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Bundeskrimonologichal http://thehoodup.com/board/viewtopic.php?f=22&t=97860#.UuNZOfEo7RY

[6] In short order, the writers‘ designs were also translated from the outsides of subway cars onto the time-honored support of canvas. The canvassed graffiti art genre is generally considered a phenomenon of the 1980s, but writing’s transformation from performative act to static, collectible art object occurred as early as 1972. Initially construed as an attempt to reform young vandals and rechannel their energies to more lucrative and less precarious venues and mediums of expression, the entrance of writing into the commercial art gallery was soon touted as the hottest new thing since Pop. Commercial graffiti art appeared early on, as a way to package, label, and „tame“ writing as a practice. Yet it was not uncommon for writers to engage in both illegal writing and legal graffiti art, finding no conflict of interest therein. Many writers transposed their colorful spray paint signatures onto canvases for wealthy collectors by day, while entering the train yards to paint masterpieces on the subway cars by night. While the city aggressively erased the illicit subway murals, collectors bought up graffiti art canvases on speculation, and art critics bemoaned the canvases‘ lack of „authenticity.“

[7] Art critics‘ attitudes toward graffiti art on canvas generally fell into one of two categories, as illustrated by the opinions of Rene Ricard on the one hand, and Hal Foster on the other, both writing in the early 1980s. Ricard’s aesthetic valuation of graffiti art canvases made distinctions between what „looked like art“ and what didn‘t; he quickly relegated canvas works by writers into the „lower“ realm of design, even kitsch. For Foster, it wasn‘t a matter of whether or not the graffiti art canvases retained the same aesthetic quality as the subway paintings, but whether or not they retained their original radical strain once recuperated into the mainstream. Graffiti art in this case was used to support the author’s polemics regarding cultural cooptation.

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video

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Women as Perpetrators inclusion|xclusion negotiate my 18 years anniversary on ‚Hochschulzugangsberechtigung‘ -or- Abitur 1996 ‚fucking rich kidz plain poor‘ aligned written in February by ’schulsenator‘ and mouthly in June…COP ‚Luft und Lebe‘ UK versaile isle da Ghetto.-

Men who had sex with women when they were still young boys are often told that they were
lucky to be initiated so young. It is sometimes viewed as a rite of passage that makes him a
man. In reality, there is no better way to cripple a boy/man emotionally.
A situation with a 15-year-old girl having sex with a 30-year-old man would be recognized
pretty clearly as sexual abuse. There is the belief that girls mature faster than boys. Why
then, would we assume that a 15-year-old boy would be more emotional ready to handle sex
than a 15-year-old girl?
The movie Summer of ’42 is often seen as a picture glorifying sex between an older woman
and a teenage boy. Upon closer examination, he is overwhelmed and confused by the
experience. It was not a good or ‘man making’ experience.
We have only begun talking about and acknowledging female perpetrators in the past few
years. They were thought to be the rare event, the exception to the rule. As the cloak of
secrecy has been peeled back, we are discovering that female perpetrators are not
uncommon. For several years, I cut stories out of the newspaper about female perpetrators.
In a majority of the cases, it was the husband and wife, dad and mom, acting in concert, to
molest their children. The most recent statistics that I have seen support this sampling as
being representative of the overall population.
There are four basic ways that women sexually abuse boys: overt, covert, a sexual violation,
or boundary crossing. Abuse can easily include more than one type.
Overt abuse is similar to what we think of as typical sexual abuse. With a female as the
perpetrator, this might involve oral sex, intercourse, masturbation, fondling, or sexual
punishments.
Covert abuse is more difficult to observe. It can include voyeurism, exposure, seductive
touching, sexualized hugs, kissing on the mouth in a sexual way, extended nursing that
satisfies a sexual need of the mother, or flirting with a male child, possibly to shame or make
the woman’s husband/partner jealous.

