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engekihaikyuu · 3 years

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View from the Top 2 - Review

Check out the Read More if you’d like to hear about this show! Askbox is open as well if you’d like me to elaborate on anything out of this.

Before I begin my review of the final show, I do want to start with some caveats:

So as I mentioned previously, the production once again went with PIA for their live streaming platform, which means that live streaming this show is very inaccessible for anyone living outside of Japan.

PIA is a ticketing platform that requires a working Japanese phone number in order to finish activating/registering a new account because you must call the number provided to finish account verification. So without a Japanese contact or a Japanese phone number, this platform is basically impossible.

I have a generous friend in Japan who was willing to share her account information with me, which is how I was able to pay for a show and use her log-in to watch the stream. I did not see this show in-person; I do not live in Japan and obviously travel is off-limits. Even if I did live in Japan, I would have qualms about going to the theater.

There are some logistical issues with this show because of the current pandemic, with the most visually obvious one being the small face shields the actors wear on-stage. They basically serve as protection against direct spittle, but obviously they do nothing to guard against aerosol spread; putting on the play is still an incredible risk to the performers and staff. Another difficulty they face is the fact that Tokyo is still continuing to maintain a nightly curfew. Every evening Tokyo performance needed to be bumped earlier so that spectators can leave the theater in time to make it home for that curfew. Keeping that in mind, the show is a surprisingly condensed 2.5 hours long, where I would have expected 3 hours given the amount of content it covered. This does affect the pacing in Act 2 noticeably, and I get the feeling that were it not for covid and the current curfew restrictions, it would feel a little less rushed at the end.

So, with all that said, here are my thoughts on Engeki Haikyuu’s final play, The View from the Top 2!!! This is absolutely not spoiler-free, for both the play’s content and everything that happened in the manga finale, so if you have not finished the series, this is your last chance to turn back.

Now that I think about it, I haven’t written a full review on a show since Fly High, so I’m a bit rusty at this, and I’ll probably leave out a lot so as always, my askbox is open for people’s additional questions!

The absolute main theme of this play (and really of the entire Haikyuu story) is the friendship and rivalry between Hinata and Kageyama, and the theme: I’m not alone. Engeki really did right by our dual protagonists by framing the final show as showing both of their journeys from beginning to end. Act 1 begins with that familiar sequence from the very first show: Hinata seeing the little giant on TV, being inspired to start playing volleyball, his struggle to find a team in middle school, losing to Kageyama in his one and only middle school tournament, and finding him again at Karasuno. They repeated the scene almost exactly as it was in the first show, and I think it was very smart of them to show us Daigo’s version of it, so to speak. That way we have a more cohesive vision of Hinata from the beginning of his journey to the end. Then they absolutely FLOOD the stage with a montage of projections with footage from all of the shows from the past five-and-a-half years. So already it’s pretty emotional for me, seeing how far the play had come as well as how far Hinata had come in the story.

To parallel this, the beginning of Act 2 actually begins with baby Kageyama. Yes, the baby Kageyama flashback with his sister and grandfather and how he started volleyball. We see Kageyama’s volleyball journey from childhood (for this they used a small doll similar to the dolls they used for young Kuroo and Kenma from Revival) to playing at Kitagawa Daiichi, to losing his grandfather, to being labeled the King of the Court, to defeating Hinata, and then having Hinata find him at Karasuno. And then they once again, they flood the stage with projections with past show footage, but this time they are more Kageyama-centric in the way that the previous ones were often Hinata-centric. And it just really highlights how much these two are meant to share the stage as the two main characters.

To see this framework and to know what’s going to come at the end, with the two of them reuniting in the pro-volleyball arena… just the beginning of Act 2 alone had me in tears. Another way they paralleled their respective journeys was to show us who have influenced them. In Act 1, there’s a dance with Hinata, Hoshiumi, and Udai (all little giants… well, Tsukishima’s in there too because he’s feeling a particular competitiveness with Hinata in this part of the match). In Act 2, there’s a dance with Kageyama, Atsumu, and Oikawa, because Atsumu and Oikawa are the setters who have had the most influence on Kageyama, and he’s drawing on what he’s learned from them for this match. They are not alone in their journeys, they have had people inspire them and be inspired by them in addition to having the support of their teammates.

The Karasuno vs Kamomedai match is interspersed with bits of action from the Fukurodani vs Mujinazaka match, so the stage was pretty busy for basically the entire time. The wires are back for some sequences so that both Hinata and Hoshiumi have a chance to fly, and there are plenty of acrobatics and lifts, and the same incredible soundtrack we love. Ryuu’s Hoshiumi is the obvious standout on Kamomedai for how many lifts he had, and they definitely tried to have him running around on the stage about as much as Hinata. It was notable how much they drew on past techniques and music for various parts of this match, since this is meant to be Karasuno at their peak. When Asahi was feeling particularly stuck/trapped against Kamomedai’s defense, they incorporated the tying-up visual they had previously used in Winners and Losers, with Kamomedai basically tying up and holding Asahi in place with ribbon. There was Summer of Evolution music when Karasuno does a great synchro attack, and the extras-wearing-Hinata-masks reappeared to show us Hinata’s “afterimage” as he flashes around the stage. If you’ve seen all the plays, you can’t miss these call-backs.

The flow of the match was fast. They hit the highlight plays and the highlight emotional moments, but we are clearly past the point where they need to narrate the actual volleyball to us. There was more dancing/acrobatics than attempting to place the two teams on either sides of a physical net with more overt volleyball moves. Everything was more intertwined and fluid than that. And actually now that I think about it, they have been sparse with their usage of a physical net in the past few shows, because everything has been a little more fast-paced overall.

They definitely wanted to highlight Karasuno’s rise throughout the game, to show that they were absolutely a formidable team, that they deserved to be at Nationals, and to show us all the ways that Hinata and Kageyama had grown. For most of Act 2 leading up to Hinata’s collapse, it really feels like they could win this. And I think it makes it that much harder for Hinata to accept being benched, because the team is riding this high and doing so well, and even Kageyama’s more visibly having fun. I think Takeda-sensei easily has a third of the best lines in the series. His speech to Hinata during the Kamomedai match is one that was really gut-wrenching to read when those chapters came out, and it was great to hear it said aloud.

And here is something I’ve never been able to point out because I didn’t do reviews for the past two tours, but I think Daigo’s voice is one of the strongest aspects of his Hinata. I’m sure a lot of that has to do with the work he’s done as a voice actor, but when he cries or whimpers, it is genuinely the most pitiful noise. A lot of Kenta’s portrayal of Hinata’s frustrations throughout the story had an undercurrent of anger and frustration. He’s upset, but there’s always something behind it that says, “well next time, it’ll be different.” And I think Daigo replaces most of that with pure sadness, especially for this scene. After Takeda-sensei lectures him good and proper, and he accepts that he needs to leave, he just sounds so broken. It doesn’t have that anger and drive underneath, he’s just in despair. And why wouldn’t he be? A part of him understands this is the last match he’ll ever play with this team, his first real team.

We then see Hinata bundled up in a coat and scarf, watching the rest of the match from the tablet that Kenma gives him. Snow begins to fall on the stage as he slowly wanders through it, with Karasuno and Kamomedai finishing out the rest of the match around him. Engeki Haikyuu has always allowed for the losing team in a match to line up at the edge of the stage, say thank you to the audience, bow, and take their leave. It’s so symbolic, and it’s so emotional for the actors and for the audience who are in the theater. It’s a moment that just barely breaks the fourth wall, when they turn to us, the spectators, to say, “Thank you for your support.” And they mean it both in and out of character. And I was so so so sad when I realized that Karasuno would take their final bow as a team without Hinata in the lineup. He’s in the back of the stage, separated from his team, and he does take a bow, but it’s very lonely.

Now, I’m sure people are very curious about the timeskip material, and mostly I just have to preface with: it’s fast. It does not take up as much of Act 2 as you might think. It’s boom, boom, boom, cameo here, pre-recorded projections there, patissier Tendou interview, Kuroo in a suit doing a promotional commercial for the V-League, Kageyama’s curry commercial, a projected Osamu selling his rice balls, get the old team together, fateful encounters in front of the bathroom, GO! The only thing we see of the Brazil arc is Hinata having a brief flashback to tell Kageyama that he met Oikawa while he was in Brazil. It’s very short, and that’s all we get for his time in Brazil. Basically, the play is not the place to see Hinata’s journey and growth from those chapters because he goes through so much of it alone, and there’s just no time. The Brazil arc also brings back a lot of technical details about volleyball itself, especially as Hinata is learning the beach version, and that’s an area where the manga is the best medium to examine the finer details of the sport. I can see why a play version would gloss over the technical details to focus on the emotional arc, which is in this case, Hinata and Kageyama.

Because of how fast the ending is, it definitely feels made for the people who already read the manga; Previous Engeki Haikyuu shows have always presented the story in a way that was very friendly to those who may not have read the manga or watched the anime. You could watch just Engeki Haikyuu and not feel like you were missing out on references/jokes for the most part, but this ending would be way harder to follow for those not familiar with what’s already happened.

It’s difficult because I do feel like Act 2 was overly condensed to wrap up this story, but I also don’t think the timeskip material is enough for a whole play on its own. If we had stopped at the end of the Kamomedai match, and had a whole separate play to cover Brazil and the Jackals vs Adlers match… the pacing would’ve been slow and low energy especially in the first half, and it would be an odd choice for the final show of a series like this. My preference would have been for this play to have been three acts, three hours, so that we could linger on some of those timeskip moments a little more, slow it down, and let them land emotionally. But clearly the covid situation prevents that in this case. That being said, I don’t think any of those timeskip moments could really hit as hard as when I first read them in the manga. Narratively, that Haikyuu timeskip was so unexpected and so outside the normal sports anime formula, that the initial shock is extremely hard to top. It was fun to see how they presented everyone in the future (seeing Noya on that boat catching a giant swordfish, or seeing Ennoshita almost break a patient’s back) in stage form, but it’s unreasonable to expect them to give us the same feeling of ?!?!?!? when we first read that Noya was in Italy of all places after waiting weeks and weeks for him to show up.

I still cried in several places, it’s still a great ending to one of the best 2.5D franchises in existence, and it still feels like the culmination of their legacy. I don’t know how it would be possible for anyone to watch that ending sequence with all of the team flags and the chanting of their names, and NOT cry.

There are no more live streams until they complete the rest of their tour and then there will be a live-stream of the very last show, which I will be watching with a towel in hand for my tears. Feel free to send in any questions if you’d like, and if you would like some Strongest Challengers or Trash Heap merch, I have a sales post that I recently made.

#Haisute #Engeki Haikyuu #Hyper Projection Engeki Haikyuu #Final Show #View from the Top 2 #review #reviews #2300 word vomit for any who are interested

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nightswithkookmin · 3 years

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Hi Goldy! I am curious about your take on how Jikook are edited in the behind the scenes clips since October (such as the ones for the Life Goes on music video, ABC Holiday Dynamite, and the Japan one (search on youtube for BTS japan shoot || behind the scene of Japan)). Do you think Jikook are interacting less, being just friends, being more professional, or is BigHit editing their interactions out? It just seems so different from the ones before Oct (FILA, Dynamite MV, Season's Greetings 2021)

Huh???😲😲😲

BigHit is doing what what now?😥

Do you mean that as a fact or theory?🤔

Why though?👀 They are not Tae Kook? 😥

There's Bangtan video of Jimin with his third leg dangling loose in the air somewhere on the internet, I don't think BigHit is that savvy.

Lmho. I mean I see what you mean but they are editors and cutting is what they do for a living. But this is Jikook sis. I don't see BigHit's incentive for 'cutting' Jikook's moments and you shouldn't assume that-

Unless...

You don't think Jikook's been groping eachother homoerotically on set lately have you? Cos, chile I'll believe that! I don't trust Jikook anywhere near eachother's vicinity and personal space.

I've seen enough to traumatize the devil himself. Chilee. Lol.

Bighit, in recent times, mostly tend to cut scenes and moments if they are a bit risqué. Like JK shoving his butt in Jimin's groin face, sliding his hands down Tae's chest...

Often times too they cut moments if its redundant. If a part of a scene is already in the main content they don't bother showing it in the behind scenes. From my observation.

When an interaction is awkward they skip it too, I feel. I mean I am still waiting to see JK touching all over Jimin and feeling him up in Run 106- honey, I'll pay to watch that shit with my kidneys. Lol.

Often too they save some scenes for memories or some other shit that they use all those pent up footages for. Lol.

BigHit is a business, they produce content that per their research and analytics garners more engagement, audience retention and a whole other metrics. They put a lot of creativity into what they do as creatives and artists- I mean if the baby noises is anything to go by. Those bites are tired!

But often times too, they're tired and they're lazy, and they just put anything together and toss it out there without giving it much thought- isn't that how they leave Jin or Tae out of packages, how certain Jikook moments that should have never made it into screen time ended up in screen time- how JM's third leg made it to the internet? They should have cut that shit before uploading it with those subtitles and yet here we are.

