#stage property

[pomnibeingcrazy]

Hello !! I'm Sara, or you can call me anything you like ! O might rarely post here tbh :p I downloaded Tumblr jus for fun and eat people's art honestly but I get the feeling to post my art like my friends did so why not?

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[c-rowlesdraws]

fantasy scenario: I make a youtube video essay called “MADE IN ABYSS CAN KISS MY ASS AND GO TO HELL”, I am doxxed and my address exposed, a swarm of angry anime fans descends on my apartment and breaks my windows; but the energy and love of the many people Liking my video, inspired by my brilliant rhetoric and whimsical yet cutting sense of humor, flows into me and makes me strong enough to knock out any of the angry anime fans cold with a single punch

[mephistopheleswasrobbed]

gif by soundsofmyuniverse

[khepiari]

Just say that you lack creativity and are jealous of people who can express themselves with their chosen medium of expression. There are millions of ways and tools to express oneself, yet you chose AI to do your hard work, which is “the act of creating”. Feel ashamed, not proud.

[beetroot-merchant]

W E ' V E B E E N T R Y I N G T O C O N T A C T Y O U A B O U T Y O U R C A R ' S E X T E N D E D W A R R A N T Y

[coquelicoq]

i love in the archery exam when liu xu fails to hit a moving target while being pulled up into the air on a harness, something she did not prepare for given she thought the exam would be archery from horseback, and xue fangfei is like oh no 😲 what could possibly be wrong with her? and ye shijie is like probably she's scared of heights 😕 just like me 😔 and then later when the other students are throwing her bodily up into the air in victory it becomes clear that she is not afraid of heights since she's having a grand old time being thrown bodily up into the air in victory. i just like that she choked at first when performing a specific and very difficult task for the first time ever (in front of a hostile crowd, no less), and her team was like, what a mystery. she must have Condition I Also Have. the only explanation.

[ishomieokay]

I honest to God don't understand the way taxes work in the United States. I thought the percentage was like, an average of 30% or something. For like, everyone. But people are always saying the rich don't pay taxes?

So, how does that work? You stop paying taxes when you're a billionare? I"m like 100% sure that can't be it. Someone pls explain.

[dailyanarchistposts]

F.4.1 What is wrong with a “homesteading” theory of property?

So how do “anarcho”-capitalists justify property? Looking at Murray Rothbard, we find that he proposes a “homesteading theory of property”. In this theory it is argued that property comes from occupancy and mixing labour with natural resources (which are assumed to be unowned). Thus the world is transformed into private property, for “title to an unowned resource (such as land) comes properly only from the expenditure of labour to transform that resource into use.” [The Ethics of Liberty, p. 63]

His theory, it should be stressed, has its roots in the same Lockean tradition as Robert Nozick’s (which we critiqued in section B.3.4). Like Locke, Rothbard paints a conceptual history of individuals and families forging a home in the wilderness by the sweat of their labour (it is tempting to rename his theory the “immaculate conception of property” as his conceptual theory is so at odds with actual historical fact). His one innovation (if it can be called that) was to deny even the rhetorical importance of what is often termed the Lockean Proviso, namely the notion that common resources can be appropriated only if there is enough for others to do likewise. As we noted in section E.4.2 this was because it could lead (horror of horrors!) to the outlawry of all private property.

Sadly for Rothbard, his “homesteading” theory of property was refuted by Proudhon in What is Property? in 1840 (along with many other justifications of property). Proudhon rightly argued that “if the liberty of man is sacred, it is equally sacred in all individuals; that, if it needs property for its objective action, that is, for its life, the appropriation of material is equally necessary for all … Does it not follow that if one individual cannot prevent another … from appropriating an amount of material equal to his own, no more can he prevent individuals to come.” And if all the available resources are appropriated, and the owner “draws boundaries, fences himself in … Here, then, is a piece of land upon which, henceforth, no one has a right to step, save the proprietor and his friends … Let [this]… multiply, and soon the people … will have nowhere to rest, no place to shelter, no ground to till. They will die at the proprietor’s door, on the edge of that property which was their birthright.” [What is Property?, pp. 84–85 and p. 118]

