It doesn’t matter if you call it a “data breach” or not. The problem is how much data Facebook collects, stores and analyzes about us. You now know how Facebook’s platform was used by 3rd parties to meddle in elections. Now imagine how much more effective it would be, if it wasn’t 3rd parties, but Facebook itself putting its tools to use. Imagine, for example, if Mark Zuckerberg decided to run for president…
#DeleteFacebook is trending on Twitter. Rightfully so. Some say, “even without an account, Facebook tracks you across the web and builds a shadow profile.” And that is true. So what? Use browser extensions that block Facebook’s domains. Make them work for it. Don’t just hand them the data.
Some say, “I don’t want to stop using Facebook, I want them to change.” And that is wrong. Keeping up with your friends is good. But Facebook’s business and data model is fundamentally flawed. For you, your data is who you are. For Facebook, your data is their money. Taking it from you is their entire business, everything else is fancy decoration.
Others will say, “I need Facebook because that’s where my audience is, and my livelihood depends on that.” And it is true. But depending on Facebook is not safe in the long-term, as others have learned the hard way. Ever changing, opaque algorithms make it harder and harder to reach “your” audience. So even in this case it’s wise to look for other options and have contingency plans.
There are ways to keep up with friends without Facebook. Ways that don’t require selling yourself to Big Data in exchange for a system designed around delivering bursts of dopamine in just the right way to keep you hooked indefinitely.
Mastodon is one of them. There are others, too, like Diaspora, Scuttlebutt, and Hubzilla, but I am, for obvious reasons, more familiar with Mastodon.
Mastodon is not built around data collection. No real name policies, no dates of birth, no locations — it stores only what is necessary for you to talk to and interact with your friends and followers. It does not track you across the web. The data it stores for you is yours — to delete or to download.
Mastodon does not have any investors to please or impress, because it’s not a commercial social network. It’s freely available, crowdfunded software. Its incentives are naturally aligned with its users, so there are no ads, no dark UX patterns. It’s there, growing and growing: Over 130,000 people were active on Mastodon last week.
To make an impact, we must act. It is tempting to wait until others make the switch, because what if others don’t follow? But individual actions definitely add up. One of my favourite stories from a Mastodon user is how they were asked for social media handles at a game developer conference, and when they replied with Mastodon, received understanding nods instead of confused stares. Step by step, with every new person, switching to Mastodon will become easier and easier.
#DeleteFacebook was originally published in Mastodon Blog on Medium, where people are continuing the conversation by highlighting and responding to this story.
Sempre voto, apoio, milito em prol de movimentos, partidos, pessoas que se propõem a lutar por grupos, classes, categorias que não conseguem lutar por si mesmas.
Porque um Estado que atua em prol da classe alta é um Estado redundante.
A classe alta sabe se defender com seus próprios recursos: o Estado justifica sua existência defendendo os direitos daquelas pessoas que não conseguem.
* * *
Demonizar a classe alta é infantil e contraproducente.
Cresci na classe alta da Barra da Tijuca e estudei na escola mais cara do país. Em meus anos formativos, minhas pessoas amigas, colegas, familiares, eram todas empresárias e empreendedoras, executivas de multinacional e capitãs de indústria.
Atesto e dou fé que a proporção de pessoas ruins entre elas é mais ou menos a mesma de todos os outros grupos dos quais participei.
Ainda assim, voto sistematicamente contra seus interesses.
Não porque são pessoas ruins. (Não são.)
Mas porque são pessoas que sabem se defender sozinhas.
* * *
Qualquer reforma tributária deve ser feita para simplificar a vida da pessoa física que faz seu próprio imposto de renda, não da empresa que tem seu próprio departamento de contabilidade. Etc.
Então, por exemplo, não sei os detalhes da recente reforma trabalhista, mas sei que as entidades patronais estavam unanimemente a favor, e as trabalhadoras, contra.