I think people give BigHit too much credit- talking about JK shouldn't gay panic and run away from certain moments with JM if he knows BigHit editors are going to cut those moments.... JM's dixk begs to differ. Chilee, Jimin you should have just worn pants. Can't trust these phony ass editors my guy.

The editing is really not a big deal. Not to me. But I love your question anyway. Especially the bits about what's different about Jikook and the content BigHit has been putting out since October.

Well something sure did go down in October, I don't care what anybody says.

I keep saying BigHit banks on the bond and intimacy of the boys, and the boys are more than happy to showcase their bond for the cameras just as Tae said and confirmed in a recent interview- Tuktukkers y'all did an Oopsie on the whole Taekook don't like to show their bond on cameras! Lol

Tae said it himself not me- he lives to showcase his bond with the other members. *where is my skull head emoji. Lmho.

I think what has changed since JM's birthday in October to now, to me where BigHit is concerned, is the general marketing strategy of the company.

It seems to me the company is adopting a marketing module opposite of the strategy they had been using before the pandemic. I think I've talked about this though...

Hate to say I said it, but I said it. Lol.

They are limiting access to the boys to drive sales as and when. BTS dominates the internet and have amassed greater reach and attention partly due to the free content they put out on the internet. But those were never monitised- not in a direct or significant way.

In the wake of the virus, they've had to monetize their online presence. A single tweet from their Twitter account is a phone brand promotion as I pointed out in past posts. There's been an increase in their sponsorship collaborations, in Soop and many of the content they've put up this year. They even turned on ads on their YT channels it seems.

Like I've been saying, this situation is global and novel, they are going to experiment with means and methods till they find that sweet spot and that is what I feel we are experiencing- amongst other things.

Unfortunately for us, our access to Jikook is gonna take a hit like I said before because the numbers are in their favor. I mean go to their YouTube page and see the metrics for yourself.

Jikook's holiday remix pulls way ahead of their counterparts. If their going to monetize any ship brand in BTS it's Jikooks. Trust. But that doesn't mean any ship in BTS is spared.

Someone asked me a while back, when I talked about this, whether all these changes the company was going through was going to affect the way Jikook interact on camera and I couldn't answer that with conviction then.

But I mean we are seeing a subtle, if not drastic change in the way Jikook interact with eachother and with their glass closet.

What that means for us, I think, is the company is going to choose when and where to show us content and certain interactions but that doesn't mean Jikook aren't interacting- know what I mean? I mean they have them. The juicy moments that's gonna make us slap our mamas. BigHit has it all. They are just gonna save it for as and when based on their marketing strategy, if you know what I mean.

I mean we all saw that blackswan performance, we all saw the holiday remix performance etc.

And you are right about the less interactions post October and I've shared my thoughts on it so I won't go into it. But I will state again that they are not broken up either, not to me. Lol.

I think we need to examine what interacting less means. To me, I consider Jikook interacting less if they have an opportunity to interact and they don't interact in a way that is usual of them.

Majority of the content we've gotten in recent times are pretty much very official contents, interviews, etc. The entire BE era, as I said is not about Jikook or even BigHit.

It's about BTS, all seven and Jikook can't monopolize the shine like they tend to do in other BigHit marketed contents in my opinion.

Jimin tried to be funny and chill in the dynamite mv and RM nearly went ninja turtle on his ass when he called him out for not taking things seriously enough during the shoot- Left to grandpa Joonie, the kids will sleep at five. Lol.

Seriously though, there is a huge gap between what BTS views as marketing and marketable and what Jikook or even BigHit views as marketing, in my opinion. And conversations like that between RM and Jimin goes to prove it.

Another interesting thing about this whole marketing approach is how BigHit isn't substituting any other particular pair in Jikook's stead. I see them giving equal screan time to the individual members- well not in a technical sense but I think you know what I mean.

Are Jikook required to be professional in certain situations, absolutely. And in previous years, I think they took too many liberties with it. But as I said, now more than ever they are learning and need to learn to read the room because they wouldn't be able to get away with much if they don't.

BE is a self produced project, after Soop- after when they were isolated to help them bond and repair fractures in their bond. If there were anything they were not happy with that led to Soop, trust that they are going to fix it post Soop and it's going to reflect in every sphere of their interactions.

RM for example has chilled on his monitoring and censorship of Jikook, Jikook have been pretty considerate of the group and have tried not to do anything to have RM pop a vein, Tae has been stepping up too- with the members going out their way to praise him and push him to the fore front of the group unlike in previous years *cough cough I don't want trouble but chilee.

I mean Jimin pointed it out in the Be behind when he said Tae was working hard and putting his best foot forward because the members had been showering him with lots of compliments in recent times and he wasn't kidding.

In the LGO comeback live, RM praised Tae for working hard forgetting it wasn't just Tae and JM's reaction was telling. Of course he backpedaled to compliment JM too.

Suga did the same thing in the Be behind video when he was talking about JM and praising him- I mean it's Suga and his Jimin, uWu. But then he too backpedaled to compliment Tae when he realized what he was doing and I was like CAN SOMEONE PRAISE KOOKIE TOO PLEASE AND THANK YOU. Lol.

Anywho, the company is equally chilling on their Jikook agenda which I have speculated on several ttimes so won't get into- it's all so very kumbaya and God, I hate it. Lol.

Give me the chaos goddammit!

I feel Jlkook loosen up in contents that aren't like super official business moments and that's when you see their domesticity. Lol.

You see them having their me time in the background of some of the content, and in one of the interviews where they were sat a good feet apart but they kept moving closer and closer till eventually after their lunch break cut, they were sat very close to each other.

I'm not a fan of the cameras being shove in their faces during their private moments- Kookie certainly doesn't appreciate that either.

But they are working for a living nonetheless and making content is what they do for a living. So we are definitely gonna get the content from them alright, the fanservice, the organic moments passed off as fanservice, the moments that should never make it to screen- all nine. Lol.

We are just not going to get them in a way we are accustomed to. And it certainly doesn't help that they are each on their own personal growth journeys- gradually disconnecting from their fanbase, I mean Jk's been long gone duh, and Jimin did say he has come to the realization not everyone in the fandom loves him and he is learning to react less strongly to them; which to me translates as bye bitches you don't deserve me. Lol.

I mean dude didn't bother posting for new year this year- y'all Jimin is done with our ass. We might as well pack our bags and join him in Kookie's Casa. I call dibs on the broom closet under the stairs. Lol.

Jikook gets called fanservice and other creepy slurs in this fandom but people forget all of this is their choice too. They choose, are choosing to share all the bits of them they share with us, with us. Inspite of all the hate and insults, they choose to do that- if they did it for the fanservice don't you think they would have called a time out on it long ago because it's not worth it?

I hate it here.

I guess what I'm saying is, you are right about these observations you've made and some of the things you've pointed out are facts.

But we have talked about all of that so it really shouldn't be anything new? Kindly check my previous posts. I think I shared my point of view on what I think is going on with Jikook, BigHit and BTS.

Other than those, I don't think there is anything major up with Jikook honestly. I keep saying I don't think they are broken up. I don't see either of them closed off, emotionally open to connecting with the others.

If anything I said I feel Jimin is falling in love all over again with Kook. I mean when he looks at him he looks to me as if he is seeing Kook in a different light.

And it's funny how all through out 2020 he kept reiterating how his friends and family and relationships were important to him, shading the ef out of Kook during the Japan Stay Gold promos claiming his relationships were important to him and was what was Gold in his life.

He even went on to talk about picking an accent spending time around his friends and talking with his friends around his birthday but suddenly in the Be behind scenes he was talking about how he's come to the realization BTS is his only true friends and how friends come and go.

Clearly he's had an epiphany of a sort and has been through something post his birthday that has him setting his priorities straight in the aftermath.

In his Weverse magazine, he mentioned how he's recently discovered something about himself, about how he loves to be loved. He then went on to clarify that when during festa he talked about having a desire to perform with the members for a long that that he meant to say he wanted to be with them for a very long time.

But then JK said Jimin said that bit to him first. And if this is the interpretation Jimin is giving to that statement then- one plus one is two honey. Numbers don't lie.

Dude don whispered those sweet empty nothings in JK's ear telling him he wants to be with him for a very long time and shit.

And now homeboy out here setting up roots in gay boulevard. I don't think their well is drying up any time soon. Lol.

They are in a honeymoon phase again and they are not showing us. Stingy bastards! Lol

And when JK said to JM in response, that BTS is his home- wow. He really said that...

He is Jimin's home. Literally. Please, my heartu😭

Jikook is real. Please support them.

Signed,

GOLDY

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letterboxd · 3 years

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How I Letterboxd #10: Chad Hartigan.

Filmmaker Chad Hartigan talks to Jack Moulton about his prescient new sci-fi romance, Little Fish, why radio silence is worse than a bad review, and his secret system of Letterboxd lists.

Chad Hartigan has won prizes at the Sundance Film Festival and the Film Independent Spirit Awards for his acclaimed films This is Martin Donner and Morris From America. He’s also been a Letterboxd member since way back, joining what he proclaims as “my favorite website” in 2013. Hartigan has always been an obsessive logger: he has transcribed all of his viewing data since 1998 and continues to work on filling in the gaps in his downtime.

Like many ardent Letterboxd members, Hartigan is a diligent list-maker, keeping tabs on his best first viewings of each year and assembling an all-time top 1,000 films over the summer (with an accompanying 26-minute supercut). Perhaps unusually for a member of the film industry on Letterboxd, he’s unafraid to hold back his opinions and regularly voices his critiques on even the most acclaimed films.

Hartigan’s newest film, Little Fish, is a sci-fi love story starring Olivia Cooke (Sound of Metal) and Jack O’Connell (Unbroken). Written by Mattson Tomlin, it’s set during an imagined pandemic—shot long before our own actual pandemic—wherein a disease causes people to lose their memories. It was set to premiere at the 2020 Tribeca Film Festival, and then postponed due to Covid-19. It’s now out in limited theaters and on demand, and we were delighted with the excuse to put Hartigan in the How I Letterboxd spotlight.

Olivia Cooke as Emma and Jack O’Connell as Jude in ‘Little Fish’.

You made a pandemic movie before the pandemic. How do you feel about accidentally hitting that unfortunate zeitgeist and now consequently being asked questions like this one? Yeah, strange. The questions are fine. If it wasn’t this one, it would be another that you would have to answer over and over again. One of the things that drew me to the project was that it felt like a fantasy that wasn’t necessarily rooted in reality in a way that my other [films] were. I liked that it’s old-fashioned in its attempts to purely take you somewhere and wasn’t intended to hold up a mirror to our times—but then in the end that’s exactly what it’s doing. I’m curious myself, and I’m checking Letterboxd to see the reactions from people because I really couldn’t guess what it would have been like [now].

Are there any prescient details you’re proud of getting right? I’m so grateful and happy that Jack [O’Connell] is wearing his mask correctly. That’s the number one thing that I’m glad we got right. I think it was very smart of Mattson to focus the movie on [the relationship] rather than the details of this global pandemic. I feel the reason it’s not in bad taste is because it dealt with those things as a backdrop and instead focused on people just trying to remember what’s important and clinging onto those that they love.

Onto our own favorite memory aid, Letterboxd. How did you discover us and how did you manage without us? I’ve been on since 2013, so I’m probably one of the earliest people to jump on it. I love the interface and the diary, just aesthetically it was really fun. I’ve been keeping track of what I see with analog [methods] for as long as I can remember. I have diaries and planners so I logged all that old information. If I was running for president, my platform would be that everybody is required to use Letterboxd comprehensively, because I just love to know what everybody is watching all the time.

Do you talk about Letterboxd in the real world with the other filmmaking people? Yes, and I’m often trying to convince them to join. Other filmmakers are more concerned about having their opinions on peers be public knowledge than I am, I guess. I’ve made four films now and each one’s been bigger and more widely seen than the last. The very first one was a total no-budget affair that couldn’t get into any festivals and I was very excited when I finally got it into the Hamptons Film Festival. It was about half-full and one or two people came up to me afterwards and said they liked it. This was pre-Twitter so I spent the whole next day Googling to see if anybody had written anything. I was so curious to see what people thought and there was nothing—not a review, not a blog—just total emptiness.

When the next film got into Sundance, there were people tweeting their reactions and actual reviews and I read everything. People were asking if the bad reviews hurt me. Absolutely not—nothing can be worse than the radio silence of nobody caring about the first film. The fact that people care enough to sit and write about this movie—good or bad—is a win, and I’ve carried that onward. I like to see what people think, it can be helpful in how you view the film as a success or failure. You learn and move on.

Jack O’Connell at least remembers how to wear a mask in ‘Little Fish’.

