Hm, I Was Pondering About The Recent-ish Trope Of Adventuring Guilds (effectively Trade Unions For Protagonists

Never not thinking about this old vine

Not that anybody asked, but I think it's important to understand how shame and guilt actually work before you try to use it for good.

It's a necessary emotion. There are reasons we have it. It makes everything so. much. worse. when you use it wrong.

Shame and guilt are DE-motivators. They are meant to stop behavior, not promote it. You cannot, ever, in any meaningful way, guilt someone into doing good. You can only shame them into not doing bad.

Let's say you're a parent and your kid is having issues.

Swearing in class? Shame could work. You want them to stop it. Keep it in proportion*, and it might help. *(KEEP IT IN PROPORTION!!!)

Not doing their homework? NO! STOP! NO NOT DO THAT! EVER! EVER! EVER! You want them to start to do their homework. Shaming them will have to opposite effect! You have demotivated them! They will double down on NOT doing it. Not because they are being oppositional, but because that's what shame does!

You can't guilt people into building better habits, being more successful, or getting more involved. That requires encouragement. You need to motivate for that stuff!

If you want it in a simple phrase:

You can shame someone out of being a bad person, but you can't shame them into being a good person.

Pillow

.... fuck

There’ve been a few responses to/reblogs with tags on my post about DIY clothing embellishments that basically boil down to ‘I’d love to do this but I’m scared it’ll turn out bad/I’m not a good enough artist’. And I get it, I really do! I also want my art things to turn out nicely. But also…making it badly is sort of the point of punk DIY. 

Listen. We live in a world that would dearly love to charge you a subscription fee for breathing. The bastards are doing everything they possibly can to figure out how to turn art - stories, visual art, music, textile/fibre art, sculpture, crafts and creations of every kind - into a neat, discrete, packageable commodity, a product they can chop up into little pieces and stick behind a paywall so they can charge you for every drop of it you want to have in your life. 

The whole sneering idea that ‘everybody wants to be some kind of creator now’ and anything less than absolute mastery right out the gate is somehow shameful and embarrassing is a tool those bastards are using. It’s a way to reinforce the idea that only a set group of people can create and control art, and everybody else has to buy it. 

But art isn’t a product. Art is a fundamental human impulse. Nobody is entitled to a specific piece of art (which is where this message gets skewed into pitting people who love art against the artists who make it, while the bastards screw us all and run away with the money). But making art belongs to everybody. We make up songs and dances and stories, and paint things, and make clothes, and embellish them, and carve flowers into our furniture and our lintels and our doorframes, and make windows out of tiny pieces of coloured glass, and decorate our homes and our bodies and our lives with things we make and make up, simply for the love of beauty and of the act of creation. Grave goods from tens of thousands of years ago show that ancient hominids gave their dead wreaths of ceramic flowers, tattooed their bodies, beaded their shoes. Making things for the sake of beauty and enjoyment is one of the most ancient and human things we can do. 

The idea that we can’t, that we have to buy shit instead, because art is a product and you have to have the bestest prettiest most perfect product, is the enemy of joy. It’s the death of culture. And it means that, instead of whatever it is that you cherish and enjoy and value, you get whatever inoffensive (and to whom is it inoffensive?) bland meaningless samey-samey crap that the bastards want you to be allowed to have. What are you missing and what are you missing out on, if you don’t make or modify or decorate anything for yourself, if you don’t think you can because the product at the end won’t be polished or perfect or marketable enough? What do you lose? What do we lose? 

It is a desperately vital and necessary thing for you to make shit. For you to know that you can make shit, that you don’t have to just lie back and take whatever pablum the bastards want to force-feed you (and charge you through the nose for). That the bastards need you more than you need them. 

Become ungovernable. Be your own weirdly-endearing punk little freak. Paint on a t-shirt. Sing off-key in the shower or at karaoke night or at open mic night. Make up a story where you get to meet your favourite fictional character and you guys hug or fuck or punch each other in the face. Make art. Do it badly. Do it frequently. Do it enthusiastically. Do it for love and joy and creativity and fun and the spiteful joy of thumbing your nose at some smug motherfucker with a Swiss bank account who wants to track your heartbeat and location for the rest of your life in order to automatically pump AI-generated beats matched to your mood into your earbuds for a small monthly subscription fee of $24.99/month. It is literally the only way we are ever going to have even a chance to save art and our own lives from the bastards. 

So. Paint that t-shirt. 

(Also support artists where you can, and buy your music from Bandcamp.)

making a scene

Sidecar

Ilan Pappé, The Collapse of Zionism — Sidecar

Six signs of breakdown.

Hamas’s assault of October 7 can be likened to an earthquake that strikes an old building. The cracks were already beginning to show, but they are now visible in its very foundations. More than 120 years since its inception, could the Zionist project in Palestine – the idea of imposing a Jewish state on an Arab, Muslim and Middle Eastern country – be facing the prospect of collapse? Historically, a plethora of factors can cause a state to capsize. It can result from constant attacks by neighbouring countries or from chronic civil war. It can follow the breakdown of public institutions, which become incapable of providing services to citizens. Often it begins as a slow process of disintegration that gathers momentum and then, in a short period of time, brings down structures that once appeared solid and steadfast. The difficulty lies in spotting the early indicators. Here, I will argue that these are clearer than ever in the case of Israel. We are witnessing a historical process – or, more accurately, the beginnings of one – that is likely to culminate in the downfall of Zionism. And, if my diagnosis is correct, then we are also entering a particularly dangerous conjuncture. For once Israel realizes the magnitude of the crisis, it will unleash ferocious and uninhibited force to try to contain it, as did the South African apartheid regime during its final days.

This is an incredible article by Israeli historian Ilan Pappé that argues successfully that Israel is facing a collapse that will come soon than expected

I will reblog, although i will not write before the weekend; i have exams this week

Reblog the writers’ fortune cookie for luck!

a few more great films that are free on the internet archive

in decent quality too!

first list, second list

aggregate letterboxd list, archive list of all the films

perfect blue (1997) dir. satoshi kon

carol (2015) dir. todd haynes

the elephant man (1980) dir. david lynch

a girl walks home alone at night (2014) dir. ana lily amirpour

d.e.b.s. (2004) dir. angela robinson

nausicaa of the valley of the wind (1984) dir. hayao miyazaki

killer klowns from outer space (1988) dir. stephen chiodo

mommy (2014) dir. xavier dolan

jennifer's body (2009) dir. karyn kusama

suspiria (1977) dir. dario argento

battleship potemkin (1925) dir. sergei eisenstein

his girl friday (1940) dir. howard hawks

cube (1997) dir. vincenzo natali

nightcrawler (2014) dir. dan gilroy

black orpheus (1959) dir. marcel camus

chunking express (1994) dir. wong kar wai

meeting people is easy: a film about radiohead (2001) dir. grant gee

the grapes of wrath (1940) dir. john ford

the black cat (1941) dir. albert s rogell

the tin star (1957) dir. anthony mann