Conversation as Attention
(this thread should really be called „Language and Vision“ – I essentially changed tack after naming the thread)

There is much talk – everywhere, all the time – of the gaze; the gaze objectifies the object, and objectifies the relation between the subject and the object. Of course, there is the problem of the „returned gaze“ – which is probably lexically problematic because the idea of „gaze“ implies a freedom, a relaxation, a uni-directional desire, which is problematized by it being returned.

In general, however, gazing isn‘t returned. We look at things which don‘t look at us, much more than we look at things which do look at us. Equally, we are gazed upon more often then we are gievn opportunities to return gazes; note, simply, the way in which, when we talk to someone, our gaze meets theirs only on occasion. Of course there are extreme cases when – lovers? – gaze into each other’s eyes, but this is usually not a „returning“ of a gaze – which is ultimately confrontational, challenging – but a situation in which a double, cross-hatching objectification goes on; I objectify you, you objectify, though of course the implied exchange (If I… then you…) means there is an underhand acknowledgement of subjectivity – to the extent that this kind of exchange (gift exchange?) contributes to the structure of subjectivity.

My aim in this thread is to compare that structure with the ideal structure of conversation; in „good“ conversations, an exchange is literally enacted – our words are always directed at a target, as our gaze is, but our words are directed in such a way as to equalize the self and the other; e.g., to avoid the subject / object binary. But also, I think, conversation is like sight – and this is underrecognized, I think? – similar to sight in that it is a locus of recognition, though not in the same sudden way. When someone talks to us, we are being recognized, and not merely recognized, but recognized as subjects – recognized as beings which are capable of recognizing others as subjects – e.g., of being partners in conversation.

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Bela

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Hieroglyphics as a pure utility of language
Analphabeta Khaalie on medics and donor surgic it to see what kind of reaction it might get. Now there are many other examples which I will indic go could utilize to represent a pure utility of language such as the whistling language of Gomera, Sign Language, and Morse Code but this serves an objective I wish to make. Hieroglyphics and other forms of pictoral communication are extremely profound and powerful in my opinion because they allow us direct access to the matter of our sense experience.

This direct access is posited in correlation with a non-literal format of language namely the form of the object. I don‘t believe we can make use of the form of the object without representing it with logical constructs. These logical constructs are designed or given shape by mental processes which attempt to posit a meaning which already exists in the form of the object. My theory is that the more advanced the language the more abstract, neutral, and diverse the arrangements of logical symbols can be used to represent the form of an object.

Hieroglyphics attempt to represent the form of the objects in our environment in a literal way that is it uses one logical symbol which appears like the object it is representing to represent it. The question I want to ponder on given these statements is there an imperative difference between Hieroglyphics and say the language I am utilizing here and if so is it due to an inherent limit in language or to the fact that without using language this inherent limit has no meaning? Also could you say that hieroglyphics prove that man in his primitiveness is more affected by pictures in the context of communication.

These marks are rarely seen in real life, so you should not count much on them.

The three long vowels will be Romanized as: aa , ee , oo .

Long vowels are denoted in writing with the letters: و ، ي ، ا respectively.

But we already know that these three letters are the three consonants: ‘ , y, w .

Therefore, these three letters can denote both the consonants and long vowels. This is why they are called the „weak letters“ حُرُوْفُ الْعِلَّةِ .

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Bel
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Out of paragraph utilith:“²³.-yellow P.Riot BX http://economicblueprint.org/

Intl° Game 77 on transliterate ‚Hermeneutics‘.-ante|æ*…

In
Blues, Ideology and Afro-American Literature
verwendet der
schwarze Literaturwissenschaftler Houston Baker