Então, sou contra.
Não porque as integrantes das classes patronais sejam “pessoas canalhas que levam uma vida fácil”.
(É uma gente esforçada que trava uma luta hercúlea para empreender no Brasil.)
Sou contra porque as pessoas que trabalham para elas são tão esforçadas quanto e enfrentam dificuldades infinitamente maiores.
Sob qualquer métrica, se a vida da dona da fábrica é difícil, a vida da trabalhadora que precisa negociar com ela de igual pra igual, sem apoio de um departamento jurídico ou tributário, sem economias no banco e vivendo de mês a mês, é mais difícil.
Então, se entrarem em conflito (e é natural que entrem, pois essa é a base de nossa democracia), estarei sempre ao lado da pessoa trabalhadora, por reconhecer que precisa de toda a ajuda possível para que o conflito apenas não seja absurdamente desigual.
O Estado existe não para decidir quem está certa, mas para garantir que o conflito seja o menos desigual possível.
Para isso, paradoxalmente, ele precisa sempre se posicionar ao lado da parte mais fraca, mais vulnerável, mais indefesa.
* * *
Sou uma pessoa privilegiada em todos os quesitos: branco, hétero, classe alta, viajado, urbano, pósgraduado.
O Estado já me deu de bandeja todas as vantagens possíveis e imaginárias: não quero mais nenhuma.
O Estado não precisa fazer nada por mim. Não quero que o Estado faça nada por mim. O Estado já fez de tudo por mim. O Estado já fez demais por mim.
Voto, apoio, milito pelo projeto de país que me prometa fazer o mínimo por mim. Que prometa sobretaxar meu iTralha e reinvestir em saúde. Que prometa sobretaxar minha herança e reinvestir em educação. Que prometa a pagar às mulheres os mesmos salários que aos homens. Que reconheça os direitos gays tanto quanto os héteros. Cuja polícia trate pessoas negras igual às brancas.
Por toda a minha vida, o Estado me preparou para não precisar dele. Sei as manhas, tenho as tretas. Se o Estado se virar contra mim, tenho como me defender.
Quero um Estado que defenda as pessoas que não têm como se defender dele.
Quero um Estado que defenda as pessoas que, por falha desse mesmo Estado, têm uma educação pior que a minha, uma saúde pior que a minha, perspectivas piores que as minhas.
Quero um Estado que quebre a cabeça para facilitar a vida de quem tem pouco, nem que ao custo de dificultar a vida de quem tem muito.
Essa é minha orientação política.
* * *
Toda ela pode ser resumida em um dos diálogos de um filme lançado no ano em que completei 18 anos, Uma questão de honra.
Estão conversando dois fuzileiros navais acusados de assassinar um colega, Willy:
— O que foi que fizemos de errado? Não fizemos nada de errado!
— Fizemos sim. Nós estamos aqui para lutar pelas pessoas que não podem lutar por si mesmas. Deveríamos ter lutado pelo Willy.
Isn’t it a bit strange that the entire world has to wait on the CEO of Twitter to come around on what constitutes healthy discourse? I am not talking about it being too little, too late. Rather, my issue is with “instant, public, global messaging and conversation” being entirely dependent on one single privately held company’s whims. Perhaps they want to go in the right direction right now for once, but who’s to say how their opinion changes in the future? Who is Twitter really accountable to except their board of directors?
I still find it hard to believe when Jack Dorsey says that Twitter’s actions are not motivated by a drive to increase their share price. Twitter must make their shareholders happy to stay alive, and it just so happens that bots and negative interactions on their platform drive their engagements metrics upwards. Every time someone quote-tweets to highlight something toxic, it gets their followers to interact with it and continue the cycle. It is known that outrage spreads quicker than positive and uplifting content, so from a financial point of view, it makes no sense for Twitter to get rid of the sources of outrage, and their track record is a testament to that.
