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jobs dont exist in nature. When children are asked: "What do you want to be later?", there is often an invisible requirement. The question sounds open, but usually something very specific is meant: What profession will you have? How will you make money? What place will you take in the economic gear? But why should that be the most important question? In nature, there are neither professions nor money. No tree has a career, no river has an account, no bird asks the other for its income. This does not mean that work or money would be worthless. They are tools that people have invented. But tools are not the meaning of life. A hammer exists to build something; no one would think of declaring the hammer the actual goal. Nevertheless, many children grow up in a world where success is defined almost exclusively by income, possessions and professional status. Early on, they learn to see themselves as future workers. Explorers become candidates. Dreamers become functionaries. The question of the free man is replaced by the question of the useable person. Maybe we should ask children something else. Not: "How much do you want to earn later?" But: "How do you want to live?" Not: "What job do you want?" But: "What makes you live?" Not: "How successful do you want to be?" But: "How free do you want to be?" Freedom does not mean doing nothing. Freedom means being able to decide for yourself what you do, why you do it and with whom you do it. It means that life is not completely determined by foreign expectations, institutions or economic constraints. A free person can work, create, learn and help – but not only because a system demands it from him. The anarchic idea begins right here: with the doubt that hierarchies, obedience and economic exploitation are the natural foundations of human coexistence. People were not born to optimise CVs. They were born to experience, think, feel, enter into relationships and explore the world. Children often still possess this knowledge intuitively. They don't play to increase their market value. They are not in favour of a salary increase. They ask questions because they are nosey. In this freedom lies a truth that adults have often forgotten. Therefore, the goal should not be to accumulate as much money as possible or to wear a title that is as prestigious as possible. Money can be useful. Professions can be meaningful. But both are means, not purposes. Those who spend their whole life chasing funds can end up being rich and yet never really living. Perhaps the most important education would therefore not be to prepare children for the labour market, but to support them in becoming free people: people who can think without blindly following authorities; who can share without constantly calculating; who do not measure their own value by numbers on an account. Credits and Shoutouts to: @mikiiwk @asilcinematicfilmes @nolanarredondotravel @interconnectss check them out and show love:) #humanity #freedom #viral #nature #health

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Songs About Leaving is the third and final studio album by the American indie rock band Carissa's Wierd. Originally released on August 6, 2002 through Sad Robot, the album was rereleased on October 8th, 2010 through Hardly Art. Musical style Songs About Leaving is an indie rock and slowcore album. The arrangements feature minor key guitar arpeggios, staccato piano motifs, subtle violin parts, and understated percussion, which has led music critics to refer to it as chamber pop. Vocals are shared by Jenn Champion and Mat Brooke, whose understated performances are central to the album's tone. Their vocal interplay is often overlapped or double-tracked. Champion's quavering delivery and Brooke's subdued tone have drawn comparisons to Cat Power and Conor Oberst, respectively. At times, the songs sounded "more like demos than finished products", which a critic from Pitchfork found fitting. The album explores themes of regret, loss, rumination, and depression. It is described by Tom Scanlon at The Seattle Times as being "laced with battery-acid bitterness". AllMusic reviewed Songs About Leaving as offering up "hauntingly poignant vignettes", stating that its "abundance of down-turned emotional muck may not be everyone's cup of tea, but it definitely stands out as something not quite so ordinary in the musical landscape". Paul Iiams from Arizona Daily Wildcat found it incredibly annoying and frustrating due to the singers' voices, despite the "pretty good" music. Pitchfork gave the album a positive review, stating that it "sounds fascinatingly hesitant", and is "all the more devastating for being the band's final act". Sputnikmusic gave the album a positive review describing the album as "a perfect metaphor for depression" and that "it makes you feel like shit, even when the music is catchy". #fyp #music #slowcore #indierock #chamberpop

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