----------------------------------------------------------Das Bild vom schwarzen Loch als Prozeß, der von verschiedenen Perspek-
tiven her unterschiedliche (oder gar keine) Erscheinungsformen hat, scheint mir
angemessen, wenn wir uns »Inkommensurabilität« bzw. »Variationen über Nega-
tion« als Charakteristikum von schwarzer feministischer Kreativität vorstellen
wollen.
Die Metapher des schwarzen Loches gewinnt so nicht nur eine sexuelle Di-
mension. Sie bleibt auch nicht beschränkt auf eine ethnische, die implizieren wür-
de, daß erfolgreiche schwarze Frauen, die kreativ tätig sind, letztlich nur einen
sehr kleinen Teil ausmachen. Diese Metapher zielt eher darauf ab, daß sogar die
erfolgreichen unter ihnen in ihrem jeweiligen Bereich im Grunde nichts zu sagen
haben. In dem Maß also, in dem Kunst ein Nebenprodukt verschiedener Inter-
pretationsakte, Klassifikationen und Analysen ist, ist schwarze feministische Krea-
tivität praktisch inexistent – genau so, wie schwarze Löcher nicht existiert haben,
bevor sie von den Naturwissenschaften entdeckt wurden. Mit anderen Worten:
Das schwarze Loch steht für die unendlich dichte Anhäufung kreativer Akte von
schwarzen Frauen, die bislang weder Erklärungsansätze noch ein dazugehöriges
Analyseinstrumentarium haben. Da schwarze feministische Kreativität in der Lite-
raturtheorie und an den Orten der Wissensproduktion keine entsprechende Rolle
einnehmen kann, weil sie durch interne (psychologische) und externe (ökonomi-
sche) Zwänge daran gehindert wird, bleibt sie dem rein Ästhetischen oder Kom-
merziellen verhaftet. In diesem Ghetto konzentriert sich Kreativität von schwar-
zen Frauen ganz besonders auffällig auf die Bereiche Musik und, seit neuestem, Li-
teratur. Trotzdem bleibt es selbst für die, die diese Musik und Literatur untersu-
chen, schwierig, schwarze feministische Kreativität als kontinuierlichen, kohären-
ten Diskurs zu verstehen, weil sie die Lücken – die Orte, die vom Nicht-Sprech spezimen how Rap to Hip Hop

Black
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Ends for me 1993¬||Markthalle »The Return of the Black Aesthetic: Cult-Nats
Meet Freaky Deke« in der Literaturbeilage der
Village Voice
vom Dezember 1986…

Literatur:
– P. Gilroy, There Ain’t No Black in the Union Jack, London 1987
– R. Honeyford, Integration or Disintegration, London 1988
– R. Lewis, Anti-Racism: a mania sexposed, London 1988
– R. Miles, Racism, London 1989
– F. Palmer, Antiracism: an assault on education and value, London 1987
Original: »The End of Antiracism«; aus: James Donald, Ale Rattansi (ed.), »Race«, Culture, and
Difference, Sage Publications, London 1992, pp. 49-61

-Hate the Nazis, burn the Nazis in blind optimism.-shell||TThuLee

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left hanging, & tried for the rest to keep clear of what was after all his poem. Later I titled it Thank You: A Poem in 17 Parts, & wrote a note on it for the Mexico City magazine El Corno Emplumado, where it was printed in English & Spanish. This is the first of the seventeen sections:

Now so many people that are in this place.

In our meeting place.

It starts when two people see each other.

They greet each other.

Now we greet each other.

Good save tique Queen af|tha Bad Paki Pinkskool

Now he thought.

I will make the Earth where some people can walk around.

I have created them, now this has happened.

We are walking on it.

Now this time of the day.

We give thanks to the Earth.

This is the way it should be in our minds.

[ Note. The set--up in English doesn‘t, as far as I can tell, reproduce the movement of the Seneca text. More interestingly it’s itself a consideration of that movement: is in fact Johnny John’s reflections upon the values, the relative strengths of elements in his text. The poet is to a great degree concerned with what--stands--out & where, & his phrasing reveals it, no less here than in any other poem.]

Even when being more active myself, I would often defer to others in the choice of words. Take, for example, a set of seven Woman’s Dance songs with words, composed by Avery Jimerson & translated with help from his wife, Fidelia.