In my opinion, “instant, public, global messaging and conversation” should, in fact, be global. Distributed between independent organizations and actors who can self-govern. A public utility, without incentives to exploit the conversations for profit. A public utility, to outsurvive all the burn-rate-limited throwaway social networks. This is what motivated me to create Mastodon.
Besides, Twitter is still approaching the issue from the wrong end. It’s fashionable to use machine learning for everything in Sillicon Valley, and so Twitter is going to be doing sentiment analysis and whatnot when in reality… You just need human moderators. Someone users can talk to, who can understand context. Unscalable for Twitter, where millions of people are huddled together under one rule, but natural for Mastodon, where servers are small and have their own admins.
Twitter is not a public utility. This will never change. And every tweet complaining about it simply makes their quarterly report look better.
To get started with Mastodon, go to joinmastodon.org and pick a place to call home! Use the drop-down menus to help narrow your search by interest and language, and find a community to call your own! Don’t let the fediverse miss out on what you have to say!
A version of this article originally appeared on Noisey Italy.
My first profile on Last.fm was called "Nergal-Behemoth," in honor of the song by my favorite Polish death metal band. The first two tracks I scrobbled, on February 21, 2006, were "Africa" by Toto and "Electric Crown" by Testament. I didn't know it at the time, but the keyboards—soft as Steve Porcaro's velvet—had broken my faith in the God of Metal. As time passed, I'd start listening to folk music, and then classical, psych, and prog rock; I'd become obsessed with Johnny Cash, I'd go through a phase in which I resembled a fanboy of De André; I would discover emo and electronica and indie and hip-hop, and then more classical music and pop. And since I've always kept my Last.fm account active, today, more than ten years later, I can study how I listened to music throughout a good part of my life. Day for day, song for song.
Between two profiles, the aforementioned Nergal-Behemoth and the subsequent "EliaSingsMiFaMi" (dedicated to that splendid album), I listened to 164,624 songs. I've listened to Sufjan Stevens 1864 times, Drake 1120, Kanye West 1058, and Caneda 985. Forty times—many more than necessary—the notes of "Follow the Reaper" by Children of Bodom entered into my ears, whereas I don't regret the 48 times I listened to the crystalline ambience of "Requiem For The Static King Part One" by A Winged Victory For The Sullen. If I hadn't read the comments and messages that I received on my profile, I would've probably never met a few of my closest friends today. If it hadn't been for the site's diary feature, I wouldn't have a list of all the concerts I attended between 2006 to the present day. But time passes, and today all that remains of Last.fm is the promise of a musical democracy based on exchange and sharing—a promise that wasn't kept and which was obliterated by the evolution of the musical market and by the internet economy.
Last.fm was born shortly after the start of the millennium as the union of two projects. The first was an idea by Richard Jones, an Englishman who developed, for his Bachelor's thesis in Computer Science, a project called Audioscrobbler: A plug-in that tracked all the songs you listened to on your computer once installed. The information gathered—the songs scrobbled—was then uploaded to an online database, one that users of the service could access and create a library of their personal listening history, which they could then compare with that of other users. The second project, Last.fm, was a web radio created by a group of German and Austrian boys who used the same program to gauge the tastes of each individual user, using an algorithm with two buttons that the user could click to express a positive or negative judgment about the track they were listening to. Jones and the boys of Last.fm started collaborating in 2003, and in 2005 they united with a single website. They gave their users the ability to scrobble songs from different players. It was the beginning of a unique, collective musical experience, one that seemed impossible to replicate in the future.
A screenshot of my profile in 2007. Fortunately, Last.fm has immortalized the moment when I discovered Impaled Northern Moonforest, the best band in history.
In the time that the site flourished, the music market of the previous decade wasn't prepared for the foundational revolution that Last.fm brought shortly thereafter. The traditional gatekeepers of content—record labels, print magazines, radio, and television—were always addressing a formless public, and they molded the tastes of their audience through the use of commercial entities and criticism from high to low, which had been consolidated in the preceding decades. Listeners who didn't identify with this top-down approach united in online communities such as forums in order to create, on a smaller scale, a musical democracy that functioned laterally.
