#tsala

[dragonofpandora]

Me? Taking three whole runs to actually make a proper OC for the Sarentu PC? it's more likely than you'd think. (I'm thinking about doing an actual proper fic rewrite of the game's story, so I need a proper OC for that.)

So here's Tsala'! He's a Sarentu, but his father was a polar Na'vi who joined the Sarentu when he fell in love with Kataru, so he's got a shorter, stouter build than your average Sarentu, who tend to be dominantly forest Na'vi in descent.

[guerramecanica123]

green antarctica tale

Where the idea come from

green Antarctica is a scenario from user divaldron detailing an imagined speculative world where Antarctica never was covered in ice and remained a habitable continent, leading to a whole separate world of various evolutions and eventually civilisation since the land would share a similar history with South America and Australia it's megafauna would be closely related; it's home to giant rat type Birds massive reptiles and marsupial mammals, the land would be populated by opportunistic grasses and plants that shift from season to season Humans would eventually come to the continent via Australia the most reasonable assumption is that humans do eventually come to the continent and they are descended from Polynesians the people who settle this land call it Tsala, Tsala becomes the noted namesake of this land mass instead of Simply Antarctica these people would scrounge for resources on such an unpredictable continent it's even assumed they made hard Resources by copying local monkeys when they can they hunt megaphone marsupials due to the extreme nature of the continent life is horrendous in the scenario cannibalism is an active part of daily life Parents choose to eat their own children in many ways. In this scenario, in its author imagines Antarctica as the most Deployable Place imaginable Some monkeys are domesticated and used as sex slaves These Hive monkeys somehow spread to the rest of the world and are more successful than racoons. The people live in dark underground cities and pretty much enjoy being outright evil and sadistic The longer the scenario goes on, the more these people evolve into what can only be described as the dark elves there's a culture of necrophiles, one of drunkards, one of zoo files one of people who are just so evil that other evil people hate them torture is a normal activity in this world and the tasala seem to have no human moral compass at all. Regardless a race and ethnicity, they collectively enjoy murder rape and torture

[peachcrafts]

Raising Sim infants in the stone age proved itself to be a challenge.

[zikplay]

Aminux : retrouve son clip « Jehdi tsala » sur Zikplay

Lorsque tu souscris un abonnement à Zikplay, tu pourras décrocher les tubes de plusieurs chanteurs populaires. D’ailleurs, tu auras la chance de dégoter les hits d’Aminux en consultant la rubrique « Artistes », qui est disponible sur le site. Il est bon de mentionner que tu seras, également, en mesure de regarder son clip « Jehdi tsala » sur ton smartphone, ta tablette et ton ordinateur…

[trinitybloodbr]

FROM THE EMPIRE - フロム・ジ・エンパイア – DO IMPÉRIO

-----------------

⚠️ ESSA OBRA EM HIPÓTESE ALGUMA É DE MINHA AUTORIA. TRADUÇÃO REALIZADA DE FÃ PARA FÃS. NÃO REPUBLIQUE OU POSTE EM OUTRAS PLATAFORMAS SEM AUTORIZAÇÃO. SE CASO POSSÍVEL, DÊ SUPORTE AOS AUTORES E ARTISTAS COMPRANDO AS OBRAS ORIGINAIS. ⚠️

-----------------

FROM THE EMPIRE

フロム・ジ・エンパイア

DO IMPÉRIO

-----------------

PRÓLOGO

-- Porque toda a terra será destruída.

A água se levantará por sobre toda a terra,

 e tudo o que está sobre ela será destruído e desaparecerá.

(Versão etíope do Livro de Enoque 10:2)

Um grupo de mil máscaras, com tochas nas mãos, avançava em marcha.

A praça à beira-mar, que abriga a Basílica e o Palácio do Governador, brilhava como se fosse meio-dia. Por outro lado, as duas luas no céu, pareciam completamente ofuscadas por causa dos fogos de artifício que subiam por todos os lugares.

“...Esses malditos terrans bárbaros!”

Astha cuspiu asperamente. A brisa marítima vinda da laguna levava a agitação da praça até o beco mal iluminado em que ela se encontrava.

 Através dos documentos, ela pensava ter compreendido a visão geral do chamado ‘Carnaval de Veneza', mas a coisa real era ainda mais ridícula do que se imaginava. O senso de sensibilidade dos nervos desses Terrans, que realizavam tal farra descontrolada ao longo de dez dias e noites, estava além da compreensão dela.