Some filmmakers have told us they’re kinder to films after making their own, but you’re not shy at all about being critical. How did making your own films change your perspective as a critic? I don’t consider myself a critic so that’s why I’d be less concerned with someone reading what I thought. Why should they put any stock into what I think? If they get hung up on it then that’s their own stuff because I’m not a critic. Like everyone else on Letterboxd, I just love watching movies. Obviously I can appreciate and understand some of the technical aspects maybe moreso than people who don’t make films, but at the end of the day, rarely that’s the thing that makes you love a movie or not. There’s a great bit in Francis Ford Coppola’s commentary track for Finian’s Rainbow where Fred Astaire’s doing a dance number and [Coppola admits] he totally messed it up because Astaire’s feet aren’t fully in frame. He’s very honest about his mistakes because it’s one of his earliest movies. Then he goes on to say that he thinks there’s the same number of mistakes in Finian’s Rainbow as there are in The Godfather, it’s just that he made mistakes on the things that don’t matter for The Godfather. No film is perfect, but if it can latch onto this one magical aspect that connects you to it, that’s what makes you love it or not.

You had a project where you chart the best films made by directors at certain ages as you reached that age. Tell us more about it. That was a great project. I got the idea when I was 26. This was back when I had a Netflix DVD subscription and it was just hard for me to randomly choose DVDs to throw in the queue. I needed a system. I decided to watch movies from directors when they were my age and see if there’s some common denominator, something I can learn. At that point, there weren’t many, there were films like Boogie Nights and Fassbinder films. Not many people had made stuff when they were 26 or 27, so it was very feasible. Every year there were more movies and more directors to add to the list and it became time-consuming. I did it all the way up until I was 34 and the reason I stopped was because I had a son and there was no way I could continue this level of viewing output.

My favorite part of your account is the fact that you log every viewing of your own films. You know for a fact that you’ve watched Morris From America 26 times and Little Fish fifteen times. Why do you log them? What counts as a viewing? I’ve clearly watched those movies many more times in little chunks but I’ll only log it if we’re sitting down and watching it from beginning to end. I have a ticket to see Little Fish in the drive-in on Saturday, so it’s going to be logged again. Why do I do it? Like I said, I wish everyone was required to use Letterboxd comprehensively. That’s what it’s there for for me, an accurate log of what I watch. This is psychotic behavior but I’m tempted to have a Letterboxd account for my son. I’ll do his views for him once he starts watching movies until he’s old enough to take over. It’ll just be, like, Frozen a thousand times but he’s not old enough to watch anything yet, so we’ll see.

Have you discovered any films thanks to Letterboxd discourse that influenced your approach to filmmaking? For sure, I can’t maybe say specifically, but once I dropped the directors my own age system I didn’t replace it with nothing. I’m a Virgo and I have a little bit of OCD, so I have to have some system. I’ve replaced it with a new complicated system where I pull from different lists and that’s now my main source of how I choose a movie to watch. I have like ten or twelve different lists, each about a thousand movies with a lot of overlap. One of them is my own list of every movie I’ve seen in a theater and I’ll go and look through that and if it’s something I want to revisit. Recently I rewatched Twister, which I hadn’t seen in a long time and is an old favorite from when I was in high school.

I have a bunch of private lists I cycle through; every movie nominated for a Spirit Award, every movie that’s won an Oscar, every movie that’s played in competition at Cannes, the top 1,000 films at the box office. There’s another great website that I use as a biblical resource which is They Shoot Pictures, Don’t They? and their lists of acclaimed films for all-time and the 21st century. I hit those up often. Something that I watched purely because of the very high Letterboxd rating and really loved is Funeral Parade of Roses. I try to see as many movies as I can that have a 4.0 rating or higher.

You respect the Letterboxd consensus. I do, but I don’t always agree with it.

‘Little Fish’ director Chad Hartigan.

Which is your most underrated or overlooked movie according to Letterboxd? I can say I was the very first person to log a movie called Witness in the City, which is an Italian noir movie I watched when I was doing my ‘directors my own age’ series. Literally nobody had logged it, so my review was like “whoa, I can’t believe I’m the first person to log this!”. It was very exciting for me because it’s great, but I’m the OG logger of that movie.

From your list of every film you’ve seen in a theater since you were twelve, which was your most memorable experience? The cheap answer is that it’s hard to top my own movies. The Sundance premiere of Morris From America at the Eccles Theater is maybe the best, but if I’m disqualifying my own films, seeing Scream 3 in a very packed theater in Virginia Beach was really fun, really rowdy. There was a trailer for a Jean-Claude Van Damme movie and I remember the climax was Van Damme going “you lied to me!!!” and everyone laughed. Someone did a George Costanza move later during Scream 3 and yelled out “you lied to me!!!” and everybody laughed again—so that’s a high. That’s the thing I miss the most about movie theaters, and the worry I have if theaters go away, is that so much of how we feel about a movie can be tied to the experience; who we saw it with, what we did before or after, what the crowd was like, or if anything strange happened. There are a lot of movies I have strong memories and affection for because of the experience of seeing them and I probably wouldn’t feel the same way about if I just watched it at home on my laptop.

I typically like to cap interviews off with what filmmakers thought was the best film of the past year, but we have your data to hand. For you, it’s Garrett Bradley’s documentary Time. Can you talk a bit about what makes the film stand out for you? One thing I learned about myself from the pandemic is that the motivation and desire to see new things is very closely tied to the theater-going experience for me. Once that was taken away and you could watch a new movie at home, it joins the pile of all the other movies. The fact that it’s new doesn’t really do anything for me. Why would I press play on Da 5 Bloods when I still haven’t seen Malcolm X? I gotta see Malcolm X! There wasn’t an urgency, so I saw far fewer films than in an ordinary year. But Time I found incredibly moving and important. Similar to what I liked about the Little Fish script, it’s so hyper-focused on one relationship and within that one story it has so much to say about larger issues and the world at large. It was an emotional and rich viewing experience.

‘Little Fish’ is on demand and playing in select theaters now. Images courtesy of IFC Films.

#little fish #chad hartigan #life in film #film director #letterboxd #how i letterboxd #letterboxd member #letterboxd tips #olivia cook #jack o'connell #romance #romantic film #sci fi romance #pandemic movie #covid movie

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furryalligator · 3 years

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How steam heat was enlisted to fight the Spanish Flu, and ended up overheating your apartment https://www.bloomberg.com/news/articles/2020-08-05/the-curious-history-of-steam-heat-and-pandemics via @citylab

Health officials thought (correctly) that fresh air would ward off airborne diseases; then as now, cities rushed to move activities outdoors, from schools to courtrooms. When winter came, the need for fresh air didn’t abate. According to Holohan’s research, the Board of Health in New York City ordered that windows should remain open to provide ventilation, even in cold weather. In response, engineers began devising heating systems with this extreme use case in mind. Steam heating and radiators were designed to heat buildings on the coldest day of the year with all the windows open. Anybody who’s thrown their windows open in January, when their apartment is stifling, is, in an odd way, replicating what engineers hoped would happen a century ago.

Leeds claimed that the “spent breath” of the occupants of poorly ventilated homes contributed to 40% of the deaths in the country.

The memories of the flu pandemic lingered. Engineering books from the 1920s often mentioned this need to design heating systems, notably the boilers and radiators, to operate with all windows open, a requirement of the “fresh air movement,” Holohan says. This health crusade, which has its roots in the post-Civil War era, saw fresh air as a necessity for good health; adherents believed that rooms with closed windows and tight airflow meant that others would breathe in your vapors and catch disease. The theory originated before modern germ theory, at a time when tuberculosis was a significant health threat. “They called unventilated air the ‘national poison,’” Holohan says. A key proponent of the idea was Lewis Leeds, a health inspector for Union Army field hospitals who came to the conclusion that “vitiated,” or spoiled, air was the cause of the many diseases. The “spent breath” of the occupants of poorly ventilated homes contributed to 40% of the deaths in the country, he claimed, and often said “man’s own breath is his greatest enemy.” He would spend decades promoting the cause, designing ventilation schemes for buildings, penning a 1869 book, Leeds on Ventilation, and lecturing across the country. He explained his ideas with the aid of a “magic lantern” projector — think old-timey Powerpoint presentations. He’d show slides of a family in their drawing room, then add a slide showing red air coming out of the father’s mouth. The child crawling on the floor would eventually fall over. It “scared people to death,” Holohan says.

Leeds was joined in his fervent ventilation campaign by author Harriet Beecher Stowe, of Uncle Tom’s Cabin fame. With her sister, Catherine, Stowe would coauthor a 1869 book, The American Woman’s Home, that claimed “tight sleeping-rooms, and close, air-tight stoves, are now starving and poisoning more than one half of this nation.” It also introduced terrifying scenarios to shock American readers into action, such as this passage about the impact of vitiated air on a child:

Little Jim, who, fresh from his afternoon’s ramble in the fields, last evening said his prayers dutifully, and lay down to sleep in a most Christian frame, this morning sits up in bed with his hair bristling with crossness, strikes at his nurse, and declares he won't say his prayers—that he don't want to be good. The simple difference is, that the child, having slept in a close box of a room, his brain all night fed by poison, is in a mild state of moral insanity.

These ideas would become more formally accepted by architects and engineers during the beginning years of the 20th century. The 1901 New York State Tenement House Act mandated that every room have an outdoor facing window. New York City Health Commissioner Royal Copeland, who, as a U.S. senator in the 1920s proposed redesigning the Senate Chamber to deal with deadly, stale air, would praise the tenement laws as having a significant impact during the flu pandemic.

By the time the Spanish Flu hit, the maxims of the fresh air movement had become popular enough to impact building designs. The toll of the pandemic solidified this thinking, says Holohan. Having robust steam boilers that could keep apartments and dwellings comfortable with open windows became standard in New York City, as well as other northern cities in cold climates, such as Detroit, Chicago, Denver, Boston and Philadelphia.

The pandemic abated in 1920 but these standards had become locked into place. The architecture firm KPF found that>nearly 75% of Manhattan’s existing square footage was built between 1900 and 1930. And since steam heat systems are incredibly durable, they’ve lasted for generations.

In the ensuing decades, shifts in building practice and fuel usage made the problem of over-indexed steam heat worse. The type of fuel used to heat the steam boilers changed, from coal to heating oil to natural gas, and during the changeover, Holohan says, they didn’t properly resize boilers or systematically change design standards to account for the changing power source; replacement boilers were kept big to err on the side of caution. Better windows, especially double-pane varieties, would provide the benefit of better insulation and less heat loss, but only served to lock in the impact of overly aggressive radiators. (If you own an old radiator-equipped house, you might have noticed how overpoweringly effective they can be after you replace leaky older windows with more well-insulated modern replacements.)

By the 1930s, Holohan says, a few common remedies to mitigate excessive radiator heat came into practice that last to this day. Researchers at the National Bureau of Standards found that if radiators were painted with a special kind of bronzing paint — specifically, the silver tone found in many radiators today — it would reduce some of the heat transfer. Same goes with “radiator cozies,” knitted covers sometimes placed over the ribs of radiator pipes. They have the added benefit of protecting kids from getting burned, but one reason they became commonplace was as a way to blunt excess heat.

Roughly 80% of residential buildings in NYC are still heated by steam, and surveys with tenants found that 70 % are chronically overheated in winter, according to Demystifying Steam, a 2019 report by the Urban Green Council. The durability of steam “has locked into place technical limitations of a century ago, ” the report noted; their role as disease-fighters forgotten, radiators are now seen as energy-sucking dinosaurs. “Many tenants open windows for relief, even on the coldest days,” the report found, “but steam systems are so unbalanced that other residents in these same buildings don’t receive enough heat.”

Steam’s grip on the city’s building stock has made the challenge of meeting environmental goals much harder, in effect overheating more than merely the buildings in which they operate. According to John Mandyck, CEO of the Urban Green Council, 70% of the climate emissions in New York City are generated by buildings, with the biggest share from the fossil fuels used for heat and hot water in large, multifamily buildings.

Steam might get a bad rap now, but Holohan notes that its inefficiencies can be traced to poor maintenance and long out-of-date building codes. (It’s not supposed to clank either.) “The banging and clanging wasn’t normal,” he says. “Steam heat was fast and silent when it was first installed. When it’s properly tended, it can be an efficient way to heat. Most people just don’t know how to do it right.”

As a Covid-haunted winter looms, residents of steam-heated buildings may get another opportunity to crank their radiators up and put them to their intended use. Holohan says he’s bemused to see his field of expertise reemerge in connection with the current pandemic, as ventilation is being again promoted as a key strategy to cut infection.

“I’ve been talking about this for like 30 years or more,” he says. “And suddenly I’m living it.”

#@citylab #1918 Influenza #steam heat #radiator #COVID-19 #1901 New York State Tenement House Act #tenement house act #Fresh Air Movement #Dan Holohan #Fresh air #airborne illnesses #pandemic #1918 Flu Epidemic

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ourkinfolx · 4 years

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No. 1: Fania

Fania Noel is a woman with plans. And not just the vast, sweeping plans like the dismantling of capitalism and black liberation. She also has smaller, but no less important, plans like brunch with friends, hitting the gym.

