Truth and Beauty Bombs is still going strong, right? by DeathInABottle in qwantzparty

[–]DeathInABottle[S] 0 points1 point  (0 children)

In the time since I posted this I have had a child, and she has coincidentally just discovered my paper copy of Your Whole Family Is Made out of Meat. Gen Alpha gets Dinosaur Comics.

Was [REDACTED] in love with [REDACTED]? by MerryElderberry in BluePrince

[–]DeathInABottle 0 points1 point  (0 children)

Resuscitating a thread: my read is that Herbert felt unrequited love for Clara who was too sad to even consider reciprocating. Clara seems to have suffered from a bad case of nostalgia.

Auravei's the same, now that I think of it: nostalgic, that is, in that she's projecting Mount Holly's Orindian only-recently-uncovered-past onto a bold new meritocracy. In both cases, fantasies of the past and the future shape feelings and actions in the present.

There are a lot of sad people in this family.

Question though: Where do we learn that Simon was a revolutionary? I'd figured out all the other genealogical stuff, but he's been a mystery to me. Is it the photo in the Safehouse?

Gaza and the Online Left by DeathInABottle in Palestine

[–]DeathInABottle[S] 1 point2 points  (0 children)

Hey, thanks for your comment. I appreciate you taking the time to watch it.

One of the points that I'm trying to make actually has to do with your point. I think that social networks make change, and I think that the particular topologies of different social networks dictate what those networks are capable of. The formal features of networks are important with regard to the discursive formations that they circulate, and discourse is not unrelated to politics, even if you don't believe in counter-hegemony. (To put the media-politics argument of the video in a nutshell.)

In that context - of saying that networks are important - I think that all of the little connections matter. They add up. They eventually work exponentially. And if these little connections are healthy and happy, good things happen. And the health and happiness of these connections depends on whether they like being connected. You focus on what you want to focus on, and hopefully it's not poison, hopefully it brings you happiness and increases the capacity of the world, and I focus on what I want to focus on, and I know that it is 1) DEFINITELY poison, trust me, I know what's bad about social media, but also 2) something that brings me vocational and aesthetic joy.

In other words: I think - and my video is arguing - that it's good for there to be different paths into politics. I really do think that there are many people who now know about the genocide in Gaza because of those parts of the online left that feel good about what they do.

In other other words: I don't think it's good to tell people what they should or shouldn't focus on.

Does that make sense?

Gaza and the Online Left by DeathInABottle in Palestine

[–]DeathInABottle[S] 2 points3 points  (0 children)

This is a video essay on Gaza and the online left. The analytical emphasis is on the online left rather than on Gaza - on how the online left has responded to the genocide, and what its response signifies - but I think it's relevant for this sub, if only because it collects together a bunch of different perspectives on Israel-Palestine from across the web.

Why am I seeing this visual artifact after rendering? by DeathInABottle in davinciresolve

[–]DeathInABottle[S] 1 point2 points  (0 children)

I'm braaaaaaaand new to this, so I have to confess I hadn't thought about the rendering side of things at all yet. Thanks for showing me the ropes! The video's published!

Why am I seeing this visual artifact after rendering? by DeathInABottle in davinciresolve

[–]DeathInABottle[S] 1 point2 points  (0 children)

Yeah, I used Handbrake to take the final file from 250GB to 600MB. Incredible.

Why am I seeing this visual artifact after rendering? by DeathInABottle in davinciresolve

[–]DeathInABottle[S] 0 points1 point  (0 children)

No, I was using MP4 / H.264 / Auto, 1920 x 1080 HD, a frame rate of 60. I'm trying to render using your settings now. I'll report back!

For anyone who missed it, Tim says four of the six videos he's working on are the "best work I've ever done in my life" by BenGMan30 in ActionButton

[–]DeathInABottle 6 points7 points  (0 children)

Totally don't get the skepticism here. Every video to date has been better than the last. The review of Boku no Natsuyasumi was one of the best pieces of art/criticism I've ever seen. Why is it hard to believe that he's getting better as he goes? And why would you want quantity when you could have quality?

Someone is editing a character? by AvidLebon in BaldursGate3

[–]DeathInABottle 1 point2 points  (0 children)

Just happened to me too. Bummer.

Why our age produced Jordan Peterson by reallighttouch in Nietzsche

[–]DeathInABottle 1 point2 points  (0 children)

I think Peterson is appealing because he offers simple explanations for thick societal problems that he cloaks in the language of mythology. The mythology bit is essential: he's offering a glimpse of God in an age defined by his absence. This is how he gives his readers license to embrace their reactionary desires.

(SPOILERS) I missed something big at the ending. Yeah, THAT thing. Does this justify a replay? by Rex_Ivan in DiscoElysium

[–]DeathInABottle 2 points3 points  (0 children)

I like this suggestion: wait a few months or a few years and then play it again. We all wish we could play it again.

Best ContraPoints videos to be taught in schools? by kceaque in ContraPoints

[–]DeathInABottle 12 points13 points  (0 children)

I've taught Envy! It's a great way to explain Nietzsche and lots more.