"De todas as coisas, encontrar-se em um lugar como este... e além disso, até quando vai me fazer esperar?!" – ela se pronunciou em um tom de voz resignado.

Diferente de sua terra natal, Tsala, onde o pôr do sol marca o início do dia. Aqui um dia começa e termina à meia-noite. Acima, o sino da enorme torre do relógio estava anunciando a chegada de um novo dia.　

No entanto, não havia nenhum sinal de que a pessoa com quem deveria se encontrar aparecesse.

Impaciente, Astha levantou a gola do casaco de couro e tirou os óculos de sol de seu rosto que possuía traços bastantes alinhados.

Talvez, deva continuar perseguindo "ele" sozinho? – Astha pensou consigo mesma.

Disseram que a pessoa esperada era o mais habilidoso daquele grupo. 'Agente Executor' ou algo assim? Talvez parecesse que fosse dessa forma, mas no final das contas seria somente mais um estúpido e fraco Terran. Uma espécie de vida curta. Astha sozinha era muito mais ágil e conhecia “ele” melhor do que ninguém. Nesse caso...

"Não, não posso, não posso." – Astha balançou a cabeça, afastando a doce tentação.

Dentre aqueles fanáticos, finalmente apareceu uma pessoa um pouco mais razoável. Se voltasse agora, poderia irritá-los.

"De qualquer forma, vamos “pegá-lo” rapidamente e se despedir dessa maluca montanha de primatas... hein?" – Astha aguçou os ouvidos ao ouvir vozes vinda de um canal mal iluminado próximo.

Aparentemente, duas ‘fêmeas’ jovens e alguns ‘machos’ que parecem ser gondoleiros estavam envolvidos em algum tipo de problema. Pelo que ela analisou das gírias que os ‘machos’ estavam usando com frequência, parece que eles estavam forçando as jovens a compensar a diferença da tarifa através de relações sexuais.

Não importava onde os Terrans se encontrassem ou acasalassem. Mas seria um problema se fizessem isso aqui por perto. Deveria ordenar que façam isso em outro lugar... Astha estava considerando seriamente quanto a isso.

"Er... desculpe interromper enquanto estão ocupados, mas..." – Uma voz descontraída veio do fundo do beco – Um momento, por favor? Bem, a Praça de São Marcos é por este caminho, não é?"

Era um jovem alto.

Sob o cabelo prateado desgrenhado, os costumeiros óculos redondos, como o fundo de uma garrafa de leite, refletiam o luar de fevereiro. E ele estava vestido com uma batina sacerdotal preta de aparência simples e pobre com uma capa desgastada. A típica aparência de um padre itinerante.

"Bem, Veneza é realmente uma cidade que parece um labirinto, não é? Então, vocês também estão aqui para o festival? É ótimo, não? O carnaval. Bem, na verdade, eu também..."

"Como pode ver, estamos ocupados agora, padre."

Um homem enorme e barbudo avançou lentamente de entre os gondoleiros, enquanto brincava com um remo grosso.

　

“Se estiver a caminho, por que  não pergunta em outro lugar?”

"Ah, mas..." – o padre travou.

“Padre, por favor nos ajude!”

As garotas correram em sua direção e o padre recuou, como se estivesse sendo intimidado. Elas acabaram por se esconderem em suas costas desprotegidas suplicando com os olhos marejados.

"Por favor, nos ajude! Estas pessoas estão nos forçando..."

"Sem essa! A culpa é de vocês por não pagarem!" – gritou um dos gondoleiros.

“Eeeeh..” – o padre recuou ainda mais.

Pelo comportamento assustado das garotas, ele evidentemente percebeu que havia se perdido em um cenário de guerra. O padre, com seus olhos azuis, piscava repetidamente, enquanto dizia:

"Bem, conflitos não são bons. O Senhor disse: 'Não te enfureças'... Uaaah!?"

O padre recuou para evitar o golpe sinistro, arqueando-se. Parecendo uma criatura que falhou na evolução. Ele cambaleou para trás desajeitadamente.　

"Que susto! O...o que foi isso de repente!?"