“Every week, I put in my calendar the times I need to be efficient,” she explains. “So I put what time I work out, with my friends, my time to watch TV shows, to read. And after, I can give people the link to put obligations.”

The link she’s referring to is her online scheduling system connected to her personal website. It’s one I’ve become well acquainted with after our first two failed attempts to schedule interviews. We had plans to meet in person, in a Parisian Brasserie she’d recommended, but between canceled flights and buses, Skype turned out to be the most practical option. Our disrupted travel was just one in a long list of inconveniences brought on by the virus safety measures. It might even be said that the coronavirus also had plans.

The global pandemic and subsequent slowing of—well, everything comes up a few times in our conversation. Like some of the other activists I’ve talked to, Fania sees a silver lining, an opportunity.

“This might be the only sequence of events in the history of humanity that you have the whole planet living at the same tempo, being in quarantine or locked down or slowed activity,” she says.

“So we all have a lot of time to think about how [society is] fucked up or the weight of our lives in terms of this society. And I think we have to ask if we want to go back to this rushed kind of living. It’s really a game changer.”

I first heard of Fania, a Haitian born afro-feminist, earlier in the year, while talking to a Parisian friend about the need for more black spaces in the city. She angrily described how a few years ago, Fania tried to have an event for black women, only to be met with fierce backlash and derision from not just right-wing groups, but anti-racist and anti-Semitic groups. The event wasn’t actually Fania’s alone; it was an effort by Mwasi Collective, a French afro-feminist group that she’s involved with.

Either way, it was a minor scandal. Hotly debated on French TV and radio. Even Anne Hidalgo, Paris’s mayor, voiced disapproval. Critics claimed the event, called Nyansapo Festival, was racist itself by exclusion because most of the space had been designated for black women only.

Despite all the fuss, the Nyansapo Festival went on as planned. Several years later, following the killing of George Floyd and the international movement that followed, Anne Hidalgo published a tweet ending with the hashtag #BlackLivesMatter. I found it curious, she’s always struck me as more of an #AllLivesMatter type.

I ask Fania if, given the tweet and possible change of heart from the mayor, she thinks her event would be better received in the current climate. She points out that there had been two Nyansapo Festivals since, with little to no media coverage, but seems overall uninterested in rehashing the drama.

“We’re way beyond that now,” she says, shaking her head. She ends it in a way that will be familiar to anyone who’s ever been almost imperceptibly corrected by a black woman, and I quickly move on to the next topic.

It’s not until later, when reading some of her other interviews, that I’m able to fully contextualize our exchange. It’s common for activists, especially those working in or belonging to a culture where their identity makes them a minority, to be asked to view their work through the lens of conditional acceptance of a larger group of oppressors and/or gatekeepers. Asking feminists what men think, asking LGBT how they plan to placate heterosexuals. In her dismissal, Fania resists the line of questioning altogether, and in another interview, she makes the point more succinctly when explaining why she doesn’t believe in the concept of public opinion:

“As an activist, the core ‘public’ is black people and to think about the antagonism and balance of power in terms of our politics rather than its reception. It’s normal in a racist, capitalist, patriarchal society that a political [movement] proposing the abolition of the system is not welcomed.”

One might argue if you’re not pissing anyone off, you’re not doing anything important.

Rolling Stone’s July cover is a painting featuring a dark-skinned black woman, braids pulled into a round bun on her crown. She has George Floyd’s face on her T-shirt and an American flag bandana around her neck. One of her hands is raised in a fist, the other holds the hand of a young black boy next to her. Behind her, a crowd, some with fists also raised, carry signs with phrases like Our Lives Matter and Justice For All Now.

According to Rolling Stone, they tasked the artist, Kadir Nelson, with creating something hopeful and inspirational and he “immediately thought of Eugène Delacroix’s ‘Liberty Leading the People,’ the iconic 1830 painting that depicts a woman leading the French Revolution.”

Regarding his choice to center a black woman in the piece, he explains: “The people who were pushing for those changes were African American women. They are very much at the forefront in spearheading this change, so I thought it was very important for an African American woman to be at the very center of this painting, because they have very much been at the center of this movement.”

During our call, I mention the painting and ask Fania her thoughts on why, so often, we find black women at the forefront of any social justice or human rights movement.

“Women have always organized,” she says simply. “Women work collectively, they run organizations.” She points to the church and organized religion as an example.

“Look at the composition of church. Who’s going to church, who’s going to ask for help from God?”

Anyone who’s spent time in the houses of worship for a patriarchal religion has vivid memories of the very present men in the room. From the booming voices and squared shoulders of the pulpit to the stern, sometimes shaming looks of brothers, uncles, fathers. But the women, often more numerous, run the councils and the choirs. Around the world women pray more, attend church and are generally more religious. And the men?

“In a context of church, it’s really acceptable to ask for help from God. Because it’s God,” Fania says. “But you don’t have a lot of black men, a lot of men in any kind of church.”

That isn’t to say that men, especially black men, are complacent. Fania notes that traditional activism goes against the patriarchy’s narrow view of masculinity.

Activism, she explains, requires one to acknowledge they’ve been a victim of a system before they can demand power. And for a lot of men, that’s not an option.

“They want to be seen as strong,” she says. “As leaders. They want to exert control.”

In short, both black men and women acknowledge the system would have us powerless, but while women organize to collectively dismantle it, men tend to stake out on their own to dominate it.

Black capitalism as resistance isn’t new, and was more prominent during the civil rights movement, which was largely led by men. In 1968, Roy Innis, co-national director for the Congress of Racial Equality (CORE) opined,

“We are past the stage where we can talk seriously of whites acting toward blacks out of moral imperatives.” While CORE’s other director, Floyd McKissick, reasoned,

“If a Black man has no bread in his pocket, the solution to his problem is not integration; it’s to get some bread.”

More recently the dynamics of this played out in real time on Twitter as Telfar, a black, queer-owned fashion label, sent out notifications of a handbag restock only to be immediately descended upon by a group of largely black, male resellers. Telfar describes itself as affordable luxury for everyone, and for many of the black women who buy Telfar, it exists as proof that class and fashion need not be so inextricably linked. But for the men who bulk purchased the bags just to triple the price and resell, these were just more items to wring capital out of on their quest to buy a seat at the table.

Of course, it’s not unreasonable to argue that the purchase of a product, regardless of who makes it, as a path to liberation is still black capitalism. And in another interview, Fania specifically warns against this type of consumption. “Neoliberal Afrofeminism is more focused on representation, making the elite more diverse, and integration. This kind of afrofeminism is very media compatible. Like great Konbini-style videos about hair, lack of shades of makeup, and [other forms of] commodification.” But, she explains, “The goal is a mass movement where our people are involved, not just passively or as consumers.”

But can consumption be divorced from black liberation if it’s such a key aspect in how so many black people organize? I bring up all the calls to “buy black” that happened in the wake of George Floyd. Some of it could be attributed to the cabin-fever induced retail therapy we all engaged in during quarantine. And for those of us who, for whatever reason, were unable to add our bodies to a protest, money seemed like an easy thing to offer. Buy a candle. A tub of shea butter. A tube of lip gloss. But what did it all really accomplish, in retrospect?

“We have to think about solidarity,” Fania explains. “Solidarity is a project. When we say support black-owned business, we still have to think about the goal, the project. So if we support coffee shops, bookshops, hair dressers that have a special place in the community and are open to the community and in conversation with the community, it’s good and it can help. But if it’s just to make some individual black people richer, it’s really limited.”

Black capitalism vs anti-capitalism remains an ongoing debate, but shouldn’t be a distraction. In the end, everyone will contribute how they best see fit and we still share a common goal. Besides, we’ll need all hands on deck to best make use of our current momentum. And that’s something Fania underscores in one of the last points she makes during our conversation:

“Something we have to repeat to people is that these protests: keep doing them. Because you have years and years of organization behind you. People came out against police brutality and a week later we’re talking about how we move towards the abolition of police, how we go towards the abolition of prison. How we move towards the end of capitalism. And this is possible because you have a grassroots organization thinking about the question even when no one else was asking it. So now we have the New York Times and the media asking if these things are possible. But that’s because even when we didn’t have the spotlight, we were working on the questions about the world after. And every day radical organizations, black liberation organizations, are thinking about the world after and the end of this system. And when protests and revolts happen, we can get there and say ‘we have a plan for this.’”

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happinessandbeyond · 4 years

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Questioning and Reflections on Educating Gen Z and Gen Alpha: Changing systems, Structures and Interactions.

Who are the Gen Z?

Gen Z are those individuals who are born between 1995 and 2012.

Who are the Gen Alpha?

Gen Alpha are those individuals who are born between 2012 and 2025.

This article does not cater only to the privileged, to those who can afford schooling and to those without disabilities. I’m going to consciously try and cover how and why our system needs to change for the present generations in the schooling system and the next set of them.

A global pandemic was enough to provoke me into thinking what we really need to start changing in the way we deliver information and how we do it.

Our present system consists of educational boards for the so called normal functioning child. For those children with sensory impairments, specially-abled, gifted, and intellectually challenged, our educational and service providers have a set of activities, fundraising campaigns, trainings and vocational opportunities which only help in functioning to a certain extent so as to make one independent. Have we really invested resources to enable inclusivity into understanding what a person with a certain challenge could be going through in a global crises, has there been a deeper understanding and research as to what a person with emotional and physical challenge needs in order to fight a battle such as this. What does it mean to be self sufficient and independent then?

The “real” question everyone asks ‘what are we preparing our children for?’

And the “real” answer that is often given is “We are preparing them for life”. While we are in a middle of a crises our education system caters only to a handful of people who go into becoming experts in scientific research and solution finding. While we ace in being heavily populated we are definitely falling far behind in providing opportunities for the masses in order to help the masses in turn.

While we constantly emphasize on the fact that children are the future, then how come none of the children are finding any meaning in the system of our education? What future can they possibly even dream of when opportunities are only for some and not others?

The two generations after the millennial’s are the one’s that we need to focus on, in order to save lives and add meaning and not just prepare them for life.

The RTE Act, the rule of having a special needs child in a mainstream school is not what we should be proud of, we can only be proud when inclusion is achieved as an unsaid law and prepares children into inculcating basic qualities and values such as helping, empathic understanding which can then be utilized in a progressive manner where children are encouraged to think and reflect critically. By this I mean using some useful core values and applying the knowledge base towards a healthy and meaningful lifestyle.

Our present structure consists of teacher-student, facilitator-student, guide-student and so on. The role of the “knowledge” provider remains in a position of someone who is experienced and in a place to educate. When a structure based on hierarchy and power exists there is a passive killer that is constantly being built within the psyche of the child which is DOUBT.

As adults most of us have ideas and novel plans on bringing about change in our own ways, but why is it that only a small percentage of us can actually execute it? It’s mostly because we are dependent on an authority for approval and validation on whether it’s right or wrong. But then the reality lies in the fact that risks are involved either way, then why not follow our instincts? And this self doubt mostly occurs because the system in which we are taught and raised makes one doubt themselves FIRST even before standing up to speak and express. Although I do want to emphasize that there is a thin line between thinking twice and expressing, which should also be role modeled at a very young age.

Research in child psychology has shown and proved that children at the age of three onwards have the capacity to absorb any information that is exposed to them repeatedly or instructed. In my work with children of that age group I have observed firsthand, the levels intelligence and their capability to reason and resolve conflicts with their own age groups and even with adults given the freedom to express and listen. If we do have such a wonderful opportunity, then why not expose children to an environment that is real, authentic and free of self-doubt.

The brain of a gen z and a gen alpha child is much more hyper stimulated due to the changing lifestyles of adults and exposure to increased levels of screen time radiation. Where our educational structure and interaction is based on books and exams the ever evolving brain thirsts for something more meaningful. When there is no rationale and logic behind some of the most relevant questions that children constantly ponder over and ask, a bigger passive killer is built within the psyche of the child which is loss of interest. It can arguably be said that children are curious by nature, I do not disagree, but what does concern me and should concern all of us is that they begin to get curious about things that don’t hold any meaning and purpose.

Here I give you some of the questions that children between the age of 6-13 have asked me.

· Why do we need exams?

· What is the point of carrying so many books every day?

· Why do we have such limited classed of PE?

· Why don’t we have an option to exercise choice in how we want to learn and study?

· Why should we study so much and some of us have to sit at home after marriage?

Honestly I wish I’d told them that it’s all a money making racket and a business idea to run schools, and that no one really cares about what they do or who they become after a given point. But again I’m one of the passive culprit who was also put into the system from the age of 3.

Although to most things I told them that I do not have a definite answer and that I’m still in the process of figuring it out.

In our ways of interaction with children of the gen z and the gen alpha, (I mean all children irrespective of any medical or psychological condition) our education system and training facilities have a long way to go in their ways of interaction which can only start by not repairing the roots but by growing new roots.