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Power, Iatrarchy / Illness, Violence

Apply. Apply ILLNESS to everything [ALL]. Apply everything [ALL] to illness. Illness as nothing but a thoroughly technical matter. To intercede in favor of illness: everybody, every time and everywhere. And, what is no more nor less: turn upside down, shake up [umkrempeln]. Laugh yourself ill at everything that is shrinking by health [gesundschrumpfen]. Stigmatize yourself in favor of illness. Shrink by illness [krank schrumpfen] the Patients’ Front up to a Front’s patient.

What illness are we talking about? We are talking about precisely that FORCE that, being bent and folded in its own [in sich verschraenkte Kraft], is jumping over itself as LIMIT [die sich als Schranke ueberspringt]. For that we are talking about each and every illness. The one you call ‘cancer’, for its moving in retrogression like a crab, is acting just like the so-called lunacy [die krebsende macht es nicht anders als die waehnende], and the lethal one acts equally as the starving one. It’s deadly serious, feasible, and it has to be done, on the spot, urgently.

To the one who dares to embrace illness as a weapon, violence (root: death) is becoming a value without force, and power (root: magic) is quite a humbug without limits [schrankenlos fauler Zauber]. Illness is the crowbar made of force and limit [Krankheit ist das Brecheisen aus Kraft und Schranke]. Iatrarchy (the violent power of the doctors‘ class which is the violence of HEIL as such) is the appropriate, because of its being pleonastic, superfluous word beyond and on the right side of illness and the fraction-line.

Tactical areas of the application of illness (pathopractical topoi) are: Coming-into-and-remaining-in-being [Werden, Prozess, Hegel], World [Welt], and Word [Wort]. The pathopractic action (pathopractice) consists in bending in itself force and limit of coming-into-and-remaining-in-being, world and word, up to the point in which they crack:
ILLNESS THAT’S THE POINT [the punctum saliens] when we change
Coming-into-and-remaining-in-being from ’staying in health‘ into turmoil [Wirre]
World into becoming ill
Word into attack [Widerstreit].
Until now, Coming-into-and-remaining-in-being, World and Word are constituted as violent power of the doctors‘ class, as violence of salus [HEIL].
Coming-into-and-remaining-in-being is, of course, thus: naturally, not to say iatrarchically: staying in health;
World is the violence of value without limits [schrankenlose Wertgewalt];
Word is the terrorist platen and armoured press against illness (therapy).
And illness itself, being chopped up into pieces as somatosis, psychopathy, reaction, evil, guilt, psychosis, neurosis and deviancy, is the bellows and the strengthening syringe of Iatrarchy and metaphysics, in brief: it’s the puffed up storage of the forces of what is shrinking by health [aufgeblasener Kraftspeicher der Gesundschrumpfung].

This „illness“ is to be taken as life itself: to laugh oneself ill at it.

The Negro, by W.E.B. Du Bois, [1915], at sacred-texts.com

p. 36
V GUINEA AND CONGO

One of the great cities of the Sudan was Jenne. The chronicle says „that its markets are held every day of the week and its populations are very enormous. Its seven thousand villages are so near to one another that the chief of Jenne has no need of messengers. If he wishes to send a note to Lake Dibo, for instance, it is cried from the gate of the town and repeated from village to village, by which means it reaches its destination almost instantly.“ 1

From the name of this city we get the modern name Guinea, which is used to-day to designate the country contiguous to the great gulf of that name--a territory often referred to in general as West Africa. Here, reaching from the mouth of the Gambia to the mouth of the Niger, is a coast of six hundred miles, where a marvelous drama of world history has been enacted. The coast and its hinterland comprehends many well-known names. First comes ancient Guinea, then, modern Sierra Leone and Liberia; then follow the various „coasts“ of ancient traffic--the grain, ivory, gold, and slave coasts--with the adjoining territories of Ashanti, Dahomey, Lagos, and Benin, and farther back such tribal and territorial names as those of the Mandingoes, Yorubas, the Mossi, Nupe, Borgu, and others.