Proudhon’s genius lay in turning apologies for private property against it by treating them as absolute and universal as its apologists treated property itself. To claims like Rothbard’s that property was a natural right, he explained that the essence of such rights was their universality and that private property ensured that this right could not be extended to all. To claims that labour created property, he simply noted that private property ensured that most people have no property to labour on and so the outcome of that labour was owned by those who did. As for occupancy, he simply noted that most owners do not occupancy all the property they own while those who do use it do not own it. In such circumstances, how can occupancy justify property when property excludes occupancy? Proudhon showed that the defenders of property had to choose between self-interest and principle, between hypocrisy and logic.

Rothbard picks the former over the latter and his theory is simply a rationale for a specific class based property rights system (”[w]e who belong to the proletaire class, property excommunicates us!” [P-J Proudhon, Op. Cit., p. 105]). As Rothbard himself admitted in respect to the aftermath of slavery and serfdom, not having access to the means of life places one the position of unjust dependency on those who do and so private property creates economic power as much under his beloved capitalism as it did in post-serfdom (see section F.1). Thus, Rothbard’s account, for all its intuitive appeal, ends up justifying capitalist and landlord domination and ensures that the vast majority of the population experience property as theft and despotism rather than as a source of liberty and empowerment (which possession gives).

It also seems strange that while (correctly) attacking social contract theories of the state as invalid (because “no past generation can bind later generations” [Op. Cit., p. 145]) he fails to see he is doing exactly that with his support of private property (similarly, Ayn Rand argued that ”[a]ny alleged ‘right’ of one man, which necessitates the violation of the right of another, is not and cannot be a right” but, obviously, appropriating land does violate the rights of others to walk, use or appropriate that land [Capitalism: The Unknown Ideal, p. 325]). Due to his support for appropriation and inheritance, Rothbard is clearly ensuring that future generations are not born as free as the first settlers were (after all, they cannot appropriate any land, it is all taken!). If future generations cannot be bound by past ones, this applies equally to resources and property rights. Something anarchists have long realised — there is no defensible reason why those who first acquired property should control its use and exclude future generations.

Even if we take Rothbard’s theory at face value we find numerous problems with it. If title to unowned resources comes via the “expenditure of labour” on it, how can rivers, lakes and the oceans be appropriated? The banks of the rivers can be transformed, but can the river itself? How can you mix your labour with water? “Anarcho”-capitalists usually blame pollution on the fact that rivers, oceans, and so forth are unowned but as we discussed in section E.4, Rothbard provided no coherent argument for resolving this problem nor the issue of environmental externalities like pollution it was meant to solve (in fact, he ended up providing polluters with sufficient apologetics to allow them to continue destroying the planet).

Then there is the question of what equates to “mixing” labour. Does fencing in land mean you have “mixed labour” with it? Rothbard argues that this is not the case (he expresses opposition to “arbitrary claims”). He notes that it is not the case that “the first discoverer … could properly lay claim to” a piece of land by “laying out a boundary for the area.” He thinks that “their claim would still be no more than the boundary itself, and not to any of the land within, for only the boundary will have been transformed and used by men” However, if the boundary is private property and the owner refuses others permission to cross it, then the enclosed land is inaccessible to others! If an “enterprising” right-“libertarian” builds a fence around the only oasis in a desert and refuses permission to cross it to travellers unless they pay his price (which is everything they own) then the person has appropriated the oasis without “transforming” it by his labour. The travellers have the choice of paying the price or dying (and any oasis owner is well within his rights letting them die). Given Rothbard’s comments, it is probable that he could claim that such a boundary is null and void as it allows “arbitrary” claims — although this position is not at all clear. After all, the fence builder has transformed the boundary and “unrestricted” property rights is what the right-“libertarian” is all about. One thing is true, if the oasis became private property by some means then refusing water to travellers would be fine as “the owner is scarcely being ‘coercive’; in fact he is supplying a vital service, and should have the right to refuse a sale or charge whatever the customers will pay. The situation may be unfortunate for the customers, as are many situations in life.” [Op. Cit., p. 50f and p. 221] That the owner is providing “a vital service” only because he has expropriated the common heritage of humanity is as lost on Rothbard as is the obvious economic power that this situation creates.