Even within forums and messaging boards there were structures of power, defined by admin roles and by the number of posts a user made during the course of a year; a symbol of authority earned through tenure. Instead of enjoying a flux of content on various music-related topics—things that, to listeners who experienced music solely through mainstream means, and fleeting, impalpable moments (a phone call into a radio or TV show, a text message confined the screen of your phone)—forum participants united and created online communities endowed with their own values, communication codes, and musical tastes that were constructed collectively over time. Last.fm captured this spirit, seized upon it to perfection, and made its users feel like they were playing an important role in the creation of a common musical discourse.
The site functioned like a personal musical museum ("Here's everything that I listened to!") based in part on competition ("Look how much I listened to!") and recognition ("You listen to what I listen to, so we're compatible"—there was even a compatibility meter that ranked how much you had in common with other users). The site's structure encouraged such interactions: Everything was clickable, organized, up to date, and accessible in real time. The idea wasn't to apply this structure to a set catalogue of music, but to the unorganized ecosystem of MP3 files on an individual's computer. That way, even if you'd ripped the demo of a local band, you could find other people who'd also listened to them through the artist's dedicated page and talk to them about it.
These exchanges were the driving factor behind the platform's implementation of various communication methods: A comment section on every artist page and on a user's personal profile, a private messaging service, and the ability to create groups. Since it was a site for people who were passionate about music—and in turn easily intrigued by other people who shared that same passion—it wasn't rare that friendships and loves were born between one scrobble and the next. It wasn't all that weird to come across the profile of someone who listened to that very tiny post-punk band that broke up after their first EP, the one you loved so much, and fall head over heels for a 180 x 180 pixelated avatar. What could start as a "Hey, your library is bomb!" could turn into a tangential conversation about your respective message boards, and possibly turn into something more.
Last.fm predicted the shift of online communication towards something hyper-fragmented and specialized. No one chose the music you listened to: You were the person who created a personalized stream beginning with an artist, a tag, or the profile of another user, and then tweaked that algorithm until it produced a track agreeable to your ears. You weren't obligated to insert yourself into a general discussion; instead, you were able to make connections with people who listened to things that interested you, in an online environment designed to foster micro-conversations. There was also a blogging element, which today has disappeared: Each user could create a personal diary, which prompted different forms of posts adopted by other profiles (surveys, lists, advice). "All the concerts I've gone to" was the one most people took to, taking advantage of a function that also stopped being used later on: Events that could be added and updated directly by users, and searched according to geographic criteria.
A screenshot of my profile from 2009. There's also a link to my Netlog, with an attached quote from Vasco Brondi at the beginning of the "About Me" section. I was 18 years old. But below are the GY!BE, come on.
The golden year of Last.fm was 2007, when it was acquired by CBS. The network's investment was poorly timed—a year later, Facebook (which barely resembled what it does today) experienced a popularity boom and started to dominate the internet. The music site's problems started a few years later, when it found itself in the middle of its first major media crisis: In 2009, No Line On The Horizon by U2 prematurely appeared online. TechCrunch accused Last.fm and CBS of having provided the Recording Industry Association of America (RIAA), an organization that safeguards the interests of the music industry (and which fought with peer-to-peer and torrenting services for years), with the personal data of all the users who'd listened to songs from the album before its release date.
Both the website and the network denied it, but different users cancelled their accounts as a gesture of protest. After it was acquired by a major player in the media market, the site had started to devolve into something different and less free. Even in 2007, the radio started charging a membership fee of €3.00 in every country except Germany, the United States, and the United Kingdom. They removed the ability to stream individual tracks in full, swapping in short previews or a few sample songs selected by the artist themselves. The whole thing sawed the legs off of many small, independent bands seeking visibility. In 2013, the radio was resized for the first time, then issued exclusively to several countries, then substituted entirely by a series of embedded YouTube videos and by a now-defunct partnership with Spotify—an admission of surrender from the streaming component of the site, clearly crushed by the weight of competition that was already too strong and too organized for its predecessor to keep up.