"Cale a boca! Desapareça de uma vez, padre de merda! Quem disse que quero ouvir seu sermão enganoso!?" – o gondoleiro que o atacou antes gritou.

"En-enganoso? Oh! Senhor, tende piedade da incredulidade dos filhos dos homens... Ce-certo! Senhoritas, fujam agora mesmo... eh?" – o padre comandou, mas logo sentiu que havia algo faltando.

Antes que ele percebesse, as garotas já haviam desaparecido ── seus vestidos coloridos esvoaçaram uma última vez de relance enquanto corriam em direção a praça.

"Ha, haha... não! Está tudo bem! Se eu puder proteger a pureza das donzelas com meu sacrifício. Não é um preço pequeno a se pagar? Não me importo nem um pouco. Sim, não me importo. Haha... eh, hein?”

Alguém cutucou as costas do padre, que estava dando uma risada seca e solitária. Ao se virar, ele viu inúmeros olhares ameaçadores dos gondoleiros encarando a sua cara de idiota.

"Bem... pessoal. Então, vamos nos acalmar. Aah! O Senhor disse: 'Suportem uns aos outros. Perdoem as ofensas um dos outros...'"

"...Matem-no." – os gondoleiros gritaram.

Ao som do vento, gritos de raiva e de dor se misturaram.

"Se... se matarem um padre, serão amaldiçoados, sabiam? Vamos, acalmem-se, respirem fundo juntos... Alguém, me ajude!" – o padre levantava as mãos desorganizadamente enquanto recuava o quanto podia.

(…Sem chance, esse cara...)

Astha soltou um suspiro e levantou-se.

Deixa-lo sozinho seria até aceitável, mas vê-lo cair morto bem na frente dos seus olhos seria desconfortável – além disso, Astha estava começando a ficar irritada com a ausência dessa chamada 'pessoa habilidosa' que estava demorando a aparecer.

“......”

Ela começou a correr silenciosamente e deu um leve salto. Com uma força nas pernas dezenas de vezes maior do que a dos Terrans, ela chutou as paredes à esquerda e à direita para ganhar altura e pousou graciosamente diante dos olhos dos bandidos.

“...!?”

Quando um dos homens barbudos, que estava entre os gondoleiros, percebeu a sombra projetada sobre sí, já havia levado um golpe de reverso do punho no topo da cabeça, que fez seu rosto se prostrar no chão. Embora o golpe tivesse sido suficientemente moderado, poderia ter causado uma rachadura em seu crânio.

“....Eh?”

E então nesse momento, os homens restantes também ficaram todos estáticos, uniformemente, sem se mover.

A razão era porque bem na frente dos olhos deles, iluminada pela suave luz da lua, estava uma mulher incrivelmente bela.

Ela era uma mulher muito alta. Envolvida em um casaco preto que ia até os tornozelos. Sua alta estatura devia ultrapassar facilmente o um metro e oitenta. Seus cabelos era branco ─ exceto por uma mecha na testa, da cor do sangue. Todo o restante estava descolorido até o final em um tom de marfim. No entanto, a beleza sob seus brilhantes olhos cor de âmbar ainda parecia jovem, como se tivesse acabado de sair da adolescência.

“Ah... quem seria você?"

"... Se afaste."

A bela mulher ─ Astha empurrou levemente o padre e virou-se para encarar os bandidos. Quando o grito do padre que caiu no canal e os respingos de água subiram, ela já estava chutando o pavimento de pedra e dando um grande salto...

Alguns segundos depois ─ na rua, cerca de dez homens com os queixos e clavículas quebrados estavam inconscientes.　

"...Ha! Seus malditos terrans!" – ela murmurou.

Sentindo uma leve sede ao ver o líquido vermelho escorrendo pelo pavimento de pedra, Astha fungou intencionalmente. Ela se surpreendeu ao ver um grupo de pessoas atacando seus semelhantes mais fracos. – O fato de suas aparências serem semelhantes as eles, torna seus caráteres malignos ainda mais perceptíveis. - E ainda insultam a ela e os outros Methuselahs, os chamando de 'vampiros', realmente eles não possuem a noção de seu devido lugar...

"Ah, com licença..."

De repente, Astha voltou a si ao ouvir uma voz extremamente lamentável vinda da sarjeta.

"Ei, se você não se importar, poderia me puxar? Na verdade, não consigo alcançar..."