Recent investigation makes it certain that an ancient civilization existed on this coast which may have gone back as far as three thousand years before Christ. Frobenius, perhaps fancifully, identified this African coast with the Atlantis of the Greeks and as part of that great western movement in human culture, „beyond the pillars of Hercules,“ which thirteen centuries before Christ strove with Egypt and the East. It is, at any rate, clear that ancient commerce reached down the west coast. The Phœnicians, 600 B.C., and the

p. 37

[paragraph continues] Carthaginians, a century or more later, record voyages, and these may have been attempted revivals of still more ancient intercourse.

‚Hochschule fur Bildene Kunstbums‘ 2013 BX~+

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Haroldo de Campos

from Galáxias

„Circuladô de fulô“

introduction

by A.S. Bessa – Secret green V.AæA.S.P Londomn-In 1959, at age of 29 and accompanied by his wife Carmen, Haroldo de Campos left Brazil for the first time to travel through Europe — a trip which included among other things, visits with Karlheinz Stockhousen, in Cologne, and Ezra Pound, in Rapallo. On his way back, Campos made a stop in Recife, a city in the Brazilian northeast, and from there he proceeded to other cities until finally reaching São Paulo. In an autobiographical sketch written in the late 1980s Campos recalled this last leg of his trip as „rediscovering Brazil via the world. The hybrid and the ecumenical. The multi-devouring baroquism of aerial roots. Diaspora-disseminating.“ The memory of his incursion into this „other Brazil“ was later evoked by Campos in one of his most endearing texts, „Circuladô de fulô,“ the fifteenth text in Galáxias, his book of prose-poetry written between 1963 and 1976.

Galáxias, a collection of fifty texts written in stream-of-consciousness style, is a long unpunctuated meditation on writing, world literature and the elusive nature of the book. „Circuladô de fulô“ is Campos’s tribute to the popular art of minstrelsy as practiced in the Brazilian northeast. The text, inspired by a song that Campos heard in a state fair possibly in the outskirts of Recife, was written between February 21 and 24, 1965. Its first two lines („circuladô de fulô ao deus ao demodará que deus te guie porque eu não posso guiá eviva quem já me deu circuladô de fulô e ainda quem falta me dá“) seem to be a direct quote from the original song, which to my knowledge has never been recorded or printed. There is no information either on the song’s author. Fortunately we do know enough about that tradition, for the literature on it is extensive, to infer what triggered Campos’s interest.

The tradition of troubadours, or minstrels, in the Brazilian northeast is believed to have its roots in the Provençal tradition by way of Portugal and the poet king Dom Diniz, with his „cantigas de amigo e de amor“ (songs of friendship and love). Like their European counterparts in the Middle Ag- X.*

http://ubumexico.centro.org.mx/text/emr/articles/amacher.pdf

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Concept Formation – RAND

I‘m studying a bunch of different ideas, methods, actions, in a lot of different media – books, videos, and integrated lectures. I have found something that seems to be integrated in a way that makes sense given both sensory and reasoned modes. My motivation for this post is to exercise the muscles I have developed in my study and to see if my statements produce any contrary ideas I had not considered.

If you have not read Rand’s Introduction to Objectivist Epistemology, especially the more recent version expanded by her heirs, you are unlikely to be qualified to comment on this thread. Your thoughts on her ethical stand (somewhat contreversial) without reference to her epistemology and metaphysics is really a social discussion rather than a philosophical investigation; this site is dedicated to philosophy and, therefore, „what do we know and how do we know it,“ and only then, „how should we act and organize groups.“ This post may be too much for a forum, it needs a book; yes, I agree, so read the book referred to above or stay out. In this way, this post actually performs a method function for reasoned members. Anyone following this thread, can delete from their member page delete list, anyone who comments without knowledge or substance of Objectivist metaphysics or epistemology. No charge.

