If everyone were doing it, it wouldn’t be piracy. It would be free, legal copying.

I just presented you with several models of how big budget movies could make money, even if everyone were freely, legally copying. You haven’t responded to that argument, you’ve merely ignored it and insisted on your original point.

While your claim is true—big budget movies, etc., need someone to pay for them—the unspoken corollary you’re implying isn’t true—that without the current economic model, no-one would pay for big budget productions, or that undermining the current model via piracy will reduce the rate at which they are funded.

The current model is: massive corporate copyright-holders can purchase the right the profit from an artistic production. They pay for its production up front. Even though we have a technology that can costlessly copy these products and very cheaply distribute them to almost everyone who wants them, the copyright holders maximise their profits by a) crippling this capacity by spend considerable money, labor and human expertise on technologies that artificially limit copying, and b) use state-supported coercion (e.g., fines, lawsuits, police, etc), to punish individuals who would circumvent these crippling technologies. To be clear, these copyright holders still make massive profits, vastly beyond what any individual they are persecuting for copyright infringement could ever dream of. Their policing of piracy is to make even greater profits.

Even though this is how big artistic productions are funded today, it is not true that in the absence of this economic model, big artistic productions would not be funded. The demand for these products would still exist, and if there’s one thing our society excels at, it’s directing capital to meet demand.

Alternative models that could fund big artistic productions:

• a centralised fund we all contribute to in proportion to our means (e.g., progressive taxation), that pays artists in proportion to how much their product is consumed (like the Spotify model, but publically administered, like TV licences)
• many small scale investors rather than corporate monoliths (like Kickstarter), whose investments are recouped by a) privileged access to get product and b) the still highly profitable cinema and dvd markets whose constraints (physical premises/media) are not compatible with free copying.
• a legislated solution that protects copyright until artists are sufficiently recompensed and then allows free distribution.

These are just some examples of the many possible alternative models for funding large art projects and deciding who should profit from them and how much. However the details aren’t nearly as important (many different models could work), as the ultimate driver: whether our actions/systems/laws enhance or undermine demand for the art.

Piracy does undermine the current (corrupt, exploitative, reprehensible) economic model but it also increases demand for the media it distributes more widely and equitably. It doesn’t, as you imply, reduce the likelihood of big budget media existing in the future, it increases the likelihood of it existing in a more fair and equitable way, that harness our ability to freely copy rather than crippling it for the benefit of the ultra-wealthy copyright-buyers.

Knowing the distribution of what entire households watch is very useful. It’s not about spying on you personally.

[citation needed]

I mean, from the abstract it looks like what the study did was localise the specific network of right hemisphere neuronal clusters that, when damaged, predict religious fundamentalism. Since they only studied patients with TBIs, they weren’t testing the claim that brain damage increases the likelihood of fundamentalism. The rate of fundamentalism in the general population could, hypothetically, be higher than among TBI patients (i.e., if brain injuries actually reduce fundamentalism) and this study’s insights would still hold.

Australian here, heard it all my life. Also, in our dialect you can use fuck to mean pretty much anything, as long as it’s clear from context what sentiment you’re going for

Thanks! Appreciate learning something new!

Sounds like a great way to evolve vaccine-resistant rabies

Your and his age are gonna be major variables here. Conversations and relationships work very differently at different life stages.

You sound like you’re maybe a teenager? Try asking interesting questions that require some thought to answer, but still leave room for your friend to give an easy thoughtless answer if they want to. Where do you think we’ll be in X years? What’s something you thought you wanted but as you’ve gotten okay have realised you actually don’t? What do you think we do now thar future generations will think is crazy? Listen to his answers and ask followup questions.

Personally, I’ve always been most impressed by directness, honesty, intelligence and courage.

I very much agree with your take. I wish mature-thinkers had more influence on contemporary politics, instead of the populism and black-and-white moralising that seems to be dominating our world.

Also, the quality of discussion on lemmy is surprisingly good!

Yeah, the point that the musicians seem to be making, from the very brief quotes he shares (I haven’t been following this independently), is about the efficacy of music boycotts as a tool for political change. You can object to a nation’s political actions and still think that performing music for your fans in that country will make things better.

The author just insists that Israeli government genocide is bad and that the ordinary citizens are complicit. I think the implicit logic must be: bad people should be punished, depriving them of music punishes them. While it might satisfy a craving to hurt the bad guys, I think it’s much harder to claim that this would help stop the genocide.

I think the musicians have a stronger case that actually performing would be more likely to change people’s minds and improve the situation. Plus the broader benefits of keeping music and art apolitical, rather than trying to make everything in life a tool for political manipulation. I’d have actually been really interested to hear some substantive arguments about those points, but was disappointed to discover that, as you say, it was just a hit piece.

Wow, what a terrible article. The author doesn’t engage with any of the substantive points Radiohead and Nick Cave are making, he just disparages them and insists on his obvious moral superiority. It’s dressed up in some, admittedly, very nice writing, but this is just childish name calling.

Still, interesting read. Thanks for sharing.

Sounds amazing. Could you provide a link or at least enough names that I can google it?

Nah, that’s great because you can so easily escalate to heavy talk. Disagree with the political opinion. Insist car culture is just pointless fashion fads. Dive into the morality of reality TV.

Either they disengage and you’re free, or you get to have an actual meaningful debate instead of echoing hollow platitudes.

The actual results are in the text. 56% personifiers among autists vs 33% among not autists, p<0.05. Self report is p=0.06.

Scientific papers are often titled “What it’s actually about: something witty.” This one is about object personification and so after the colon they personify the paper itself by giving it an emotion.

1. the whole point of statistics is to extract subtle signals from noise, if you’re getting wildly different results, the problem is you’re under-powered.

Thanks for taking the time to post these links, just letting you know you’re efforts have benefited at least one person who’s gonna enjoy reading this.

That sounds awful, I’m sorry you have to go through that. They have those extra leg room exit row seats, but they seem to allocate them at random instead of to tall people.

You say you stand up right away because you’ve been jammed into your seat for hours, so I’m wondering why you didn’t stand up during the flight. Then you wouldn’t be jammed in for hours…

Why not stand up during the flight?