“... ...”

Pensando bem, tem esse cara aqui.

Ela já estava cansada de interagir com esses Terrans. Mas deixá-lo assim a correr o risco de um ataque cardíaco seria um problema. Astha estendeu a mão casualmente.

"Aí está! Pegue."

"Ah, muito obrigado... A propósito, você não é do 'Império'? Não seria a Inspetora Chefe do Novo Império Humano, Tsala Methsaluth, Marquesa de Kyiv, Viscondessa de Odessa, Lorde Astharoshe Aslan?"

“O q....!?”

O rosto de Astha ficou rígido como se tivesse sido atingido por um raio.

Deste lado, somente 'eles' deveriam saber sobre ela. Como este homem sabia disso!?

(Espere! Não, não pode ser, de jeito nenhum...)

Num instante, um pressentimento sinistro passou pela parte de trás do córtex cerebral, fazendo a jovem nobre boyar do Império estremecer.　

"Eles" — A Duquesa de Milão, Caterina Sforza, e a Seção de Operações Especiais – Ax — do Ministério de Estado do Vaticano prometeram enviar seu melhor agente nesta operação conjunta. Não importa o quão estúpidos e loucos os Terrans fossem, mas justamente isto...

O padre olhou para o rosto de Astha, que estava paralisado pelo espanto ─ e para seu horror ─ sorriu suavemente.

"Ah, então é você mesmo? Que bom. Pensei que já tivesse ido embora. Eu sou Abel ── Abel Nightroad. Fui encarregado pela Duquesa de Milão para apoiar suas atividades de investigação em Veneza. Prazer em conhecê-la ♥"

……Será que seria possível soltar esta mão e voltar para o seu país?

Astha pensou nisso seriamente preocupada.

------------

Créditos da tradução:

Lutie (◕‿◕✿) ,

[goldenwolfae]

“Tsala, The Gravity Celestial. The 9th Celestial to be born and the King’s 11th challenge. Tsala’s crystal is the last one we have found as of late. This rings strange as both the foundation and the clergy know there are 5 other celestials according to texts. I supposed the king will have to figure this out himself as it is his destiny. Anyhow, Tsala’s crystal when touched will affect the surrounding area’s gravitational field, causing the victim to be crushed under the gravitational pressure. All that is left by the end is a red puddle.This is known to be a rival to Tona. Tsala is a strong and terrifying creature that has little to no remorse and fights using his dimension breaking powers. This creature has been titled as the crushing weight, the spear of judgment, the unforgiving reaper.”

[blackrosedthorn]

The Monster Dwells.......

Imagine painting pictures without a a visual but with words and the visual being the one who creates. This is Jeffrey Jerome Cohen. With his monster culturec7 these, we are opened to the creation of monsters in ways we may have never imagined. Allowing us to place ourselves through our own biases or what has been taught to us. Let's discuss his 4th thesis through The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allen Poe and Jordon Peele's Get Out.

https://cinema.usc.edu/spectator/43.2/03_Anderson.pdf

"The Monster polices the boarder of the possible," Jeffrey Jerome Cohens 5th thesis is refers to stepping out of fear and into bravery. In order to beat the monster you sometimes have to attack or be attacked. It's almost like a zombie scene in a movie. Eat or be eaten and then, You will become.

The Narrative of Arthur Gordon and Pym of Nantucket (Poe 1883) https://www.gutenberg.org/files/51060/51060-h/51060-h.htm and Jordon Peele's Get Out (2017) share a similarity in the way they present/represent Cohen's 5 thesis. In both Poe's and Peele's work we are introduced to "The monster Policing the boarder of possible." In The Narrative of Arthur Gordon and Pym of Nantucket the monstrous elements in the novel symbolize the unknown. Like, the unknown that was not foreseen by Pym and his companions after befriending natives of the island of Tsalal. The natives befriend him and his crew allowing them into their land and teaching them a little about their culture. While Pym and his companions believed to have made friends with the savages in the words of Pym , they soon later find out that, they would turn on them and feast on their bodies.

In the film by Jordon Peele, The Monster polices the boarder by making us question the prejudices and injustice in the world. In several ways, we can compare Cohens thesis to the film Get out. The sunken place symbolizing powerlessness is one. Missy who we can title the ring leader sedates and places Chris in a still state while, she has all control over him. This film educates us on the monsters and how they are created. Hence missy and her crazy crew that kidnap black people to control.