All of this was compounded by a series of redesigns that pained the platform's long-standing users. The profiles became more standardized and less personal, which made Last.fm feel more sterile overall. Where there used to be an "About Me" bar on the left side of the page that each user could fill with words and images (it was common to make enormous PNG's with the logo of your favorite band, worn like a badge of pride above quoted lyrics, a link to your blog, or a list of concerts you'd recently attended), today, a user can only upload a profile picture or a link, and up to 200 characters of text without any formatting.
A screenshot of my present day profile. Notice how empty it is. All the white space is due to the fact that I have AdBlock enabled, I think.
Unfortunately, the height of Last.fm's success coincided with the moment that online music fell under stricter regulations. First came the crackdown on peer-to-peer services like eMule, Limewire, and Bearshare (but not Soulseek), which was a death knell for RAR services like Megaupload, Rapidshare, and Mediafire—all of which later culminated in attempts to kill torrenting. Before contemporary streaming services like Spotify, Apple Music, and Youtube came along and became the standard—bringing with them the constant presence of a 3G WiFi signal—discovering music meant downloading it and constructing a personal trove of files. Last.fm was the service that had leveraged this necessity, allowing its users to discover new music and, after a generic search like "[ARTIST NAME] [ALBUM NAME] blogspot megaupload," show it off on your scrobble history.
At present, Last.fm has a lot of difficulty generating a profit. Possibly because it no longer serves a purpose aside from logging what its users are listening to. It's no longer a catalyst for discussions and events, given that there's already Facebook and Songkick; nor is there need for a personalized radio thanks to algorithm-driven recommendations from various streaming services. In the end, the music industry to which Last.fm was a counterpoint no longer had to the power to create renowned musicians from meager local artists, nor direct public tastes: Today, labels only try to acquire, through an artist's name, a preexisting community of fans that the artist garnered themselves. Last.fm didn't pay a central role in the changing of this paradigm, maybe because it never understood how to make itself flourish economically. Investing in the concept of a personalized web radio and deciding to charge a fee for it turned out to be an unwise choice in an environment where music was practically becoming free and accessible, through tenuously legal YouTube uploads and the rise to prominence of streaming services.
"The idea of creating such a personalized space on the web acts as a counterpoint to the prevalent 'mass mentality' of the charts and invites the user to orient himself in an autonomous way, distancing himself from the typical consumer mentality," Europrix.org, an entity that awards the best European multimedia products each year, wrote in 2006. "The user decides, criticizes, and therefore selects the music best-adapted to his taste or humor. [Functioning] in this way, Last.fm will always be relevant." Fifteen years after its founding, "relevant" isn't the most suitable word to describe Last.fm's role in the digital media landscape. It's more the relic of a passionate moment of the online musical experience, a miniature era of rebellious freedom in which discovering music wasn't a question of algorithms but a personal undertaking or shared mission.
Indian food has always been among my favorites, and before turning to a plant based diet, I used to be a big fan of the chicken curry at Indian restaurants.
Naturally, I immediately looked for a plant based alternative and although there are different types of plant based curries, I found that the chickpea version is the one I like the most.
Like most of the recipes I’ve shared so far, this curry is very quick and easy to make. You’ll need a couple key ingredients (coconut milk and curry paste) that you may not have on hand but that you can find pretty much everywhere.
I serve this curry with brown rice or basmati rice and it’s absolutely delicious.
Let me know if you try the recipe by leaving a comment below or by tagging me on your pictures on instagram (@theveganlifeofyas).
