklore, fiction and so on can also be found throughout history. Perhaps the most notable example being Robin Hood, who denounced his noble status to steal from the rich and give what he took to the poor who were being over taxed and oppressed by a corrupt system. Other examples would be the Scarlet Pimpernel or Zorro.
What I am trying to say is that at their core, modern day super heroes are fundamentally modern riffs of the folkloric and mythic traditions and/or similar expressions of the universal human experience (which are informed by innate biological imperatives).
Ostensibly, in creating Superman (the first true superhero), Jerry Siegel and Joe Shuster were either:
a)      Consciously/subconsciously influenced by these older mythic stories when they created Superman (and thus birthed the entire genre), or
b)      basically tapped into the same kind of thinking which birthed Robin Hood, Hercules, Sun Wukong, etc. in the first place. Across the centuries great minds seemingly thought alike
Superman in particular was possibly heavily influenced by the figure of super strong Sampson or the Clay Golem of Prague, both of whom are part of Jewish religion and folklore (Siegel and Shuster being Jewish immigrants). He might even be seen as a kind of Moses figure. Someone sent away from his natural people to grow up elsewhere, but nevertheless destined for greatness. Or maybe he was just a messiah figure. Whether Siegel and Shuster had Jesus Christ in their minds at all or not, the Jewish religion does (I believe) talk about a saviour figure and Superman could very well be an expression of that.
Figuring into Superman’s creation was 1930s depression and the shadow of impending global war as Hitler was gathering power and invaded Poland the year after Superman was created. In his debut Superman is not only superhumanly powerful but uses these powers as a vigilante to do things like:
·         stop wife beaters
·         rescue someone framed for murder, whilst apprehending the real murderer
·         capture gangsters and rescue a kidnapped person (Lois Lane)
·         bring a corrupt politician to justice
This was an expression of 1930s fears and frustrations. Of Siegel and Shuster’s desires to right the wrongs of a system which was perceived to be broken…or at least envision someone who could do that seemingly impossible task.
The next year in 1939, Batman would come along and express many of these sentiments even more acutely, in particular when it came to crime.
As time went by and the superhero genre was consolidated and evolved, many heroes had their histories altered in order to make them more coherent. In Batman’s specific case his home of Gotham city was painted as so utterly corrupt from the lowest criminal to the most powerful political figures that Batman was literally the one and only effective deterrent to crime. Hope of legal or political reform was next to impossible, thus Batman’s brand of vigilantism was the only thing which could stand in the way of criminals from just doing whatever they wanted.
Bearing all this in mind the idea that the superhero genre is an inherent white construction (and therefore inherently racist, deliberately or otherwise) is, you know…fucking bullshit.
There is a difference between something defined by someone of one race or another and it being something which in indicative to them ONLY. There is also a difference between something having ‘white supremacist undertones’ and something simply being created at a certain point in time when cultural norms were (sadly) different to what they became later on.
As originally created Superman (and by extension the genre) was functionally the same kind of wish fulfilment expressesed by countless storytellers from countless cultures across human history, all informed by universal biological impulses to survive.
Yes, the superhero genre was created and constructed by white people and is therefore literally a ‘white construction’. Yes there weren’t many (if any) non-white characters outside of horrible racial stereotypes. Yes many of them took the law into their own hands.
But that doesn’t mean they are in support of white supremacist notions ala the Ku Klux Klan.
In fact given that Siegel and Shuster were of Jewish immigrant descent, one could argue that Superman was a reflection of how minorities need to be BETTER than the majority to be accepted and/or he was arguably an expression of their frustrations at being mistreated themselves an minorities.
On the other hand let’s say that ‘white supremacy’ strictly meant that superheroes operated with the belief in white people being the default, and as the majority, they were better than the non-whites. Superman was created at a time of segregation after all.
The problem is there is no evidence I know in support of Superman, by his mere existence, is consciously implying that white people are better than non-white people. I wouldn’t put it past Siegel and Shuster to believe that given the times they were from, but ALL media was like that. To an extent they honestly didn’t know any better. But just because they believed that and the social context of the time informed people of this, that doesn’t mean that those ideas are inherent to the superhero genre.
Because again, the superhero genre ultimately embodies beliefs and practices which date back throughout human history and can be found in many non-white cultures.