Soon after the pandemic hit every country, some of the schools in India were converted into hospitals and shelter for those who need to be quarantined, some institutions have gone out of their way to help students and provide classes online, then again the online classes in India only caters to a handful of them and here again, we do need to question if that’s what education means and if that’s what is important as opposed to providing mental health and physical health services for every child.

I posed this question to a few children in the present schooling system and here’s what they had to say.

Question:

How do you think your education system could have prepared you to battle a global pandemic?

Washing our hands , putting our elbows front while sneezing and all other safety precautions should not only be told when such pandemic arrives it should be mainly put in education curriculum because if we learn this from childhood then itself we can apply it strictly when such pandemic arrives.

It should be taught each and every citizen of the country should strictly follow the rules put up by the respected country (during lock down some people were unnecessarily out without any reason)

Education system should also be prepared for online classes before itself so that studies will not be disturbed.

Education system should bring awareness in the schools of rural areas to help them build up their immune system.

Lasya – 8th grade (Bangalore-India)

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Our education system should have some practical experiments in the lab showing the importance of washing hands and being hygienic, and the explanation of it and the consequences and result could have made us aware of all the diseases. The education system should have seminars regarding self hygiene, and how these viruses spread and become a global pandemic affecting people. They should have at least had soaps in the washrooms so that children have some impact on cleanliness. Though there are some chapters in the children’s books but not much importance is being given to hygiene. Our system should teach children basics about viruses and bacteria. The higher grade students know much about it and they are aware of things and it has helped them to stay safe.

Aina- 10th grade (Bangalore-India)

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I think the education system should have emphasized how viruses and illnesses spread and how important it is to stay home and take precautions against it. I feel like there are people in my school and community who do not understand the seriousness of the coronavirus pandemic and think it’s ok to keep going out unnecessarily.

We should have been taught about previous outbreaks in the past and how we as students can help slow/stop the spread of viruses.

As for what my school and education system has done as an effect of the coronavirus, I think they are doing the best they can. Our school district quickly implemented an online learning system for us so that we can still hopefully graduate on time. Although many school events got cancelled, the teachers, principal and counsellors at my school often offer support for students during this time. Many of my teachers and even the school principal are very understanding.

Our school district even gave away the districts laptops to students who don’t have their computers at home and offer WIFI hotspots. There are a lot of things that are unknown at this time such as whether or not my class will even have a graduation and whether or not we will ever go back to school again, but I certainly feel that my school has done the best they can despite the circumstances.

However, we should have been educated on what to do and how not to panic during a pandemic, which my school is also trying to do through online classes.

Prarthana 12th grade (USA-Texas)

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#education #knowlegde #change #children #interaction #structure #creativity #psychology #mental health #physical health

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crasherfly · 4 years

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Been Around

I’ve been working on an iteration of this tumble for a while.

My last one? Well. It was kinda. Sad?

Like, basically, oh hey I’m on the edge of ruin guess we’ll see what happens!

Obvs some time has passed since then. And like, I dunno, maybe people are wondering how things turned out?

So I’m here to talk about that. Oh, and yeah, talk about what I’ve been playing watching and listening to.

Question Corner time!!!

Um did you get fired or what?

Shockingly, no! I kept my job. In fact, kinda got a clean slate- new manager, a new schedule, the works.

What the fuck? How?

Right?

Basically, I kept my mouth shut when I needed to and stuck to one un-sophisticated but outrageously stupid lie about why my “work” wasn’t showing up in the reports.

And the person in charge of calling me on that bullshit just...didn’t.

I don’t know if it was kindness, or laziness, or what, but they basically let me off with a firm warning to not let my abject neglect of my job be so obvious next time around. Around the same time as all this was going down, there was also a big shakeup in management, and I got shifted to a new guy. Along with that, I also got approved to reduce my work week.

So my best guess is amidst all the change they decided to just give me a free pass, cuz firing a union employee in the time of covid would be...a lot of work.

Wow. Sick. So. New schedule?

Yup. My job is having a bit of a budget emergency so they have offered to let us take unpaid time off while retaining our benefits. I’m now working 30 hours a week until the end of the year. I’ll miss the money, but honestly? I’m fucking stoked. I straight up need to be at work less, and while it’s some shit that I have to take a paycut just to stay sane, you better believe I was ON THAT the minute I learned it was an option.

You didn’t get fired. You got a new sup, a new supervisor...so...are you gonna try in the future, to, like, not get in that position again?

Yeah. I’m very okay with not putting myself through any of this ever again.

I’m actually putting in a full day’s honest work. Logging in on time. Staying awake the entire shift. Doing actual work. It’s wild. And exhausting. And repetitive. So...so...so...repetitive.

Actually working my job the way it’s written out on paper is awful and draining. My work is deeply uninteresting and utterly without consequence. I don’t have any actual metrics to work towards because of how the pandemic has impacted things. You’d think that would be good! But actually, it sucks real bad cuz my bosses basically just say “you have no metrics, but you should also be demonstrably productive” which basically means BUSY AS FUCK. So every day is an exercise in how I can convincingly spin my tires for 10 hours a day.

The tradeoff for making a clean go at this whole gainful employment thing is that, presumably, I can forgo the stress of like, you know, having my entire life and sense of financial security implode at a moments notice. I guess it’s a fair trade.

Still, I’m so very, very tired.

So...how are you feeling about things?

Honestly...pretty okay?

Look, you gotta understand that for the past month I was unraveling at the seams. Barely sleeping, drinking way too much, gaining weight back and making zero progress on my creative hobbies. So any improvement at all? In 2020? Feels like a fucking windfall to end all windfalls, even if the job is still shit and the paycut is a bit of a kick in the ass.

Cool cool. You uh...still doin...?

Therapy? I mean you can just say therapy.

Yeah, I’m doing it. Results seem...limited?

I found out my therapist is a anti-vax covid truther so...that’s been an experience. But when she isn’t going on about how big pharma is just mining us for cash money (not totally untrue), she’s...aight?

I dunno. I have to talk a lot. I don’t usually do that, ya know? And sometimes I finish my sentences and I’m like lol that’s literally all I got and then have to wait for a response. And the response is usually something weird like “WELL THAT’S GREAT”.

I guess I was expecting to hear some high concept shit about my brain? And instead...it’s mostly just been affirmations of just how damn functional I am! I’m so functional! Look at me, being functional like I’m all sorts of hot shit.

I thought you were gonna fire her-

Yeah, uh, look. I’m...very bad at confrontation. I’ll fire the truther therapist next week, I promise.

Whatever, so...what are you gonna do now that you only work 3 days a work?

Hopefully more of this! I miss writing for an audience. I miss sharing what excites me with other people! I’ve missed having an online presence. I live my life on the internet these days. Like, yesterday, I had this distinct feeling that I was SO ONLINE that I was like, basically, on the verge of full Matrix. Like, between Spriteclub and Twitter and Youtube and my online games, just stick a fuckin’ needle in the back of my head and get it over with. I’m like fuckin’ Neuromancer over here, 3 monitors at once all day every day.

So...when do we talk about what you’ve been up to?

RIGHT NOW ASSHOLE! That’s right folks, let’s talk about what I’ve been gettin’ into during my free time.

WRITING-

Alice and the Pale Horse

I’m on page 123. Working on some edits. Seriously looking at how I can release my first few pages in an episodic format.

My dream is to someday have an animator for this story. A guy can hope, yeah?

Crash’s Corner

I’m gearing up for another anime post. I’m hoping it’ll be a bit shorter and more focused. Major show candidates include Kaguya-Sama: Love is War, Gleipnir, and Deca-Dence.

Film Journal

I’ve been guest writing for Ryan Sanderson’s year-long film journal the past few weeks. The last entry was about the Alien franchise. Give it a look!

ANIME-

God of High School

Man, this show is so damn lukewarm until it hits these wild action sequences that make your soul just fucking sing. The story feels like total nonsense, even for a shonen, but then you hit moments like this and it just doesn’t matter. It’s so imaginative it just absolutely soars.

Gleipnir

OH MY GOD GLEIPNIR. Look, I can’t recommend this show to you. It’s that batshit off the walls wild. But...if you can handle the absolute of anime bullshit- and if you’re an anime fan, you know what I mean- then you might be able to handle this. I just finished the first season this week and it grabbed me by the neck and didn’t let go. If it doesn’t get renewed, I’ll absolutely find the manga. But just. Like. Holy shit. Yeah. (I said Holy Shit probably at least 2 or 3 times per ep, so be warned).

Fire Force

Honestly, season 2 has been a bit of a gas for me. It’s just lacked a certain juice that the first season had. Season 1 had so much wild worldbuilding going on, while season 2 seems to be all about tossing in as many tertiary characters as possible. Curious if the manga handles that better. As it stands, Fire Force still makes it onto my weekly rotation of anime I hit up while biking.

Deca-Dence

I heard hype for this on Twitter, and based on the stills and the trailer, I was kinda so-so. But I jumped in and gave it a couple ep’s and honestly? It kept my attention. It even surprised me several times. It’s deeply imaginative in its own right, and presents a couple of animation styles that play directly into the lore of its world presentation. I’m not resonating with it on an emotional level in the same way as I am with say, Gleipnir, but this is still a really damn good show that I’d have no reservations about recommending to anyone.

A Certain Scientific Railgun T

This one has me deeply conflicted. On the one hand, it is a gif generator, and I have a whole library of reaction gifs to show for it. The action is thrilling, the world gorgeous, the characters endearing and appropriately silly. But, like, also, it is the height of fan-service and there’s not much of a defense for it. So much so that I’ve only watched the first few episodes. I don’t know if I’ll keep on since the story hasn’t got its hooks in me yet. Reminds me a lot of Pandora in the Crimson Urn- deeply imaginative and funny but also full of yikes.

My Teen Romantic Comedy SNAFU

I’m only a few ep’s into season 1 but I’m intrigued. It’s a rom-com/slice of life type anime, but it plays like a more straight-faced Kaguya-Sama: Love is War, but with the voice of the show centered around a deeply unlikable incel-type character surrounded by a terrifically enjoyable cast of fellow students who each bring their own quirks to the table. I’m interested to see how the plot continues to develop, as I’ve seen fans raving about the most recent season. However, this show has fallen to the wayside as I keep getting distracted by other anime. Kinda reminds me of Food Wars in the sense that I find its premise and characters compelling but also lose my focus on the story quickly.

Samurai Champloo

Finally finished it! Loved it, for the most part. As a guy who has watched his fair share of classic sword films, I deeply appreciated how much reverence the animators and writers had for the genre, while also infusing their own modern sensibilities. It’s not hard to see what this sword story is so well loved, even if its overwrought ending doesn’t come close to touching the charm of its early charm and wanderlust.

Kaguya-Sama: Love is War

The best damn rom-com slice of life anime I’ve ever seen. Season 2 blew me away. I laughed. I cried. I enjoyed the new tertiary characters and was gratefully surprised by how easily the story was able to sustain the pace, brevity and sneaky depth of season 1. This show is special.

Dragon Ball

I want to enjoy this, if only ‘cuz I want to understand the story that is considered so foundational to many other fans. And I LOVE the trademark animation, of course. But...also..there’s a whole lot of moments in this that are just uh...they require explaining in 2020. Maybe I just need to get over my scruples and power through, idk.

Katekyo Hitman Reborn!

My current shonen project. I’ve been stalled out on the timeskip arc for about...a year now? But I’m not willing to call it quits yet! I need to see this bonkers time-traveling mafia war through to its conclusion.

Gintama

I fucking adore Gintama. I love how it doesn’t give a fuck about skewering anime as a medium until it flips a switch and slaps you upside the head with some weirdly emotional and hopeful message. Every character is both hilarious and yet has this deeply emotional connection to the audience. It is perfect satire.

MANGA

Note: People often ask me where I get my manga. My answer can vary from title to title, but my usual go-to is Epilogue Books, owned and run by my dear friend and writing partner of many years. I have a semi-regular shipment of titles I receive from them depending on how quick I get through a given shipment. If you’re looking for these, or any other manga, give their site a gander or contact them directly. They’ll hook you up, and you’ll have the satisfaction of supporting literally anyone but Amazon.

One Piece

I’m on volume 33 of the Skypiea arc, which has been so-so compared to the previous arcs with Crocodile and the adventures in the Deep Blue. I do find the Kami to be a curious and compelling villain, but none of the Straw Hats have done much in the way of growth beyond “get separated, fight jobber bosses, come back together and let Luffy finish the fight”. I’m toward the end of the arc, however, so we’ll see how it rolls.

Berserk

Holy shit Berserk. A bunch of folks told me to read this when I asked for suggestions on twitter. I saw the cover art and was like “ok guy with big sword in a dark fantasy world, neat”. Wasn’t sure if it said more about the people who suggested it, or more about me that they thought I’d like it. I was also deeply nervous about dark fantasy after my fiasco with Goblin Slayer. But I went with it and gave the first volume a read and HOLY SMOKES. What a damn read. Not only does the story have me hooked, but also, it is GORGEOUS. It is dark. It is moody. It is occasionally humorous. But its STYLE just grabs me in a way that is reminiscent of the old Spawn comics from my youth. I immediately ordered more and I can’t wait.

