swiftessay
I used the API to overwrite and delete all my messages and deleted my account today.
I’m slowly deleting all my social media accounts and stay only on fediverse stuff. I think the slower, less FOMO driven nature of Lemmy will make it a more healthy to find people to talk with.
It’s nice that neoclassical economics is now verifying with their methods what we know since… the 1830s maybe?
I took a look at the article and the authors. The senior author is a computer science guy focused on researching online harmful behavior.
It’s quite telling that he has no humanities training whatsoever in his academic background. A CS guy doing humanities research without any training in humanities.
I myself fit the description of guy from a hard quantitative science background who delved into humanities and social sciences research. I’ll honestly say to you: the only thing worse than a humanities researcher who eschew any type of quantitative research as “positivist reductionism” is a “hard science guy” who thinks he[1] doesn’t have to give a shit to the work that was done by humanities researchers because “numbers will tell me everything I need to know”.
[1] Masculine referents 100% intended because it’s usually a guy.
I’m a relatively old (let’s say more than 40, less than 55) guy living in a dependent country in the periphery capitalism (Brazil). It always felt to me that building strong socialist movement in core capitalist places like the US or in Western Europe would be damn near impossible.
Back 20 years ago it felt like those countries had a very solid way of providing life’s necessities and a more or less comfortable existence for a fraction big and politically strong enough of their populations that it would be really hard for organic movements to raise and make people see the exploitation. Hell, it’s hard to talk about radical politics with workers here, who see the exploitation first hand and are mostly aware that the game is rigged against them. I imagine how hard it would be in a place where everyone you know have a car, a house and so on.
Of course that was built on the backs of the Global South. But it felt like exploitation had been exported to places where it was invisible and wouldn’t make any waves back in the places to which this wealth was flowing.
I’m not a well versed in marxist theory to be honest. Just enough to understand we’re all being fucked and need to take over. But I always thought that any next big revolutionary movement with international impact would start in super-exploited places like Latin America, South East Asia, Africa, … I made an analogy with the Russian Revolution. The first revolution happening in a rich but relatively relatively peripheral country. It was Russia, not Germany or France. It wasn’t the most advanced capitalist country. It was a place where there was enough capitalist development for a proletariat to emerge and material conditions that made proletarians more readily radicalizable for whatever reasons.
So, I thought, maybe it will be India or the Philippines, places that already have active revolutions going on. Maybe it will be Brazil, Malaysia, etc…
But this right-wing turn in politics in the last 10 years, the successive crisis and the need for more and more exploitation to keep ever increasing accumulation seems to be bringing over-exploitation right to the core of the system. More and more the working classes of Europe and the USA are being impoverished and denied what used to be available to them.
I wonder if that doesn’t make those places a lot more prone to political radicalization than they were 20 or 30 years ago.
I’m not even going to comment on the EU being « authoritarian ».
As one small and simple example, ask the people in Niger if it doesn’t feel authoritarian that they can’t enjoy the material wealth of their country because France steals 80% of their Uranium, paying peanuts for it. Go ask France’s former colonies how democratic it is for a foreign central bank to control their currency, artificially keeping it favorable for France to steal Uranium for peanuts. How nice it is for them that the material wealth that should be making their country rich, is going to subsidize the electrical bill of someone’s fancy apartment in Paris.
Go ask people who live near mines owned by Swedish mining companies how much those companies bribed the local governments to allow them to pollute the fuck out of their countries, deregulate the fuck out of their labor laws, etc. See if they consider this democracy.
Go ask someone in Libya how democratic it was when a government that provided them with the best standards of living in the whole continent was bombed and removed from power because some French and American folks decided that it was time for his counter-hegemonic ass to go. And left a fucking mess of warlords and civil war in his place. Super democratic I guess. Not authoritarian at all.
The EU can only maintain itself relatively open and prosperous by fucking over their former colonies in ways their population mostly ignore. If your democracy at home depends on autocracy and destruction elsewhere to be maintained, how is it real democracy?
There are two areas that make me very angry in this debate: music and African art.
In music there’s this completely ridiculous myth that popular music is based and influenced primarily by the harmonic and melodic language of Western Classical music(*). That it is somehow a popularization and bastardization of this “highest peak” of achievement of that extended Europe.
This is completely absurd!!!
First of all, even if you consider only the music traditionally produced in Western Europe and its area of cultural hegemony, what we call Western Classical music is a ridiculously thin and restricted strip even of this whole.
Western Classical Music is a tradition that encompass the techniques, conceptualizations, rules, styles, etc, etc, that governed how musicians produced the music for the use of the European elites at first and then the elites of the areas were European culture was transplanted to through colonialism. It started as the music for the Church and Nobility, that tradition was adopted for the music of the Bourgeoisie and later was adopted for the music of the bourgeois intellectual and cultural elites.
