Tree of Peace, Spark of War \ COLONIZERS theft of WHITE PINE TREES


The white pines of New England may have done more than any leaf of tea to kick off the American Revolution.

Though the image of incensed colonists dumping tea into Boston Harbor in the period leading up to the American Revolution is iconic, a different kind of uprising may have more directly led to war against the Crown.

Soon after British ships landed in North America in the sixteenth century, it became clear that this new world had a prized item in abundance: wood. The British Empire ruled by sea, and it required large tree trunks for the masts of its tall ships. Having mostly denuded the once expansive forests of the British Isles, Britain and other European powers including Spain and France had looked east, sourcing mast wood from the Baltics. But by the early seventeenth century, high-quality timber in that region was diminishing too, as the Baltic forests had been depleted and reforestation policies were wanting at best.

In New England, however, the British found more than a replacement for what they’d exploited elsewhere. Everywhere the colonists looked, they saw trees taller and thicker than any they had known back in England. Almost immediately, they recognized the value of one species in particular, the Eastern white pine.

Known to Western science as Pinus strobus, the white pine covered the coasts from what is now Maine down to northern New Jersey. Its strong, straight trunks rose as high as 150 feet. When colonists cut down the first big pines in New England, it became apparent that nearly everything they needed most in this new land, the pine provided. Strong and durable, the tree was generally resistant to rot and waterlogging, and was largely unsullied by knots or deformities. Its wood was the perfect material for building ship masts, but also house frames, roof shingles, and more.

“No man ever cut down a pine, and lived to see the stump rotten,” went an early colonial saying.

The white pine had been treasured long before the colonists arrived. It had practical uses for the Indigenous communities of what would become New England, but it also served as an important symbol. The Haudenosaunee, also known as the Iroquois Confederacy, is made up of six groups with ancestral tribal lands primarily covering a large swath of present-day New York state.  Their system of government is based on the Kaianere’kó:wa, or the Great Law of Peace. The first Haudenosaunee alliance, then made up of five tribes, convened under a “Tree of Peace,” a tall white pine, and each of the allied nations buried weapons at its base in a symbolic gesture of unity.

 

https://daily.jstor.org/tree-of-peace-spark-of-war/ 

 

1962 book remains a ‘should-read’ for all

 

‘100 Years of Lynchings’: 1962 book remains a ‘should-read’ for all

The genocide, the horrendous deaths in the Israeli invasion of Gaza, have prompted many, this reviewer included, to reflect on the racial horror of times gone by. The book 100 Years of Lynchings, came to mind.  I had read sections of the work some years ago, but never through and through. This volume, produced by Ralph Ginzburg in 1962, presented newspaper articles spanning a century documenting the most savage murders of African-American men and, in some cases, even women in the history of the United States.

Indeed, from a historical viewpoint, these killings represented some of the most horrific in the annals of humanity on this earth, displaying a level of unspeakable horror.

The mass murder of innocents in Gaza directed my attention to a century of the killings of innocents in this country. Thousands were lynched over a century-long span.

I also felt that this needed to be brought to public attention in light of current racist politicians’ efforts to whitewash history with attacks on so-called “critical race theory” and other education efforts around racism and slavery. Another reason is Biden’s refusal to do anything meaningful to stop the Gaza massacres, something which is well within his power. When Biden takes so little account of the lost lives of thousands of Palestinians, it must be remembered the bloody background from which the United States arose.

Ginzurg hoped the tome he assembled would, “in this Centennial of the Civil War, give pause to segregationists everywhere to reflect upon their persecution of the Black man.” Of course, this did not happen, but nonetheless, it was a worthy thought.

The newspapers from which the accounts were taken run the gamut from white to Black, small to large, and liberal to radical and conservative.  Many of the accounts are so graphic, with such horrifying and vivid detail, that it would be a rare reader who would not be greatly affected.

A sampling of some of the headlines will give the reader a portent of what to expect. “Negro and wife burned.” “Lynched Negro and wife were first mutilated.” “Colored woman is hanged.” “Shoe thief suspect lynched.” “4 Negroes lynched at once.” “ Louisian Negro is burned alive screaming ‘I didn’t do it.’” “Bumps into [white] girl; is lynched.” “2 hung for jostling horse” (two Black men hung for brushing against a farmer’s horse). “Boy unsexes Negro before mob lynches him” (a 10-year-old white boy is forced to castrate the victim before he is lynched).  “Indescribable tortures inflicted on Williams” (this lynching was described as a “gala event”). “Blood-thirsty mob lynches 3 members of one family.” “Georgia mob massacres two Negroes and wives.”

These foregoing bylines are a smattering of the newspaper accounts compiled for the book.

It is a record of the most extreme racial atrocities, so constant over such a long period of time that one can get the impression of not just racial terror, but in fact, a race war being waged against the African-American population.

In many articles, descriptions are given of the most horrifying tortures that assume the aura of a festival, attended by entire white families, not just men, but their wives and children—veritable family affairs. Body appendages were often cut off the victims, sometimes while they were still alive, to be taken home as souvenirs. Postcards were fashioned of the victims and distributed far and wide. Lynchings were frequently advertised in advance to maximize turnout.

This writer shall not deem it proper to describe in detail the gory newspaper accounts in this review. The articles make the reader wince, to say the least.

The takeaway from the volume, now over 60 years old, is that large sections of the white population were in a state of savagery, racial savagery. They were living in a culture of such hate-filled racism that spawned savagery toward their fellow human beings. This was a legacy of the worst slavery in the chronicles of world history. This racism turned human beings into monsters against their fellow humans.  Enslaved people were treated worse than animals, the result of a capitalism that, as Marx said, entered upon the world stage “covered from head to foot with blood and gore.”