And, of course, Rothbard ignores the fact of economic power — a transnational corporation can “transform” far more virgin resources in a day by hiring workers than a family could in a year. A transnational “mixing” the labour it has bought from its wage slaves with the land does not spring into mind reading Rothbard’s account of property but in the real world that is what happens. This is, perhaps, unsurprising as the whole point of Locke’s theory was to justify the appropriation of the product of other people’s labour by their employer.

Which is another problem with Rothbard’s account. It is completely ahistoric (and so, as we noted above, is more like an “immaculate conception of property”). He has transported “capitalist man” into the dawn of time and constructed a history of property based upon what he is trying to justify. He ignores the awkward historic fact that land was held in common for millennium and that the notion of “mixing” labour to enclose it was basically invented to justify the expropriation of land from the general population (and from native populations) by the rich. What is interesting to note, though, is that the actual experience of life on the US frontier (the historic example Rothbard seems to want to claim) was far from the individualistic framework he builds upon it and (ironically enough) it was destroyed by the development of capitalism.

As Murray Bookchin notes, in rural areas there “developed a modest subsistence agriculture that allowed them to be almost wholly self-sufficient and required little, if any, currency.” The economy was rooted in barter, with farmers trading surpluses with nearby artisans. This pre-capitalist economy meant people enjoyed “freedom from servitude to others” and “fostered” a “sturdy willingness to defend [their] independence from outside commercial interlopers. This condition of near-autarchy, however, was not individualistic; rather it made for strong community interdependence … In fact, the independence that the New England yeomanry enjoyed was itself a function of the co-operative social base from which it emerged. To barter home-grown goods and objects, to share tools and implements, to engage in common labour during harvesting time in a system of mutual aid, indeed, to help new-comers in barn-raising, corn-husking, log-rolling, and the like, was the indispensable cement that bound scattered farmsteads into a united community.” Bookchin quotes David P. Szatmary (author of a book on Shay’ Rebellion) stating that it was a society based upon “co-operative, community orientated interchanges” and not a “basically competitive society.” [The Third Revolution, vol. 1, p. 233]

Into this non-capitalist society came capitalist elements. Market forces and economic power soon resulted in the transformation of this society. Merchants asked for payment in specie (gold or silver coin), which the farmers did not have. In addition, money was required to pay taxes (taxation has always been a key way in which the state encouraged a transformation towards capitalism as money could only be made by hiring oneself to those who had it). The farmers “were now cajoled by local shopkeepers” to “make all their payments and meet all their debts in money rather than barter. Since the farmers lacked money, the shopkeepers granted them short-term credit for their purchases. In time, many farmers became significantly indebted and could not pay off what they owed, least of all in specie.” The creditors turned to the courts and many the homesteaders were dispossessed of their land and goods to pay their debts. In response Shay’s rebellion started as the ���urban commercial elites adamantly resisted [all] peaceful petitions” while the “state legislators also turned a deaf ear” as they were heavily influenced by these same elites. This rebellion was an important factor in the centralisation of state power in America to ensure that popular input and control over government were marginalised and that the wealthy elite and their property rights were protected against the many (“Elite and well-to-do sectors of the population mobilised in great force to support an instrument that clearly benefited them at the expense of the backcountry agrarians and urban poor.”) [Bookchin, Op. Cit., p. 234, p. 235 and p. 243]). Thus the homestead system was, ironically, undermined and destroyed by the rise of capitalism (aided, as usual, by a state run by and for the rich).

