she’s a liberal zionist?

You know the profile stalking is constant when you get silent downvotes immediately replying on a Lemmy instance which has them disabled LMAO.

I will make sure to tell anyone considering this software that every admin who uses it is a committed e-stalker.

I picked these groupies up by refusing to condemn Hamas and the Houthis, they are so excitable when Googling up their first reply and mum afterwards 😉

Even more striking parallels can be found in older, colonial history. For instance, when I discussed this research with my colleague Kavita Philip, a scholar of technology and literature, she encouraged me to look into the wave of British art created in response to the Indian rebellion of 1857-58. It was like gazing through a portal in time.

In 1857, Indian sepoy soldiers rose up against their commanding British officers as part of a wider rebellion against the tyrannical regime of the British East India Company. The rebellion expanded well beyond the military, to include peasants and landholders suffering under colonial rule. As on 7 October, the strength of the uprising took its targets by surprise: the rebels quickly reached Delhi, overtaking the British arsenal. British troops responded with furious violence, burning villages to the ground, and sepoy soldiers also committed atrocities: in the most notorious incident, roughly two hundred British women and children were taken hostage and eventually massacred.

In the months that followed, a subgenre of horror-filled propaganda art emerged in Britain and went on tour throughout the empire. In sketches, lithographs, and engravings, rebelling Asians were portrayed as simian savages or ferocious tigers, while murdered British women were angelic and Ophelia-like. Most impactful were huge 360-degree panoramas, some with moving tableaux, which gave viewers an immersive experience of being on the battlefield – a low-tech precursor to the VR trauma experiences offered today.

Then as now, speed was of the essence: while the battles still raged on the subcontinent, Londoners could go to Leicester Square, pay one shilling, and be surrounded by Robert Burford’s panorama painting, The Action Between her Majesty’s Troops and the Sepoys at Delhi – or the gorier lithograph The Treacherous Massacre of English Women and Children at Cawnpore by Nena Sahib.

The shocking scenes stoked a desire for revenge, building vital support for the British repression that followed the uprising, which included roving lynch mobs and such spectacular displays of imperial dominance as executing rebels by tying them to cannons. The campaign would eventually kill at least 100,000 Indian civilians, with hundreds of thousands more dying from starvation and epidemics that formed part of Britain’s retaliation. Imperial soldiers didn’t have TikTok to share their atrocity porn back then, but painters vividly captured the rebels strapped to the mouths of cannons, and political cartoonists in the UK showed mighty British “Justice”, sword in hand, crushing brown bodies under her feet.

History is crowded with chapters in which Indigenous peoples, starved and immiserated by colonial oppressions, finally rebel, with those rebellions at times including atrocities. This, in turn, becomes the pretext for their colonial overlords to unleash unhinged “exterminate all the brutes” rampages, to the point of genocide. As Israel ramped up its genocidal threats on Palestinians it termed “human animals” one year ago, scholars of anticolonial history such as Ghassan Hage and Shailja Patel pointed to these parallels on social media and in small journals – drawing on histories of “colonial punitive expeditions” everywhere from Namibia to Minnesota. But they rarely had access to large platforms in North America and Europe to provide this context.