Fairy Tail

Just finished the lullaby arc and now we are deep into the Deliora arc with the Cold Emperor. It’s really been fun to see how the manga differs from the anime. The anime was my first true shonen experience and a story that I credit with having saved my life, so I had high expectations coming into this. I’m happy to say that thus far, the manga of Fairy Tail is worth every bit of attention that the anime received. Can’t wait to keep going.

Fruits Basket

Fruits Basket is fucking precious and if you come at these characters I swear to god I will come back at you. *deep breath* Okay. Settle. This is a positively lovely story, centered in positivity, kindness, and found family. Each character is working through trauma in their own imperfect way, and I adore their journeys. You can tell the story was penned by a deeply vulnerable human and I can’t thank them enough for having the courage to share it. Read this manga- and then go see the equally gorgeous anime.

Eden’s Zero

Written and drawn by the same crew who did Fairy Tail, it wouldn’t be inaccurate to call it Fairy Tail In Space. That said, volume 1 gave me just enough to get curious again about where Mashima is heading with his latest creative opus- and whether it will cross over with his wildly successful Fairy Tail universe. And yes, in case the above panel wasn’t enough of a cue- Mashima and co. can still play my heart for tears like no one’s business and it’s damn rude.

Sailor Moon

I love the Sailor Moon anime. I think it’s an adorable show with deeply relatable characters that approaches the monster of the week format with an effectiveness that would make even Buffy the Vampire Slayer jealous. The manga is just as wonderful- not to mention beautifully drawn. Volume 1 also works much, much faster than the show does, and I dare say it is better for it.

VIDYA GAMES

Warzone

I’m just seven levels out from completing my third battlepass straight. I’m going to try the Black Ops alpha this week. I’ve played Warzone a whole lot less lately, dedicating my evenings to reading manga, napping, or watching wrestling with pals instead, but it still remains my favorite shooter at this time.

Cities: Skylines

I started a new city last week. It’s a shithole industrial city on a desert map. I had to set my sewer drainage in a manmade lake outside of town that quickly overflowed. At one point the sewage flood disabled my powerplants which in turn caused my entire town of 8k to flee. I went into 3 million in debt while waiting for the town to rebound. I came out of it eventually, repopulating the town to the tune of well over 11k, and restoring my budget surplus, but it was a huge fucking ordeal. I love this game.

Yakuza 0

After chapter 1 of Yakuza 0 I was ready to write this game off. The camera angles pissed me off. The fight commands felt simplistic. The story was boring. But as I thought back to my experience of chapter 1, I realized that it more closely resembled some of my favorite action film sequences than I had initially realized. Did the button mashing make my wrists beg for mercy? Absolutely. Was it satisfying to overcome an absurd amount of enemies using little more than my x button and my wits? Also yes. And did those fights build on each other to create a sense of violent urgency as I propelled myself toward the “boss”? Definitely yes. And then you leave chapter 1 and get your run of a map that includes karaoke bars, Sega arcades and ramen shops- and yes, you better believe that I spent way too much time playing Sega’s Outrun. While jogging between shops and minigames random mobs of enemies pop up and try to start shit with you- much as they might in a JRPG. In fact, the game itself has a lot of RPG elements in it- stat boosts and inventory management and even a relationship meter. The more time I put in, the more the game opens up. I’m going to keep giving Yakuza 0 a shot for as long as that continues to be the case. Also, it is a perfect option to play as a streamed game on my phone.

Mario 64

Can you believe I’ve never played Mario 64? Seems embarrassing to admit now. So here I am, many, many years late to the party. I’ll let y’all know how I like it. So far...I’m already lost on the first course, so...hopefully things pick up.

Sky

Sky has been a bizarre experience. It’s the latest game from That Game Company, their previous work including Journey and Flower. Sky has that same aimless charm, but I also just can’t get into it to save my life. It’s free-to-play, but abstractly so- I’m not sure what the paid content even really does. I have a few friends on Sky- they typically have to drag me to the places they want to go. There’s nothing at stake in the world of sky- there are spirits you can free and content you can unlock, and occasionally you do encounter foes who pose a danger to you, but for the most part it’s basically a fetch quest with social elements added in. I appreciate those social experiences, and the community seems very chill, but it’s also a bit of a stress to log in and have everyone flock to you demanding your attention and time. Also, this game is only playable on my mobile phone, which I am not used to gaming on, so...focus is limited. I mostly just vibe on the starter island and talk to acquaintances.

Music

Powfu

DJ Blyatman

fawlin x Naits

Josh A

Tekken 7 OST

gothurted

Beast in Black

Battle Beast

Legos

Hey! I’m doing legos! That seems like a totally normal hobby to have at my age...yeah. Totally.

Anyway, I’m working on the Pirates of Barracuda Bay set. It’s about 3k pieces. It’s been a fun build so far! Here’s my progress...

WRASTLIN

Yes, I’m still watching wrestling. I usually get an episode or two in every week with my pals on discord. It’s not as many as I’d like to watch, but it’s for the best. If my viewing wasn’t forcibly tempered I’d have likely lost the past few months entirely to wrestling. And as you might have guessed from above, I’m someone who is happiest when their hobbies are varied and numerous.

I’m in June of 1999 of the WWF storyline. Undertaker is the heavyweight champ, the Acolytes hold the tag belts, Jeff Jarrett has the intercontinental title belt and Owen Hart just died. King of the Ring is less than a week away. My friends and I have filled out brackets. I’m very excited to see who, if any of us, ends up being right about the winner.

SPORTS???

I gave baseball the old college try. I ended up giving up. It just isn’t the escape I need. Something about those empty stadiums and players half-wearing masks and the shortened games just throws me off. I don’t feel at ease watching baseball in 2020. When I first got into baseball back in 2014 or so, it was because I was sick and baseball promised an illusion of normalcy- I could watch the rest of the world function in relative stability and hope that someday I too could join them. Now it’s the rest of the world that’s sick, and I’m relatively well, and all baseball can do for me in 2020 is remind me that I’m damn lucky I’m as well as I am, and that if I’m careless (or just plain unlucky) that I’ll be pretty sick to.

So where did I turn for competitive entertainment?

Well, there was wrestling, to be sure, but the real joy I’ve found is at SpriteClub.

The quick pitch- people just like you or me create fighters in M.U.G.E.N., a 2-D fighting game engine. These fighters, or sprites, are guided by AI, also designed by people like you and I. Think of it like a gundam and its pilot. They’re tossed into a pool with a whole bunch of other community creations and left to duke it out while the viewers bet fake money on the winners.

You would think that the idea might only appeal to gambling junkies and fighting game addicts, but the truth is this eclectic channel has a much wider appeal than one might initially give it credit for.

For one, its catalogue of fighters includes everything from pop culture superheroes to obscure anime characters to widely shared memes. It is almost impossible to not find a character you’ll have some sense of loyalty to.

Beyond that, the crowd that populates the chat is courteous, kind, and downright educational- a remarkable mix for anywhere gamers populate. It’s a relatively small community, so the channel takes the feeling of an intimate corner bar. If you enter the chat respecting the chill and willing to listen, you will learn a great deal not just about the fighters, but about how the genre of 2D fighter works as a whole.

Perhaps the most enjoyable part of SpriteClub is the exhibitions feature, which allows you to request custom matches with your favorite characters, which play out on the Twitch stream for others to view and bet on. Although often chaotic, the exhibition mode is home to a number of long-running series set up my stream regulars. These series take on a life and lore of their own that is frankly fascinating. Think of it like a more frenetic video game karaoke. Yes, picking good fighters is a goal, but so is finding a good angle for the match- the right level of humor, the right pairing of unlikely characters, and set-up for matches that are competitive, as opposed to predictable stomps.

I’ve never jumped into a Twitch channel as a regular before. I’ve never subbed to anything on Twitch before. The gamer community as a whole has always been one that’s left a bad taste in my mouth, rightfully so. But SpriteClub has been a lovely brightspot and proof that kind and informative gaming communities can and do continue to exist. I foresee myself being a regular viewer for some time to come.

And that’s it!

That’s pretty much everything I can think of sharing at this time! I hope y’all enjoyed it. As you can tell, I’ve done my best to keep busy. Hopefully I’ll have even more to share with you all in the immediate future. Until then, thanks for reading, and keep well!

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drawingconclusions · 4 years

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CONTACT TRACING APPS + ORIGINS OF THE CORONAVIRUS

I'm not fond of returning to political & social commentary in the midst of this crisis, but I'm growing more concerned about some of the responses to the coronavirus. And I see some hateful people becoming more hateful, and the regularly unhinged individuals becoming more unhinged.

Some in Congress have called for an investigation into the U.S. coronavirus response, and if I'm not mistaken, it's spearheaded in part by Adam Schiff, which is quite interesting. Sure there is much we can learn from our response to this crisis, as with any other crisis, but somehow this seems like another partisan attempt to hurt Trump. Someone stated that during November there were no intelligence briefings/meetings held in the corresponding committee in the House of Representatives on account of the impeachment inquiry that Adam Schiff & others were leading. Is that true? This virus has been active in Wuhan China since at least early December 2019, and possibly late November. Instead of wasting time on bogus impeachment proceedings, the Democrats in Congress should have been thinking ahead and recommending the production of supplies we are now lacking. I personally would like to see that investigated. And as for any other briefings about the coronavirus that Congress did eventually receive in early 2020, please state all the subsequent concrete actions, if any, that members of Congress implemented that helped the American people as a result of those meetings. One of the stimulus bills recently passed by Congress includes 10 billion dollars in international development. Can someone please itemize exactly what that entails, especially when there are Americans in such dire need as a result of the coronavirus economic lockdowns?! And who specifically proposed some of these unnecessary add-ons to the bill? Look, I'm not trying to lump all the members of Congress in the same category, as I recognize there are still some good and decent people who represent us, but it's incredibly disconcerting to see some politicians still looking out for their own interests & pushing their warped ideologies when the American people are going through such a difficult time.

And can someone logically explain why we plan to continue to bring in foreign workers to the U.S. this year when there are more than 16 million Americans currently without jobs? You know that I'm not opposed to legal immigration and I don't hate people of different countries. (For crying out loud, I'm an immigrant who became a U.S. citizen.) It's just that there are so many people in need in our own nation. (And is there any way we can have Personal Protective Equipment manufactured by the private sector to help keep costs low and to hire at least some of these furloughed workers?) Those people who are talking about a near endless lockdown obviously haven't seen the images in the news of miles of cars in line at the food banks across the country or heard about the rise in suicide rates. The economy isn't some kind of abstract concept separate from the lives of the people; the economy is the American people. We have to find ways to bring immediate relief to those who are hurting most in our country.

Apple and Google have formed an alliance (unholy or holy, we've yet to see, LOL) to develop an app that will provide contact tracing for those who may potentially cross paths with a Covid-19 infected individual. Each smartphone will have a unique number or identifier that will reportedly be changed every fifteen minutes, and through the bluetooth functionality of your phone you will be notified if you come in contact with a person who has been infected. The good thing is these companies have stated their intent to allow the public to review the coding involved, and I'm sure there are some talented developers who can give that a good look. Listen, I've never created a complicated app and I'm not a certified developer, but I still have a slew of questions. Unless a project or an app has been abandoned, there are usually continual changes to code, and I'm curious how or if users will be notified of significant revisions to privacy or terms of use. Even though the unique identifier for each phone will be changed every fifteen minutes or so, there still has to be a way to recognize a specific phone for an extended period, otherwise the tracking process wouldn't work. How exactly is that done and where will that identification reside - on a user's phone or on the health agency's server? And will law enforcement or intelligence agencies be allowed to have a backdoor into the software or app, as this coding will seem to have the ability to know who you've come in contact with recently? Some have wondered aloud whether cell phone browser IP addresses will be made known to the health agency servers where all this info is relayed to. If an organization has your IP address, they can likely obtain your identity from your cell phone carrier, and we know by now how some of those carriers are all too willing to hand over your personal information.

While most people view the coronavirus as a temporary problem until we find a vaccine, Apple & Google have stated their intentions of going beyond just a coronavirus app to actually build this contact tracing into their mobile phone operating systems in the near future. So this doesn't appear to be a temporary solution to a temporary problem, but instead a new way of life that they're permanently baking into cell phone software that millions of Americans use every day. And Apple, please don't kid consumers by saying a toggle button in the interface will opt us out of contact tracing once it's in the iOS. Wasn't there a previous version of iOS that would collect location data despite the toggle button settings?

I can't say that I'm very confident in giving any tech companies potentially more influence or leverage over the population. Many of these are the same companies who indulge in targeted bias of conservatives on a daily basis, and who seem to have a love affair with China's communist government (Wasn't Google the company that eagerly offered to help the Chinese military with AI and who was willing to help censor the Chinese population in search engines?). Are these really the ones we should trust with this? Is there any organization we would trust with this?