Atualização: uma versão mais atualizada desse guia pode ser encontrado aqui, essa versão do medium não será mais atualizada daqui pra frente.
Sobre toots, servidores e emojis customizados
Talvez você tenha ouvido falar do Mastodon, há alguns meses atrás a rede social bombou na mídia internacional como a rede que veio pra sacudir o Twitter. Mas talvez não, porque aparentemente a cobertura na mídia nacional foi bem pequena. Ainda assim, a rede acaba de chegar na versão 2.0 e está alcançando 1 milhão de usuários, além de mais de 1000 servidores ativos.
O Mastodon é uma rede social de microblogging, semelhante ao Twitter. A sua proposta é ser local onde os seus usuários podem postar status de até 500 caracteres. Até aí, tudo bem igual ao Twitter.
A diferença começa no modelo da rede, que é mais semelhante ao serviço de email, com vários servidores que se comunicam, do que ao modelo do twitter de um grande servidor com todo mundo dentro.
Começando pela parte difícil: como funcionam os servidores?
Vamos pegar a imagem bonitinha do joinmastodon.org
O Mastodon é composto por vários servidores. Tem o mastodon.social, que é mantido pelo líder do projeto, o Eugen Rochko. Ou mesmo o Mastodon(te), mantido por mim mesmo. Os dois estão em lugares diferentes, controlados por pessoas diferentes, mas ainda assim, eles falam entre si. Se eu quero mandar uma mensagem pro Eugen, basta eu mandar uma mensagem pra @gargron@mastodon.social e ele vai receber ela por lá e se ele quiser me responder ele vai responder pra @renatolond@masto.donte.com.br e eu vou receber ela de cá. Ou seja, em vez de ser só uma arroba, você é uma arroba em um endereço, que nem email.
Assim como no Twitter no início dos tempos, é possível acompanhar uma timeline especial, a timeline local, que tem todos os toots…
Peraí. Eu num disse isso, né? Quando alguém posta uma coisa no Mastodon isso se chama um toot, se pronuncia “Tut”.
Toot é a onomatopeia de uma corneta em inglês. fonte: toastmonster
Então, como eu ia dizendo, é possível acompanhar uma timeline especial onde tem todos os toots públicos dos usuários do seu servidor. É uma maneira bem legal de descobrir gente e conteúdo novo.
E aí, tem a timeline global (também chamada de federada) que é onde estão os toots de todos os usuários que são vistos pela servidor onde você está. Pode ser meio confuso, porque tem gente do mundo todo postando. Tem umas ferramentas pra filtrar línguas nas timelines local e global pra ajudar um pouco nesse sentido.
Pô, mas aí só me complicou. Qual a vantagem?
A vantagem é que cada servidor é administrado por gente diferente. Você com certeza pode achar um servidor onde você vai estar livre de conteúdo que você não quer ver e ver mais do que você quer. Tá querendo um servidor feito para brasileiros? Tem lá. Quer um servidor mais voltado pro público LGBTQ? Tem lá. Ou de repente cê tá procurando um servidor mais voltado pro público interessado em livros e também tem lá. E se quiser derrubar o capitalismo e falar de gatinhos, também tem um cantinho.
O que você vê na timeline local vai variar bastante de servidor pra servidor. O que você vê na global vai variar porque servidores podem bloquear conteúdo de outros servidores. Então se você está num servidor que não permite nazismo, fascismo e afins, você provavelmente não vai ver conteúdo desse tipo na sua timeline (e se aparecer, você pode reportar aos administradores e eles provavelmente vão bloquear).
E no final das contas, todo mundo com conhecimento técnico ou um pouco de dinheiro pode botar um servidor novo no ar. Então se você quer fazer um servidor pra fãs do campeonato brasileiro, você também pode. (Tô jogando no ar. Acho que ainda não tem, hein. Corre lá :)
Tá, e como eu escolho meu servidor, então?