Yes. Their brand of heroism and the beliefs about heroism they embody were gifted to them by their white creators. And those creators were informed by white social norms (as in the white society they grew up in informed Siegel and Shuster that wife beating was bad). But that doesn’t mean that the superhero moral compass is inherently something that is itself white by design. Rather, it goes beyond that to form a mostly universal form of morality. And lest we forget American society and its laws were mostly informed by Jewish and Christian religious beliefs and practices, which themselves were not only innovated centuries before American society, but by people who were NOT white.
Yes, these superheroes are vigilantes, many of which wear masks and employ secret identities. But not only is that a matter of practicality within their work, as well as part of generating drama within the narrative, but this does not (as the above mentioned dumbasses believe) mean they are inheriting a legacy from the Ku Klux Klan.
Theseus and Robin Hood acted as vigilantes of a sort who again predate the KKK. The Scarlet Pimpernel is widely regarded as the originator of the secret identity trope, and he was created by a Hungarian born British woman!
Just because a superhero might act as a vigilante and impose their sense of morality outside of the law (maybe even using force to do it) doesn’t equate them with the KKK, because it completely and utterly ignores the specifics of the circumstances. It is like saying anyone who kills is a serial killer, when they might have killed for justifiable reasons. Superman and Batman might be operating as vigilantes with secret identities but we the readers can plainly see that they are genuinely justified in what they are doing.
But that’s because the writer has established that!
I hear you cry.
Yes that is true...so what though?
If the writer has set up circumstances which justify the superheroes actions then you can’t just IGNORE those. You can’t just choose the evidence you take under consideration to fit the conclusion you want. In this case that’d be the interpretation of superheroes are endorsements of white supremacist notions ala the KKK or police officers who abuse their powers.
That’s like desiring to interpret Star Wars as the story of white supremacy because the ‘black’ clad figures of the Empire are ultimately overthrown by the white Rebel Alliance and the ‘light side' of the force. It ignores the respective actions of the Empire and Alliance in-story.
It’s is presuming the Empire to represent black people and the Alliance white people in the first place and then working backwards from there. Equally it is presuming superheroes to be stand-ins for ACTUAL police officers or KKK style vigilantes in the first place.
And that cop analogy inherently doesn’t work because superheroes are only SIMILAR to cops. The analogy ultimately breaks down because they aren’t subject to ANY legal sanctions, many of them do not kill and their crime fighting efforts stereotypically takes the form of them intervening ONLY if they hear about a crime/crisis ahead of time or if they observe it in progress.
I mean one of the above morons conflated Spider-Man’s Spider-Sense to be a stand in for racial profiling which is an utterly inappropriate analogy. The Spider-Sense was originally constructed as a clumsy plot device that first and foremost operated as a personalised danger sense to Spider-Man of threats. Outside of contrived writing it categorically doesn’t alert him to ANY potential crime or criminal. And it doesn’t discriminate the way racial profiling does. It more often than not allows him to pinpoint precisely who might be a potential threat because they ARE a potential threat.
Spider-Man or Superman or Batman in the course of their work have these skills and it enables them to be ABOVE things like racial profiling. Again, taking their stalking of a potential criminal to be a tacit approval of police methods is an interpretation being overlaid ONTO   the superhero and then presumed to be factually what it is.
But it’s not.
It’s just an (mis)interpretation of what is going on informed by one person’s personal experiences and baggage through life. It is the same kind of logic which will take say a female character who has a male love interest as 100% definitely an enforcement of the idea that women ‘need a man’ to validate them when that isn’t necessarily the case of the story at all.
Building upon this is the oft-repeated interpretation that superheroes are fascists and are supportive of fascist values. That is an incredibly simplistic and literal reading of the superhero genre that ignores aspects plain as day on the page of the stories. It again is CHOOSES to see something in the concept which frankly misses the point but is nevertheless accepted as plain fact regardless.
An article in the Atlantic addresses this very eloquently:
This [fascist] reading of superheroes is common but wrong, a symptom of trying to impose political ideology on a universal, fictional myth. Superheroes do say something about the real world, but it’s something pretty uncontroversial: We want to see good triumph over evil, and “good” in this case means more than just defeating the bad guy—it means handling power responsibly.
The “fascism” metaphor breaks down pretty quickly when you think about it. Most superheroes defeat an evil power but do not retain any power for themselves. They ensure others’ freedom. They rarely deal with the government, and when they do it is with wariness, as in the Iron Man films, where Tony Stark refuses to hand over control of his inventions.