Jeffrey Jerome Cohen's thesis that, monster dwell at the gates of difference," highlighting the fear of the unknown. Using the betrayal and the strange and some what exciting unfamiliarity of the natives of the Island of Tsala, Edgar Allen Poe's The Narrative of Arthur Gordon Pym, we are introduced to this thesis.

So, If the monsters dwell at the gates of difference, highlighting the fear of the unknown, why did Pym and his companions let their guard down?! The Natives of the island of Tsala befriended Pym and his companions so, that they would not sense danger coming not only coming onto land that they were unfamiliar with but, allowing them to lose all sense of fear and instill trust in them. "The chief presented the most ferocious aspect of any one I had yet seen… His teeth of a jetty black, and jagged and pointed in every direction, were sufficiently conspicuous, although some of them were missing, and others had been intentionally broken off near the gum, a circumstance which imparted to his grin a character of the most sinister and forbidding malignity." The monster here welcoming with open arms taking away the fear of the unknown, the loss of familiar reference where the real monster was then seen. The monster invited Pym and others in, the monster blocked fooled them into thinking they could place their fears on hold, the monster was always a monster.

Jordan Peele's Get Out had me feeling like I could not get it out of my mind after watching it. Man, imagine if Rod wasn't the friend that he was. We would be awaiting a part 2 where, Chris is the new Logan and us the viewers are wishing someone would escape and others would see Missy and her family/cult friends haha for who they really are. Talk about "Monsters Dwell at the gates of difference."! they sure are. A scene where I feel the movie took a little turn for Chris was when he discovers the photo album of Rose's Ex black boyfriends. Here, Cohen's thesis highlights the monstrous abuse and manipulation of the family. It is after Chris finds the photos of Rose and her men that, He finally accepts that, its time to GET OUT! Standing in front of the faces of evil, The Armitage house represents a space of white dominance. The facade of it being a safe and normal place upon arriving, the surveil lancing of the Armitage's as we see heightened when Chris is trying to leave and the brother is blocking the door, the mom pop outs of the kitchen with her tea cup ready to control Chris with the tap of a spoon and the itself portraying of a home from plantation era. Get Out uses the Armitage Family as a symbolism of hidden racism. Rose's relationship as a fake just to bring him home to control him, The mother acting as if she cared to listen to help just to strip him from his power.

[nj-stone]

Louise Edington - Cosmic Wisdom Weaving, Oct 26 2024. Sense Check, by @LouiseEdington https://open.substack.com/pub/cosmicowlastrology/p/cosmic-wisdom-weaving-oct-26-2024

[fortunetellersdilettante]

ei! moi luchshiy drug, luchshiy drug do samogo kontsa. potomu chto luchshim druzyam, luchshim druzyam ne nuzno pritvoryatsya tebe nuzna pomoshch, you ya pryamo ryadom se toboy te vieu temnote, ya boudou yarkim svetom, kotoryi budet vesti tebya «zapomnite vremya-vremya-vremya, kogda vy uskolzaete ease doma vse vremya-vremya-vremya, kogda a vas byli somnenia you ne zabyvaite obo vsekh nepriyatnostyakh, vieu kotorye my popali a nas yest to, chto vy ne mozhete otmenite, sdelaite smeyalsya tuck chertovsky silno. razbilas nova mashina tvoego ottsa vse shrama, kotorye a nas obshchie obeshchayu, klianus kuda by vy nie otpravilis, prosto vsegda pomnite chto a tebya yest dome sejcas you navsegda a esli vam stanet plokho, prosto zvonite mne vieu lyuboye vremya eto moya klyatva vam kuda by vy nie otpravilis, vsegda pomnite vy nikogda ne odinoki, my ptitsa odnogo poleta you my nikogda ne izmenimsya, nezavisimo oth pogody eto moya klyatva vam ya znaio, chto inogda svodyu tebya se uma, khm, ya znaio, chto nazyvayu tebya lenivym, you eto chashche vsego no te dopolnyayesh menya, you eto ne lozh te moi smocking, a ya tvoy galstuk-babochka my vieu machine poem-poem-poem nashu pesnyu raskachivaniye

