#process of evolution vol. 2

[dailyanarchistposts]

Footnotes 1 - 100

[1] Origin of Species, chap. iii.

[2] Nineteenth Century, Feb. 1888, p. 165.

[3] Leaving aside the pre-Darwinian writers, like Toussenel, Fée, and many others, several works containing many striking instances of mutual aid — chiefly, however, illustrating animal intelligence were issued previously to that date. I may mention those of Houzeau, Les facultés etales des animaux, 2 vols., Brussels, 1872; L. Büchner’s Aus dem Geistesleben der Thiere, 2nd ed. in 1877; and Maximilian Perty’s Ueber das Seelenleben der Thiere, Leipzig, 1876. Espinas published his most remarkable work, Les Sociétés animales, in 1877, and in that work he pointed out the importance of animal societies, and their bearing upon the preservation of species, and entered upon a most valuable discussion of the origin of societies. In fact, Espinas’s book contains all that has been written since upon mutual aid, and many good things besides. If I nevertheless make a special mention of Kessler’s address, it is because he raised mutual aid to the height of a law much more important in evolution than the law of mutual struggle. The same ideas were developed next year (in April 1881) by J. Lanessan in a lecture published in 1882 under this title: La lutte pour l’existence et l’association pour la lutte. G. Romanes’s capital work, Animal Intelligence, was issued in 1882, and followed next year by the Mental Evolution in Animals. About the same time (1883), Büchner published another work, Liebe und Liebes-Leben in der Thierwelt, a second edition of which was issued in 1885. The idea, as seen, was in the air.

[4] Memoirs (Trudy) of the St. Petersburg Society of Naturalists, vol. xi. 1880.

[5] See Appendix I.

[6] George J. Romanes’s Animal Intelligence, 1st ed. p. 233.

[7] Pierre Huber’s Les fourmis indigëes, Génève, 1861; Forel’s Recherches sur les fourmis de la Suisse, Zurich, 1874, and J.T. Moggridge’s Harvesting Ants and Trapdoor Spiders, London, 1873 and 1874, ought to be in the hands of every boy and girl. See also: Blanchard’s Métamorphoses des Insectes, Paris, 1868; J.H. Fabre’s Souvenirs entomologiques, Paris, 1886; Ebrard’s Etudes des mœurs des fourmis, Génève, 1864; Sir John Lubbock’s Ants, Bees, and Wasps, and so on.

[8] Forel’s Recherches, pp. 244, 275, 278. Huber’s description of the process is admirable. It also contains a hint as to the possible origin of the instinct (popular edition, pp. 158, 160). See Appendix II.

[9] The agriculture of the ants is so wonderful that for a long time it has been doubted. The fact is now so well proved by Mr. Moggridge, Dr. Lincecum, Mr. MacCook, Col. Sykes, and Dr. Jerdon, that no doubt is possible. See an excellent summary of evidence in Mr. Romanes’s work. See also Die Pilzgaerten einiger Süd-Amerikanischen Ameisen, by Alf. Moeller, in Schimper’s Botan. Mitth. aus den Tropen, vi. 1893.

[10] This second principle was not recognized at once. Former observers often spoke of kings, queens, managers, and so on; but since Huber and Forel have published their minute observations, no doubt is possible as to the free scope left for every individual’s initiative in whatever the ants do, including their wars.

[11] H.W. Bates, The Naturalist on the River Amazons, ii. 59 seq.

[12] N. Syevertsoff, Periodical Phenomena in the Life of Mammalia, Birds, and Reptiles of Voronèje, Moscow, 1855 (in Russian).

[13] A. Brehm, Life of Animals, iii. 477; all quotations after the French edition.

[14] Bates, p. 151.

[15] Catalogue raisonné des oiseaux de la faune pontique, in Démidoff’s Voyage; abstracts in Brehm, iii. 360. During their migrations birds of prey often associate. One flock, which H. Seebohm saw crossing the Pyrenees, represented a curious assemblage of “eight kites, one crane, and a peregrine falcon” (The Birds of Siberia, 1901, p. 417).

[16] Birds in the Northern Shires, p. 207.

[17] Max. Perty, Ueber das Seelenleben der Thiere (Leipzig, 1876), pp. 87, 103.

[18] G. H. Gurney, The House-Sparrow (London, 1885), p. 5.

[19] Dr. Elliot Couës, Birds of the Kerguelen Island, in Smithsonian Miscellaneous Collections, vol. xiii. No. 2, p. 11.

[20] Brehm, iv. 567.

[21] As to the house-sparrows, a New Zealand observer, Mr. T.W. Kirk, described as follows the attack of these “impudent” birds upon an “unfortunate” hawk. — “He heard one day a most unusual noise, as though all the small birds of the country had joined in one grand quarrel. Looking up, he saw a large hawk (C. gouldi — a carrion feeder) being buffeted by a flock of sparrows. They kept dashing at him in scores, and from all points at once. The unfortunate hawk was quite powerless. At last, approaching some scrub, the hawk dashed into it and remained there, while the sparrows congregated in groups round the bush, keeping up a constant chattering and noise” (Paper read before the New Zealand Institute; Nature, Oct. 10, 1891).

[22] Brehm, iv. 671 seq.

[23] R. Lendenfeld, in Der zoologische Garten, 1889.

[24] Syevettsoff’s Periodical Phenomena, p. 251.

[25] Seyfferlitz, quoted by Brehm, iv. 760.

[26] The Arctic Voyages of A.E. Nordenskjöld, London, 1879, p. 135. See also the powerful description of the St. Kilda islands by Mr. Dixon (quoted by Seebohm), and nearly all books of Arctic travel.

[27] See Appendix III.

[28] Elliot Couës, in Bulletin U.S. Geol. Survey of Territories, iv. No. 7, pp. 556, 579, etc. Among the gulls (Larus argentatus), Polyakoff saw on a marsh in Northern Russia, that the nesting grounds of a very great number of these birds were always patrolled by one male, which warned the colony of the approach of danger. All birds rose in such case and attacked the enemy with great vigour. The females, which had five or six nests together On each knoll of the marsh, kept a certain order in leaving their nests in search of food. The fledglings, which otherwise are extremely unprotected and easily become the prey of the rapacious birds, were never left alone (“Family Habits among the Aquatic Birds,” in Proceedings of the Zool. Section of St. Petersburg Soc. of Nat., Dec. 17, 1874).

[29] Brehm Father, quoted by A. Brehm, iv. 34 seq. See also White’s Natural History of Selborne, Letter XI.

[30] Dr. Couës, Birds of Dakota and Montana, in Bulletin U.S. Survey of Territories, iv. No. 7.

[31] It has often been intimated that larger birds may occasionally transport some of the smaller birds when they cross together the Mediterranean, but the fact still remains doubtful. On the other side, it is certain that some smaller birds join the bigger ones for migration. The fact has been noticed several times, and it was recently confirmed by L. Buxbaum at Raunheim. He saw several parties of cranes which had larks flying in the midst and on both sides of their migratory columns (Der zoologische Garten, 1886, p. 133).

[32] H. Seebohm and Ch. Dixon both mention this habit.

[33] The fact is well known to every field-naturalist, and with reference to England several examples may be found in Charles Dixon’s Among the Birds in Northern Shires. The chaffinches arrive during winter in vast flocks; and about the same time, i.e. in November, come flocks of bramblings; redwings also frequent the same places “in similar large companies,” and so on (pp. 165, 166).

[34] S.W. Baker, Wild Beasts, etc., vol. i. p. 316.

[35] Tschudi, Thierleben der Alpenwelt, p. 404.

[36] Houzeau’s Études, ii. 463.

[37] For their hunting associations see Sir E. Tennant’s Natural History of Ceylon, quoted in Romanes’s Animal Intelligence, p. 432.

[38] See Emil Hüter’s letter in L. Büchner’s Liebe.

[39] See Appendix IV.

[40] With regard to the viscacha it is very interesting to note that these highly-sociable little animals not only live peaceably together in each village, but that whole villages visit each other at nights. Sociability is thus extended to the whole species — not only to a given society, or to a nation, as we saw it with the ants. When the farmer destroys a viscacha-burrow, and buries the inhabitants under a heap of earth, other viscachas — we are told by Hudson — “come from a distance to dig out those that are buried alive” (l.c., p. 311). This is a widely-known fact in La Plata, verified by the author.

[41] Handbuch für Jäger und Jagdberechtigte, quoted by Brehm, ii. 223.

[42] Buffon’s Histoire Naturelle.

[43] In connection with the horses it is worthy of notice that the quagga zebra, which never comes together with the dauw zebra, nevertheless lives on excellent terms, not only with ostriches, which are very good sentries, but also with gazelles, several species of antelopes, and gnus. We thus have a case of mutual dislike between the quagga and the dauw which cannot be explained by competition for food. The fact that the quagga lives together with ruminants feeding on the same grass as itself excludes that hypothesis, and we must look for some incompatibility of character, as in the case of the hare and the rabbit. Cf., among others, Clive Phillips-Wolley’s Big Game Shooting (Badminton Library), which contains excellent illustrations of various species living together in East Africa.

[44] Our Tungus hunter, who was going to marry, and therefore was prompted by the desire of getting as many furs as he possibly could, was beating the hill-sides all day long on horseback in search of deer. His efforts were not rewarded by even so much as one fallow deer killed every day; and he was an excellent hunter.

[45] According to Samuel W. Baker, elephants combine in larger groups than the “compound family.” “I have frequently observed,” he wrote, “in the portion of Ceylon known as the Park Country, the tracks of elephants in great numbers which have evidently been considerable herds that have joined together in a general retreat from a ground which they considered insecure” (Wild Beasts and their Ways, vol. i. p. 102).

[46] Pigs, attacked by wolves, do the same (Hudson, l.c.).

[47] Romanes’s Animal Intelligence, p. 472.

[48] Brehm, i. 82; Darwin’s Descent of Man, ch. iii. The Kozloff expedition of 1899–1901 have also had to sustain in Northern Thibet a similar fight.

[49] The more strange was it to read in the previously-mentioned article by Huxley the following paraphrase of a well-known sentence of Rousseau: “The first men who substituted mutual peace for that of mutual war — whatever the motive which impelled them to take that step — created society” (Nineteenth Century, Feb. 1888, p. 165). Society has not been created by man; it is anterior to man.

[50] Such monographs as the chapter on “Music and Dancing in Nature” which we have in Hudson’s Naturalist on the La Plata, and Carl Gross’ Play of Animals, have already thrown a considerable light upon an instinct which is absolutely universal in Nature.

[51] Not only numerous species of birds possess the habit of assembling together — in many cases always at the same spot — to indulge in antics and dancing performances, but W.H. Hudson’s experience is that nearly all mammals and birds (“probably there are really no exceptions”) indulge frequently in more or less regular or set performances with or without sound, or composed of sound exclusively (p. 264).

[52] For the choruses of monkeys, see Brehm.

[53] Haygarth, Bush Life in Australia, p. 58.

[54] To quote but a few instances, a wounded badger was carried away by another badger suddenly appearing on the scene; rats have been seen feeding a blind couple (Seelenleben der Thiere, p. 64 seq.). Brehm himself saw two crows feeding in a hollow tree a third crow which was wounded; its wound was several weeks old (Hausfreund, 1874, 715; Büchner’s Liebe, 203). Mr. Blyth saw Indian crows feeding two or three blind comrades; and so on.

[55] Man and Beast, p. 344.

[56] L.H. Morgan, The American Beaver, 1868, p. 272; Descent of Man, ch. iv.

[57] One species of swallow is said to have caused the decrease of another swallow species in North America; the recent increase of the missel-thrush in Scotland has caused the decrease of the song.thrush; the brown rat has taken the place of the black rat in Europe; in Russia the small cockroach has everywhere driven before it its greater congener; and in Australia the imported hive-bee is rapidly exterminating the small stingless bee. Two other cases, but relative to domesticated animals, are mentioned in the preceding paragraph. While recalling these same facts, A.R. Wallace remarks in a footnote relative to the Scottish thrushes: “Prof. A. Newton, however, informs me that these species do not interfere in the way here stated” (Darwinism, p. 34). As to the brown rat, it is known that, owing to its amphibian habits, it usually stays in the lower parts of human dwellings (low cellars, sewers, etc.), as also on the banks of canals and rivers; it also undertakes distant migrations in numberless bands. The black rat, on the contrary, prefers staying in our dwellings themselves, under the floor, as well as in our stables and barns. It thus is much more exposed to be exterminated by man; and we cannot maintain, with any approach to certainty, that the black rat is being either exterminated or starved out by the brown rat and not by man.