Indeed, superhero tales are full of subplots about how heroes limit their own power: hibernating once the big bad guy has been defeated, wearing disguises to live ordinary lives, choosing not to give into the temptation to ally with the villain or use their powers for profit or even civilizational progress. That’s because the creators of some of the most foundational superhero tales weren’t writing solely out of a power fantasy. They were writing out of a fantasy that a truly good people who find themselves with power might use that power only for good—and only in the face of extreme evil.
YES superheroes are a power fantasy.
But there is NOTHING wrong with power fantasies so long as one understands the distinction between the fiction and reality.
More than this...the hard truth is violence is part of being human. We are biologically hard wired to be violent and dominate others. That is innate to us like many, many, many animals. The flipside to that though is what also makes us human is the ability (and perhaps more importantly the DESIRE) to NOT be like that.
Most superhero fiction simultaneously offers us the opportunity to enforce those values whilst at the same time providing us with a safe outlet for our violent urges. We transfer those urges into the heroes and villains fighting one another. Kinda like how in Ancient Rome gladiator fights and other spectacles were used as a way of avoiding the populace of Rome from erupting into violence.
And don’t sit there and tell me that they ENCOURAGE violence.
If someone is going to be violent like that frankly there are almost ALWAYS further underlying factors often to do with their home life And
Human beings have been killing each other and acting in immoral ways LONG before the invention of popular media. Preventing ourselves from being like that is an act of learned control as we grow up. It is otherwise innate to our instincts.
Furthermore the concept of superheroes as being police officers who enforce the status quo and therefore help keep white people in power is incredibly flawed.
First of all Doc Ock nuking New York city hurts everyone regardless of race. Second of all Batman stopping a mugger in the middle of assaulting someone isn’t upholding white power, it’s just safeguarding life. Reading it as more than that is a projection these asshats are injecting INTO the stories themselves when they aren’t warranted.
Finally, the law might be stacked in favour of white power and minority suppression. But that not only has a lot to do with ABUSE of the law, but at the same time large chunks of the law are there legitimately for the well being of EVERYONE. It is illegal to murder someone, to mug them, to exploit them. None of that ensures white power, it ensures the well being of everyone. The problem is that those laws are often warped when being applied to minorities by the police force.
But superheroes don’t represent the police force. They represent something grander than the police force whilst at the same time representing what the police force SHOULD be like. The message isn’t ‘this is what the police are like’ or even ‘the police are heroes so anything they do is therefore a good thing’. It is providing a strong moral ideal and saying ‘You and everyone else should try to be like this’.
It is because of this that the superhero concept REVEALS the warts and shortcomings of the law and law enforcement as it really exists. Which was a part of 1930s frustrations Superman et al were giving vent to. Again, Action Comics #1 showed us corrupt politicians, commentating upon a flawed system.
Basically Superman being who he is doesn’t tell people that a police officer is justified when he racially profiles a black person as a criminal. Quite the opposite, he reveals us that they were WRONG in doing that because Superman would NEVER do that.
Ultimately, yeah these characters were created within a white context, but my point is fundamentally the same thing was created in non-white contexts as well throughout history.
Super Heroes are a HUMAN power fantasy Part 2
Master Post
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bazz-b · 5 years ago
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THE MEGA RP PLOTTING SHEET / MEME.
First and foremost, recall that no one is perfect, we all had witnessed some plotting once which did not went too well, be it because of us or our partner. So here have this, which may help for future plotting. It’s a lot! Yes, but perhaps give your partners some insight? Anyway BOLD what fully applies, italicize if only somewhat.
MUN NAME: Thomas/Tom     AGE: +25       CONTACT: IM, Ask, Discord
CHARACTER(S): Bazz-B, King Baraggan Louisenbairn, Kurosaki Ichigo, Ichibei Hyosube
CURRENT FANDOM(S): Bleach
BLEACH FANDOM(S) YOU HAVE AN AU FOR:  I have an ATLA and LOK AU for Bazz-B, but no Bleach AUs for external muses
MY LANGUAGE(S): Passable Japanese, Survivable Italian, Fluent English
THEMES I’M INTERESTED IN FOR RP: FANTASY / Science fiction / Horror / WESTERN / ROMANCE / Thriller / MYSTERY / DYSTOPIA / ADVENTURE / MODERN / Erotic / Crime / MYTHOLOGY / Classic / HISTORY / RENAISSANCE / MEDIEVAL / Ancient / WAR / FAMILY / POLITICS / RELIGION / SCHOOL / ADULTHOOD / CHILDHOOD / APOCALYPTIC / GODS / Sport / MUSIC / Science / FIGHTS / ANGST / Smut / DRAMA / etc. (what Bazz-B wants is reflected in italics)
PREFERRED THREAD LENGTH: one-liner / 1 para / 2 PARA / 3+ / NOVELLA.