Tem um site que tem um pequeno questionário pra te ajudar justamente nessa questão, o Mastodon Instances.
Toots e tweets
Os toots são parecidos com tweets, mas tem algumas diferenças.
Os toots podem ter até 500 caracteres*;
Os toots têm configurações de privacidade: > Você pode postar publicamente (ou seja, todo mundo vê seu toot e ele aparece nas timelines local e global) > Você pode postar não listado (ou seja, todo mundo pode ver seu toot, mas ele não aparece nas timelines local e global) > Você pode postar privado (e nesse caso seu toot só aparece pra quem te segue) > Você pode postar um toot diretamente pra alguns usuários, e nesse caso é parecido com uma mensagem, só os usuários que você citar vão ver.
Spoiler / alerta de conteúdo: Isso é mara. Você pode marcar enquanto for postar um aviso de conteúdo pra um toot. Aí aparece assim:
Cuidado. Contém spoilers!
Ah, e é claro: Tudo em ordem cronológica. Nada de toot fora de ordem ou like dos amigos aparecendo na timeline.
Emojis
A versão 2.0 está fresquinha, saída do forno! E com ela vem uma novidade que eu acho particularmente bem legal: emojis customizados!
Além disso, ambos Android e iOS recentemente suportam PWAs e por isso você pode usar o próprio site da sua instância como um app no seu celular.
Pra outros sistemas e uma lista mais atualizada, dá pra dar uma olhada nessa lista aqui que é mantida pelo projeto: aplicativos.
Como o Mastodon é open-source, a maioria dos seus aplicativos também é. Então você pode dar uma procurada até encontrar um app que te faça se sentir mais em casa.
Ferramentas
Mudar de rede social é um negócio complicado e é por isso que tem ferramentas pra tentar ajudar um pouco na transição.
Mastodon Bridge (a ponte): Criado pelo próprio Eugen Rochko, a ponte serve pra descobrir amigos do Twitter no Mastodon e vice-versa. Depois de criar sua conta em um dos servidores, basta ir lá e conectar a sua conta do Twitter e do Mastodon. Aí ele vai mostrar onde você pode seguir seus amigos do Twitter.
Mastodon Twitter Crossposter (postando entre as redes): Essa aí é minha. Você conecta suas contas do Twitter e do Mastodon e aí você pode decidir como você quer postar entre as redes. Do Twitter pro Mastodon, ou do Mastodon pro Twitter, que tipo de posts vão ser postados. É open-source e tem coisa pra fazer, se quiser contribuir.
Mais informações
A página do projeto é um bom ponto pra começar: The Mastodon Project. Tem tradução em português por lá. Aliás, falando em tradução: tanto a página do projeto quanto a interface do Mastodon em si foram traduzidas pro português Brasileiro pela Anna 🎉
Tem muito mais informação, muito mais detalhada, no repositório de documentação do projeto, mas a maioria das coisas ainda não está traduzida pra português ou português do Brasil. (Tá aí uma oportunidade, ó.)
Um pouco mais velho mas igualmente útil é o texto da Qina Liu: What I wish I knew before joining Mastodon. Embora esteja desatualizado em alguns pontos, ainda é bem divertido e foi o que me inspirou a escrever esse aqui :)
* Vale notar que por padrão os toots têm 500 caracteres. Na prática alguns servidores permitem mais, no finado witches.town, por exemplo, o limite era de 666 caracteres. 😜
Hi All, we are back! :) It took quite a long time to create this video and we really hope you will like it! Support us on Patreon: ► https://www.patreon.com/macroroom
This time we dived into the hypnotising beauty of colored ink in water and the interaction of this substance with different elements.
Wonder Woman Trailer #3 (2017): Check out the trailer starring Gal Gadot, Chris Pine, and Robin Wright! Be the first to watch, comment, and share trailers and movie teasers/clips dropping @MovieclipsTrailers.