[58] “But it may be urged that when several closely-allied species inhabit the same territory, we surely ought to find at the present time many transitional forms.... By my theory these allied species are descended from a common parent; and during the process of modification, each has become adapted to the conditions of life of its own region, and has supplanted and exterminated its original parent-form and all the transitional varieties between its past and present states” (Origin of Species, 6th ed. p. 134); also p. 137, 296 (all paragraph “On Extinction”).

[59] According to Madame Marie Pavloff, who has made a special study of this subject, they migrated from Asia to Africa, stayed there some time, and returned next to Asia. Whether this double migration be confirmed or not, the fact of a former extension of the ancestor of our horse over Asia, Africa, and America is settled beyond doubt.

[60] The Naturalist on the River Amazons, ii. 85, 95.

[61] Dr. B. Altum, Waldbeschädigungen durch Thiere und Gegenmittel (Berlin, 1889), pp. 207 seq.

[62] Dr. B. Altum, ut supra, pp. 13 and 187.

[63] A. Becker in the Bulletin de la Société des Naturalistes de Moscou, 1889, p. 625.

[64] See Appendix V.

[65] Russkaya Mysl, Sept. 1888: “The Theory of Beneficency of Struggle for Life, being a Preface to various Treatises on Botanics, Zoology, and Human Life,” by an Old Transformist.

[66] “One of the most frequent modes in which Natural Selection acts is, by adapting some individuals of a species to a somewhat different mode of life, whereby they are able to seize unappropriated places in Nature” (Origin of Species, p. 145) — in other words, to avoid competition.

[67] See Appendix VI.

[68] Nineteenth Century, February 1888, p. 165

[69] The Descent of Man, end of ch. ii. pp. 63 and 64 of the 2nd edition.

[70] Anthropologists who fully endorse the above views as regards man nevertheless intimate, sometimes, that the apes live in polygamous families, under the leadership of “a strong and jealous male.” I do not know how far that assertion is based upon conclusive observation. But the passage from Brehm’s Life of Animals, which is sometimes referred to, can hardly be taken as very conclusive. It occurs in his general description of monkeys; but his more detailed descriptions of separate species either contradict it or do not confirm it. Even as regards the cercopithèques, Brehm is affirmative in saying that they “nearly always live in bands, and very seldom in families” (French edition, p. 59). As to other species, the very numbers of their bands, always containing many males, render the “polygamous family” more than doubtful further observation is evidently wanted.

[71] Lubbock, Prehistoric Times, fifth edition, 1890.

[72] That extension of the ice-cap is admitted by most of the geologists who have specially studied the glacial age. The Russian Geological Survey already has taken this view as regards Russia, and most German specialists maintain it as regards Germany. The glaciation of most of the central plateau of France will not fail to be recognized by the French geologists, when they pay more attention to the glacial deposits altogether.

[73] Prehistoric Times, pp. 232 and 242.

[74] Bachofen, Das Mutterrecht, Stuttgart, 1861; Lewis H. Morgan, Ancient Society, or Researches in the Lines of Human Progress from Savagery through Barbarism to Civilization, New York, 1877; J.F. MacLennan, Studies in Ancient History, 1st series, new edition, 1886; 2nd series, 1896; L. Fison and A.W. Howitt, Kamilaroi and Kurnai, Melbourne. These four writers — as has been very truly remarked by Giraud Teulon, — starting from different facts and different general ideas, and following different methods, have come to the same conclusion. To Bachofen we owe the notion of the maternal family and the maternal succession; to Morgan — the system of kinship, Malayan and Turanian, and a highly gifted sketch of the main phases of human evolution; to MacLennan — the law of exogeny; and to Fison and Howitt — the cuadro, or scheme, of the conjugal societies in Australia. All four end in establishing the same fact of the tribal origin of the family. When Bachofen first drew attention to the maternal family, in his epoc.making work, and Morgan described the clan-organization, — both concurring to the almost general extension of these forms and maintaining that the marriage laws lie at the very basis of the consecutive steps of human evolution, they were accused of exaggeration. However, the most careful researches prosecuted since, by a phalanx of students of ancient law, have proved that all races of mankind bear traces of having passed through similar stages of development of marriage laws, such as we now see in force among certain savages. See the works of Post, Dargun, Kovalevsky, Lubbock, and their numerous followers: Lippert, Mucke, etc.

[75] See Appendix VII.

[76] For the Semites and the Aryans, see especially Prof. Maxim Kovalevsky’s Primitive Law (in Russian), Moscow, 1886 and 1887. Also his Lectures delivered at Stockholm (Tableau des origines et de l’évolution de la famille et de la propriété, Stockholm, 1890), which represents an admirable review of the whole question. Cf. also A. Post, Die Geschlechtsgenossenschaft der Urzeit, Oldenburg 1875.

[77] It would be impossible to enter here into a discussion of the origin of the marriage restrictions. Let me only remark that a division into groups, similar to Morgan’s Hawaian, exists among birds; the young broods live together separately from their parents. A like division might probably be traced among some mammals as well. As to the prohibition of relations between brothers and sisters, it is more likely to have arisen, not from speculations about the bad effects of consanguinity, which speculations really do not seem probable, but to avoid the too-easy precocity of like marriages. Under close cohabitation it must have become of imperious necessity. I must also remark that in discussing the origin of new customs altogether, we must keep in mind that the savages, like us, have their “thinkers” and savants — wizards, doctors, prophets, etc. — whose knowledge and ideas are in advance upon those of the masses. United as they are in their secret unions (another almost universal feature) they are certainly capable of exercising a powerful influence, and of enforcing customs the utility of which may not yet be recognized by the majority of the tribe.

[78] Col. Collins, in Philips’ Researches in South Africa, London, 1828. Quoted by Waitz, ii. 334.

[79] Lichtenstein’s Reisen im südlichen Afrika, ii. Pp. 92, 97. Berlin, 1811.

[80] Waitz, Anthropologie der Naturvolker, ii. pp. 335 seq. See also Fritsch’s Die Eingeboren Afrika’s, Breslau, 1872, pp. 386 seq.; and Drei Jahre in Süd Afrika. Also W. Bleck, A Brief Account of Bushmen Folklore, Capetown, 1875.

[81] Elisée Reclus, Géographie Universelle, xiii. 475.

[82] P. Kolben, The Present State of the Cape of Good Hope, translated from the German by Mr. Medley, London, 1731, vol. i. pp. 59, 71, 333, 336, etc.

[83] Quoted in Waitz’s Anthropologie, ii. 335 seq.

[84] The natives living in the north of Sidney, and speaking the Kamilaroi language, are best known under this aspect, through the capital work of Lorimer Fison and A.W. Howitt, Kamilaroi and Kurnaii, Melbourne, 1880. See also A.W. Howitt’s “Further Note on the Australian Class Systems,” in Journal of the Anthropological Institute, 1889, vol. xviii. p. 31, showing the wide extension of the same organization in Australia.

[85] The Folklore, Manners, etc., of Australian Aborigines, Adelaide, 1879, p. 11.

[86] Gray’s Journals of Two Expeditions of Discovery in North-West and Western Australia, London, 1841, vol. ii. pp. 237, 298.

[87] Bulletin de la Société d’Anthropologie, 1888, vol. xi. p. 652. I abridge the answers.

[88] Bulletin de la Société d’Anthropologie, 1888, vol. xi. p. 386.

[89] The same is the practice with the Papuas of Kaimani Bay, who have a high reputation of honesty. “It never happens that the Papua be untrue to his promise,” Finsch says in Neuguinea und seine Bewohner, Bremen, 1865, p. 829.

[90] Izvestia of the Russian Geographical Society, 1880, pp. 161 seq. Few books of travel give a better insight into the petty details of the daily life of savages than these scraps from Maklay’s notebooks.

[91] L.F. Martial, in Mission Scientifique au Cap Horn, Paris, 1883, vol. i. pp. 183–201.

[92] Captain Holm’s Expedition to East Greenland.

[93] In Australia whole clans have been seen exchanging all their wives, in order to conjure a calamity (Post, Studien zur Entwicklungsgeschichte des Familienrechts, 1890, p. 342). More brotherhood is their specific against calamities.

[94] Dr. H. Rink, The Eskimo Tribes, p. 26 (Meddelelser om Grönland, vol. xi. 1887).

[95] Dr. Rink, loc. cit. p. 24. Europeans, grown in the respect of Roman law, are seldom capable of understanding that force of tribal authority. “In fact,” Dr. Rink writes, “it is not the exception, but the rule, that white men who have stayed for ten or twenty years among the Eskimo, return without any real addition to their knowledge of the traditional ideas upon which their social state is based. The white man, whether a missionary or a trader, is firm in his dogmatic opinion that the most vulgar European is better than the most distinguished native.” — The Eskimo Tribes, p. 31.

[96] Dall, Alaska and its Resources, Cambridge, U.S., 1870.

[97] Dall saw it in Alaska, Jacobsen at Ignitok in the vicinity of the Bering Strait. Gilbert Sproat mentions it among the Vancouver indians; and Dr. Rink, who describes the periodical exhibitions just mentioned, adds: “The principal use of the accumulation of personal wealth is for periodically distributing it.” He also mentions (loc. cit. p. 31) “the destruction of property for the same purpose,’ (of maintaining equality).

[98] See Appendix VIII.

[99] Veniaminoff, Memoirs relative to the District of Unalashka (Russian), 3 vols. St. Petersburg, 1840. Extracts, in English, from the above are given in Dall’s Alaska. A like description of the Australians’ morality is given in Nature, xlii. p. 639.

[100] It is most remarkable that several writers (Middendorff, Schrenk, O. Finsch) described the Ostyaks and Samoyedes in almost the same words. Even when drunken, their quarrels are insignificant. “For a hundred years one single murder has been committed in the tundra;” “their children never fight;” “anything may be left for years in the tundra, even food and gin, and nobody will touch it;” and so on. Gilbert Sproat “never witnessed a fight between two sober natives” of the Aht Indians of Vancouver Island. “Quarreling is also rare among their children.” (Rink, loc. cit.) And so on.

[thetldrplace]

Capital Vol 1 Sec 4

Part 4: The Production of Relative Surplus Value 

Chap 12: The Concept of Relative Surplus-Value  The portion of a worker's workday that produces his subsistence has been treated as a constant. Marx has formulated a workday as A-------B---C, where A-B is the necessary labor, and B-C is the surplus-labor where the capitalist makes his money. Since there are limits to how long the work-day can be, how can surplus labor be prolonged without actually prolonging the work day itself? The answer is to reduce the necessary labor time, so that in, for example, a 10 hour work day, only 5 hours are needed rather than 7. That way, the capitalist can get 5 hours of surplus labor, rather than only 3.  

The conditions of production must be changed so that the worker can effectively increase his productivity. Marx calls the surplus value produced by lengthening the work-day: absolute surplus value; and the surplus value that is produced by curtailing the necessary labor time: relative surplus value. 

Each capitalist will be driven to maximalize profits by extracting as much value as possible, so he will naturally look for ways to decrease necessary labor time, but as soon as any new, more productive measure becomes generally known and employed, then the bar resets and competitors are likewise reducing their necessary labor time as well, resulting in no advantage over the others. 

Chap 13: Cooperation  Capitalist production only begins when a comparatively large number of workers are employed on an extensive scale. The handicraft trades and manufacture don’t differ tremendously in the mode of production, but mostly in the scale. This means at first, the difference is quantitative. 

But a modification does take place. Labor objectified is a social quality; kind of an average. Each individual worker will vary to some degree from the 'average', but the capitalist will pay workers according to the average. Inequalities cancel out with larger numbers. But there is a further evolution as a large number of workers are employed in the labor process together. Marx gives the example: 20 weavers in a large room, will cost the owner less on one large building, than 20 weavers working 2 apiece in 10 small buildings. So when the means of production are used in common, they give up a smaller portion of their value to each single product. The effect is the same as if the means of production had cost the capitalist less. 

But there is a further benefit of bringing together large amounts of labor to work together according to a plan: cooperation. This effectively creates a new productive power, an intrinsically collective power. 