I need to preveiw my post in this way because so many people on this site think Rand is only a political commentator or an ethicist because her famous works are fiction, in which the average guy would probably not consciously identify any underlying met/ep ideas. Rand has been dismissed by many thinkers that are only aware of her conclusions in ethics and politics. They see her like a guru instead of a philosopher. This trend is an unfortunate consequence of the fact that Miss Rand’s general popularity has been based upon fiction stories and out-of-the-mainstream non-fiction articles. But, what about her, less famous thoughts, in met/ep?

And so, where is the flaw in her method of concept formation and use thereafter – that is, differentiation by recognition of similarity of attributes, leading to differentiation of what are now thought of as units, differentiated from other existents. This is induction. These may be, and are in the early stages, entities that are directly perceivable, but for adults, they become there own concepts or units in abstraction for developing more extensive or intensive concepts. In each case the attributes of the group of units are recognized as similar in measurment, but the measurments are omitted in the abstraction to recognize the similarity. Each similarity must exist in some measure but may exist in any measure. When a word is recognized, it becomes an entity and probably a unit for the next level of abstraction; words are, therfore, not primary, but a method for subsuming more complex ideas into t|media Ghetto porn against & versus Roman TiqueQaterfall…

Bel

Damthor Fell|mFu

eF
Darmok
» ferengi
» installing Ubuntu Studio in a virtual machine Bel
» to test
14:55 |*bel
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15:06 Welcome!
15:06 You entered GFR Chat.
15:07 Bel
https://duckduckgo.com/?q=fsk&t=opensuse dreiundneunzignull Megaherz

Mu|R:itzee Bela B. Arateroar|coethier Mastagrand Matze Groslohe Union Mr. Sneydeer Alice.-

Fuck tha fascists…

-------------------------------------BREAKING NEWS:
International Outrage Builds as UNESCO Cancels Simon Wiesenthal Center Exhibition Just Days Before Scheduled Opening Due to Official Arab Protest

Update to Follow: Worldwide Protest to UNESCO to be launched on Monday

What can you do? Please forward this email and share on Facebook and Twitter
January 17, 2014
UN cancels Jewish exhibit at last minute on Arab complaints
UNESCO halts Israel’s Jewish history show after Arab nations protest
UNESCO delays exhibit on Jewish ties to Land of Israel: It could harm peace process

UNESCO Pulls Jewish Exhibit After Last Minute Protest From Arab League

UNESCO cancels event on Jewish ties to Land of Israel

World Jewish Congress denounces UNESCO cancelation of Israel exhibit
Jewish leaders condemn Unesco decision to cancel Israel exhibition
From JTA:
UNESCO cancels Israel expo following Arab pressure

UNESCO Cancels Israel Expo following Arab Pressure

UNESCO delays exhibit on Jewish ties to Land of Israel: It could harm peace process

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http://exit-online.org/pdf/scholzbuch.pdf

j

Accomplished 4th patronages yet,.- 18:34 Chat by BummerHosting.com 5.0, Build #702
18:34 Welcome!
18:34 You entered GFR Chat.
18:34 Dead digdog|*bela
Nice eve Hey DJ Deckstrous
» …..
18:34 DJ Deckstrous
Yoyo Bel
»
18:34 Dead digdog|*bela
30 minutes to comply
18:35 DJ Deckstrous
15 haha
» alls well with you
» ?
18:39 Dead digdog|*bela
http://schoener-wohnen.de/kollektion BX
18:45 DJ Deckstrous
what open
18:48 Dead digdog|*bela
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» http://goo.gl/maps/3JXf0
19:03 C.P.B. joined the room.
19:04 C.P.B.
no auto start decks?
» ready?
19:07 Dead digdog|*bela
http://thehoodup.com/board/viewtopic.php?t=97497&p=1432485&utm_source=dlvr.it&utm_medium=twitter#p1432485
19:07 C.P.B.
guess he’s not here.. i‘ll be back later
19:07 C.P.B. left the room. (Logged out)
19:10 Dead digdog|*bela
冲浪王 ²²BEL-V⁴ ‏ @SKCBELV