ASKS CAN BE SEND BY: MUTUALS / NON-MUTUALS / PERSONALS / ANONS.
CAN ASKS BE CONTINUED?:   YES / NO    only by Mutuals?:  YES / NO.
PREFERRED THREAD TYPE: CRACK / casual nothing too deep / SERIOUS / DEEP AS HECK.
IS REALISM / RESEARCH IMPORTANT FOR YOU IN CERTAIN THEMES?:   YES / NO.
ARE YOU ATM OPEN FOR NEW PLOTS?:  YES / NO / DEPENDS.
DO YOU HANDLE YOUR DRAFT / ASK - COUNT WELL?:  YES / NO / SOMEWHAT. (usually but I need to catch up at the moment)
HOW LONG DO YOU USUALLY TAKE TO REPLY?: 24H / 1 WEEK / 2 WEEKS / 3+ / months / years. /DEPENDS ON MOOD AND INSPIRATION, AND IF I’M BUSY I
I’M OKAY WITH INTERACTING: ORIGINAL CHARACTERS / a relative of my character (an oc) / duplicates / MY FANDOM / CROSSOVERS / MULTI-MUSES / self-inserts / people with no AU verse for my fandom / CANON-DIVERGENT PORTRAYALS / AU-VERSIONS.
DO YOU POST MORE IC OR OOC?: IC / OOC.
ARE YOU SELECTIVE WITH FOLLOWING OTHERS?: YES / NO / DEPENDS.  
BEST WAYS TO APPROACH YOU FOR RP/PLOTTING:  You can IM me or send an ask, but the tumblr messaging systems SUCK so I encourage y’all to add me on discord and then just go ham. I’ll only turn down a plot if it’s OOC for Bazz-B, but otherwise I’ll usually try anything. If it’s not working out I’ll typically let you know, but I’m game for most things.
WHAT EXPECTATIONS DO YOU HOLD TOWARDS YOUR PLOTTING PARTNER:  Honestly, not a lot. You can be as invested or as chaotic as works for you. You get the urge to suddenly write a specific theme? Hit me with it. The urge goes and you lose interest, that’s fine. Four weeks later and the muse hits you again LETS DO THIS.
WHEN YOU NOTICE THE PLOTTING IS RATHER ONE-SIDED, WHAT DO YOU DO?:  I don’t typically struggle with this issue. If anything, I’m the lackluster end of the plotting side. I typically run things through Bazz-B as their happening, rarely looking forward. Unless there’s an overarching story we’re specifically working towards I’m pretty weak sauce. Sorry people!
HOW DO YOU USUALLY PLOT WITH OTHERS, DO YOU GIVE INPUT OR LEAVE MOST WORK TOWARDS YOUR PARTNER?:  I’ll typically propose an idea and then see where our muses take us. If my partner needs a rough road map, I’m happy to negotiate what we’d each like to see happen. Generally speaking I let Bazz-B take the wheel.
WHEN A PARTNER DROPS THE THREAD, DO YOU WISH TO KNOW?:   YES / NO / DEPENDS. - And why?: If you want to drop a thread, I’m completely fine with it. The only reason I’d want to know is so I don’t start panicking and think that I forgot to reply you your latest response to it.
WHAT COULD POSSIBLY LEAD YOU TO DROP A THREAD?:  If I lose the thread, or if I think it’s reach a natural conclusion. I don’t typically abandon one in the middle on purpose.
- WILL YOU TELL YOUR PARTNER?:   YES / NO / DEPENDS.
IS COMMUNICATION IN THE RPC IMPORTANT TO YOU? YES / NO.
- AND WHY?: I don’t require a constant, nor deep level of communication, but it’s important to voice concerns. People tend to internalize problems until they become these big ordeals. A friendly message every now and again can save everyone a lot of drama later.