So while Rothbard’s theory as a certain appeal (reinforced by watching too many Westerns, we imagine) it fails to justify the “unrestricted” property rights theory (and the theory of freedom Rothbard derives from it). All it does is to end up justifying capitalist and landlord domination (which is what it was intended to do).

[nando161mando]

The function of private property under capitalism

[ashlumicalm]

jmfstopimages: Awsten Knight with Waterparks at the House of Blues in Orlando✨

[awstenlookbook]

For the Sneaking Out of Heaven Tour show at Stage AE in Pittsburgh, PA, Awsten wears Cold World Frozen Goods Drop 16 "Retired" tee in grape ($48).

📸 Instagram: photos_jessl

[ecrivainsolitaire]

The Open Art Guild Project: a proposal to empower collectively owned art

Over the last few decades we have seen the degradation of copyright, the blatant manipulation of intellectual property law in order to monopolise wealth and the exploitation of artists in favour of an economy of artistic landlordship: massive corporations holding the prole artist hostage to their increasingly unoriginal library of content produced not to encourage creative enlightenment, but to hold on to properties that ought to be already in the public domain. The capitalist owns the IP, so the capitalist keeps getting richer, while the artist is more and more oppressed, overworked, underpaid, scammed out of their rightful intellectual property, deplatformed, and automated away whenever possible. This is unsustainable, and the arrival of new technologies for digital art automation has overflowed that unsustainability to its breaking point. We cannot continue down this path.

The Open Art Guild is my proposal to remedy this. This proposal consists of two main parts: a copyright standard, designed for the fair distribution of income and the collective ownership of intellectual property; and a distribution platform, planned to empower artists big and small to profit from said intellectual property without being under the thumb of corporations or fighting one another under senseless infighting caused by bourgeois class warfare. The artist should not fight the artist over ownership of rights. The big artist should not see the small artist as a threat, nor should the small artist see the big artist as an obstacle to their own growth. Through mutual empowerment, both may prosper.

The Open Art Guild License

The Open Art Guild License is built upon the current Creative Commons 4.0 License. This license is irrevocable until the work qualifies for public domain according to all relevant legislations, provided that the artist remains a member of the Guild. In order to participate in the Guild, an artist shall follow the following precepts:

The artist shall only publish works under the OAG License that have licenses available to the public. This means public domain, open source, Creative Commons and works created by other members of the Guild. Works derived from privately owned media, such as fanart of intellectual properties not part of the Guild, shall be excluded from the Guild. If the artist did not have permission to use it before, or if the artist only has individual permission, the work will not qualify for Guild submission.

All works created under the OAG License shall be free to adapt, remix, or reuse for other projects, even commercially, provided that the artist doing so is also an active member of the Guild, that the projects derived from it are also under the OAG License, and that the artist follows through with their dues and obligations.

Whenever the format permits, the artist shall provide the assets used for the works in their raw form in a modular fashion, including colour palettes, sound assets, video footage, code, screenplays, subtitles, and any other elements used in the creation of their work, in order to facilitate their reuse and redistribution for the benefit of all other artists.

The artist waives their right to 30% of the total profit generated by works submitted to the guild, regardless of where it is published. This revenue shall be redistributed in the following manner:

10% shall be designated towards the maintenance of the Open Art Guild platform. In absence of a platform that follows the requirements to belong to the Guild, this percentage shall be donated towards a nonprofit organisation of their own choosing dedicated to the protection and distribution of art in any of its forms. Some examples may include Archive.org, Archive Of Our Own, Wikimedia, or your local art museum or community center. Proof of donation shall be made publicly available. The artist shall empower the Guild, as the Guild has empowered the artist.

10% shall be designated towards the Open Art Guild legal fund. In the absence of a fund dedicated to the protection of the OAG, this percentage shall be donated towards a nonprofit organisation dedicated to the protection of the legal rights of artists in any of their forms. Some examples may include Creative Commons, the Electronic Frontier Foundation, the Industrial Workers of the World, or another artist union like the WGA. Proof of donation shall be made publicly available. The artist shall protect the Guild, as the Guild shall protect the artist.

