Erika3sis [she/her, xe/xem]

I should clarify that I am not a parent nor a child psychologist nor anything else to that effect, I am only speaking from my own experience of being parented—

I remember being around that age and I had a similar problem of just watching absolute political slop on YouTube. My access to content was never restricted nor closely monitored, but when my mom caught me watching some reactionary bozo on occasion, she would just call it what it was — and then all of a sudden I found myself a lot less interested in that type of content. When she or others would point out the problems with what I was watching or the messages I got from the content, that showed me the “smoke and mirrors” of it. And insofar as I engaged in that content out of a desire to appear precocious… Well, realizing that I was manifesting the exact phenomenon that C.S. Lewis described in that famous quote of his about the “fear of childishness”, and that my attempt to convince myself that I was more grown-up than I really was was collapsing in front of me, I just felt ashamed — but very specifically not humiliated.

So I think the best thing you can do is to understand what role these streamers really play for the child. Because it’s probably not all wanting to be popular, it’s probably not all wanting to appear precocious, and it’s probably not all wanting to build an identity; just as it’s probably not all noticing the ways in which they’re genuinely getting screwed over, and acting on genuine frustrations, genuinely trying to understand why this is and what to do about it even with the limitations of their own lived experience; nor is it probably all learning about the world’s issues and wanting to do their best to be a good person even about things that don’t very obviously affect them personally.

Rather the child’s enjoyment is in all likelihood probably some sort of blend of these or perhaps other things. If you can determine the composition of the blend, you will know where to strike to most effectively reveal the “smoke and mirrors”, and make the child feel that sort of productive shame that causes actual self-reflection. You should aim to be like the elderly Hungarian-born immigrant saying “And that makes a difference, doesn’t it?”, if you’re familiar with that old propaganda film: shame is a negative emotion that makes one want to avoid the cause of the feeling, and it should be your aim to make the child identify the cause of the shame to be the shameful thing rather than the one shaming.

I trust that you’re on good terms with your child and only have good intentions, so I think that you will succeed. And of course I should reiterate that my own perspective is limited, and what worked for myself might not work for everyone.

This is going to sound really tedious, but what I’m trying to get at is this:

To justify that “no more or less than the author’s lifetime” is the perfect length of time for copyright to last, you must at the same time justify that “more or less than the author’s lifetime” is not the perfect length of time for copyright to last.

The time limitations of “0 seconds” and “until the heat death of the universe” are more and less than the author’s lifetime, which means that you must justify why these are not the perfect length of time for copyright, just the same as any finite time limitation.

In other words, in order to justify that the author’s lifetime is the perfect length of time for copyright to last, you must first justify both that copyright exists and that it expires. Hence, “What do you think the purpose of copyright is?”

It’s from the answer to that question that you come up with criteria to judge time limitations, and it is from those criteria that you decide on an ideal time limitation. On the other hand, without an answer to that question, your beliefs have no actual basis beyond gut feeling.

Likewise, to criticize someone’s understanding of the purpose or nature of copyright, is criticizing the criteria used for finding an ideal time limitation, is criticizing the favored time limitation itself. My first reply was then based on an assumption of what I figured you thought the purpose of copyright was.

What do you think the purpose of copyright is?

Frankly, if you’re a small creator, copyright already doesn’t really exist for you in any meaningful sense: because copyright is enforced through the courts, you only really have rights over your work to the extent you can actually pay the court costs of continually defending your rights again and again and again — and if you have that kind of money to spare you aren’t exactly a starving artist.

I support complete abolition of intellectual property as a whole.

Say you want to write closed captions for a movie, or even film a sign language interpretation of it, such that d/Deaf people can enjoy the movie better, among other reasons — even if you don’t post the movie itself, you’re still creating a derivative work and hence violating copyright.

Or say you want to record an audio description such that blind people can enjoy the movie better, among other reasons — again, even if you release only the AD track, this is still a derivative work and hence violates copyright. This obviously also goes for audiobooks.

