u/No-Employee-7327

I've been struggling to find a job ever since I moved here, I'm not picky, I just don't really enjoy freelance work all that much.

Seriously! I (20F) have been henching for not a long time, admittedly, but everytime I find some work, it's for a villain that insists we wear something that only the most depraved mind could think of! It's always leotard this, bodysuit that, everything has to be skin-tight! I don't mind it that much, but to me it's just odd.

After getting a job I got back to Roblox after like 3 years, I've bought some Robux and I'm wondering which games have people with cool avatars? I remember Evade and Natural Disaster Survival had banger avatars, but what other games have players with good avatars on them?

https://www.reddit.com/r/communism/comments/1at3kv0/how_exactly_is_seeing_art_as_selfexpression_a/

I found this post to be interesting and thought the OP had a lot of good questions that went on to be dismissed, so now I wonder, what exactly - to you - constitutes good, non-idealist and non-petty bourgeoisie art? Who does the author need to be? What does he need to think when making the art? What needs to be the main goal and message of it to fit the materialist proletarian agenda? Can you "express" the "self" to relay pro-communist and materialist messages while recognizing the fact it's shaped by sociohistoric factors?

Obviously art with a reactionary and anti-communist agenda isn't approved of.

One of the few players that have come under many doubts following the 25/26 season has been our starting RB, Jules Kounde, many have been questioning his abilities and his future, but I have to firmly disagree with the negative stances surrounding him. What many don't realize is that the RB is one of the most demanding roles in Flick's system as it has responsibilities in every phase of play. I want to explain his tactical responsibilities and the solutions regarding them.

During the goal kick we shape up in a traditional back four, with the fullback usually slightly higher and two midfielders in front acting as passing options, this allows us multiple ways to break the press.

After the press is broken, Kounde - unlike Balde who joins the wide attack - is expected to tuck into the backline as the 3rd CB, by doing this he strengthens the rest defense, allows better central play and lets our midfielders play higher than they normally could.

Once play develops higher up he's expected to overlap and underlap to force defenders into a decision; if they follow him they give up space for Yamal to either create or shoot, if they don't follow him they risk Yamal passing to him and giving him a chance to either cross or cut the ball back. He can also free up Lamine by staying behind or next to him allowing him to make a run to get into a more favorable position for a dribble.

If we lose the ball on his side, he is expected to aggressively counter-press and kill the attack as soon as possible, if that fails, huge spaces get left behind that he is expected to run back to and defend, step up high to his man and win his duel. Once the defense and attack gets settled he plays a more traditional RB role in the 4 at the back.

This is what makes Kounde's role so much more difficult, you're asking him to solve tactical problems in every stage of the play, which is not something even the most elite RBs can do, which is also why Flick doesn't want Kounde to leave despite his loss of form, he's not without his faults but he does his job at an elite level, it would be silly to sell Kounde unless you can find a RB that can do everything he does at a similar or higher level without addressing the lack of athleticism around him, if you decide to sell a RB that's out of form what you'll end up with is us going through new RBs all the time, which isn't very sustainable. The answer isn't to replace Kounde but to find a profile that can do what he does while being more technical, explosive and stronger in duels. Finding this kind of profile is difficult, so selling Kounde isn't an option, but finding someone with his profile would elevate us to a higher level.

Then there come our previous signings I've described in my earlier post, they raise our athletic floor and ceiling immensly and therefore I expect them to take the load off Kounde. A previous post by another user has criticized the signing of Rodri but I disagree, aside from him being an elite rest midfielder, he's also fantastic in the counter-press so I expect his signing to be of service for Kounde.

I've been wondering about the nature of artisans due to my recent posts, I've been wondering if a self-employed artisan truly has the interests of a business owner that hires and therefore exploits others if they were... I don't know how to say this, temporarily de-proletarianized due to them getting laid off? If a disabled artist has no access to working under the bourgeoisie due to them being discriminated against truly has the same class interests as a plumber that doesn't want to be exploited by a boss?

But then I thought of myself the question in the title. One common argument I heard about artisans is that they're part of the petty bourgeoisie because they aren't exploited by anyone, own their means of production and sell the product of their labor instead of the labor itself, but do they truly own their means of production? Let's take a Twitter artist, they own a drawing tablet and a pen, is that a mean of production? One could label these as tools, therefore means of production, but Marx says in the 'Communist Manifesto': "We Communists have been reproached with the desire of abolishing the right of personally acquiring property as the fruit of a man’s own labour, which property is alleged to be the groundwork of all personal freedom, activity and independence", so what is the true distinction between personal property and private - therefore a mean of production - property? If you were to buy sheets of paper, a pencil and something to bind pages together, wrote a novel on them and then sold it to someone, were either one or all three private or personal property? Of course if you work in a factory you are part of the proletariat, even if you own your own steel-toed boots that enable labor to happen. (Or at least for it to happen safely)

And there's the question of exploitation, naturally a self-employed artist is not exploited by someone who owns the means of production, whether or not the way they create a commodity with something can be considered the usage of personal or private property I'll leave up to you, but the simple fact of the matter is they don't have a boss that can exploit them. However, another type of middleman arises, the merchant capitalist, 'Political Economy: A Textbook' describes them in this way: "One of the sources of merchants' profit is the exploitation of petty commodity producers by merchant capital. Merchant capitalists compel peasants and craftsmen to sell them the products of their labours at low prices and at the same time the latter buy from the merchant capitalists tools, equipment, raw material, etc., at high prices.". The latter somewhat relates to the first part of my post (peasants who owned means of production are considered petite bourgeoisie), but the most important part for me is the first part. What to me is a modern day merchant capitalist is the distributor, once again I will use two examples of an artist and a writer.

