
oozey mess
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Claire Keane

Product Placement
Jules of Nature
Show & Tell
Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă

Kiana Khansmith

JBB: An Artblog!
Acquired Stardust
NASA

â

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tumblr dot com

ç„æ„ / Permanent Vacation
Peter Solarz
we're not kids anymore.
sheepfilms
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@solangundersen

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DentOnes 5 Chapter 1 part 1
I have a few responses to chapter 1 of endotes 5.
The chapter, in keeping with the overall introspective focus of the text as a whole, is an account of the underlying historical and theoretical frameworks that informs the groupâs work. Endnotes present three areas of focus for their collective intellectual work:
1) Conceptions and critiques of organisation that emerged in the second revolutionary wave of the 20th century, primarily among councilists, situationists, and left communists.
2) The âopen marxistâ understanding of theory as based on a conversation involving mutua recognition, practical reflexivity, and immanent critique, as exemplified in some texts by Richard Gunn.
3) Psycho-dynamic conceptions of groups and thinking, especially those associated with Wilfred Bion.
I am not very knowledgable about the âopen marxistâ tradition they describe or the psycho-dynamic conceptions of groups and thinking associated with Wilfred Bion. I had never heard of either. These sections of the chapter were by and large very interesting to me, presenting some familiar problems in new terms that felt clarifying. That said, I am going to focus on their historical critique of organisation, because there were several things in this account that I found unconvincing. Itâs a little unclear from the text whether endotes are presenting a historical overview of a tradition that has informed their work, or whether the critique they present is their synthesis of these traditions and reflects the groups collectively held politics. So I am not sure if i am criticising endotes as such; I think there are significant flaws in the tradition as they present it, and I am curious how those flaws might inform their wider argument as it is developed in the rest of the text.
w. h. auden, marginalia
Van Sertima x Yachty

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Aboubakar Soumahoro, dirigente sindacale dell'Usb, intervistato da Diego Bianchi dopo l'omicidio di Soumalya Sacko.
From the South Eazy, it really rains a lot.
Aldri igjen 9. April 1940.
Io mi sento fortunato Alla fine del giorno Quando sono fortunato Ă la fine del mondo Io sono un pazzo che legge, un pazzo fuorilegge Fuori dal gregge, che scrive: "Scemo chi legge"
Si c'est nous Vaut mieux arrĂȘter Un ocĂ©an d'opportunitĂ© Et pourtant Tant de larmes ont coulĂ©es Si c'est nous Vaut mieux arrĂȘter Si c'est nous Vaut mieux arrĂȘter

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The Melodians, Pre-Medition, 1975
Funderar kring vad en litteratur Ă€r för en kultur, för ett sprĂ„k. Funderar över hur mĂ€nniskor kommunicerar. Hur vi blir till i mötet med den andre. Hur sprĂ„ket kanske Ă€r den frĂ€msta mötesplatsen. DĂ€r det vĂ€xelvisa givandet och tagandet bygger och bygger, oss. Och varför en litteratur för ortens sĂ€rskilda sprĂ„k, suedikreolen? En litteraturâŠ
TÀnker att handlingen att skapa en litteratur Àr att bygga ett sprÄkligt rum, en inbjudan till delaktighet som gynnar alla. Inte enbart en handling dÀr nÄgot som redan finns ges utrymme, utan ocksÄ en handling som bygger ett nytt rum för detta sprÄk att vÀxa i och befÀsta sig i pÄ sina egna villkor, som frammanar dess skapelse genom att det ges en plats att bygga pÄ.
Examines contemporary capitalism by bringing together original case studies that analyze the transformation of neoliberal governance into increasingly non-democratic, coercive and disciplining forms of statecraft
Fo'i Korsou, ta manda blocki ku ta yega Rotterdam

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Sunday Morning comes around every week
without fail
and it makes me want to think
of the things I do
Iâm Lost in the City (1971) is the sole vinyl LP offering from Yupâik singer-songwriter, John Angaiak. Born in Nightmute, Alaska, in 1941, Angaiak began playing guitar at a young age, quickly learning the basics before serving in the U.S. Armed Forces. Stationed in Vietnam and far away from home, Angaiak forged an astute outlook on his region, his country, and the world itself. Upon his return, Angaiak enrolled in the University of Alaska, Fairbanks, where he became active in the preservation of his native language as part of the schoolâs Eskimo Language Workshop. Inspired by the programâs work and a friendship with music student Stephen Halbern, Angaiak recorded Iâm Lost in the City, a project that helped to document and promote the previously oral Yupâik language into a written one through a series of songs. Each side of the album, which showcases Johnâs intimate vocal and guitar style, shares a part of Angaiakâs culture and history: Side One is sung in Yupâik, while the material on Side Two is delivered in English. Both are equally emotional, deeply personal and extremely affecting. Over 13 songs, Angaiak speaks to his community and also to the world. âAkâa Tamaani,â for one, became a regional hit in Alaska and reached as far as Greenland where Angaiak later performed in concert. Though Iâm Lost in the City garnered a small mention in industry bible Billboard, regardless of the albumâs cultural value, it sold poorly outside of Alaska and other northern communities, never finding a broader audience. In addition to his work as a painter and author, Angaiak is a proud family man and a source of great knowledge of his people and the changes they have faced over the years, shifting from a subsistence hunting, fishing, and sharing lifestyle to an increasingly urban influenced cash-based existence. An important statement on indigenous life and the human condition, Iâm Lost in the City showcases Angaiakâs first hand perspective on this challenging transition, something that we can all learn a great deal from.
https://lightintheattic.net/releases/2253-i-m-lost-in-the-city
sinta ta pensi riba mama ku ta blo keda bisami: nĂČ no hasi koi paloko