Or say you even want to make a full-on dub of a movie into an endangered language, to try to break the reliance of its dwindling speakers on dominant-language content — in this case, unless you’ve secured a deal with the rightsholders such that you have access to the original SFX and music tracks, your only choices are VO dubbing like is common in the Former Soviet Union, or painstakingly redoing all the sound effects and music, before you can add the dialog. In any case, without a license, you’re still violating copyright even if you only release the dub track.

Now obviously the fact that these things violate IPR doesn’t stop people from making these things anyways, but IPR does still end up greatly limiting volunteer work in scope and visibility, and creates an antagonism between the rightsholders and those volunteering to make the content more accessible. So intellectual property in practice then ends up being among other things yet another mechanism through which the sighted oppress the blind, the hearing oppress the d/Deaf, the settlers oppress the Natives, et cetera. There is no universe in which accessible media and intellectual property coexist: as long as there is intellectual property there is a profit motive, and profit motives will never prioritize accessibility.

And this is not to get into a greater discussion of how private property in general oppresses the working class, although I should disclose that I support the abolition of all private property and not only intellectual property by itself.

Nothing is exactly set in stone (no pun intended), but my current idea essentially involves updating the letter forms to be better suited for writing on paper, and I was also thinking of using a dot diacritic for voicing and umlaut, and having the staves be x-height normally but extend downward for doubled consonants.

Ideas that are more sort of “on the table” are whether to use monographs for ⟨sj⟩ and ⟨kj⟩ etc, and monographs for the diphthongs; whether to have an optional diacritic form of ⟨r⟩ to represent the assimilation of /r/ in Eastern Norwegian; whether to use the same letters for certain sounds in complementary distribution; whether to extend the usage of the dot diacritic to alternate between otherwise similar sounds, rather than only voice and umlaut; and whether the runes should indeed have staves at all.

The problem is that depending on how many of these ideas are implemented, and the ways in which they are implemented, you eventually end up basically abandoning the idea of “modern runes” in favor of basically reinventing Shavian script but for Scandinavian. So it’s difficult to strike that sort of middle ground between ancient and modern, especially when trying to balance that with practicality of use and ease of learning. Another matter is of course which forms of runes to actually base the script on: if we stick to just Scandinavia, we have Elder Futhark, Younger Futhark, medieval runes, staveless runes, and Dalecarlian runes, and these often have very different letter forms from each other.

Bokmål and nynorsk without a space, yes.

I have thought about developing an alternate script for Norwegian/Scandinavian based on the old runes, really just because I think that would be fun and interesting, but insofar as I haven’t done this yet, I don’t know of any alternate scripts for Norwegian, and obviously there isn’t much point in talking about English.

So I will instead share an alternate script for a language I do not speak: Circassian, or specifically West Circassian or Adyghe.

Father and son duo R. I. Daur and I. Yu. Daur together developed an alternate script for that language in I think 2012. The script was dubbed “Mifo-Circassian”, and as I understand it, it’s an attempt to give the Circassian language a more unique visual identity, by using letters based on old inscribed symbols — I think the emblems of clans more specifically — rather than using an adapted foreign alphabet like Latin, Arabic, or Cyrillic. Furthermore, Circassian has a very unique inventory of sounds that interact with each other in unique ways, that foreign alphabets can’t really do justice, so this alphabet is more uniquely suited for the challenges that come with representing Circassian in writing. Mifo-Circassian writing seems like it may be used both alphabetically and alphasyllabically, but the alphabetic form is far more common.

Well, “more common”, not that many Circassians actually do use this Mifo-Circassian script to begin with. Cyrillic, Latin, and Arabic have the benefit of being supported by Unicode and of also being used by neighboring languages, and they work well enough for representing Circassian. So it seems like the primary usage of Mifo-Circassian is not necessarily for communicative writing, but rather for more ornamental or artistic usage.