It creates a bit of rivalry that heightens the efficiency of each individual. This power is derived from cooperation itself, and when individuals work this way, 'he strips off the fetters of his individuality, and develops capabilities of his species'. 

Cooperation of course, brings labor together, which means the capitalist must have the means to employ a large number of workers. While the subjection of labor to capital is partly a result of the fact that the worker works for the capitalist, the cooperation, and then command of, large numbers of laborers develops into a real requirement for production. 

Naturally, bringing together large groups of individuals requires leadership at various levels, but it also naturally evolves into the workers themselves uniting to resist any exploitation. Marx says this produces an inevitable antagonism between the exploiters and the exploited. 

Interestingly enough, the cooperation of laborers is brought about exclusively by the capital that employs them. Their unity is outside them, and outside their competence. Workers are independent of each other in a way; they are employed by the owner, and they enter into a relation with him, but not with each other. 

But there is a socially productive power of labor when workers are placed under certain conditions, and it is capital which places them under these conditions. It therefore appears as a productive power inherent in capital itself. 

Marx notes historic examples of mass labor cooperation, such as the building of the pyramids. In such examples, the kings had to have the surplus of food or subsistence in order to employ masses of men.  

He notes more primitive examples of cooperation, such as indian communal efforts, but they differ in the fact that means of production were owned in common, and man was not considered as individual in such societies. 

Chap 14: The Division of Labor and Manufacture  1. The Dual Origin of Manufacture  2. The Specialized Worker and His Tools  3. The Two Fundamental Forms of Manufacture- Heterogenous and Organic  4. The Division of Labor in Manufacture and the Division of Labor in Society  5. The Capitalist Character of Manufacture 

Cooperation based on division of labor finds its classic form in manufacturing. Manufacture originates in two ways: the first is assembling workers belonging to a trade under one capitalist, who then has each tradesman perform a specific task in building the commodity. While this results in producing more of the commodity, it also means the individual workmen lose their proficiency in the areas of that work they aren't employed in. The second way is to assemble large numbers of workers who all do the same work. So manufacture arises out of combining independent trades so that they lose their independence, but it also arises from the cooperation of craftsmen in their particular handicraft. 

A specialized worker who performs the same activity, rather than various tasks, will take less time doing his individual task. Continued repetition teaches him how to do the thing in the quickest way possible with minimal effort. Cooperation of workers in the same task will also generate the quickest ways to do things as each can learn from the others. Further, workers engaged in doing various operations need to switch gears, but workers engaged in the same operation can do their one task without having to slow down. Tools also become more specialized and therefore, effective. 

Manufacture has two fundamental forms, which play different roles in the process of becoming large-scale industry. Marx uses the example of watch production. Even dividing up the labor process in watches, it works better to have the artisans perform their tasks at home, then things are assembled in a factory. This is still different than the independent craftsman, who works for his own customers. 

But another type of manufacture brings everything together in connected phases of development. In this type of manufacture, productive power is gained through cooperation. 

Each stage of the production is divided up. The result of one, is the start of the next. Which means that at each stage, the laborer must finish his work in the given time, for the next to begin his. The mutual interdependence of the workers compels each one to spend only the necessary time on his stage. The repetitive nature of these stages will eventually produce a socially acceptable timing. 

Marx then notes that the collective worker becomes an item of machinery in manufacture. The various operations performed in the production of a commodity make demands of various kinds. Workers will be divided, classified, and grouped according to their qualities and abilities. The natural endowments of each are the foundation on which the division of labor is built. The collective worker now possesses all the qualities necessary for production in an equal degree of excellence, and can expend them in the most economical way according to his individualized strengths. Even the deficiencies of the specialized worker become perfections when he is part of the collective. 

This division of skill will also develop a hierarchy of labor, which will develop a scale of wages. 

On the down-side, this also creates a class of unskilled laborers, which would be excluded by the nature of the handicraft industry, where ability in the whole process would be required. Where manufacture can develop specialty abilities, it can also make a specialty of the absence of all development- the unskilled laborer. 

The division of labor in manufacture requires a relatively developed division of labor in society in general. What this means is that society will have already developed a robust industry of various handicrafts, from which capital can pull trained workers. It will require a complete set of all the various industries necessary for the maintenance of society. It will also require a leader class, who will have enough money to be able to exert financial and leadership control. 

Marx says that an increased number of workers under the control of one capitalist is the natural starting point of both cooperation in general and manufacture in particular. And that the advantages of further division can only be obtained by adding numbers of workers. But the demand for more will be inevitable and it becomes a law that capital must continue to increase. 

The knowledge, judgment and will of formerly individual craftsmen will only be required for the workshop as a whole, and what is lost by those individuals is then concentrated in the capital which confronts them. The process of separation starts in cooperation, but in manufacture, begins to mutilate the individual into a fraction of himself. Manufacture does best when the mind is least consulted. The entire effect is to increase the productive power of labor for the benefit of the capitalist, at the expense of labor; and it does so by crippling the individual worker. 

Chap 15: Machinery and Large Scale Industry  1. The Development of Machinery  2. The Value Transferred by the Machinery to the Product  3. The Most Immediate Effects of Machine Production on the Worker     (a) Appropriation of Supplementary labor Power by Capital     (b) The Prolongation of the Working Day     (c) Intensification of Labor  4. The Factory  5. The Struggle between Worker and Machine  6. The Compensation Theory, with Regard to Workers Displaced by Machinery  7. Repulsion and Attraction of Workers through the Development of Machine Production  8. The Revolutionary Impact of Large-Scale Industry on Manufacture, Handicraft, and Division of Labor     (a) Overthrow of Cooperation Based on Handicrafts and the Division of Labor     (b) The Impact of the Factory System on Manufacture and Domestic Industries     (c) Modern Manufacture     (d) Modern Domestic Industry     (e) Transition from Modern Manufacture to Domestic Industry to Large-Scale Industry  9. The Health and Education Clauses of the Factory Acts  10. Large Scale Industry and Agriculture 

Machinery, says Marx, is intended to cheapen commodities, which has the consequence of shortening the part of the working day that the worker works for himself, and lengthening the part he gives to the capitalist for nothing. The machine is a means for producing surplus value. The machine is just a more complex tool, like what would be employed in handicrafts. Fully developed machinery consists of three parts: the motor mechanism, the transmitting mechanism, and the tool, or working machine. The working machine serves as the place where the industrial revolution took place. In large scale machinery, the tool isn't the implement of man, but man becomes a part of the machine. Large scale industry required advancements in everything around it too, because it was able to deliver goods on previously unknown scales. 

Marx says machinery is a part of constant capital, so it doesn't create any new value, but yields its own value to the product it serves to make. The less labor used in mechanical production, the less value it contributes to the product. In fact, the use of machinery exclusively to cheapen a product, is limited by the requirement that less labor must be expended in producing the machinery than is displaced by the machinery. If wages were to fall below the value of the machinery, the machinery would be of little value to the capitalist. 

Since machinery doesn’t typically require much muscle to run, the capitalist would prefer to use women or children to run the machines, which displaces the men. This has the effect of dragging the entire family into the factory and depreciates the value of the worker's labor.  

Where previously, the worker entered into a contract with the capitalist, now he sells his entire family to the capitalist and becomes a slave-dealer in the process. 

While machinery is powerful in shortening the time needed to produce a commodity, it also lengthens the working day beyond all natural limits, particularly since the physical demands aren't as great, and more docile women and children can be utilized. The fact that machines hardly need to stop, alongside the rapid production, means that each minute a machine isn't being utilized, is considered by the capitalist to be a loss. 

Marx discusses the factory in modern large-scale industry. Having removed the tools from the hands of the worker, the technical foundation on which the division of labor is eroded. Minding the various machines that produce the various steps is reduced to identical levels of work. 

The struggle between the capitalist and worker is really the relation of capital itself. In prior times, workers would occasionally rise up and smash machines that eliminated their jobs. But time and experience is teaching the worker to transfer their attacks from the means of production to the form of society that produces those instruments. 

Some bourgeois economists have argued that displaced workers from one industry are free to pursue other avenues because there is now more capital to invest in other areas. Marx argues 1) the amounts aren't equal; capital may invest in some new areas, but not enough to restore all the lost jobs, and 2) the displaced workers are now out of their trained proficiencies, so their labor, as a commodity, is now unskilled in new areas and therefore worth less. 

The transition from handicraft to factory work displaces workers in the handicraft, but can employ more workers in the expansion of factories. The problem Marx notes in this is that it results in periods of boom and bust, with devastating consequences to the labor force. The voracious appetite for raw materials has also had the effect of large industrial nations looking for raw materials in unprecedented scale in colonies, and consequently having deleterious effects in those countries as well. 

In the next section on the impact of machinery, Marx reiterates that machinery eliminates the cooperation of the workers when it was still handicrafts, and then the fact that scaling up production in the commodities requires a scaling up in surrounding industries as well. Then he illustrates his point with examples. Marx pays particular attention to the displacement of a large portion of the work-force, the drastic conditions under which the rest remain, and the moral and emotional and intellectual degradation they are forced into. He also highlights the pressures put on by the capitalists themselves, and the government to continually keep the workers in bondage. 

Marx next covers the inadequate regulatory attempts made to curb the abuses of capital and what he calls the fanatical responses of capital to avoid any responsibility. One example of a social cost is young boys recruited to mind the machines. They are dismissed at around 17, but because they have been turned into savages, and left uneducated, they are easily drawn into lives of crime. They are the consequence of the capitalist mode of production. Marx sees the various changes that result from the capitalist mode of production as all linked back to the root cause- capitalism itself. Marx ends the section warning that the ruin of handicraft by manufacture, and the progression to large-scale industry is inevitable and hastens on the eventual accrual of antagonism to a point of revolution. 

Marx finally looks forward to the future where large-scale industry takes over agriculture too. While he notes the fact that working outdoors will not have the same effects as workers trapped in unhealthy factories, the displacement of workers will likewise be felt in agriculture. 

[lachidayy]

TikTok AR Filters: Fenty Beauty’s Strategy for Winning Over Customers

The Rise of AR Technology

Augmented Reality (AR) has been around since the 1960s, but its popularity has surged alongside the advancements in smartphone technology (Pence 2010). The release of Snapchat filters and Pokémon Go in 2016 marked a significant turning point, leading to exponential growth in the use of AR (Mehta 2020). Today, AR filters are ubiquitous, especially in the beauty industry, where they have become a staple on platforms like Instagram and Snapchat. These filters often promote an unrealistic beauty ideal, reflecting a shared cultural understanding of what is considered worthy of documentation on social media (Miller & McIntyre 2022).

The TikTok Era: A New Playground for AR

While Instagram remains a hub for creative AR filters, TikTok has emerged as the dominant platform, especially for beauty brands (Khoon 2023). TikTok offers a more immersive experience where users can see not just the final makeup look but the entire process, from a "Get Ready With Me" (GRWM) tutorial to a visit to the store (Androic 2024). This shift towards relatability over perfection has required brands to rethink their advertising strategies. TikTok's environment, where authenticity and fun are prized, provides an ideal home for interactive and practical AR filters.

Fenty Beauty: A Case Study in AR Success

Fenty Beauty, founded by Rihanna, is a prime example of a beauty brand using AR filters on TikTok to engage customers (Schiffer 2020). Fenty's AR filters allow users to virtually try on different shades of foundation, lipsticks, and other products in real time. This interactive experience not only helps users find the perfect match but also drives engagement and shares on the platform.

How AR Filters Enhance Customer Engagement

AR filters offer several advantages for beauty brands. They provide an engaging and interactive way for customers to experience products without needing to visit a physical store. For Fenty Beauty, potential customers can experiment with various looks and find the right products for their skin tone and preferences (Schiffer 2020). This virtual try-on experience reduces the uncertainty of online shopping and encourages users to share their experiences, increasing the brand's reach.

In sum, in the era of TikTok, where relatability and authenticity are key, AR filters have become a powerful tool for beauty brands. Fenty Beauty's innovative use of AR technology demonstrates how brands can engage customers, enhance their shopping experience, and ultimately drive sales. As AR technology continues to evolve, it will be exciting to see how beauty brands like Fenty use these tools to stay ahead in social media marketing.