This elitist tradition is not representative AT ALL of the whole of the music produced even within Europe!!! Popular and folk music within Europe have their own traditions that are independent of and conversant with the music of the elites. There is a dialogue between the two, but they are not confused traditions. There are things that are valid, good and acceptable for one that is out of character and dislocated in the other in both directions.
To give a single example, Common Practice music (the Tonal period, lets say, from Monteverdi to Tchaikovsky), counter-melodies moving in parallel intervals, specially in fifths, were considered very bad practice (**). For the specific style of counterpoint they wanted to make it causes lines to blend too much instead of creating the effect of polyphony, of simultaneous and independent voices. But it was tremendously common in European folk music where that specific thing about counterpoint wasn’t a concern!!! See? A cardinal, very important rule in one tradition was regularly broken in a concurrent tradition that was used by other people in the same place!
Second of all our current contemporary popular music has an overwhelmingly bigger influence from sources that are not European and sources that are not the music of the European elite. Most music that is listened by young people in the USA/Europe/so-called Western sphere of cultural influence has three sources:
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The harmony and melody of European popular music. Yes, this have interplayed and dialogued with the so-called classical musical, but it’s not identical with it. And it have, beyond it’s own particular traditions, the influence of surrounding areas, since popular music tend to be less insular about that. See for example how much of Iberian, French and Italian popular musics were influenced by Northern African, West Asian music and Mediterranean sources in general.
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The harmony and melody of Blues and the Jazz, and with them a whole host of harmonic and melodic traditions both from African origin and indigenously developed in the Americas by the enslaved Africans and their descendants.
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The harmony and melody of the indigenous cultures of America, which is an understudied and incredibly neglected part of the mix, which is there if you know were to look.
But you noticed there’s one thing I haven’t mentioned so far which is fucking RHYTHM? Which is that one thing that we all know that Europeans simply don’t have? Hahahahah. I’m kidding, of course, but this is super important.
I’ve been repeatedly using the term “harmony and melody” above because that’s what “Western Classical Music” is all about. It’s very little about rhythm. But our popular music is incredibly rhythmic! Where does it come from? It comes from all over the place, including even Europe, but the most important rhythmic influence in a lot of our popular music is West African drums. Rock, Jazz, Blues, Funk, Hip Hop, Drum & Bass, R&B, Soul, Latin music, etc, etc, I could list a thousand genres.
Whenever you see a Metal drummer do a cool drumroll, he’s drinking from this source. Whenever you move your body to the “bop bopbop-bop bopbop-bop bopbop-bop” in Shape Of You by freaking Ed Sheeran, you’re listening to something that was brought to our shared culture by enslaved African people.
Of course it’s not the only source. The boring “one-two-THREE-four boom-BOP-boom-BOP-boom-BOP” you hear below the cool stuff is kind of European. Hahahaha. But the rich rhythmic layer on the music we REALLY spend most of our time listening too definitely didn’t come from freaking Bach or Mozart.
And it doesn’t stop there. Have you ever listened to popular harmonies? They are completely outside the language of classical music! It owes a lot more to other traditions. Hell, the most basic rock-and-roll harmony template sometimes resolves a dominant chord to another dominant chord!!! Common Practice theoreticians would be absolutely flabbergasted with that.
That ridiculous myth of Western Classical Music as the pinnacle of music achievement from which all our current music flows from as corruption and degeneration is simply cultural colonialism. It’s bullshit. It’s wrong and pernicious.
I say: long live the Africans who didn’t forget how to play their drums and beautiful harmonies even after being kidnapped, enslaved and brutalized, and forcefully transplanted from their home. Long live the indigenous peoples of America, who didn’t forget how to play their flutes and drums even after being murdered, decimated, raped and brutally expropriated. Long live the working class who came from all over the world to the Americas, frequently forced by economic oppression, war and exploitation, and brought with them their horns, guitars and voices. And long live the working people’s of the whole world who everyday contribute their voices to complex tapestry of musical culture who persists despite cultural colonialism. The people who instead of passively consuming the colonial culture, ingest what’s available, digest it, mix with what they know and out spits back something of their own.
(*) Or “concert music”, “art music”, “erudite music”, “common practice music” or whatever other ridiculous and pompous name we give to that thing. You know what I’m talking about – that shared musical tradition that includes from late medieval European church music up until the New Music movement passing through the Baroque, Classical, Romantic, Modern, etc, etc. I know people complain when we call it Classical Music, because the classical period is a specific period, but if you force me I will call it “Music of the European Ruling Class”.
(**) That changed later, but only in the late Romantic and early Modern period.
Fucking unionize then.
I love how people use this kind of metaphysical argument, invoking human nature and such, and then have the nerve to call Marxism idealistic.
Marxist logic is literally about eschewing idealistic metaphysical arguments and focusing on the material conditions that influence history. Go read the Misery of Philosophy, people ffs.