ARE YOU OKAY WITH ABSOLUTE HONESTY, EVEN IF IT MAY MEANS HEARING SOMETHING NEGATIVE ABOUT YOU AND/OR PORTRAYAL?: I BEG for negative feedback. Even if you feel like your nitpicking, it’s the number one thing I crave from writing partners. Tell me what you dislike and I can work on it.
DO YOU THINK YOU CAN HANDLE SUCH SITUATION IN A MATURE WAY? YES / NO.
WHY DO YOU RP AGAIN, IS THERE A GOAL?: To tell a story. Bazz-B is my primary muse, and his entire tale is so interesting to me. The foundations of his identity are flawed and I want to explore that as much a I can, throw him into as many situations as possible and watch him evolve.
WISHLIST, BE IT PLOTS OR SCENARIOS:  My left arm for an entire roster of Sternritter, of course. Bazz-B and Liltotto surviving after the war. A reality where Bazz-B finds happiness and acceptance in himself. A healthy bond with a Shinigami. 
THEMES I WON’T EVER RP / EXPLORE:   I’ll not write rape, it’s understandably triggering for a lot of people and writing it glorifies it, I think. Also racism in a real world setting? I’ve come to terms with it in regards to Shinigami and Arrancar, but they’re fictional groups. I wont engage with it outside of that. Finally, trans-phobia. If a guy like Bazz-B doesn’t engage with that sort of vile nonsense, none of you should either.
WHAT TYPE OF STARTERS DO YOU PREFER / DISLIKE, CAN’T WORK WITH?: Starters that provide a setting and a purpose are great. The sort of starter that turns it back at the recipient with something akin to “Why are you here” are confining. Also, if in the starter your muse is already pushing away mine.. Bazz-B might just nope outta there.
WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE MOST?:  Despite my main muse being Bazz-B (or perhaps in favour of it) I typically write as old men cemented deeply in their ways. Yamamoto Genryuusai Shigekuni, King Baraggan Louisenbairn and Ichibei Hyosube are just some examples. Bazz-B kinda fits the bill too.. I GUESS.
WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE LEAST?:  Cold, distant, dispassionate sorts. I could never write as the likes of Ishida, Ulquiorra, Haschwalth, etc. They’re all very nuanced characters, they just don’t mesh well with me. 
WHAT ARE YOUR STRONG ASPECTS AS RP PARTNER?: I typically respond lightning fast, my last two weeks or so a poor example of that. I’m passionate, you’ll not find another person so desperately in love with Bazz-B as this fool. I’m easy-going, you can take as long as you want and I’ll still be ready to rumble.
WHAT ARE YOUR WEAK ASPECTS AS RP PARTNER?: Tumblr confuses the hell out of me, I don’t understand a lot of lingo and the big CARDINAL LAWS of writing. I struggle with scene transitioning and limb placement, and my tags are a mess.
DO YOU RP SMUT?:  YES / NO/ DEPENDS.
DO YOU PREFER TO GO INTO DETAIL?: YES / NO / DEPENDS.
ARE YOU OKAY WITH BLACK CURTAIN?: YES / NO.
- WHEN DO YOU RP SMUT? MORE OUT OF FUN OR CHARACTER DEVELOPMENT?:  What I want and what Bazz-B want are wildly different things. This man is planting a flag in the middle of bonezone whether I agree or not. I commonly write smut because it’s what Bazz-B wants, but I prefer to do it for development.
- ANYTHING YOU WOULD NOT WANT TO RP THERE?:  I am personally the most vanilla dude you’ll meet. I can google things but it might not translate very well.
ARE SHIPS IMPORTANT TO YOU?:   YES / NO A characters growth should never be locked to a specific person, but exploring a character in isolation can only get you so far. As people, we grow from one another. Romance is a key factor in formulating a person’s ideals, but that’s no the only form of ship. The eventual friendship between Bazz-B and Liltotto and Giselle is one of the most interesting things to me. A romance surviving Silbern is incredibly powerful in my opinion. The bond of a teacher and a student. There are so many situations that force a character to change how they would typically react.
WOULD YOU SAY YOUR BLOG IS SHIP-FOCUSED?:  YES / NO. More and more I’ve been thinking that I’ve been writing Bazz-B in more ships, but that is not the blog’s focus. Ultimately I’m exploring the character of Bazz-B, and that just happens to be inclusive of ships. Some of my most active writing partners also happen to be muses that Bazz-B has excitedly/begrudgingly/unexpectedly fallen for.