Commission artists these days are mostly present on social websites, such as Twitter, however, a commission artist doesn't receive commissions through their existence, they need to put themselves out there, to not only gain attention but to prove their qualifications and to show their art justifies itself through the quality and time spent on it, to do that, such artisan must create posts containing their art, this is where exploitation starts, social media exploit the artist through the artist's labor without a guarantee of reward, while reaping the rewards through advertisement profits. Second is the data harvesting that occurs to all users, whether they are exploited for their labor or not. Thirdly the moderation has total control over if the artisan's works will ever see the unintended public eye and has control over the right of all users to use their services, they can bar anyone from use without consequence. For my second example it's more of an older and physical kind of exploitation, for a writer's book to be available for purchase in physical or otherwise locations, they must use the service of a publisher, firstly a publisher must deem their works worthy of being published under their name, then they will set a price for the book and lastly they will take a cut from each sale, this is the most obvious case of exploitation as not all the value created by the writer goes to the writer and the publisher extracts surplus value (am I using this right?) and demonstrates the most classic case of exploitation. So the merchant capitalist exploits the artisan, and whether they own their means of production is questionable, so what class does the modern-day artisan belongs to?

Please share your thoughts, questions and explain what I am mistaken about.

With the transfer window still active, many ponder our current and future signings and the reasons behind them.

Gordon, Adeyemi, Bisiwu - these players have three things in common, they are wingers, they are first-team signings but most important of all, they are players that will raise our athletic ceiling through the roof, this is our direction, a raise of the athletic ceiling. These signings get a lot of criticism, but let's talk why they were made.

One of the biggest concerns this community had was a high-line M2M press, some suggest moving towards a mid-block, but these solutions aren't better or worse, they're only different. The reason why we struggled at times was because we were always a club obsessed with technique, but you can't expect them to be highly effective in duels where we have suffered throughout the last two seasons. That's why a mid-block was suggested, but giving the most physical and technical players in the world access to the edge of the box is suicide.

Take PSG for example, they combine technical magicians with athletic monsters that make them deadly, they can send athletic monsters (Fabian and Neves) to press without ever dueling, force a mistake, get the ball to a magician (Vitinha), dominate and then go to the bench to get another athlete / magician with their depth. This is why I request that we don't hound Flick or our players for falling to elite UCL teams with elite players that can bypass the most effective pressing structures, it's why they're in elite teams and UCL is often a game of luck and sporadic moments. This is why we're raising our athletic floor, we're improving our aggression and raising the defensive line to play as far away from our own goal, we have an elite structure and we're building it up, there's no point in compromising it if we get elite players for this structure.

Alvarez is an interesting signing too, many have the belief that to perform better, we need to sacrifice dynamic link-up play for better back-to-goal retention and chance conversion, but our pursuit in Alvarez shows we're aiming for the latter. Alvarez is the most elite F9 we can buy, he's dynamic, mobile and excellent at facilitating attacking third play.

We are signing a striker, but not to have someone for Yamal and Raphinha to provide to, we're signing a striker that will provide for Yamal and Raphinha. This is why we're going for a play facilitator, not a chance converter.

We've also dropped some targets, although they were most likely just rumors, Bastoni is a great technical defender, but he doesn't raise our athletic ceiling. Laporte raises our athletic floor but he's too expensive.

Whenever I see discussion on art and artists on communist subreddits, I often feel like everyone is trying to de-legitimize it or restrict it. I've seen too many pro-AI posts, posts about how art should only exist as propaganda or as praise for socialism / communism, how art shouldn't be a job and that artists should be forced to work "useful" jobs or trying to seperate independent authors away from the working class and force them into the same box as people that actually oppress the working class. I am a believer in communism myself, but as an aspiring writer and lover of all art, those posts and comments just leave me confused on whether communism really is the way to go.

Hejka, zastanawiam sie co by bylo dla mnie lepszym wyborem, filologia polska czy angielska. Zamierzam wyprowadzic sie z Polski do kraju anglojezycznego w przyszlosci, chce pracowac w mediach, i sie zastanawiam czy filologia polska to dobry wybor, interesuje mnie specjalizacja sztuka krytyki i kreatywne pisanie, a na filologii angielskiej jest nauczanie i translatoryka ktore mnie wogole nie interesuja.

One thing I wanted to mention here is that this year's release has been the first year the Authentic gameplay team has existed and worked together, and for some reason that fills me with hope for the future of the game, not to mention that Andreas Wilsdorf, the producer of the Career Mode is very responsive on Twitter and open to talk about the issues regarding it, smiley face

The Traveler pulled a Diluc and became a terrorist that's going around shooting the Fatui in their own nation

Mine is FIFA 19 Martin Tyler talking about Coutinho

''Diminutive Coutinho in size but a huge in talent'', always says this about him without fail