Yo! Shamwari yangu yakanakisisa, shamwari yakanakisisa 'til the very end 'Nokuti shamwari dzakanakisisa, shamwari dzakanakisisa hadzifaniri kunyepedzera Unoda ruoko, uye ini ndiri ipapo chaipo parutivi pako chaipo Iwe uri murima, ini ndichava chiedza chakajeka chekukutungamirira 'Nhengo nguva-nguva-nguva kuverevedza kunze kweimba Zvose zvenguva-nguva-nguva iyo iwe waiva nekusava nechokwadi Uye usakanganwa matambudziko ose atakapinda Tine chimwe chinhu chausingagoni kubvisa, ita Kuseka saka damn zvakaoma Akaputsa motokari itsva yababa vako Mavanga ose atinogoverana Ndinovimbisa, ndinopika Kwose kwaunoenda, ingoyeuka nguva dzose Kuti iwe wakawana musha wezvino uye nokusingaperi Uye kana iwe ukadzikira, ingondifonera chero nguva Iyi ndiyo mhiko yangu kwamuri Kwose kwaunoenda chete nguva dzose yeuka Iwe haumbove wega, isu tiri shiri dzeminhenga Uye hatimbofi takachinja, zvisinei nemamiriro ekunze Iyi ndiyo mhiko yangu kwamuri Ndinoziva kuti ndinokutyaira uchipenga, huhm, dzimwe nguva Ndinoziva kuti ndinokudana simbe uye ndizvo nguva dzakawanda Asi iwe unondipedza uye iyoyo haisi nhema Iwe uri tuxedo yangu uye ini ndiri bow tie yako Isu mumotokari tinoimba-kuimba-kuimba rwiyo rwedu Kuzunungusa iyo

yo yo ! Tsala ya me e kgolo, go fitlha kwa bokhutlong Ditsala tse di molemo, ditsala tse di molemo ga di a tshwanela go itsalanya le ene. I need a hand but i'm there beside you lolololololololololololololololol Ke tla nna mo lefifing, ke tla go kaela Gae Sekgoa go ya go Setswana time Nako le nako fa o ne o na le dipelaelo, o ne o na le dipelaelo O se ka wa lebala mathata otlhe a re tlileng mo go one Re na le sengwe se o ka se kgoneng go se dira Laughing so hard lololololololololol O ne a raga koloi ya gagwê e ntšha ya ga rraagwê All the scars we share ya I swear, i swear lololol Kae kapa kae moo o yang teng, hopola Gae Setswana go ya go Sekgoa bosakhutleng Fa o ka tswa o le kwa tlase, nteletsa mogala fa ke le kwa tlase. Ke maikano a me mo go wena. Go Where You Go Always Remember You're never gonna go alone, we're gonna be a bird Ga re kitla re tlhola re fetoga, go sa kgathalesege maemo a bosa Ke maikano a me mo go wena. I'm gonna make ya crazy, ya I'm gonna call ya sweet, but that's the most mme nna ga ke a ka ka ke a aka. You're my tuxedo and i'm your bum bum ba Kar Ke Sang Our Song Go Go Rock The

yo yo ! Tsala ya me e kgolo, go fitlha kwa bokhutlong Ditsala tse di molemo, ditsala tse di molemo ga di a tshwanela go itsalanya le ene. I need a hand but i'm there beside you lolololololololololololololololol Ke tla nna mo lefifing, ke tla go kaela Gae Sekgoa go ya go Setswana time Nako le nako fa o ne o na le dipelaelo, o ne o na le dipelaelo O se ka wa lebala mathata otlhe a re tlileng mo go one Re na le sengwe se o ka se kgoneng go se dira Laughing so hard lololololololololol O ne a raga koloi ya gagwê e ntšha ya ga rraagwê All the scars we share ya I swear, i swear lololol Kae kapa kae moo o yang teng, hopola Gae Setswana go ya go Sekgoa bosakhutleng Fa o ka tswa o le kwa tlase, nteletsa mogala fa ke le kwa tlase. Ke maikano a me mo go wena. Go Where You Go Always Remember You're never gonna go alone, we're gonna be a bird Ga re kitla re tlhola re fetoga, go sa kgathalesege maemo a bosa Ke maikano a me mo go wena. I'm gonna make ya crazy, ya I'm gonna call ya sweet, but that's the most mme nna ga ke a ka ka ke a aka. You're my tuxedo and i'm your bum bum ba Kar Ke Sang Our Song Go Go Rock The