DO YOU USE READ MORE?:  YES / NO / SOMETIMES WHEN I WRITE LONG STUFF.
ARE YOU:  MULTI-SHIP / Single-Ship / Dual-Ship  —  MULTIVERSE / Singleverse.
 - WHAT DO YOU LOVE TO EXPLORE THE MOST IN YOUR SHIPS?: Individuals who challenge Bazz-B, who force him to rise above what he is, what he thinks he should be. Who tear down complacency and demand better of him in all ways. Whether overtly, intentionally, whatever! 
ARE YOU OKAY WITH PRE-ESTABLISHED RELATIONSHIPS?: YES / NO. - If you come to me and sell me a story, I’m in. I’m easily swayed by visual art, written lyrics (my ears don’t work so good with music for some reason) and themes.
► SECTION ABOUT YOUR MUSE.
- WHAT COULD POSSIBLY MAKE YOUR MUSE INTERESTING TOWARDS OTHERS, WHY SHOULD THEY RP WITH THIS PARTICULAR CHARACTER OF YOURS NOW, WHAT POSSIBLE PLOTS DO THEY OFFER?: Bazz-B is a fun guy to taunt, and to cause havoc with. But he’s more than just a hothead, you can read any one of my many rants if you wanna find out about that. With a plot to kill God spanning 1000 years, a burning fury and misguided ideals dragged through the mud of “the lesser of two evils”, he’s a real party trick.
- WITH WHAT TYPE OF MUSES DO YOU USUALLY STRUGGLE TO RP WITH?:  Muses who, from the start, wish to disengage with Bazz-B. I understand it might be in character, but both Bazz-B and I are gonna struggle to engage if there’s not some allowances made.
- WHAT DO THEY DESIRE, IS THEIR GOAL?:  His ultimate goal is the death of Yhwach. In a perfect world that would coexist with a Quincy victory over the Shinigami, vengeance for genocide. But he’ll take the former over the latter.
- WHAT CATCHES THEIR INTEREST FIRST WHEN MEETING SOMEONE NEW?:  Style, first and foremost. If a Quincy had modified their Wandenreich uniform he’s gonna take notice and make some judgement calls. The rest comes after.
- WHAT DO THEY VALUE IN A PERSON?:  Honesty to themselves, and a drive to survive. Not to be buried by what’s expected of them, or what they should do. Free will is one of the fundamental truths of the world.
- WHAT THEMES DO THEY LIKE TALKING ABOUT?:  Motorbikes, Pop-culture, Fashion, Movies, Himself.
- WHICH THEMES BORE THEM?:  History, loyalty beyond all else, the importance of leadership and hierarchy, lectures of all kinds.
- DID THEY EVER WENT THROUGH SOMETHING TRAUMATIC?:  His family was burned alive by the man who claimed to be their God. Entering a war on the losing side, his kind facing extinction. Hiding in the shadows, surrounded by a extremist military cult.
- WHAT COULD LEAD TO AN INSTANT KILL?:  After a certain point in his life, it’s really only Hollows that should fear indiscriminate murder. Unless you threaten his fragile peace, or claim Yhwach was just.
- IS THERE SOMEONE /-THING THEY HATE?:  Bazz-B hates Hollows, and any Quincy loyalists that stand by Yhwach post-Aushwalen. Anyone who saw the true colors of their progenitor and still deluded themselves into thinking him right.. it’s disgusting.
IS YOUR MUSE EASY TO APPROACH?: YES / NO. - Best ways to approach them?:  Stoke his ego and you’re usually set for a good few hours.
SOMETHING YOU MAY STILL WANT TO POINT OUT ABOUT YOUR MUSE?: Nothing you cant already find on one of my many ramblings about that greatest Quincy that every lived, Bazzard ‘Bazz-B’ Black!