References

Androic, I 2024, TikTok for beauty brands: How to engage and convert, Arbelle, viewed 29 June 2024, <https://arbelle.ai/tiktok-for-beauty-brands/>.

Khoon, SW 2023, Maximize Your TikTok Shop ROI: Essential Strategies for Beauty Brands, Medium, Medium, viewed 29 June 2024, <https://medium.com/@shooweikhoon/maximize-your-tiktok-shop-roi-essential-strategies-for-beauty-brands-e293d7c17c39>.

Mehta, N 2020, Evolution Of Digital Advertising | Adtech Today, Latest Advertising, Media and Marketing News, viewed 14 March 2024, <https://adtechtoday.com/evolution-of-digital-advertising/>.

Miller, LA & McIntyre, J 2022, ‘From surgery to Cyborgs: a thematic analysis of popular media commentary on Instagram filters’, Feminist Media Studies, vol. 23, no. 7, pp. 1–17.

Pence, HE 2010, ‘Smartphones, Smart Objects, and Augmented Reality’, The Reference Librarian, vol. 52, no. 1-2, pp. 136–145.Schiffer, J 2020, Rihanna’s Fenty Beauty embraces TikTok, Vogue Business.

Schiffer, J 2020, Rihanna’s Fenty Beauty embraces TikTok, Vogue Business.

[wotsonemily79]

Is Disney Plus Worth the Subscription Fee?

The Wonder True to life Universe (MCU) owes quite a bit of its prosperity to the inventive virtuoso of Stan Lee, the incredible comic book essayist, supervisor, and distributer. While Stan Lee might have left this world in 2018, his inheritance keeps on living on through the notorious characters he co-made and the adored appearances he made in Wonder films. In this broad article, we'll dig profound into the captivating universe of Stan Lee's appearances and investigate their importance with regards to the Wonder universe. We'll likewise examine how you can begin your Wonder process on disneyplus.com begin, the streaming stage that has a significant number of these notorious movies.

The Man behind the Cameos: Stan Lee's Legacy

Stan Lee, frequently alluded to as "The Man" or "The Godfather of Comics," assumed a vital part in molding the cutting edge comic book industry. He co-made a portion of Wonder's most cherished superheroes, including Insect Man, the X-Men, the Phenomenal Four, Iron Man, Thor, and the Mass, among numerous others. Lee's manifestations upset the comic book landscape by presenting complex characters with human defects and interesting battles.

While Stan Lee's commitments to wonder comics are irrefutably factual, it's his surprising appearances in Wonder films that have become a treasured custom for fans. His appearance appearances added a remarkable layer of profundity to the true to life universe, and they have become a wellspring of fervor and sentimentality for watchers disneyplus.com/start.

The Evolution of Stan Lee's Cameos

Stan Lee's appearance appearances started with the arrival of "X-Men" in 2000, yet it was his job as a wiener seller in the 2002 "Bug Man" film that genuinely started off this dearest custom. From that point, Stan Lee made appearance appearances in practically every Wonder film, leaving fans anxiously expecting his brief however noteworthy minutes on screen.

These appearances were frequently funny and loaded up with mindfulness. Whether he was depicting a safety officer, a postal worker, a stunner exhibition judge, or a bystander, every appearance displayed his interesting appeal and moxy. The crowd could constantly depend on a Stan Lee appearance to carry a grin to their countenances.

The Significance of Stan Lee's Cameos

Stan Lee's appearances went past simple Hidden goodies for dedicated fans; they held a more profound importance in the Wonder universe. His presence in each film went about as an image of congruity and connectedness all through the rambling MCU. It reminded watchers that this multitude of stories were interconnected and established in the imaginative vision of one man.

Furthermore, Stan Lee's appearance appearances frequently gave proper respect to his own manifestations. For instance, in "Gatekeepers of the System Vol. 2," he was seen talking with the Watchers, a gathering of grandiose creatures who notice the occasions of the universe. This eluded to the possibility that Stan Lee's characters, and likewise, the whole Wonder universe, were being looked after and safeguarded.

Stan Lee's Legacy beyond the Cameos

While Stan Lee's appearance appearances in Wonder films were a brilliant expansion, his heritage reaches out a long ways past these minutes. His effect on mainstream society and narrating is endless. The qualities he imparted in his characters, for example, the significance of obligation and the festival of variety, keep on reverberating with crowds around the world.

Stan Lee's work with Wonder comics established the groundwork for the Wonder True to life Universe, which has become a social peculiarity. The MCU has acquainted another age with his immortal characters and their compelling stories.

Where to Watch Stan Lee's Cameos

Assuming that you're anxious to remember or find Stan Lee's appearance appearances in the Wonder films, Disney Plus is the ideal stage. Disney Plus has an immense library of Wonder films, making it the final location for Wonder devotees.

How to Begin Your Marvel Journey on Disney Plus

To begin your Marvel journey on Disney Plus and experience the magic of Stan Lee's cameos, follow these steps:

Step 1: Visit disneyplus.com/begin

*Start by visiting disneyplus.com/begin in your internet browser. This is where you can set up your Disney Plus account.

Step 2: Sign Up

*Click on "Join Now" on the Disney Plus homepage to start the enrollment interaction.

Step 3: Choose a Plan

*Select the Disney Plus membership plan that best suits your inclinations. Disney Plus offers different choices, including month to month or yearly plans, or packaged bundles.

Step 4: Create an Account

*Give your email address and make major areas of strength for a to lay out your Disney Plus account.

Step 5: Payment Information

*Enter your installment subtleties to complete the sign-up process. Disney Plus acknowledges significant charge cards and PayPal.

Step 6: Enter a Disney plus Begin Code (Optional)

*In the event that you have a Disney Plus begin code, you can enter it during the sign-up cycle to get to special advancements or limits.

Step 7: Review and Confirm

*Prior to concluding your membership, audit your arrangement, installment data, and record subtleties to guarantee they are exact. Whenever you're fulfilled, affirm your membership.

Step 8: Start Watching

*Congrats! You are currently prepared to set out on your Wonder process on disneyplus.com login/begin and partake in the notable appearances of Stan Lee in the MCU films.

Conclusion

Stan Lee's heritage lives on through his famous appearance appearances in Wonder films, filling in as a sign of his staggering commitments to the universe of narrating and diversion. These brief however vital minutes keep on giving pleasure to fans and build up the interconnectedness of the Wonder Realistic Universe.

As you return to Stan Lee's appearances on Disney Plus, pause for a minute to consider the effect of his work and the getting through sorcery of the Wonder universe. Begin your Wonder process today at disneyplus.com/begin, and submerge yourself in the remarkable stories that he made. Stan Lee might have left this world, however his manifestations and his soul persevere, engaging and rousing ages to come.

[henriethepipopipo]

WEEK 5: From digital citizenship to participatory democracy

“A digital citizen is a person with the skills and knowledge to effectively use digital technologies to participate in society, communicate with others and create and consume digital content.” - Office of the eSafety Commissioner

In the contemporary era, the notion of digital citizenship has evolved beyond being merely a proficiency in using digital technologies.

The Nation: What does a platform mean to a digital citizen?

The concept of a digital platform extends beyond mere technological infrastructure; it embodies the digital nation where citizens belong. As Gillespie (2010) suggests, a platform can be computational, political, and architectural. In the context of digital citizenship, it serves as the foundational space where citizens interact, communicate, and express themselves. The term 'platformization' encapsulates the growing integration of digital platforms into every aspect of society (Chia et al. 2020), transforming them into essential components of the digital nation. Hashtags emerge as key tools within these platforms, fostering connectivity, bundling content, and allowing citizens to form their "digital homes".

The People: What does a digital citizen mean to a digital platform?

Expressive participation becomes a crucial avenue for achieving participatory democracy in the digital age. This concept has been determined in various ways, from discussions about politics to public expressions of support for politicians (Boyle et al. 2006; Scheufele & Eveland 2001). Social media platforms serve as arenas for citizens to engage in micro-level civic activities, expressing their opinions, supporting causes, and actively participating in political discourse. The evolution of political engagement is evident in the decline of traditional, collective action-oriented organizations and the rise of citizens' involvement along with online social movements (Vromen, 2017). Social media, with its expressive and dynamic nature, plays a pivotal role in shaping this new landscape of political engagement.

The Nation and the People: Participatory democracy

Participatory democracy undergoes a transformation in the digital realm, with citizens finding new ways to engage politically. The shift towards online social movements, digital activism, and dynamic civic participation indicates a departure from traditional long-term allegiances  (Vromen, 2017). Social media platforms emerge as influential spaces where citizens contribute to political conversations, shape opinions, and mobilize for various causes (Alodat, Al-Qora’n & Abu Hamoud 2023). As political engagement evolves in response to the affordances of social media, the digital citizen can become an active participant in the democratic process, influencing discourse and contributing to the broader political landscape.

Reference list

Alodat, A, Al-Qora’n, LF & Abu Hamoud, M 2023, ‘Social Media Platforms and Political Participation: A Study of Jordanian Youth Engagement’, Social Sciences, vol. 12, no. 7, p. 402, viewed <https://www.mdpi.com/2076-0760/12/7/402>.

Boyle, M, Schmierbach, M, Armstrong, C, Cho, J, McCluskey, M, McLeod, D & Shah, D 2006, ‘Expressive Responses to News Stories About Extremist Groups: A Framing Experiment’, Journal of Communication, vol. 56, no. 2, pp. 271–288, viewed 14 January 2020, <https://onlinelibrary.wiley.com/doi/full/10.1111/j.1460-2466.2006.00019.x>.

Chia, A, Keogh, B, Leorke, D & Nicoll, B 2020, ‘Platformisation in game development’, Internet Policy Review, vol. 9, no. 4.

Gillespie, T 2010, ‘The politics of “platforms”’, New Media & Society, vol. 12, no. 3, pp. 347–364, viewed <https://journals.sagepub.com/doi/10.1177/1461444809342738>.

Scheufele, DA & Eveland, WP 2001, ‘Perceptions of “Public Opinion” and “Public” Opinion Expression’, International Journal of Public Opinion Research, vol. 13, no. 1, pp. 25–44.

Vromen, A 2017, Digital citizenship and political engagement the challenge from online campaigning and advocacy organisations, Palgrave Macmillan, London.

[kx-xty]

GAMING STREAM

Gaming livestreams have brought forth a new era of interactive entertainment, reshaping the way people engage with video games. This phenomenon involves real-time broadcasting of gameplay footage, allowing viewers to watch and interact with the streamer. Gaming livestreams have become immensely popular, creating a dynamic and interactive gaming culture.

One of the most significant impacts of gaming livestreams is the democratization of gaming content creation. In the past, becoming a gaming content creator required expensive equipment and technical expertise. However, platforms like Twitch, YouTube Gaming, and Facebook Gaming have democratized the process, enabling aspiring gamers to share their gaming experiences with the world. Now, anyone with a computer or console and an internet connection can become a streamer, bringing diverse voices and perspectives to the gaming community. This has fostered inclusivity and allowed individuals from various backgrounds to showcase their skills and creativity.

Furthermore, gaming livestreams have transformed gaming from a solitary experience to a social one. Viewers can watch their favorite streamers play games, engage in real-time chat conversations, and even participate in multiplayer games alongside the streamer. This interactive element has forged a sense of camaraderie among viewers, building a strong community around shared gaming interests. Viewers can form connections with streamers and other viewers, engaging in discussions, sharing tips and strategies, and even participating in charitable events organized by streamers.

Additionally, gaming livestreams have become a powerful platform for promoting and showcasing new games. Game developers and publishers now recognize the value of livestreaming in reaching a vast audience and generating excitement for their games. Many companies sponsor streamers or organize livestream events to demonstrate gameplay, provide behind-the-scenes insights, and engage with the gaming community. This direct interaction between developers, streamers, and viewers has revolutionized the marketing strategies of the gaming industry.

However, gaming livestreams also present challenges for streamers. They face the pressure to constantly entertain and maintain high viewer engagement, which can lead to burnout and mental health issues. Additionally, the monetization of livestreams through donations, subscriptions, and sponsorships has introduced financial pressures and blurred the line between genuine content and commercial interests.