Go Go Go! Mogwera wa ka wa potego, mogwera wa ka wa potego go fihlela mafelelong a "Mogwera wa potego, bagwera ba bakaone ga ba swanela go itira I need a hand, i'm gona be there beside ya I'll be the light, i'm gonna be a bright ʻO ka hoʻoleleʻana i ka ʻōlelo Ka dinako tše dingwe o be o na le dipelaelo Le se ke la lebala mathata ka moka ao re a hweditšego We got a thing we can't do, do ya Go Smile Go Hard Go Get Your Dad's New Car All things we share ya Ke a ikana, ke a ikana Go Anywhere You Go - RememberIng O tla ba le bodulo bja ka mehla le go ya go ile If ya get low, ya gonna call me when ya Keno Go Go Go Where You Go Always Remember We're gonna be alone, we're gonna be a bird We're gonna be ok, no weather Keno Go Go I'm gonna go insane, go insane I'm gonna be a lazy, i'm gonna be a long time Y yo le digo que no lie Y yo le digo que no les digo yo Go Go Auto Song Go Go Rock the

Hahaha! Motsoalle oa ka oa hlooho ea khomo, ho fihlela qetellong Motsoalle oa hlooho ea khomo, metsoalle ea hlooho ea khomo ha ea lokela ho iketsa eka U hloka letsoho, 'me ke na le uena U lefifing, ke tla ba leseli le khanyang ho u tataisa Home " Time Time - Ha ʻO ka hoʻopiʻi ʻana i ka ʻikepili U se ke ua lebala mathata 'ohle a rona a ho kena Re na le ntho eo u ke keng ua e lokisa, etsa joalo Ho ho ho laughing so fuck hard Ho khanna koloi e ncha ea ntate oa hau Li-scars tsohle tseo re li arolelanang Kea hlapanya, kea hlapanya Kae kapa kae moo u eang, hopola feela Home " 'Me hona joale le ka ho sa feleng" 'Me haeba u fumana tlaase, feela bitsa' na neng kapa neng ha ʻO ke kano a me ka ʻae Kae kapa kae moo u lulang u hopola Ha ho mohla u leng sona, re le linonyana tsa feather Ha ho mohla re tla fetoha, ho sa tsotelehe boemo ba leholimo ʻO ke kano a me ka ʻae I'm driving you crazy, huh? ho Kea tseba hore ke u bitsitse e le bo-'m'ae, 'me ke hore nako e ngata ʻO ka hoʻohaʻo Ke hoʻokuʻo a me ka hoʻokuʻu a me ka hoʻokuʻu Ho Kar Ke Sang Our Song Roalla Thelo

Hahaha! Motsoalle oa ka oa hlooho ea khomo, ho fihlela qetellong Motsoalle oa hlooho ea khomo, metsoalle ea hlooho ea khomo ha ea lokela ho iketsa eka U hloka letsoho, 'me ke na le uena U lefifing, ke tla ba leseli le khanyang ho u tataisa Home " Time Time - Ha ʻO ka hoʻopiʻi ʻana i ka ʻikepili U se ke ua lebala mathata 'ohle a rona a ho kena Re na le ntho eo u ke keng ua e lokisa, etsa joalo Ho ho ho laughing so fuck hard Ho khanna koloi e ncha ea ntate oa hau Li-scars tsohle tseo re li arolelanang Kea hlapanya, kea hlapanya Kae kapa kae moo u eang, hopola feela Home " 'Me hona joale le ka ho sa feleng" 'Me haeba u fumana tlaase, feela bitsa' na neng kapa neng ha ʻO ke kano a me ka ʻae Kae kapa kae moo u lulang u hopola Ha ho mohla u leng sona, re le linonyana tsa feather Ha ho mohla re tla fetoha, ho sa tsotelehe boemo ba leholimo ʻO ke kano a me ka ʻae I'm driving you crazy, huh? ho Kea tseba hore ke u bitsitse e le bo-'m'ae, 'me ke hore nako e ngata ʻO ka hoʻohaʻo Ke hoʻokuʻo a me ka hoʻokuʻu a me ka hoʻokuʻu Ho Kar Ke Sang Our Song Roalla Thelo