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Special thanks to Michael Bolton for guest starring on this Honest Trailer, check out his newest album “Songs of Cinema” available on Frontiers Music at http://www.ScreenJunkies.com/Bolton
Grab your Golden Ticket and join Charlie, Grandpa, and Willy Wonka himself for Honest Trailers - Willy Wonka & The Chocolate Factory!
Thanks to everyone who voted for the Fan Appreciation Month Honest Trailers, we hope you enjoy this month's extra special Honest Trailers!
Voiceover Narration by Jon Bailey: http://youtube.com/jon3pnt0 Title design by Robert Holtby Series Created by Andy Signore - http://twitter.com/andysignore & Brett Weiner Written by Spencer Gilbert, Joe Starr, Dan Murrell & Andy Signore Edited by TJ Nordaker & Bruce Guido
LIVE ACTION PORTION: Director: Andy Signore Producer: Warren Tessler Director of Photography: Basil Mironer
MUSIC: Vocals: Michael Bolton Music Composition & Backing Vocals: Matt Citron Vocal Production: Greg Chun Recording Engineer: Jorge Vivo
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Não precisa ser feminista para constatar que a pornografia tradicional é um laboratório de sexismo. A indústria pornô no geral segue um compêndio de ângulos e posições que ritualizam o ato sexual através do machismo posto em imagens, sons e performances que empobrecem o ato. O prazer da mulher se reduz a dar prazer ao homem.
Há, porém, fissuras nesse prontuário, vias de fuga por onde penetra a libido de mulheres. Inclusive não podemos assumir que as divas pornôs não sintam prazer dentro daqueles planos mais padronizados. Por mais que haja opressão na pornografia, pornografia não é apenas opressão. Mesmo o pornô convencional pode ser libertador de uma libido, e instigar fantasias.
Arte de Clube de Garotas
Por mais machista que seja o pornô convencional, penso que não caiba às feministas condenar quem se mostra ou quem assiste. O exibicionismo e o voyeurismo já são condenados pela Igreja. Penso eu que não precisamos reforçar a castração do desejo. Creio que seja mais interessante criticar o sexismo da indústria pornô, e aprofundar críticas específicas no campo da análise fílmica. Isso implica em dissecar a pornografia, e demonstrar de que modo o filme subjuga a mulher e seus desejos. Fizemos isso no ano que passei pesquisando em Berkeley com a professora Linda Williams, uma pornógrafa feminista interessantíssima. Passávamos as tardes de sexta-feira em uma sala cheia de feministas acadêmicas (e alguns caras corajosos) assistindo pornô. Não vou entrar em detalhes, mas aprendi que em vez de cair numa lógica proibicionista, é mais eficaz encorajar realizadoras (es) a desviar os ângulos, criar outras abordagens, que possam ser mais interessantes inclusive para um público mais amplo. Muita gente não assiste pornô por acha-lo sem graça e repetitivo.
Arte de Favim.
Hoje há grupos que fazem pornografia nessa pegada, inclusive feministas afim de enfatizar mais o prazer de mulheres em relações heterossexuais, lésbicas cansadas de ver o lesbianismo objetificado por héteros, além de queers, gays, trans, etc. São cinemas marginais, mas há espaço, público e vontade para expandir. Mas tem que haver consentimento, entre adultos em sã consciência. Revenge porn são outros 500, pois toda exposição não consentida é uma violência.
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More about 'The Expanse': This hour-long, ten episode series is based on the popular New York Times bestselling book series collectively known as The Expanse, written by Daniel Abraham and Ty Franck (under the pen name James S. A. Corey). Abraham and Franck will be show producers. The multi-installment, best-selling book series is published in 17 countries, including China, France, Japan, Australia, Canada, Germany and the United Kingdom. One in the series, Leviathan Wakes, was nominated for a Hugo Award as well as a Locus Award, while “Caliban’s War” was nominated for a Locus Award.
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