In conclusion, gaming livestreams have ushered in a new era of interactive entertainment, transforming the gaming landscape. They have democratized content creation, fostering inclusivity and diverse representation within the gaming community. Livestreams have turned gaming into a social experience, connecting viewers and streamers in a shared passion for gaming. Furthermore, they have revolutionized the marketing strategies of game developers, providing a direct and engaging platform to showcase their products. While challenges exist, gaming livestreams have undeniably reshaped the gaming industry, creating an exciting and interactive space for gamers worldwide.

Edge, N 2013, ‘Evolution of the Gaming Experience: Live Video Streaming and the Emergence of a New Web Community’, Elon Journal of Undergraduate Research in Communications, vol. 4, Elon Journal of Undergraduate Research in Communications, no. 2. ‌

Ruiz, K. (2020). How Live Streaming and Twitch Have Changed the Gaming How Live Streaming and Twitch Have Changed the Gaming Industry Industry. [online] Available at: https://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1022&context=art108.

[janardana14]

Week 9, Gaming Communities, Social Gaming & Live Streaming.

People with similar interests can meet and connect in gaming communities, which can act as a place for them to do so. Players typically join groups that share their interests, philosophies, and ways of playing the game, which is significant for both individuals and clans because players' incentives for gaming vary According to (Sun, Williams & Li 2021, p. 2). Friendships and in certain situations even love relationships might result from this. Not only about relationships, the other think of gaming community also can lead people to get knowledge and support from other gamers. However, some gaming communities can degenerate into hostile places where harassing or bullying online behavior occurs. This is especially true for games with intense competition, when participants may become too focused on winning and engage in dishonest or violent behavior towards others. 

Online gaming that emphasizes player interaction and social interaction is known as "social gaming." Through the use of social media platforms or gaming networks, players in social games can interact with one another, form alliances, and engage in competitive play. Social gaming's social component can be expressed in a number of ways, including forums, chat rooms, shared leaderboards, and texting. In addition, users may use social media to interact with other players and encourage their friends to play the game, for example like Minecraft, Candy Crush, Among us & Animal Crossing: New Horizons. Online gaming can use a lot of different devices like mobile phone, pc, play stations, nintendo or Wii.  

Gaming community and online gaming also have a connection with Live streaming. Live streaming is a real-time video or audio feed that is transmitted through the internet to a viewer or listener who is participating in the streaming of the content in the process known as live streaming. Due to the fact that it facilitates in-the-moment communication between users and content producers, it has become more and more popular in recent years with the rise of social media platforms. In other case some viewers love watching streamers not just for the content of the show but also for the personality of the streamer themselves because 70% of Twitch streams play a variety of games that are not exclusive to a genre (Gandhi, Cook, LaMastra & et al 2021, p. 2). Lots of platforms can be used for streaming like Twitch, Facebook, Instagram  or Youtube and this all platforms being the most used by the viewers. 

Referencing : 

Gandhi, R, Cook, CL, LaMastra, N, Uttarapong, J & Wohn, DY 2021, ‘An Exploration of Mental Health Discussions in Live Streaming Gaming Communities’, Frontiers in psychology, vol. 12, Frontiers Media S.A, Switzerland, pp. 575653–575653.

Sun, J, Williams, D & Li, Y 2021, "Let’s Bail!: The evolution of individual-group affiliation in an online gaming community", Computers in human behavior, vol. 121, Elsevier Ltd, Elmsford, pp. 106818. 

[brokehorrorfan]

Rick and Morty: Season 5 will be released on Blu-ray and DVD on December 7. A Blu-ray Steelbook edition (right) will also be available the same day. It’s currently available on Digital.

Created by Dan Harmon (Community) and Justin Roiland (Solar Opposites), the Adult Swim animated series stars Justin Roiland, Chris Parnell, Spencer Grammer, and Sarah Chalke.

Special features are listed below.

Special features:

Fighting Gravity: The Making of Season 5 - Co-creator Dan Harmon and the crew reflect on the challenges of completing this season in the middle of a pandemic and the creative process behind the story's biggest revelations

Inside the Episode featurettes for all 10 episodes

B-Story Generator Vol. 1- Co-creator Dan Harmon and writer Rob Schrab reach into their box of random ideas to conjure up hilarious side stories

B-Story Generator Vol. 2 - Co-creator Dan Harmon and writer Rob Schrab return to brainstorm even more ludicrous side stories

Backgrounds - The show's artists give us a jaw-dropping look at the amazingly detailed environments packed into every episode

Animation and Compositing - Crafting the show's visuals is a complex process and the crew is here to show us why

Coloring Rick and Morty - Get an in-depth look at how the crew uses vibrant color to create fantastic alien worlds

Directing “Mortyplicity” - An inside look at the evolution of the episode, from initial storyboards to final product

Directing “Rickmurai Jack” - A behind the scenes look at an ambitious visualization from the episode

Season 5 Hype - Dan Harmon and the writers give you a taste of what's in store for Rick and Morty's wildest season yet.

Rick, Morty and the fam are back with ten all-new episodes that consume unheld butts. Sex, romance, testicle monsters… a guy named Mr. Nimbus… It’s everything you want, get your butt ready!

Pre-order Rick and Morty: Season 5.

[manjuhitorie]

tat - Shinoda’s Hitori-Atelier blog posts - REAMP Digest volume 4

Shinoda’s blog post via Hitori-Atelier! Please consider joining Hitori-Atelier and supporting Hitorie’s ventures today. How-to here: https://boatmanju.wixsite.com/hitorietranslations/hitorie-atelier 

It’s already been 3 months since REAMP was released, time really flies.

In that short bit of time we’ve already planned a tour ahead of us, and were given the opportunity to do the opening for the anime ‘86′. Let’s fucking go~~~~~ Is everyone faring well? I've recently rekindled my passion for sampling, I haven't felt like this in years. I'm taking free samples I find strewn across the internet and turning them into techno. I kinda remember mentioning my appreciation for techno in vol. 1 of this blog series, and yeah. I'm finally trying it out for myself. I've managed to make a pretty sick song if I do say so myself. You'll find it on Hitori-Atelier soon enough. (＊This is most likely the song titled 'mad candy', found in 'Shinoda's Contents') It's fun 'cause compared to vocal stuff, I use a whole different part of my brain to make techno. I say "This part of this sample has a good beat to it, I bet if I rearranged it like this it would make music~" and do it. Relatively speaking, this kinda music making matches my personality type really well. I feel like I've found a fucking good hobby for myself here. With that said, even though it’s a hobby, work is still work so the collateral damage of music-making is still vividly affecting my body. Like music is still music, and with the way I tunnel vision I'll end up at my desk for an obscene amount of hours. By the time I'm done with it physically and mentally I'm a wreck. Like the fuck do I mean by hobby, is this some kinda shitty joke Shinoda? Anyway let's talk about 'tat'. The question as to what the title means comes first. Initially I wanted to name this song "刺青(meaning tattoo)". Because the song ‘Perfume’ by ‘Eito’ (https://www.youtube.com/watch?v=9MjAJSoaoSo) was a huge hit at that time so yeah.. But that idea failed ygarshy's inspection so I had no choice but to look around for a word similar to tattoo.

That was when I found photos of tattoos on Instagram with the hashtag #tat. This is it, I said. As a slang tat can mean many other things as well but I forget what they were. I'm sure you can find out if you look it up but, take note that none of it has much to do with the song itself. I considered '#tat' for the title as well, but it was too lame so I pulled back. This song was written when the album was almost finished and most songs ready: I reviewed the album as whole and felt that something was missing. I had wanted something with now tat’s tempo and mood to it to tie the album together. It turned out really well, if I may say so myself. Isn't it a great song though? I feel like all my efforts were worthwhile... It's fun to let the creative juices flow and write with whatever comes to mind. I tried to make the amount of guitar notes concise and solid. The tone was supposed to be graceful too but... ygarshy swooped in with a kick and his bass so heavy it sounds like he's blasting music from a little motorcycle. The melody too has the same makings as the hits these days. It’s about someone of the opposite sex with a bold tattoo who’s stuck in days of ennui, and me who’s gazing from afar wondering what these feelings inside me are. It’s about that sorta thing (?) - I think I managed to express it (????) The beat isn’t made to be far off from modern tuning either. I’m sure I could’ve harmonized it even better but, at the time I found good reason to make it more rock band-y, so I have no regrets. I only wish I made the song name something easier to find via search. It’s so hard to find the people talking about it... Starting with a verse and closing a song with that same verse is great, ain’t it. I’ve always liked songs with a bit of a whacky structure to them, Like November in HOWLS, it goes from verse 2 back to verse 1 then into the instrumental break. If you think it’s just any old number then prepare to be sorely mistaken - Or, that kind of fetishy stuff is important for music if you ask me. I received a fair lot of praise from people in the song-writing industry about tat, I’m happy. Though I’m not sure about the lyrics. Someone from our workplace told me that “Mushy gushy heart-wrenching lyrics would fit well”, so I sought out to do exactly that. The only problem is that my expression of mushy gushy made that person from work go “????” so making people’s heart clench is hard shit. This doesn’t leave here okay.. My dismay over the discontinuation of Chikyuu Monogatari is vented in here a bit as well. Though I don’t think Chikyuu Monogatari is boring. Not really. I saw a few people say that ‘tat’ is like the evolution of cakebox. And it makes sense to me now that y’all say it. cakebox was my solo project I did back in my mid-20’s. I made 3 mini pieces with 7 tracks and 1 EP with 4 tracks before stopping. I’m sure only like 10 people in the whole world ever listened to it. If you look it up you can still get it to listen too. Like an offering of random ass songs to my dead school life, I had a phase between my late teens and my early 20’s wherein I was obsessed with making songs using just my voice and guitar. The question of direction was beyond my consideration, I just sorta let the creative juices flow back then too and promptly set pen to paper. That was my creative process cycle. It was kinda like a diary. There’s barely any proper complete songs. The reason being that I completely lacked the skill necessary to make them proper. My guitar was alright but my singing wasn’t up to par, no one ever praised my voice at all. So I resolved that I just wasn’t cut out for it and strove to be a lead guitarist. Instead of my own songs I chose to go do band stuff, thus devoted myself to guitar.   Yet still my desire to make something proper stuck with me, and so soon after that I started a band in which I did guitar and vocals. we mashed stuff together and made song proper. Alas. Between creative differences and my own lack of ability, we were barely able to make something that I was proud of. After shit happened I ended up at home immersed in making my own songs. “Surely I could put all my experiences in bands and my own growth to good use, to turn my backlog of WIPs into something proper as well?” I thought to myself, and thus was the beginning of cakebox. I think that was the first time I ever got involved in making my own music through my own power. But my way of intense creation was too innocent for listeners or something, or like I wasn’t conscious enough of my headfirst personality... So I didn’t even have the sense to match the tuning up with modernity, and ultimately my work wasn’t clicking with society’s needs. That reality was crushing me more and more with every piece I made. I didn’t have absolute confidence in myself or conviction to push through either. After 3 albums the feeling of “Why am I even doing this” grew, and I found more purpose in Hitorie instead. From then on I devoted myself to Hitorie. These past few years in Hitorie have been nothing but learning experiences for me. After years of the four of us together stressing over what makes good music, I think my own work has leveled up as well. One thing I learned that has especially stuck with me, even now, is leader’s unwavering stance on “Believing that I’m just no matter what”.   For someone with my relative dispositions it’s a nigh impossible stance, and at often times I felt it was egoistic of him but... It’s what led him to create such powerful music, and it’s something we depended on greatly. The other day I gave Unhappy Refrain a full listen for the first time in a while. It’s perfect in every way, what the hell. Vocaloid as a genre was still establishing itself back then, and without a doubt this album served as a monument for the cause. The same way ‘my bloody valentine’’s ‘loveless’ was the cherry on top for the shoegazer genre. It’s made an immovable unsurpassable mark on music history. I really was in a band with a crazy person. To think that when I was in a band with him I more saw myself as the crazy amazing one. What the fuck was up my ass. I understand why felt the need for a band after making this album - why he brought us together - even more now. The obscene amount of notes in that album with a tone reeking of rock band stuff... It’s really flooded with his innocent yearning for rock music. I think the troubles he faced following Unhappy Refrain were the repercussions of him making such a huge monumental piece. But his stout core belief in himself - that he’s just - has stood equally as tall as that monument all the way. Now, after so many twists of fate.. I never thought I’d be writing AND singing my own songs for Hitorie like this. Except, one difference between the me of now VS. the me of old is that I don’t feel even a smidgen of unconfidence. I’m not worrying that I “don’t stand out” or “don’t suit societies needs” anymore. I feel like ‘tat’ might be the best song in the album (sorry ygarshy and Yumao). To the point that when people praise it I merely agree with them, “No lies detected” I say.