CONGRATS!!! You managed it, now tag your mutuals! ♥
Tagged by:  @equipollency (I got a phantom notification so I rolled with it)
Tagging: @diepower + @zombiequincy + @verzinken + @cheonsaaui + @bleachsthetic + @senboago + any other quincy reading this
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brooklynblerd · 5 years ago
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So You Want To Be An Ally
Over the last 2 weeks, I have been fielding many white-guilt questions at work and having very interesting conversations and Zoom calls. Overall, they have been well received, but I am not sure if anything will happen once this is no longer a hot topic. I hope we keep up the momentum, but the media and Politicians and other power holders will try to silence us as quickly as possible. All of the companies realizing that #BlackLivesMatter will inevitably fade away as well. WE HAVE TO KEEP THE PRESSURE ON. So I made a list of talking points for the company that I work for, I hope they put it to use. I will begin sending this to anyone that reaches out to me to “talk” or “to see if I am ok”. While I appreciate the concern (if it’s genuine), I cannot continue being your only Black friend or the only Black person that you feel comfortable speaking to. 
I saw this on Twitter recently, White privilege doesn't mean that your life hasn't been hard, it just means that the color of your skin isn't one of the things that makes it harder. I think this pretty much sums up what white people need to understand, what those people calling themselves our allies need to understand. Having Black pride & saying Black Lives Matter should not offend anyone. It does not mean that we are anti white people.
Black people are not a monolith. While we have all experienced racism in some form or another, we do not share the exact same experiences with it. To try and get an overall view of the different types of racism, you need to speak to many different Black people. Stop treating us as a collective, we are all individuals.  Racism has permeated every single institution in this country. Education, Housing, Banking, Healthcare, Criminal Justice, Entertainment, etc. Racism is very much systemic, not always overt. There are also many different microaggressions that do not present as overt racism. Also, if we are going to have these discussions, please make sure that we feel safe, that we will be heard without reprimand or cynicism or disbelief. Our silence is the reason why this has gone on for so long. We want to be heard. We are no longer willing to stay invisible. Fear makes many of us stay silent, not willing to upset the status quo.
Revamp your hiring strategy/quota. People and organizations tend to conflate diversity and inclusivity. They are NOT the same. While there are many women, LGBTQIA members, Black and other People of Color, the Executives, Sales Management, and HR do not reflect this.
Conversations about race and other social justice issues are uncomfortable. Having these conversations without any Black and People of color present is pointless. Make sure you have Black people and other People of Color in any discussions you have regarding race relations and any other social justice issues. Empathy and sympathy is great, but it will not replace an actual experience.
Understand that the current state of the world has been a long time coming. George Floyd was the straw that broke the camel's back. The only difference is that everyone has a camera now and the police aren't doing themselves any favors by brutalizing everyone who is protesting police brutality.
Acknowledge your privilege. Acknowledge that the system is built to benefit you more than it does us and that it always has.
Saying "I'm not racist" isn't enough anymore. You have to be anti-racist. You have to stop the jokes, stereotypes, etc amongst your circle of friends and family members. This will be hard. But Black and Brown lives have to matter more than offending anyone that is unwilling to change.
Racism is not up to Black people and other People of Color to solve. This wasn't created or instituted by us and as we remain the "minority" in positions of power, we are unable to change it. We only have the ability to fight it, to rise up and demand change. To show that we will no longer take it. We will no longer be silent. We were all taught to be quiet and hold our feelings in to make sure that white people are comfortable. To make sure that we don’t appear threatening or angry. That is changing. Things will not go back to the way that they were. 