I'm usually loathe to bring social criticism without offering some kind of alternative. And despite the many faulty computer models we've seen from various universities about the coronavirus, it's clear that this pandemic is still a serious matter. I don't have clear-cut solutions to all this. (Maybe restaurants can build temporary plastic or acrylic stalls to better protect their patrons. Maybe large open warehouses can be converted into spaces that will hold specific restaurants or even retail stores on an alternating basis. The large spaces would provide better social distancing measures for customers and would obviously need to be disinfected on a daily basis.) But ID cards for those who have had the coronavirus? (Does that mean we should also ID flu patients or those with AIDS or STDs?) Just two days ago, I saw a news report that 91 people in South Korea who had recovered from the virus had contracted it again. Does that blow all our theories about immunity out of the water? Has the virus mutated again into another strain? It's incredibly suspicious that there are two virology labs in Wuhan where this pandemic began and some of China's own scientists have stated that the virus was accidentally carried from there into the general population. Now I'm not a doctor, and I don't know how the high contagion rate of Covid-19 compares with other coronaviruses in existence. But wouldn't it make sense for the international community to demand that China be completely transparent about what occurred in that research lab and whether or not this virus was bioengineered in any way, instead of trying hit or miss solutions to all this? Even after I wrote the bulk of this, I saw a news headline that China is now limiting the release of any information related to the beginnings of this pandemic. Wow. That's exactly what communist and socialist governments do. They hide the truth and punish anyone who dissents or speaks against those in power. Unfortunately, there are individuals and groups here in America who are embracing this same fascist mentality. Tech companies, news media, the White House Press Association, politicians, and various levels of government are making it a habit of taking note of those who challenge the status quo. Which is one of the reasons why I write. This is America and true Americans won't stand for the morphing of our beloved nation into any kind of communist or socialist state.

Yes, we have to find appropriate ways to address the coronavirus. But in the process are we really willing to lose what America stands for?

0 notes

picturediary · 4 years

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15.09.20

… and just like that… a week has passed.

It was a decent week, I suppose, but I haven’t been feeling all too well physically. The pain in my shoulder won’t go away; it’s a constant now, never gone. And I’m fighting a sore throat for days now, too. It’s not enough to stay at home, but enough to be a constant nuisance, too.

It’s been a week of decision making, too.

That, and I didn’t want to be too bitter about thinking and writing about DT. It’s only poisoning my mind, and my words, and I know what I would have written... if I had written, at all.

So let me catch up.

Last Tuesday, 08.09.20: I dreamt about DT. No surprise here. It was the night after MR day. I dreamt F and I were standing in front of a house, but whether it was ours or theirs, I could not tell. DT arrived by car, with his spouse and a child. And I thought: “F was right! He’s so distant and silent and unapproachable again because they expected their third child.” (F has been joking about that, although I couldn’t really laugh about it. But whenever I mentioned the ongoing radio silence of many, many months, his response was always: “Oh? Are they having another child?”) In the dream, I only saw him through the windows of the car, and the baby in his arms. It was a boy, but not his own. I remember thinking that he must have had adopted the babe.

It was a strange dream, but I’d be happy to forget it.

Tuesday teaching went alright. Tuesday is my shortest day, but somehow I manage to stay an hour or more longer every time ever since this school year started. I should be more consequent about that. After the regular students were gone, the physics college student had another lesson and I got a little melancholic, because he will leave very soon. It wasn’t the very last lesson, but you could feel the goodbye hanging in the air.

After that, I called back a teacher from an elementary school in the middle of nowhere. He’d reached out to me because the guitar teacher at their school had left. The man must have been an unpleasant guy, from what I had gathered, and most students didn’t like him. The principal of the school actually had asked this music teacher to continue teaching, but the man had told her that he wasn’t a guitar player. So this school doesn’t have a guitar teacher anymore and there was one student in particular who wanted to continue playing the guitar and was now without a teacher.

Which left me with a hard decision to make. One I haven’t made until now.

I have been particularly unhappy with how things were going in school B for a while now. I do not feel welcome there anymore, although F and I have been there since 2005. Which means that we saw two principals come and go and that we are – apart from the cleaning lady – the ones at this school who have been there the longest. Yet they treat us like unwelcome guests. The teaching conditions are not very good. From desk to chair to rooms... it’s not a great place to work at, and we constantly feel hindered by the principal.

And now there is a music teacher reaching out to me... because his school doesn’t have a guitar teacher anymore...

And now?

The pros:

- a school principal who is actually interested in having a guitar teacher there might provide a better work environment and working conditions than a principal who only tolerates us – maybe she would even respect and value me

- it might be a chance to end the work at school B and switch to another school with even more students

- two of the teachers there are actually people we have worked with before – one the mother of a former student of F’s and the other the music teacher who was previously (ironically) at school B - which is why he knows me in the first place

- I only teach 3 students at school B that actually COME from school B. The pool of students there is limited, and the students I do have there are... mostly not very pleasant to teach. Not all of them have been, but most of them.

The cons:

- the school is awfully far out. And I mean AWFULLY far out. A drive of 40 minutes at least from where I live. It’s impossible to squeeze it in to just drive there for one or two students.

- the additional driving time would amount to a plus of 40 minutes that day – which would be one paying student I could teach during that time. Driving time is dead time and unpaid time.

- I don’t know if that school would really be better to work with. Maybe hopes and wishful thinking make me give up school B for something that isn’t actually better and I will have, in the end, the same problems as before.

- school B has been a safe source of income for 15 years now, we are well established and the community there wants us – even if the school itself doesn’t seem to

- I actually wanted to focus more on online teaching than going directly into schools. Should we decide on having a little person, after all, every minute on the road is too much due to our strange work times. I’d already have to cut down on lessons massively if I’d ever want to meet opening times of kindergarten and after-school programs. So teaching from home would be convenient and practical.

So, it’s a tough decision to make, and it’s something that’s been on my mind ever since.

Last Wednesday, 09.09.20: It was the day I actually called the father of said boy who had lost his guitar teacher and was now in desperate search of a new one. It was an incredibly long and pleasant call, I have to admit. The father and I could agree on a lot of things regarding musical education, which is a huge plus. That, and he is the “whatever it takes or costs, we will make it happen”-type of parent. And those are always a pleasure to work with. So I was very conflicted after that. Should I actually drive to the new school for one student as a test run? Just to see how it would be? How people there are? But the only possibilities would be Tuesday before school M (and I was so glad that Tuesday was a short day) – or on Fridays, after physical therapy and therapy. Both are not good options. So I was as clueless as before.

We arranged a test lesson for today, which in the end didn’t happen, because the boy got sick. I’m really curious about this potential student, but I’m not sure about how far I would go to teach him. In the end, driving the long way to the new school would cost me time and money. But maybe, in the long run, it would be a better source of income?

Questions. A lot of questions I had and have no answer to.

And I decided on writing that guitar book for students. I’m afraid it won’t live up to my own expectations and while dabbling with designs and programs I found that it will be a pain in the ass to format. The writing won’t be the main problem. The design and format will be.

The rest of the day passed, but I was exhausted.

Thursday, 10.09.20: It was one of those days with heavy thoughts. Bitter thoughts.

On September the 10th 2017, hurricane Irma hit Florida. It was the day I took a chance and wrote an email, against better knowledge. I sent an email to DT, who I hadn’t heard of for two years and ten months, telling him I was thinking of him, knowing the hurricane would hit his very town, and that I hoped he was alright and safe.

And against all odds, there was an answer.

And I remember sitting in front of the computer, shaking and nauseous and very upset, reading his emails that night.

A tentative step towards renewing a friendship that had been brittle before, at best. But I was hopeful, and I wanted to believe. In friendship, in continuity, in him.

But no matter how often he has claimed since then that “eventually” he would have reached out to me, I don’t believe that. I have always been the driving force of staying in touch and getting in touch – this time was no different. I just don’t believe that he would have magically changed his mind after four or five years and reached out to me.

And thinking of that hopeful, terrible, nauseous night, it made me feel all the more bitter about the current situation.

It made me feel angry and sad, that there has never been an answer to that email from March, when I told him I hoped he and his family were alright during the pandemic. That, seemingly, this meant nothing to him, or that it was too meaningless to answer. Not that I had expected an answer. I hadn’t.

Almost 9 months without a sign, and he will claim that all of this is perfectly normal in his life, with his friends and family.

And yet... it stings that he didn’t answer a mail like that one, with no other agenda than telling him to be safe and that I was thinking of him. It stings that he never reached out on his own to ask how we have been doing while the world around us all fell apart.

I know. He said he doesn’t want to be my friend. And that’s fine, in a way, because as much as he doesn’t want the friendship I have to offer – I don’t want the friendship he has to offer, either. And still, I had hoped there was more that still connected us. At least enough to check on each other when the world goes to shit.

Apparently not.

And had I written these lines last Thursday, the third anniversary of the bizarre, surreal Irma reunion, I would have sounded a lot more bitter and angry.

Now, I’m mostly sad and disappointed.

I took a bath to end that day, listening to music that – inevitably – only made me think of him more.

Friday, 11.09.20: Another anniversary, but an entirely different one. I have to admit, though, that I hardly thought of 9/11 that day.

I drove into town early in the morning with my new, old car, and listened to the radio. It’s been ages since I’ve done that, and I learn to enjoy it again. While a lot of the music nowadays doesn’t interest me (I’m obviously getting old), I enjoyed that typical radio-voice-tone, the news and even the jingles. It’s strange how some things don’t seem to change. It felt warm and nostalgic, and I thought of other days, of evenings spent in front of the radio, listening to radio fritz, to all that wonderful independent music the 90s came up with, writing in my diary under fairy lights with a cup of tea.

Thinking about it, some things do not change.

I had my first appointment with the new physical therapist in JS’s practice. I have to admit, however, I did not feel all too comfortable with her. She’s young – so young – and very sweet, but every pore exuded some sort of insecurity. She talked about playing the ukulele, I gave her tips, she asked about me, the lipedema and the pain in my shoulders. She’s likeable, but we are not the same wave-length, and I can’t imagine letting myself actually relax in her care. She might be amazing for MLD, though, but the manual therapy for my shoulder and back were very ineffective. She was so, so careful and cautious to not cause any pain. Unfortunately, my condition has progressed as far as that my shoulder does need a hard hand to feel better for a while. It wasn’t an entirely unpleasant appointment, but not as good as with JS or her other colleague. It was worth a try, though.

Therapy was mostly about making a decision about the new school and what to do. My therapist had an amazing idea: driving there once a month and teaching online the rest of the month. “Dual guitar lessons”, he suggested.

F. wasn’t as excited about that idea, but I think it might be worth a try.

I fell asleep on the couch after I came home again. I slept for way to long.

The evening was spent with F. It was relaxing and we nibbled on a cheese platter I had put together. It was one of the rare occasions where we slept in the same bed. And while his snoring woke me and I couldn’t move because the cat slept on top of me... it was a wonderful night. It felt warm and cozy. I enjoy those nights a lot, even though I don’t get as much sleep as I would get otherwise.

Saturday, 12.09.20: we slept in and it was heaven. F put together a lovely breakfast, with good tea and chocolate milk. While I had planned to just relax and rest until we’d go to ML and TL for dinner, I ended up helping F outside in the garden. After he’s spent the whole summer reworking the area behind our house, building a stone foundation and a stone edge for our little lawn mower Rambo, removing grass and covering everything with new soil... after I had planted the new garden inhabitants there the week before, all that was left was to cover it with pine mulch. And that was quite a bit of work.

But we managed before we had to leave for ML and TL’s home.

And it was such a wonderful evening.

I have felt insecure with them, especially TL, more often than not. But I feel like I warm up towards them, feel safer and less insecure.

The food was delicious. We had sweet potato and carrot soup with a salad, cheese platter, nuts and a divine strawberry tiramisu and I was so full afterwards. We talked about their kids, about work and working conditions, about school and our students and the world in general and I didn’t even recognize how the times passed.

Only when TL nodded off I realized it was after 1am. It took another hour to actually leave. We just did not want to part.

I was so happy to see the shower puff I crocheted for ML hanging in the bathroom. I always feel so unlikeable – too loud, too stupid, too ugly, too insecure, too inarticulate – that I spend more time overthinking than actually enjoying the company. But it gets better with these two, and that made me very happy.

It was an amazing night.

Sunday, 13.09.20: we finally planted the dogwood tree in our garden. We found a lovely spot on the front lawn. It took a while to build the drainage and dig the hole, but I hope it will thrive there happily and grow. We spent the evening watching a documentary about social media that made me very thoughtful.

It was a good day. Not very exciting. Not meaningful to the world. But to me, it was a good day.

Monday, 14.09.20: work was exhausting and long. And even though two students cancelled on short notice, I felt exhausted after work.