It’s all thanks to my time spent with Hitorie, the musical knowledge we sharpened, and the fact that my bandmates’ amazing performances have my back. If I don’t have something as big as this supporting me then I’ll just be a fucking chicken with no confidence in my music, after all. With that said, Music made by you yourself is an irreplaceable treasure, “If you made something good, then be proud”: this lesson of mindset was taught to me by Leader. It’s a really life-changing way to be so... If I mimic Leader at least this lil’ bit no one would make a bad face at me, right? What do y’all think? With that that said, the actual most pure thing that’s naturally come out of my head in years, with my actttual emotions stuffed in, is... The actttttual best song is “Utsutsu” if you ask me so. Look forward to the next entry of this blog series, y’hear me. Shinoda

[fearsmagazine]

Adult Swim’s Two-Time Emmy® Award Winning Series Brings Home All the Antics Rick and Morty: The Complete Fifth Season

Traveling Across the Multiverse & Into Your Homes on Blu-ray™ Steelbook, Blu-ray & DVD December 7th, 2021

America’s favorite crazy scientist and his grandson return for their long-awaited and highly anticipated misadventures when the latest season of Adult Swim’s hit series Rick and Morty: The Complete Fifth Season arrives on Blu-ray Steelbook, Blu-ray and DVD on December 7, 2021. From creators Justin Roiland (“Solar Opposites”) and Dan Harmon (“Community”), get ready to binge on one of cables #1 watched comedies featuring all 10 episodes from Season 5, and outrageous bonus content including the never-before-seen featurette - "Fighting Gravity": The Making of Season 5. Exclusive to the set, follow co-creator Dan Harmon and the crew as they reflect on the challenges of completing this season in the middle of a pandemic. Additional special features include “Inside the Episode” segments for every episode, numerous featurettes, and more. Rick and Morty: The Complete Fifth Season is priced to own at $24.98 SRP for the DVD ($29.98 in Canada), $29.98 SRP for the Blu-ray ($39.99 in Canada), $39.99 SRP for the Blu-ray Steelbook ($44.98 in Canada). Rick and Morty: The Complete Fifth Season is also available to own on Digital via purchase from digital retailers.

Rick and Morty is the multi-Emmy® Award winning half-hour comedy series that airs on Adult Swim, the #1 destination for young adults for over a decade. The half-hour animated Adult Swim hit comedy series follows a sociopathic genius scientist who drags his inherently timid grandson on insanely dangerous adventures across the universe. Rick Sanchez is living with his daughter Beth's family and constantly bringing her, his son-in-law Jerry, granddaughter Summer, and grandson Morty into intergalactic escapades. Rick and Morty was the #1 comedy across all of television in 2017 and 2019 and has become a multi-platform sensation not just on television, but across digital, gaming, live streaming, retail, and fan experiences.

With Blu-ray’s unsurpassed picture and sound, Rick and Morty: The Complete Fifth Season Blu-ray release will include 1080p Full HD Video with DTS-HD Master Audio for English 5.1. Featuring all 10 episodes from the season 5 in high definition, as well as a digital code (available in the U.S. only).

DIGITAL Rick and Morty is available to own on Digital. Digital allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices. Digital is available from various retailers including iTunes, Amazon Video, Google Play, Vudu, Xbox and others. A Digital Code is also included in the U.S. with the purchase of specially marked Blu-ray discs for redemption and cloud storage.

BONUS FEATURES • "Fighting Gravity": The Making of Season 5 (Exclusive to Set): In this deep dive discussion, co-creator Dan Harmon and the crew reflect on the challenges of completing this season in the middle of a pandemic and the creative process behind the story's biggest revelations. • “Inside the Episode”: For every episode from Season 5 • B-Story Generator Vol. 1: Co-creator Dan Harmon and writer Rob Schrab reach into their box of random ideas to conjure up hilarious side stories. • B-Story Generator Vol. 2: Co-creator Dan Harmon and writer Rob Schrab return to brainstorm even more ludicrous side stories. • Backgrounds: The show's artists give us a jaw-dropping look at the amazingly detailed environments packed into every episode. • Animation and Compositing: Crafting the show's visuals is a complex process and the crew is here to show us why. • Coloring Rick and Morty: Get an in-depth look at how the crew uses vibrant color to create fantastic alien worlds. • Directing 'Mortyplicity': An inside look at the evolution of this ambitious and action-packed episode, from initial storyboards to final product. • Directing 'Rickmurai Jack': A behind the scenes look at one visualization of one of the most ambitious episodes in the series' history. • Season 5 Hype: Dan Harmon and the writers give you a taste of what's in store for Rick and Morty's wildest season yet.

10 (22 Minute) Episodes

1. Mort Dinner Rick Andre 2. Mortyplicity 3. A Rickconvenient Mort 4. Rickdependence Spray 5. Amortycan Grickfitti 6. Rick & Morty's Thanksploitation Spectacular 7. Gotron Jerrysis Rickvangelion 8. Rickternal Friendshine of the Spotless Mort 9. Forgetting Sarick Mortshall 10. Rickmurai Jack

BASICS Street Date: December 7, 2021 Order Due Date: October 26, 2021 BD and DVD Presented in 16x9 widescreen format Running Time: Feature: Approx. 220 min Enhanced Content: Approx. 44 min

DVD Price: $24.98 SRP ($29.98 in Canada) 2-Discs (2 DVD-9s) Audio – English (5.1) Dub: NONE Subtitles – ENG SDH, PFR

BLU-RAY with Digital Copy Price: $29.98 SRP ($39.99 in Canada) 1-Discs (1 BD-50s) Audio – DTS-HD Master Audio 5.1 – English Dub: GER, PFR Subtitles – ENG SDH, DUT, GER SDH, GER-F, PFR, PFR-F

STEELBOOK with Digital Copy Price: $39.99 SRP ($44.98 in Canada) 1-Discs (1 BD-50s) Audio – DTS-HD Master Audio 5.1 – English Dub: GER, PFR Subtitles – ENG SDH, DUT, GER SDH, GER-F, PFR, PFR-F

[spirit-science-blog]

Welcome to Part 4 of The Sumerian Epic! In this episode, our exploration of our history becomes even more unique and interesting, shifting from the stories of the creation of the Solar System, to the legends of the Ancient Gods as planets, to actual beings. The legends tell of beings called the Anunnaki (also called Anunna), who supposedly engaged in a number of adventures long ago, and among their many deeds, also created humanity in the process.

There are so many questions that arise when faced with claims such as this, and today we are beginning the exploration of our origin story by going over the essential concepts that have been laid out before us. These ideas have been discussed by a number of scholars over the last several decades, and as we’ve previously explored, a lot of these interpretations of the Sumerian Tablets were initially laid out by Zechariah Sitchin.

Sitchin believed that the planet Nibiru was inhabited with life, due to a strong atmosphere and a lot of internal heat from the planet's core, they were able to survive in the far reaches of space for a long period of time while their planet traveled far outside of our solar system. However, eventually their planet began having a problem, they were losing heat through a weakening of their atmosphere, and they needed a solution. Eventually, the idea was put forth to put gold particles in their atmosphere, creating a heat shield that could allow them to continue to live out in deep space.

Unfortunately, their planet didn’t actually have any gold on it, and so they looked for another solution until they found it on a planet they called Ki, the planet we know today as the Earth. The Anunnaki are believed to have come here roughly 450,000 years ago, where they began mining the Earth for its gold and shuttling it back to their planet. They mined for a very long time, but eventually, the workers grew tired of their task and rebelled against their bosses.

The outcome was a solution that would change the fate of life on Earth forever… The creation of a slave race to mine the gold for them. How will things turn out? Enjoy this brand new episode of The Sumerian Epic, and keep an eye out for part 5 in 2 weeks!

Sources:

(2:42) Sitchin, Zechariah (1976). The 12th Planet, Harpercollins

(2:49) Gaia (2017), “Ancient Civilizations S01E01”. Retrieved from https://www.gaia.com/series/ancient-civilizations?season=1

(2:55) Verderame, Lorenzo (2016), Pleiades in Ancient Mesopotamia, Journal of Mediterranean Archaeology and Archaeometry, Vol. 16, retrieved from http://maajournal.com/Issues/2016/Vol16-4/Full15.pdf

(3:23) “Enlil”, Encyclopedia Britannica. Retrieved from https://www.britannica.com/topic/Enlil

(4:25) Wikipedia, “Enki”. Retrieved from https://en.wikipedia.org/wiki/Enki

(4:37) Mark, Joshua. (2017). Ancient History Encyclopedia, “Enlil”. Retrieved from https://www.ancient.eu/sumer/

(5:49) “Nephilim”, Online Etymology Dictionary. Retrieved from https://www.etymonline.com/word/nephilim

(5:53) Wikipedia. “Nephilim”, retrieved from https://en.wikipedia.org/wiki/Nephilim

(6:05) Sitchin, Zechariah (1976). The 12th Planet, Harpercollins. Ch.5 “Nephilim, People of the Fiery Rockets”.

(6:40) Wikipedia. “Anunnaki”, retrieved from https://en.wikipedia.org/wiki/Anunnaki See also – https://www.annunaki.org/the-annunaki-in-the-bible/

(7:16) Genesis 6:4, New International Version.

(7:51) Chaffey, Tim. (2015), Creation today, “Giant Speculations: The Bible and Greek Mythology”. Retrieved from https://creationtoday.org/giant-speculations-the-bible-and-greek-mythology/

(7:56) Wikipedia, “Hercules”. Retrieved from https://en.wikipedia.org/wiki/Hercules

(8:57) Sitchin, Zechariah (1976). The 12th Planet, Bear & Company. See also: The Wars of Gods and Men (1985), Genesis Revisited (1990), Divine Encounters (1995)

(9:27) Gardner, Laurence (1999), Genesis of the Grail Kings. Bantam Press, New York Also see Halexandria, (2009), http://www.halexandria.org/dward185.htm

(9:44) Gaia (2017), “Ancient Civilizations S01E01”, citing Anton Parks sharing his discoveries and translations of the tablets. Retrieved from https://www.gaia.com/series/ancient-civilizations?season=1

(10:06) “The Sumerian Tablets”, retrieved Google Image Search, “Anunnaki Statues and Carvings”. You will find a number of ancient Sumero-Babylonian depictions of the “gods”, featuring reptile, bird, and human depictions.