Honestly I would just keep self-describing as “weird” if I were you. If it really is damé to do so, then use a thesaurus; or if you’re multilingual, be a little macaronic.

Bilibili and Niconico are often called “Chinese YouTube” and “Japanese YouTube” respectively, to get the general gist of the websites across even though that isn’t quite right. These video sharing platforms are known for their danmaku subtitle/comments system, and are to some extent aimed more at anime-otaku/ACG audiences than general audiences — for instance if you use the official Bilibili app, the not-logged-in default avatar is actually a reference to the YuruYuri anime/manga.

However, while these two video sharing platforms are associated to some extent with anime/manga/video game fans, you can find all sorts of content on either platform. You’ve probably seen memes that first became popular on Niconico without realizing it.

There is some small amount of English-language content on these sites, but you’ll get a lot more out of Bilibili and Niconico if you speak Chinese and Japanese. Otherwise, Bilibili can be useful as a “backup” if YouTube ever stops working on NewPipe/PipePipe, or there’s something uploaded there that’s (no longer) available on YouTube; or Bilibili can sometimes be nice as a way to find things with Chinese subtitles if you know someone who speaks Chinese and has limited English proficiency. As said, Niconico is down right now so that isn’t very useful for anything at the moment.

Thumb-Key for keyboard here

I’ve started using PipePipe. It’s basically the same as NewPipe except it also supports Bilibili and, if it weren’t down right now, Niconico.

There are two YouTube channels I like about American Indian / Native American history. One is called Indigenous History Now (Invidious mirror) and the other is called Ancient Americas (Invidious mirror). Both of these focus on more long-form content.

I feel like there’s no age where dressing up and knocking on doors becomes inappropriate. It’s fun, it can increase social cohesion in a community, there’s no reason for adults not to be a little silly, yadda yadda. Already now it’s perfectly acceptable for an adult attending trick-or-treating children to dress up as well, but I think adults alone or in adult groups should be allowed to dress up as well.

But then there’s the “asking for candy” part… Now I don’t think there’s any age where people should stop eating candy, either — but when you have the ability to easily buy (or even make) your own candy, then maybe it’d be a better idea to start giving out your candy to the houses you knock on, if you still want to go out in costume.

I dunno, just a thought. I wouldn’t tell your sister to stop, though. We’re all a little weird at the end of the day.

I’m from Norway and I immediately thought, “Well, Toten, maybe?” — though I personally hadn’t heard any incest jokes about that place.

So I looked up “Norges Alabama”, and the first result was a song by that title, about Toten, whose first line and refrain translates as, “I’m going out to ride, ride my cousin”.

…So I guess I’ve heard incest jokes about Toten now.

My friend, you’re on the fediverse and saying that a single website would be the best way to achieve this. I think that decentralization such as federation or peer-to-peer would be a much better way to achieve a pirate’s utopia, because the decentralized approach guarantees that even if one part falls, the whole will remain.

That aside, if I can talk about “What other features would make the ideal file sharing site?” — for a pirate video streaming site in particular, my number one feature would easily be community-contributed subtitles. In the list of subtitle tracks, each track would have two checkboxes, one for text and the other for TTS (this would be used for audio description and makeshift voice-over dubs). For rarer languages without reliable TTS, users would be encouraged to submit voice recordings, which might be anonymized with AI to sound like the TTS voice.

Subtitling would be done with a danmaku-esque system, so that people can choose to contribute just a few pieces here and there and wait for other contributors or continue later, rather than just one person needing to subtitle everything. Users might be able to rate subtitle tracks based on quality and completeness, too. A system of upvotes and downvotes on individual subtitles, as well as both manual and automated moderation, would prevent abuse.

I bet this person drinks skim milk too lmao

Beautifully said my friend

I just want a picture of a got dang hot dog

“Boot brain” as in a fondness for licking boots due to a lifetime of propaganda…?