It was hot. 28°C outside, and I felt uncomfortable in my own skin again. But teaching went well. No big disturbances, no big conflicts, and I’m grateful for that. The three new students are doing well, and I think the last one, N, is beginning to really enjoy the lessons.

At the end, the physics student had his last lesson with me. I felt bad, because my exhaustion showed in bad grammar and strange sentences, but I hope he didn’t mind.

I’m sad to see him go after not even two years.

Last year around this time, I was overwhelmed by having too many highly advanced students at once. So many that it was really exhausting and a lot of work. Now, one left to study in Berlin, one passed the entrance exam to study music with my old professor, one left in a disappointing way because he simply changed his mind... and now the last one of those older, advanced students is leaving, too. Where I had a problem of “too much” last year, I am now sorry that nobody is still here that plays on this kind of level.

But the next generation is waiting. The girls preparing for the competition in January will be amazing in the years to come, I hope. And they will become such good guitarists if they keep up the good work. So I guess I should enjoy the break until they, too, are very advanced.

But it made me sad.

He got me a little gift, even! Coffee, chocolate and nuts. It was such a sweet surprise. I honestly hadn’t expected that, not from him. He didn’t seem to be the type. But it was so thoughtful and generous and sweet.

Today: Today should have been short, but was once again long. It was incredibly hot out there. 30°C. In September. It was a struggle, all day. F has been hopelessly overworked for quite a while now, and he is stressed and easily irritated, and that was a bit contagious, I have to admit.

So I went to work stressed, hot and in a bad mood. One student cancelled, thankfully. And the test lesson was cancelled, too, because the boy got sick. I spent longer at work, anyway, because I talked to my student A about her future, about entrance exams and how to proceed. A dragonfly got caught in the room during her 90 minutes. It was beautiful.

And now it’s getting late.

I have a horrible headache and something has been howling outside for hours. I’m exhausted and tired because I didn’t get enough sleep lately.

It’s time I do.

Goodnight.

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makingscipub · 4 years

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Bubbles: A short history

Last week we heard a lot about bubbles, especially school bubbles and travel bubbles. This metaphor has been bubbling up for a while during the pandemic and I became curious about how and where it emerged.

Then I saw a tweet from Gareth Enticott which contained an article about New Zealand researchers who had come up with the concept of ‘bubble’. It was then taken up enthusiastically by Jacinda Ardern, the Prime Minister, and subsequently became a model for other countries. In this blog post I want to tell the story of how the bubbles spread. But, of course, this is only scratching the very surface…

A life-affirming idea

The article indicated by Gareth appeared in the Otago Bulletin Board – a news website maintained by the University of Otago. It says that “Dr Tristram Ingham, a Senior Research Fellow in the Department of Medicine at the University of Otago, Wellington, developed the concept [of bubble] while advising the Ministry of Health on the COVID-19 response for the disability sector”.

What he and his co-workers wanted to do was to capture “the imagination of both the Prime Minister and the nation, and help[ed] frame life under Alert Levels 4 and 3 more positively”. This was the time when social/physical distancing became a new mode of life around the world, but as Ingham said: “We didn’t want at risk communities to be passive recipients of their fate. The methods had to be around empowering individuals and whānau [an extended family or community of related families who live together in the same area] to have control over their own life and situations for self-preservation.”

This empowering and life-affirmative aspect of ‘bubbles’ is something I hadn’t really appreciated until reading this article.

The familiarity of bubbles

But why bubbles? As Ingham pointed out: “Bubbles are a universally known concept, which could be made appealing to children or to people that didn’t have a public health background. They could think of a bubble as a fragile yet beautiful structure that has to be nurtured and preserved. And it introduced the concept of making sure you don’t burst your bubble.”

As we say in metaphor circles, bubbles are a rich and familiar ‘source’ domain that can be easily mapped onto an abstract ‘target’ domain, such as pandemic risk management, and lead to new ways of thinking, talking and acting.

As Peter Adams pointed out in an article for the University of Auckland: “We are very familiar with the behaviour of bubbles: they froth on the ocean, they slide down the dishes, and they glide by on those summer afternoons when children form them with detergent and plastic hoops. The use of bubbles here conjures up an image of me and my loved ones floating around inside a transparent membrane that separates my group out from others and protects us from unwanted intrusion.”

Viral bubbles

The concept went viral and spread around the world. I wanted to follow this spread a bit and therefore looked at the news database Nexis to see how it went. This was not easy, as ‘bubble’, even with ‘AND covid’ ‘OR coronavirus’ brought tens of thousands of hits. So I narrowed the search to ‘bubble AND social group AND covid OR coronavirus’ and that, finally, gave me 82 hits that I could look at in diachronic order. I also looked for ‘Jacinda Ardern AND bubble’ just to see when New Zealand first talked about this. And supplemented it all with some incidental finds on the internet….not the neatest search I have ever done!

Creativity and flexibility

Bubbles as metaphors have been around for a long time and have been used in various contexts, from rumours bubbling up, to the south sea bubble, to social media bubbles which, we are all told, are not good for us. However, in the context of the pandemic, bubbles became more ‘real’ in a sense. Bubbles came to stand for what some call ‘micro-communities’ (Indian Express June 5, 2020).

Here is one visual representation I found, probably originating in China, but I can’t find the artist and here are many more.

The word bubbles attracted lots of other words and so we got : social bubbles, quarantine bubbles, home-bubbles, iso-bubbles (Sydney Morning Herald, 2 June), travel bubbles, bubbles mates, support bubbles, school bubbles, year-group bubbles, class bubbles – even quaranteam as a synonym for bubble, invented in March by a British couple quarantining in South Korea (Mirror, 7 March). In the United States, a synonym of bubbles was ‘pods’, it seems, although it seems that the concept, although spreading informally, was never part of a formal policy, as it was in other countries more keen on social distancing and isolation.

It should also be stressed that bubbles do not only encourage linguistic creativity, they are also flexible and adaptive enough to allow for changing uses over time. As an article in Slate pointed out on 6 May: “What makes the bubble idea an effective communication tool is not just its simplicity but also its ability to morph along with changing regulations. As New Zealand now moves into a lighter stage of restrictions, the concept of the bubble is adjusting with it. Under the more relaxed alert Level 3, New Zealand authorities are allowing bubbles to slowly open.”

Let’s start at the beginning.

March

The end of March, when New Zealand went into strict lockdown, seems to have been the time when bubbles first became a thing in New Zealand. As Peter Adams described in his article from which I already quoted above: “On March 23, when declaring the lockdown, Ardern said, ‘We have a window of opportunity to break the chain of community transmission.’ Her reference to ‘windows’ and ‘chains’ make use of common metaphors, perhaps too common to register specifically in our minds. However, in her next daily briefing she floated another more specific metaphor. We heard her encourage us to, ‘stick to your bubble,’ and ‘you can’t spend time with other people outside of your bubble’. […] By whatever process Ardern and her team came up with the bubble metaphor, during the course of the next two months it has proved a very effective way of communicating some key understandings.”

We now know by what process they came up with the concept! Let’s now look more closely at how it spread through time and space.

It seems that ‘bubbles’ first appeared in the news in an article on 24 March in The New Zealand Herald quoting Jacinda Ardern. At the same time, in a complementary article, one of New Zealand’s foremost pandemic communicators, Dr Siouxsie Wiles, answered questions (she also produced the imaged featured above, which is part of a famous gif).

The article said: “She reiterated Jacinda Ardern’s words of seeing our household ‘as our bubble’ and stay within that bubble. Wiles says there are exceptions to the ‘one household, one bubble’ guideline, such as parents with shared custody of children. Those two households can be considered one bubble.… You can help people out but ‘do not enter their bubble’. The exception is for people who live alone, who can have a ‘buddy system’ set up with someone else who lives alone. They can enter each other’s ‘bubbles’.”

Like ‘lockdown’, ‘bubbles’ are rooted in the conceptual metaphor of a ‘container’. A container metaphor is an ontological metaphor in which some concept is represented as having an inside and an outside, and as capable of holding something else. But bubbles and lockdown are quite different, of course. Lockdown conjured up images of prison, entrapment and house arrest, of crime and punishment, while bubbles conjure up images of (fragile) protection, responsibility and mutual support. Both play an important role in the ‘containment’ of a pandemic disease.

April

On 5 April, when Boris Johnson was admitted to hospital with Covid-19, bubbles were talked about in The Guardian here in the UK: “Before the lockdown, Ms Ardern asked Kiwis to ‘apply common sense’ and shrink down their social group to ‘a small group of individuals who are part of your bubble… the bubble you must maintain’ for the month.” That article was reproduced in many newspapers which also reported on a New Zealand ‘bonk ban’….

On 15 April, the MailOnline used the concept when listing 275 ways of slowing the spread of the virus devised by a team at the University of Cambridge: “’Focus on constraining ‘long connections between people in different social groups who seldom or rarely interact (e.g. people with a shared hobby or interest rather than short connections between people in similar social groups who regularly interact with one another (e.g. close family, colleagues, close friends),’ the report authors write. They go on to suggest governments might ‘Ask people to identify their bubble – being everyone they live with or must have contact with during ‘lockdown’- and ask people to stay as much as possible within their bubble, ‘a piece of advice they apparently borrowed from New Zealand Prime Minister Jacinda Arden. ‘Making this happen will be up to the people responsible for every element of society,’ said Professor Sutherland.”

From end of April bubbles appeared in newspaper headlines, and puns emerged around ‘burst bubbles’ etc. The concept was becoming mainstream in the UK, Canada, the US, Belgium etc. but with varying degrees of formal or policy endorsement. The small sample of articles I looked at did not contain any press coverage from the United States.

May

In early May, when bubbles became more and more popular, various disadvantages of bubbles were discussed, for example, interestingly, on Fox News (3 May): “MCDOWELL: …The Belgian government is toying with an idea that can help limit the pandemic. It would allow people to form social bubbles of 10 people maximum, no overlapping with other groups. … GUTFELD: This is a bad idea because it’ll cause social signaling. Like oh, hey, guys, I can’t see you tonight. I’m in Bret Baier’s bubble. […] You know, everybody’s going to be humble bragging about what bubble they’re in. And then how do families divvy up a bubble if you got like three kids. It’s going to be a new kind of disaster, domestic strife.”

There were some social dilemmas around bubbles, as discussed in the New York Times, but I don’t think it was as bad as that.

June

On 5 June The Telegraph (again, one should add, interestingly!) even wrote about how to decline a bubble invitation: “Those who dreamt up the idea of social bubbles clearly had no consideration for the chaos that would ensue. ‘If you decline to be in someone’s social bubble, you run the risk of not being included in anyone’s social group,’ says Harrold. ‘If an offer comes along, and it’s people you feel comfortable with, you’ve got to accept it.’ He advises that it can be helpful to think of the social bubble as an official contract; sign up, try it out, and leave if it’s not working for you.”

June was the month when bubbles became mainstream. And empirical studies of bubbles were undertaken at the University of Oxford, the London School of Economics and at London School of Hygiene and Tropical Medicine.

On Wednesday 10 June, Boris Johnson made an announcement that adults who lived alone would be allowed to form a “support bubble” with another household. However, it seems this was not a straightforward ‘we follow the science’ decision. As reported in The Guardian, scientists were ambivalent, it seems: “Other Sage documents point to the extreme concern scientists had about the introduction of social bubbles whereby households could meet up to form small social groups. In mid-May, the experts urged ‘strong caution’ over bringing in bubbles when other distancing measures had only just been lifted.”

There is thus a difference between New Zealand and the UK. In the former, bubbles were part of the lockdown policy right from the start, in the latter they were part of a gradual easing of lockdown policy. This was the case in most countries, such as Belgium and also Canada where people began to talk about ‘double bubbles’ in June. Even in Germany there was talk of ‘Blasen’ or ‘die Bubble’.

July

On 4 July, some people ‘celebrated’ ‘Independence Day’, when social distancing rules were substantially relaxed in England. People could go to pubs and restaurants, and bubbles became a literal reality, as in this picture of dining pods (and here is a different one featured by CNN; and and older version of a bubble tent in care homes in Germany)!

At the moment the following rules apply when going out for a drink, as reported by The Sun on 4 July: “Punters who meet indoors can only meet in groups of up to two households or support bubbles. Outdoor meet ups should only take place in groups of up to 2 households (or support bubbles), or a group of 6 people from any number of households.”

Bubbles, bubbles…

Since Jacinda Ardern first told New Zealanders to form their own bubbles, the bubble has gone the way of all good viral concepts. As Dr Ingham, it’s inventor, said: “We lost control of the narrative. What I think is quite interesting and ironic is that it seems to be being picked up internationally and a whole bunch of other academics are starting writing about what it means, and the symbology of it. In some cases, they are reading more into it than I even thought at the time.” So we now got meta-bubbles and this post is one of them, I am afraid to say.

Image: Wikimedia Commons, part of a gif by Siouxsie Wiles and Toby Morris

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