(10:59) Annunaki.org, “Who are the Reptilians?”, retrieved from http://www.annunaki.org/who-are-the-reptilians/

(11:15) Johnston, Bradley. “A Categorical List of Celebrities who are Definitely Probably Lizard People”, Punkee. Retrieved from https://punkee.com.au/celebrity-reptilian-lizard-people/52752

(11:40) Mark, Joshua (2017), “Anu”, Ancient History Encyclopedia. Retrieved from https://www.ancient.eu/Anu/ See also: Annunaki.org, “Anu”, retrieved from https://www.annunaki.org/who-is-anu-an/ And “Enki & Enlil”, retrieved from https://www.annunaki.org/enki-enlil/

(12:36) Sitchin, Zechariah (1976). The 12th Planet, Harpercollins. Ch.8, p.250

(12:59) “ANUNNAKI – Mensageiros do Vento (Messengers of the Wind). Retrieved from https://www.youtube.com/watch?v=bBkdLzya3B4 (subtitles in multiple languages available through YouTube’s closed captioning service)

(14:26) King, Anthony (2016), Chemistryworld, “Atmospheric limestone dust injection could halt global warming”. Retrieved from https://www.chemistryworld.com/news/atmospheric-limestone-dust-injection-could-halt-global-warming/2500141.article

(15:26) Sitchin, Zechariah (2002). The Lost Book of Enki, Bear & Company. (End of “The Fourth Tablet”)

(15:46) NASA, “Unmasking the Face on Mars”. Retrieved from https://science.nasa.gov/science-news/science-at-nasa/2001/ast24may_1

(16:42) Dean, Robert (2009), Exopolitics Summit Presentation, presented by Project Camelot. Retrieved from https://www.youtube.com/watch?v=_ngvIP0Za9M

(18:04) O’Leary, Brian (2009), Interview with Project Camelot. Retrieved from: http://projectcamelot.org/brian_o_leary.html

(19:36) (The Following 3 Links) Walia, Arjun (2017), “EX-Nasa Scientists Share Concealed Information About The Face & Pyramid Found On Mars.” Collective Evolution. Retrieved from https://www.collective-evolution.com/2017/07/26/ex-nasa-scientists-share-concealed-information-about-the-face-pyramid-found-on-mars/ Walia, Arjun (2016), “NASA Scientist Finds Strong Evidence for an ET Race Existing on Mars Half A Billion Years Ago.” Collective Evolution. Retrieved from https://www.collective-evolution.com/2016/12/17/nasa-scientist-finds-strong-evidence-for-an-et-race-existing-on-mars-225-billion-years-ago/ Walia, Arjun (2018), “Researchers Discover An Eyeball & Teeth Inside The Face on Mars.” Collective Evolution. Retrieved from https://www.collective-evolution.com/2018/12/19/researchers-discover-an-eyeball-teeth-inside-the-face-on-mars/

(20:30) Mark, Joshua. (2018). Ancient History Encyclopedia, “Enuma Elish – The Babylonian Epic of Creation – Full Text”, retrieved from https://www.ancient.eu/article/225/enuma-elish—the-babylonian-epic-of-creation—fu/

(20:42) Sitchin, Zechariah (1976). The 12th Planet, Harpercollins. Ch.9 “Landing on Planet Earth”. See also: Black, John (2019) “The origins of human beings according to ancient Sumerian texts”. Ancient Origins, retrieved from https://www.ancient-origins.net/news-human-origins-folklore/origins-human-beings-according-ancient-sumerian-texts-0065

(24:38) The Conversation (2018), ”Rethinking Homo sapiens? The story of our origins gets dizzyingly complicated”. Retrieved from https://theconversation.com/rethinking-homo-sapiens-the-story-of-our-origins-gets-dizzyingly-complicated-99760

(24:53) Melchizidek, Drunvalo (1998), The Ancient Secret of the Flower of Life, Volume 1. Light Technology Publications, 119.

[kx-xty]

GAMING STREAM

Gaming livestreams have brought forth a new era of interactive entertainment, reshaping the way people engage with video games. This phenomenon involves real-time broadcasting of gameplay footage, allowing viewers to watch and interact with the streamer. Gaming livestreams have become immensely popular, creating a dynamic and interactive gaming culture.

One of the most significant impacts of gaming livestreams is the democratization of gaming content creation. In the past, becoming a gaming content creator required expensive equipment and technical expertise. However, platforms like Twitch, YouTube Gaming, and Facebook Gaming have democratized the process, enabling aspiring gamers to share their gaming experiences with the world. Now, anyone with a computer or console and an internet connection can become a streamer, bringing diverse voices and perspectives to the gaming community. This has fostered inclusivity and allowed individuals from various backgrounds to showcase their skills and creativity.

Furthermore, gaming livestreams have transformed gaming from a solitary experience to a social one. Viewers can watch their favorite streamers play games, engage in real-time chat conversations, and even participate in multiplayer games alongside the streamer. This interactive element has forged a sense of camaraderie among viewers, building a strong community around shared gaming interests. Viewers can form connections with streamers and other viewers, engaging in discussions, sharing tips and strategies, and even participating in charitable events organized by streamers.

Additionally, gaming livestreams have become a powerful platform for promoting and showcasing new games. Game developers and publishers now recognize the value of livestreaming in reaching a vast audience and generating excitement for their games. Many companies sponsor streamers or organize livestream events to demonstrate gameplay, provide behind-the-scenes insights, and engage with the gaming community. This direct interaction between developers, streamers, and viewers has revolutionized the marketing strategies of the gaming industry.

However, gaming livestreams also present challenges for streamers. They face the pressure to constantly entertain and maintain high viewer engagement, which can lead to burnout and mental health issues. Additionally, the monetization of livestreams through donations, subscriptions, and sponsorships has introduced financial pressures and blurred the line between genuine content and commercial interests.

In conclusion, gaming livestreams have ushered in a new era of interactive entertainment, transforming the gaming landscape. They have democratized content creation, fostering inclusivity and diverse representation within the gaming community. Livestreams have turned gaming into a social experience, connecting viewers and streamers in a shared passion for gaming. Furthermore, they have revolutionized the marketing strategies of game developers, providing a direct and engaging platform to showcase their products. While challenges exist, gaming livestreams have undeniably reshaped the gaming industry, creating an exciting and interactive space for gamers worldwide.

Edge, N 2013, ‘Evolution of the Gaming Experience: Live Video Streaming and the Emergence of a New Web Community’, Elon Journal of Undergraduate Research in Communications, vol. 4, Elon Journal of Undergraduate Research in Communications, no. 2. ‌

Ruiz, K. (2020). How Live Streaming and Twitch Have Changed the Gaming How Live Streaming and Twitch Have Changed the Gaming Industry Industry. [online] Available at: https://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1022&context=art108. ‌

[taylorafergus]

Social Media and Politics and Slacktivism, Oh My! - Week 6

Social media licences everyday people with the ability to disseminate an abundance of information, experiences, beliefs, and concepts with each other. With regard to the political sphere, social media platforms and social networking sites can act as an enabler for political participation and democracy amongst its citizens (Stieglitz et al. 2012, pg. 1). Whilst social media’s role continues to mature within this political realm, "there are definitive relationships to be explored between a politician’s use of these sites and the public’s opinion" (Hellweg 2011, pg. 31). Social media thus plays a pivotal role for both the candidate and his or her constituents during the electoral and political process.

Figure 1. Dwight Shrute Politics GIF. Source; Giphy c. 2020.

Political campaigns are meticulously crafted for each candidate. These campaigns aim to declare a candidate's political constituency in a way that projects them favourably to the public (Vonderschmitt 2012, pg. ii). The integration of social media into this political process has brought forth a "new means of constructing and negotiating a candidate’s image" (Enli 2017, pg. 59). Campaigns can tailor these messages to particular demographics in using social media analytics, and as such, there is a proliferating need to "continuously collect, monitor, analyze, summarize, and visualize politically relevant information from social media" (Stieglitz and Dang-Xuan 2013, pg. 1277). Political campaigns can no longer rely on traditional media as the only medium to reach their constituents. In ignoring the virtual sphere they run the risk of "overlooking a new population of voters who use social media as integral parts of their decision-making process" (Hellweg 2011, pg. 31). So, with the integration of social media into this process, comes additional responsibilities on the part of candidates.

However, the efforts of some politicians online can be seen as amateurish and de-professionalised. Oddly enough, this approach deems some credit in the instance that it can generate feelings of authenticity and trustworthiness amongst viewers. An example of this tactic was illustrated in the 2016 Trump campaign (Enli 2017, pg. 55).

Social media has afforded its users with the capacity to access public figures at a previously unprecedented rate - "this allows supporters to feel a connection to the campaign and understand how the candidate will work to help him or her" (Vonderschmitt 2012, pg. 12). Now, more than ever, voters look to social media and social media-enabled campaigns as "important sources of information and perspective on a given year’s election" (Enli 2017, pg. 59). 

Social media arguably affords its users with Habermas' public sphere within which users can debate upon such politics. Habermas delineates this 'public sphere' as a space where “private people come together as a public” for the purpose of using reason to further one's critical knowledge (Kruse et al. 2018, pg. 62/63). The individuals often involved in these processes are increasingly being denoted as ‘digital citizens’. Additionally, the term ‘digital citizenship’ refers to the ability of individuals to participate in society in an online and virtual space convening over topics such as society, politics, and government. (Mossberger et al. 2007, pg. 1).

However, the use of social media platforms as a discussion space for politics is often criticised as political slacktivism. The term ‘slacktivism’ conjunctures together the terms 'slacker' and 'activism' to describe the 'feel-good' measures taken by online users to illustrate their "token support for social or political causes through online means" (Chandler and Munday 201). Nevertheless, this is a gross simplification and criminalisation of the term and is significantly neglectful in failing to identify that "online engagement is key to turning a protest into a... movement and in prolonging its lifespan" (Groetzinger 2015).

Figure 2. Willy Wonka Slacktivism Meme. Source; Viral Politics c. 2020.

Digital citizens have long utilised means of shared communication, social media and social networking as political tools and orchestrators of digital citizenship. On the 17th of January 2001, during the impeachment trial of Philippine President Joseph Estrada, devout loyalists within Congress voted to push aside damning evidence that would have led to his removal from office. Just hours after the announcement, thousands of Filipinos, furious that their corrupt president may remain in office, gathered on Epifanio de Los Santos Avenue - a central crossroads in Manila. The last-minute protest was partly organised by a forwarded message reading "Go 2 EDSA. Wear blk". The demonstration quickly garnered millions of attendees over the next few days with over seven million text messages forwarded. The publics ability to facilitate such a substantial and timely response concerned the country's legislators to the extent that the previous ruling was reversed, thus allowing the evidence to be presented in the trial. By January 20th, Estrada was removed from office (Shirky 2011, pg. 1).

Figure 3. Power to the People GIF. Source; Tumblr: iamjasee 2016.

The evolution of social media as an integral component of the political process is far from over. They will continue to integrate themselves into every avenue of our social and political life and demand that the relationship between a politician’s use of social media and the public’s opinion continues to be redefined.

References:

Chandler, D, Munday, R 2016, A dictionary of social media, Oxford: Oxford University Press (Oxford Reference Premium Collection)

‘Dwight Shrute Politics GIF’ [GIF], in Giphy c. 2020, politics, Giphy, viewed the 28th of April 2020, <https://giphy.com/gifs/politics-d3DiXTPbqh83K>

Enli, G 2017, 'Twitter as an arena for the authentic outsider: exploring the social media campaigns of Trump and Clinton in the 2016 US presidential election', European Journal of Communication, February 2017, vol. 32. no. 1, pp. 50-61

Groetzinger, K 2015, 'Slacktivism is having a powerful real-world impact, new research shows', Quartz, the 11th of December, viewed the 28th of April 2020, <https://qz.com/570009/slacktivism-is-having-a-powerful-real-world-impact-new-research-shows/>

Hellweg, A 2011, 'Social Media Sites of Politicians Influence Their Perception by Constituents', The Elon Journal of Undergraduate Research in Communications, vol. 2, no. 1, Spring 2011, pp. 22-36

Kruse, L, Norris, D, Flinchum, J 2018, 'Social Media as a Public Sphere? Politics on Social Media', The Sociological Quarterly, 02 January 2018, vol. 59, no. 1, pp. 62-84

Mossberger, K, McNeal, RS, Tolbert, CJ 2007, Digital Citizenship: The Internet, Society, and Participation, Cambridge: MIT Press, Ebook Central (ProQuest)

‘Power to the People GIF’ [GIF], in Tumblr: iamjasee 2016, power to the people, Tumblr, viewed the 28th of April 2020, <https://iamjasee.tumblr.com/post/144628984098/we-rise-and-we-thrive>

Shirky, C 2011, 'The Political Power of Social Media: Technology, the Public Sphere, and Political Change', Foreign Affairs, Jan/Feb 2011, vol. 90, no. 1, pp. 1-9

Stieglitz, S, Brockmann, T, Xuan, LD 2012, 'Usage Of Social Media For Political Communication’, Pacific Asia Conference on Information Systems (PACIS)  2012 Proceedings,  Paper 22, viewed the 27th of April 2020, <https://www.researchgate.net/profile/Stefan_Stieglitz/publication/259703948_Usage_of_Social_Media_for_Political_Communication/links/54d5e1e60cf2464758086d36/Usage-of-Social-Media-for-Political-Communication.pdf>

Stieglitz, S, Dang-Xuan, L 2013, 'Social media and political communication: a social media analytics framework', Social Network Analysis and Mining, 1 January 2013, vol. 3, no. 4, pp. 1277-1291

Vonderschmitt, K 2012, 'The Growing Use of Social Media in Political Campaigns: How to use Facebook, Twitter and YouTube to Create an Effective Social Media Campaign', Honors College Capstone Experience/Thesis Projects, no. 360, pp. i-58, <http://digitalcommons.wku.edu/stu_hon_theses/360>

'Willy Wonka Slacktivism Meme' [image], in Viral Politics c. 2020, How Memes Create Social and Political Change: The Guardian Tech Podcast, Viral Politics, viewed the 28th of April 2020, <https://viralpoliticsblog.wordpress.com/2016/07/27/how-memes-create-social-and-political-change-the-guardian-tech-podcast/>

[sartorialadventure]

"At the core of it, we wanted the film to be a celebration of Arabic culture," says Michael Wilkinson, who's designed costumes for an expansive range of films, from two decades of suburban chic in Jennifer Lawrence's "Joy" to iconic superheroes in "Justice League" and "Batman v. Superman: Dawn of Justice."