Books to read in your journey of becoming an ally:
How To Be An Antiracist - Ibram X. Kensi
White Fragility: Why It's So Hard for White People to Talk About Racism - Robin Diangelo
So You Want To Talk About Race - Ijeoma Oluo
Me and white Supremacy - Layla F. Saad
The New Jim Crow: Mass Incarceration In The Age of Colorblindness - Michelle Alexander
Stamped from the Beginning: The Definitive History of Racist Ideas in America - Ibram X. Kendi
Between the World and Me - Ta-Nehisi Coates 
Notes of A Native Son - James Baldwin 
Born A Crime - Trevor Noah
Eloquent Rage: A Black Feminist Discovers Her Superpower - Brittany Cooper
Reproductive Injustice: Racism, Pregnancy, and Premature Birth - Dana-Ain Davis
Racism without Racists: Colorblind Racism and the Persistence of Racial Inequality in the United States - Edwardo Bonilla-Silva
Towards the Other America: Anti-Racist Resources for White People Taking Action for Black Lives Matter - Chris Crass
Two Faced Racism: Whites in the Backstage and Frontstage - Leslie Picca and Joe Feagin
How To Be Less Stupid About Race: On Racism, White Supremacy and the Racial Divide - Crystal Fleming
The Ethnic Project: Transforming Racial Fiction into Ethnic Factions - Vilna Bashi Treitler
Race and Racisms: A Critical Approach - Tanya Golash Boza
Racist America: Roots, Current Realities, and Future Reparations - Joe Feagin
White Rage; the Unspoken Truth of Our Racial Divide - Carol Anderson
Black Americans - Alphonso Pinkney
Medical Apartheid: The Dark History of Medical Experimentation on Black Americans from Colonial Times to Present - Harriet Washington
The Hollywood Jim Crow: The Racial Politics of the Movie Industry- Maryann Erigha
Code of the Street - Elijah Anderson
The Wretched of the Earth - Frantz Fanon
The Mis-Education of the Negro - Carter Woodson
UNESCO General History of Africa, Vol.1 - Joseph Zerbo
UNESCO General History of Africa, Vol. 2 - G. Mokhtar
Black Wealth/White Wealth - Melvin Oliver and Thomas Shapiro
Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race - Beverly Daniel Tatum
Uprooting Racism: How White People Can Work for Racial Justice - Paul Kivel
Witnessing Whiteness - Shelly Tochluk
Race Talk and the Conspiracy of Silence: Understanding and Facilitating Difficult Dialogues on Race - Derald Wing Sue
The Emperor Has No Clothes: Teaching about Race and Racism to People Who Don't Want to Know - Tema Jon Okun
Understanding White Privilege: Creating Pathways to Authentic Relationships Across Race - Frances Kendall
The Possessive Investment in Whiteness: How White People Profit from Identity Politics - George Lipsitz
Waking Up White, and Finding Myself in the Story of Race - Debby Irving
How I Shed My Skin: Unlearning the Racist Lessons of a Southern Childhood - Jim Grimsley
Everyday White People Confront Racial and Social Injustice: 15 Stories - editors = Eddie Moore, Marguerite W. Penick-Parks & Ali Michael
Understanding and Dismantling Racism: The Twenty-First Century Challenge to White America - Joseph Barndt
Beyond the Pale: White Women, Racism, and History - Vron Ware
Charleston Syllabus: Readings on Race, Racism, and Racial Violence - editors = Chad Williams, Kidada E. Williams & Keisha N. Blain
We Have Not Been Moved: Resisting Racism and Militarism in 21st Century America - editors = Elizabeth Betita Martinez, Matt Meyer & Mandy Carter. Forward by Cornel West. Afterword by Alice Walker & Sonia Sanchez
killing rage: Ending Racism - bell hooks
Acting White? Rethinking Race in Post-Racial America - Devon W. Carbado and Mitu Gulati
Towards Collective Liberation: Anti-Racist Organizing, Feminist Praxis, and Movement Building Strategy - Chris Crass
White Like Me: Reflections on Race form A Privileged Son - Tim Wise
White Trash: Race and Class in America - editors = Annalee Newitz & Matt Wray
Rise of the Warrior Cop: The Militarization of America's Police Forces - Radley Balko
Race Traitor - editors = Noel Ignatiev & John Garvey
Feeling White: Whiteness, Emotionality, and Education (Cultural Pluralism #2) - Cheryl E. Matias
Disrupting White Supremacy
Hillbilly Nationalists, Urban Race Rebels, and Black Power: Community Organizing in Radical Times - AmySonnie, James Tracy
For White Folks Who Teach in The Hood...and the Rest of Y'all Too: Reality Pedagogy and Urban Education (Race, Education, and Democracy) - Christopher Emdin
Benign Bigotry: The Psychology Subtle Prejudice - Kristin J. Anderson
Subversive Southern: Anne Braden and the Struggle for Racial Justice in the Cold War South (Civil Rights and the Struggle for Black Equality in the Twentieth Century) - Catherine Fosl
How Jews Became White Folks and What That Says About Race in America - Karen Brodkin
America's Original Sin: Racism, White Privilege, and the Bridge to a New America - Jim Wells
Why I'm No Longer Talking to White People About Race - Reni Eddo-Lodge
Living Into God's Dream: Dismantling Racism in America - editor = Catherine Meeks
Promise And A Way Of Live: White Antiracist Activism - Becky Thompson
What Does It Mean to Be White?: Developing White Racial Literacy (Counterpoints #398) - Robin Diangelo
6 notes · View notes