It was actually the courage of the African-American people, aided by progressive white allies, that uplifted the white people of the South from a culture of racist horror.  Indeed, it is not an exaggeration to say that the Civil Rights Movement civilized the “savage South.” Led by stalwarts such as Rev. Martin Luther King, Jr., and others, it raised the cultural level of not just the Southern United States, but the country as a whole.

These are some of the reflections produced by a re-reading of this extremely poignant, emotive volume. Again, this book is a “should-read” for all adults in this country.

Targeted Action EMFs


 

Electromagnetic Warfare: History and Dangers by David A. Hughes

Keynote Presentation for Targeted Action, August 29, 2024

Read on Substack

Avril Lavigne - Complicated (Official Lyric Video)

Avril

 

                                            She is open about her struggle with Lyme disease...

Black Frost?

It was in September 1974 in NW Iowa and north we had a black frost. Killed every thing. Think around Sept third. Fifty years ago.



 

Vlogging Day

 

read: https://curiosaday.substack.com/p/vlogging-day?publication_id=2600118&post_id=147367525&isFreemail=true&r=cbskx&triedRedirect=true

www.mukbangworld.com/what-is-mukbang-vlogging

hikikomori

 Nito Souji, FAL

Hikikomori artists – how Japan’s extreme recluses find creativity and self-discovery in isolation

The Japanese word “hikikomori” translates to “pulling inwards”. The term was coined in 1998 by Japanese psychiatrist Professor Tamaki Saito to describe a burgeoning social phenomenon among young people who, feeling the extreme pressures to succeed in their school, work and social lives and fearing failure, decided to withdraw from society.  At the time, it was estimated that around a million people were choosing to not leave their homes or interact with others for at least six months, some for years. It is now estimated that around 1.2% of Japan’s population are hikikomori.

When this trend was identified in the mid-90s, it was used to describe young, male recluses. However, research has shown that there is an increasing number of middle-aged hikikomori. In addition, many female hikikomori are not acknowledged because women are expected to adopt domestic roles and their withdrawal from society can go unnoticed.

Japanese manga researchers Ulrich Heinze and Penelope Thomas explain that, in recent years, there has been a subtle change in how people understand the phenomena of hikikomori.  This shift is manifested through increased awareness of the complexity of the hikikomori experience within the mainstream media and acknowledgement of social pressures that can lead to social withdrawal.  They suggest that the refusal to conform to social “norms” (such as career progression, marriage and parenthood) can be understood as a radical act of introversion and self-discovery.

In line with this image change, some hikikomori have rich creative lives and this can sustain vital human connection.  Many people are now living in compulsory isolation because of COVID-19.  While this is not the same as being hikikomori, we can learn from the different different ways in which these people have navigated through, or are still navigating through, experiences of isolation.

Don’t let yourself be misled. Understand issues with help from experts

Beautiful scars

Ex-hikikomori artist Atsushi Watanabe explains that his three-year isolation began through “multiple stages of withdrawal from human relationships, which resulted in feeling completely isolated”.  At one point, he remained in bed for over seven months.  It wasn’t until he began to see the negative impact that his withdrawal was having on his mother, that he was able to leave his room and reconnect with the world.

Tell me your emotional scars is an ongoing creative project by Watanabe.  In this project, people can submit anonymous messages on a website, sharing experiences of emotional pain. Watanabe renders the messages into concrete plates, which he then breaks and puts back together again using the traditional Japanese art of kintsugi.

Kinstugi involves the joining of broken ceramics using a lacquer mixed with powdered gold. It is also a philosophy that stresses the art of resilience. The breakage is not the end of the object or something to be hidden, but a thing to be celebrated as part of the object’s history.

Broken plates with gold writing that have been put back togther.
Tell Me Your Emotional Scars. Atsushi Watanabe

Tell me your emotional scars can be understood as a sublimation of this emotional pain – conveying negative, asocial feelings through a process that is socially acceptable, positive and beautiful.  These works are a testament to suffering, but one that celebrates the possibility of healing and transformation.

For Watanabe, becoming hikikomori is often a manifestation of emotional scars, and he wants to create alternative ways of understanding unresolved past experiences.  Watanabe asks us to “listen to the shaky voices that cannot usually be heard”.  Listening to, and sharing experiences of hardship and even pain is one way to address the rise in loneliness that has resulted from the COVID-19 pandemic.

Fighting for privacy

Artist Nito Souji became a hikikomori because he wanted to spend his time doing “only things that are worthwhile”. Souji has spent ten years in isolation developing his creative practice, leading to a video game that explores the hikikomori experience. 


 

The trailer for the video game Pull Stay opens with a scene in which three people break into the home of a hikikomori. The player must fights off intruders as the hikikomori’s robot alter-ego by, for example, frying them in tempura batter or firing water melons at them.

The aim of Pull Stay is to protect the home and seclusion of the hikikomori character. In doing so, the player begins to embody a visceral need for privacy. Pull Stay is testament to the creative outcomes that can come from carving out a profound sense of “headspace”. Souji explains his creative process as, “having hope and making a little progress every day. That worked for me”.

Despite choosing to withdraw from society, sustaining hope and indirect connection through creative practice has helped artists such as Souji use this time for self-development. His aim is, and always has been, to be able to reenter society, but on his own terms.

Well-known Japanese entrepreneur Kazumi Ieiri, himself a recovered recluse, describes the hikikomori experience as “a situation where the knot is untied between you and society”. But he continues, there is no need to hurry to retie social bonds, rather to “tie small knots, little by little”.

The process of returning to “normal life” might be gradual for many of us, but creative expression could be a powerful way of to both share experiences of isolation and to reconnect with others within and beyond lockdown.

 




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