For authenticity, the Oscar-nominee heavily researched clothing, art and sculpture of the Middle East region and imagery throughout the centuries from The Book of One Thousand and One Nights (The Arabian Nights), which includes the original printed tale of the titular character. Since — quick Disney geography lesson — the fictional port city of Agrabah is located on the Silk Road, where the East and West meet to trade, the costume designer also studied references from Africa, Turkey and Pakistan.

Of course, Wilkinson, who worked closely with production designer (and "Game of Thrones" vet) Gemma Jackson, also wanted to honor the fantasy and magic of the beloved cartoon, too. Luckily, the goal allowed for even more creative license. "When you take animation into live action, you can really add so much more detail," he explains. "It's a chance to literally give them more depth, so you can use the costumes to really tell the audience more about the characters and their backgrounds, backstory and inner world."

So, the empowered, but sheltered Princess Jasmine enjoys the privilege of over 10 outfit changes this time around. Slightly different from the more Arabesque-influenced women in court (and town), her silks, silhouettes, paisley prints and ornate gold beading and embroidery are inspired by South Asia to honor her mother's heritage from the also-fictional kingdom of Shehrabad (and speak to Scott, herself, who's of Indian descent).

"We wanted to express this real sense of strength and intelligence and self-determination," explains Wilkinson. "We gave her very strong colors and a bold personal style to reflect her confidence and her forthright nature." After all, Jasmine is more than capable and qualified to run Agrabah, but is held back by the men in power: her overprotective Sultan dad (Navid Negahban) and his top adviser "Hot Jafar" (Marwan Kenzari).

"Her character is trapped and she wants to break free," he continues. "We wanted to get this sense of formality and traditional world that she's fighting against, so she has her own little quirks." Wilkinson points to the iconic blue silk trousers, which peek out from her long formal gowns and allow her to physically demonstrate her determination when she walks. "She wants to move through the world and be more effective than just a royal ornament of the court," Wilkinson says.

A consistent "peacock motif" is seen throughout her jewelry and clothing, notably, elaborate beadwork on her veil accenting the update of her blue (and more modest) top and trousers. "A good metaphor [for Jasmine] is a peacock [trapped] in a royal garden — a beautiful rarefied world — that wants to be a free spirit," Wilkinson explains. The majestic bird is also symbolic in the Middle East and South Asia, plus the color palette coincidentally match Jasmine's signature hues.

Aladdin, however, mainly wears just two outfits, similar to the animated version. But Wilkinson infused his initial "street rat" look with some street style "swagger" to subconsciously resonate with today's audiences. (Unlike his cartoon counterpart, this Aladdin does wear a shirt: an embroidered and Arabesque band-collared linen design, with linear prints inspired by a contemporary pinstripe fabric that caught Wilkinson's eye.)

Director Guy Ritchie wanted a "modern" take on Aladdin's sirwal pants, so Wilkinson looked to current menswear trends to design the drop-crotch linen trousers with a slimmer cut in the lower leg and oversize double-pleats (which actually look similar to ones just debuted by Rihanna's debut Fenty collection. Nice.). He also added a hood to Aladdin's now-red vest, garnished with Moroccan-style embroidery, for a slight streetwear vibe. To accommodate Aladdin's parkour-ing around the bazaar and running along rooftops, the designer turned traditional upturned and pointy toe slippers into sturdier custom-designed ankle boots with wrap-around laces.

"It's a mashup of the two worlds," says Wilkinson.

Of course, Aladdin eventually has his Prince Ali makeover, thanks to the Genie. He enters the gates of Agrabah wearing copious layers of ivory and gold, including a magnificent long cape with screen-printed and embroidered ornamentation and an almost oversized turban complete with a massive brooch of fluttering ostrich feathers — all which feel a bit extra for a reason.

"There was the moment of Aladdin looking very over the top and uncomfortable in his new finery," says Wilkinson. As he connects with Jasmine, he loses the awkward layers and pares down to a streamlined silk shirt and longline vest intricately detailed with "beautiful metal hardware" and gilded embroidery.

"He ends up looking very dashing by the time he's on the magic carpet," adds Wilkinson.

As for the Genie, he actually spends a chunk of the movie in human form and enjoys experimenting with his lewks, as humans are wont to do. "He's such a mercurial and whimsical character," explains Wilkinson, who sourced fabrics from India, the Middle East, Turkey and Morocco for the character's "magical" wardrobe evolution. "Each time we see him, he's worked on his look and adjusted it a little bit and made it more over the top." Hence, different turbans, new shirts, an extra vest with various levels of bedazzling or more voluminous genie pants that are "outlandish than the last."

Scheming, power hungry Jafar's silhouettes and "sumptuous" red, black and gold palette come straight from the animated movie. But the armor-like plates and chainmail detail in his imposing robes speak to his nefarious ambitions for Agrabah. "What we wanted to do with him is hint at a military background," explains Wilkinson, about the hardware. "He has military ambitions and wants to turn Agrabah into a military state."

Unsurprisingly, designing the plethora of costumes for the spectacular "Prince Ali" musical sequence, which includes 250 dancers and 200 extras, was more than an endeavor — especially since the director's notes left, erm, a bit to interpretation. "In the script, it just says one line: 'Prince Ali's procession enters the town,'" laughs Wilkinson. "So that's what we were given as our starting point."

The designer and his team custom designed over 200 original costumes for the extras alone. "It was like designing Carnival in Rio de Janeiro or the Notting Hill Festival here in London," he says. "We sourced fabric from all over the world, we created fabrics, we had a huge team of costumers to make the costumes, make the headwear, make the jewelry, make the shoes. It was really a mammoth effort."

But, completing that feat wasn't Wilkinson's favorite part of the job. "I have to say, a career highlight was designing and making a monkey costume," he laughs, about dressing Aladdin's trusty (but very kleptomaniac) sidekick Abu (above), who's actually all CGI. Like Judianna Makovsky did for Baby Groot in "Guardians of the Galaxy: Vol. 2," Wilkinson and his team worked off a maquette, with the same dimensions of the diminutive Capuchin monkey, to later be inserted by special effects into the film.

"We created a tiny little fez and tiny little waistcoat and that we put all sorts of braids, sequins and hand-embroideries onto," Wilkinson continues. "It's actually one of my favorite pieces we created for the film."

[academicatheism]

Christianity: A Psychoanalysis

Whenever philosophers speak of the human condition, of either a specific group or in general, their treatment can be seen as proto-psychological. Consider, for instance, Nietzsche’s influence on Freud.1 While I do not think Christianity is true, I am now considering whether, from the perspective of a given individual, it is necessary. I do not mean to invoke philosophical necessity, but rather a necessity akin to inevitability. When considering Korsgaard’s proto-psychological prognosis on morality, namely the internalization of man, there is the idea of instincts that discharge themselves outwardly, and one such instinct is forgiveness.2

Since self-forgiveness is difficult to come by, especially when given that a greater degree of guilt or shame sometimes corresponds to a greater offense, some may feel that forgiveness has to be discharged outwardly. It would appear that most Christians don’t feel guilt for the “sins” they commit, but rather shame. The distinction, although subtle, is important and crucial to understanding why the externalization of forgiveness is an unhealthy coping mechanism. Tangney explains:

“When people feel guilt about a specific behavior, they experience tension, remorse, and regret,” the researchers write. “Research has shown that this sense of tension and regret typically motivates reparative action — confessing, apologizing, or somehow repairing the damage done.”

Feelings of shame, on the other hand, involve a painful feeling directed toward the self. For some people, feelings of shame lead to a defensive response, a denial of responsibility, and a need to blame others — a process that can lead to aggression.3

From a Christian perspective, feelings of guilt would result in repentance. He has fornicated with his girlfriend. He then thinks that if he can get himself to feel that Jesus has forgiven his sin it is tantamount to forgiving himself. As most Christians can begrudgingly attest, this is not what happens. Most Christians go on to “live in sin,” which is to say that they persist in an “ungodly” lifestyle. They go on to reoffend because they enjoy “sin.” Therein lies what makes Christianity inevitable: the subservient are a shameful rather than guilty lot. Their propensity for shame only continues the cycle because in Christ they find the ultimate scapegoat who grants them unconditional, boundless forgiveness. There’s no personal responsibility to be had.

Guilt is the positive correlate to shame because guilt is reformative. Guilt is the precursor to changed behavior. A guilty person doesn’t blame their “accomplice,” namely the girlfriend he’s sleeping with outside of marriage. A guilty person is also actualized in that they realize their contribution to the “sin.” The need for Christ to forgive an offense is the mark of immaturity and even puerility. Forgiveness should not be discharged outwardly, externalized; it should instead and always be internalized, for when it is externalized, it is shame serving as motivation rather than guilt, and as such, one can readily predict that repentant behavior will not follow.

Perhaps this is why Christians, especially in the United States, tend to be vile individuals who curse at, threaten, and dehumanize non-Christians, especially atheists. This may explain their penchant for censorship and execution throughout the centuries as well because most of them are incapable of feeling guilt and therefore, reforming unacceptable, even unlawful, behavior. What they feel is shame and the externalization of forgiveness is more than enough for them to feel better about themselves. While self-forgiveness is difficult to come by, it is imperative that you learn how to do so because when you place the responsibility on someone else’s shoulders, it is likely that you don’t feel guilt over what you’ve done; what you feel is shame.

In doing away with the onus to hold oneself responsible, one then rationalizes one’s behavior. It’s the old “she made me do it” an abusive partner defers to after hitting his significant other. In Christian circles, it can take a more base, preordained turn: “God already knew how you would sin, when, and how often, so you just have to realize that you’ve already been forgiven!” This is how I’ve heard young people justify fornication. This is how I’ve heard cheating spouses justify adultery. This is how I’ve heard Christians justify losing their temper. While such a Calvinistic idea isn’t the norm in all Christian circles, it is a popular idea among American Christians. 

On atheism, Christ’s sacrifice is meaningless because atheists reject the concept of sin. We reject the notion that Christ died for offenses we did not commit. Actualized atheism will lead an atheist to truly divorce himself from the religion he once subscribed to. For atheists in the United States, Christianity is that religion. Even in known atheist circles, guilt hasn’t replaced shame and that’s why some atheists are no more morally admirable than Christians. They have not internalized forgiveness. 

The most damning and refutable idea that Christians hold is that someone else is ultimately responsible for forgiving you. While it is true that the person you’ve hurt has to forgive you, it is still left to you to figure out a way to forgive yourself for hurting that person. There is no Christ, no priest, no brethren that can do that deed for you! Forgiveness is resolutely characterized by self-forgiveness; forgiving oneself is primary, indeed the true end of moving on from something you’ve done wrong. 

So long as forgiveness is externalized, in that the responsibility is rested on the shoulders of someone else whether ideal or actual, you will remain a subservient, shameful person prone to reoffending. The Christian psyche is prone to such shame and given the widespread influence of Christianity, an influence that extends into Islam, more than half the world’s population is wallowing in shame. Collectively, we must unlearn the feeling of shame and its ensuing, destructive proclivities. Anyone who has rejected Christianity has this responsibility, first and foremost.

Works Cited

1 Chapman, A. H., and Mirian Chapman-Santana. “The Influence of Nietzsche on Freud's Ideas.” British Journal of Psychiatry, vol. 166, no. 2, 1995, pp. 251–253., doi:10.1192/bjp.166.2.251.

2 Korsgaard, Christine M. 2010. Reflections on the evolution of morality. Amherst Lecture in Philosophy. The Department of Philosophy at Amherst College. http://www.amherstlecture.org/korsgaard2010

3 Tangney June. “After Committing a Crime, Guilt and Shame Predict Re-Offense”. Association for Psychological Science. 11 Feb 2014. Web.