10% shall be designated towards the Open Art Guild creator fund. In the absence of a fund dedicated to redistribute the profits of the OAG, this percentage shall be donated to other members of the Guild, prioritising small creators. Alternatively, it may be directed towards the recruitment of new members to the Guild via donation and an invite. Proof of donation shall not be required, but the receiving artist(s) is(are) encouraged to declare in their own platform that the donation was received. The artist shall give to the Guild, as the Guild has given to the artist.

The artist shall continue to create Guild submissions for the duration of their membership, with a minimum of one submission per month in order to guarantee their continued support. The artist shall live off of labour, not property.

In return for these duties, the artist shall receive:

Permission to adapt, remix, or reuse any of the works in the Guild’s archive for their own derivative works, fan fiction, remixes, collages, or any sort of transformative application, provided dues and obligations are in order.

Protection of their intellectual property as part of the collective works of the Guild by the legal fund designated and sustained by all paying members, to prevent non Guild members from trying to exploit their works unauthorised.

If an artist strikes a deal for non-Guild adaptation, the proportional dues shall also be paid to the Guild fund and members by the non-Guild institution in charge. Said deal shall not be allowed an exclusivity clause, and all works derived from a Guild work shall follow through with their dues in perpetuity. If the non-Guild entity chooses to terminate the business relationship, all intellectual property rights over the adaptation shall irrevocably be granted to the Guild as compensation, guaranteeing the distribution to the creators and the legal fund, as well as the follow-through with whatever payment terms the Guild artist has agreed to.

No Guild artist shall prosecute another Guild artist for use of works under the OAG License, provided that the derivative work also follows the OAG License terms. If these terms are violated, amicable resolution shall be sought by both parties. If litigation becomes inevitable and compensation is required, said compensation will also require the 30% dues to fund the Guild and its members, no matter which way it sides. In no case shall an artist, Guild or non-Guild, be left without recourse.

If an artist becomes unable or unwilling to continue to pay their dues, the artist shall be given an option to suspend or cancel their membership. If a membership is suspended, the artist will be excluded from the creator fund until their dues are renewed. No compensation shall be required of the artist for the suspension period, and all protections other than the creator fund shall still apply. If a membership is cancelled, all works published by the artist under the OAG License shall automatically be granted a Creative Commons 4.0 License instead, in order to protect Guild members from litigation by non-Guild members.

Membership that has been cancelled shall be renewable at any time, provided that the former Guild artist has not engaged in predatory litigation against Guild member or the Guild itself. The Guild shall determine what constitutes predatory litigation on a case-by-case basis. Licenses that were lost during cancellation shall not be given back, as CC4.0 is irrevocable, but new works shall still qualify for OAG Licenses.

These protections shall not be conditional to the artist’s moral values or the content of the works created. All works that do not break the laws applicable to the jurisdiction from which they were submitted shall be treated with the same respect and granted the same rights and obligations, in perpetuity and throughout time and space within the known multiverse. The Guild shall not exist to police art, but to promote it.

Open Art Guild License Template

All submissions of Guild works and projects shall include the following legend, both in English and in the publication language when applicable. Point 4 may be omitted if the artist chooses not to submit the work for dataset training.

This work was created and published under the Open Art Guild license, and has been approved for reuse and adaptation under the following conditions:

For personal, educational and archival use, provided any derivative works also fall under a publicly open license, to all Guild members and non members.

For commercial use, provided redistribution guidelines of the Guild be followed, to all active Guild members.

For commercial use to non Guild members, provided any derivative works also fall under a publicly open license, with the explicit approval of the artist and proper redistribution of profit following the guidelines of the Guild.

For non commercial dataset training of open source generative art technologies, provided the explicit consent of the artist, proper credit and redistribution of profit in its entirety to the Guild.

Shall this work be appropriated by non Guild members without proper authorisation, credit and redistribution of profit, the non Guild entity waives their right to intellectual property over any derivative works, copyrights, trademarks or patents of any sort and cedes it to the Creative Commons, under the 4.0 license, irrevocably and unconditionally, in perpetuity, throughout time and space in the known multiverse. The Guild reserves the right to withhold trade relations with any known infractors for the duration its members deem appropriate, including the reversal of any currently standing contracts and agreements.

[ephemeral-winter]

in a way i'm glad agatha all along features actresses who i simply don't care about because imagine if i had to consume content from marvel just to enjoy an actress

[somerandomg33k]

Everyone deserves a home. The Democrats will probably say something like that, because it sounds good. But the most they will offer is like a tax credit. They won't touch the housing market at all. Just simply give people houses. Especially there are six times as many people less homes as there are unhoused folks.

[champstorymedia]

Fast Track Your Property Sale: Proven Methods for a Speedy Transaction

Introduction Are you looking to sell your property quickly and efficiently? In today’s fast-paced real estate market, time is of the essence when it comes to selling your property. From staging your home to pricing it right, there are proven methods that can help you fast-track your property sale. In this comprehensive guide, we will explore some strategies and tips to ensure a speedy…

[jojotichakorn]

(not sure what this even is but @kinntheerapanyakul and @distant-screaming said i should post it, so blame them /j)

first name. last name. patronymic.

first name. last name. father’s name & suffix.

first name. last name. property of father.

you are at your graduation. the head of your faculty is giving a speech on stage. she is thanking your parents for raising you right. she is thanking your grandparents for raising your parents right. she doesn’t say anything about you. your accomplishments don’t exist. it doesn’t matter that your parents ruined you, that you graduated despite them - not because of them. she thanks them. she doesn’t even look at you. you are called on stage to get your diploma. you are called as first name, last name, property of father. never forget this isn’t really your accomplishment. it’s all them.

but how often will you even hear your last name? not a lot. you are in polite conversation. you are addressed as first name, property of father only. this is just how manners work here. you respond the same, you also call them first name, property of father. you size them up for a moment. what is their father like? do they also flinch every time they are addressed? is that also a fake smile?

you are talking about someone older than you. you are lost at impossible crossroads. they won’t hear you - you are talking about them, not with them, after all. but you are still trying to show respect. using their first name would be too familiar. using their last name would be impolite. using their first name and patronymic will feel like feeding someone the poison that you wish everyone else stopped feeding you. you have no other choice. you say it. first name, property of father.

you are at a job interview. “hello”, they say, “are you first name, property of father?” you nod. you are already nervous and you feel like you are being slapped every time they address you. they will say it at least fifteen times during your short conversation. first name, property of father.

you are a teacher. your students are all quite young. they ask for your name. you try to introduce yourself with your first name - you lie that you are trying to be modern, trying to be closer to them. they are uncomfortable. this is impolite. they could never call you that. you sigh. you say it. first name, property of father. they all write it down in their notebooks. they are very careful, writing your father’s name, writing the suffix that makes you his property. you will hear it fifty times a lesson. first name, property of father, what does this word mean in exercise seven? first name, property of father, what is our homework for tomorrow? first name, property of father.

you ask feminists - what do they think about this? surely, they can’t be happy they are walking around as a man’s property. they are glad you asked! before you can let out a sigh of relief, they suggest matronymics. empowering the women. you try it, already knowing what the result will be. first name, property of mother. it’s the same poison. you ask them - well, what about the girls? they don’t understand what you mean. the only problem is being owned by a man, not being owned by your parent. you are the property of your parents, after all. that’s normal. that’s our culture.

you suggest getting rid of them. first name, last name, isn’t that enough? they scoff. they say: you hate our culture, you disrespect our traditions, you are trying to ruin us with dirty western ideas. they say: stop talking, first name, property of father.

first name. last name. property of father.

first name. last name. property of father.

(first name), property of father

sometimes you feel like this is all you'll ever be.