Hej! Moj najbolji prijatelj, najbolji prijatelj do samog kraja Jer najbolji prijatelji, najbolji prijatelji ne moraju da se pretvaraju Potrebna ti je ruka, a ja sam tu pored tebe Ti u mraku, ja ću biti jaka svetlost da te vodi "Član vremena-vremena-vremena iskrada se iz kuće Sva vremena-vremena-vremena u koja ste sumnjali I ne zaboravite sve nevolje u koje smo ušli Imamo nešto što ne možete poništiti, uradite Smeje se tako prokleto teško Srušio novi auto tvog oca Svi ožiljci koje delimo Obećavam, kunem se Gde god da krenete, samo uvek zapamtite Da imaš dom za sada i zauvek A ako se spustiš, samo me nazovi kad god Ovo je moja zakletva tebi Gde god da krenete, uvek zapamtite Nikad nisi sama, mi smo ptice od perja I nikada se nećemo promeniti, bez obzira na vremenske prilike Ovo je moja zakletva tebi Znam da te izluđujem, ha, ponekad Znam da te zovem lenj i to je većina puta Ali ti me dovrši i to nije laž Ti si moj smoking, a ja sam tvoja leptir mašna Mi u kolima pevamo-pevamo-pevamo našu pesmu Ljuljanje

Хеј! Мој најбољи пријатељ, најбољи пријатељ до самог краја Јер најбољи пријатељи, најбољи пријатељи не морају да се претварају Потребна ти је рука, а ја сам ту поред тебе Ти у мраку, ја ћу бити јака светлост да те води "Члан времена-времена-времена искрада се из куће Сва времена-времена-времена у која сте сумњали И не заборавите све невоље у које смо ушли Имамо нешто што не можете поништити, урадите Смеје се тако проклето тешко Срушио нови ауто твог оца Сви ожиљци које делимо Обећавам , кунем се Где год да кренете, само увек запамтите Да имаш дом за сада и заувек А ако се спустиш, само ме назови кад год Ово је моја заклетва теби Где год да кренете, увек запамтите Никад ниси сама, ми смо птице од перја И никада се нећемо променити, без обзира на временске прилике Ово је моја заклетва теби Знам да те излуђујем, ха, понекад Знам да те зовем лењ и то је већина пута Али ти ме доврши и то није лаж Ти си мој смокинг, а ја сам твоја лептир машна Ми у колима певамо-певамо-певамо нашу песму Љуљање

Ioe! O la'u uo mamae, uo mamae 'seia oo i le iuga Aua o uo mamae, e le tatau ona faafoliga uo mamae E te manaomia se lima, ma o loo ou i ai iina i ou autafa O oe i le pogisa, o le a avea au ma malamalama susulu e taialaina oe 'Tagata o le ekalesia o loo tau tolotolo atu i fafo o le fale i le taimi e tatau ai O taimi uma lava e te masalosalo ai Ma aua nei galo faafitauli uma na tatou oo i ai E i ai se mea e le mafai ona e toe faaleaogaina, fai Ata malosi Na lavea le taavale fou a lou tama O ma'ila uma tatou te tutusa ai Ou te folafola atu, ou te tauto Po o fea lava e te alu i ai, ia manatua pea E i ai sou fale mo le taimi nei ma le faavavau Ma afai e te maualalo, tau lava o le valaau mai ia te au i soo se taimi O la'u tautoga lenei ia te outou Po o fea lava e te alu i ai ia manatua pea E le tuua na o oe, o i matou o ni manulele e fulumoa Ma o le a tatou le suia lava, e tusa lava po o le a le tau O la'u tautoga lenei ia te outou Ou te iloa ou te faavalevalea, a, o nisi taimi Ou te iloa ou te ta'ua oe o le paie ma o le tele lava lena o taimi Ae e te faaatoatoaina au ma e le o se pepelo lena O oe o la'u tuxedo ma o au o lou fusiua Sa matou usuina le pese i totonu o le taavale Luelue le

Эй! Мой лучший друг, лучший друг до самого конца. Потому что лучшим друзьям, лучшим друзьям не нужно притворяться Тебе нужна помощь, и я прямо рядом с тобой Ты в темноте, я буду ярким светом, который будет вести тебя «Запомните время-время-время, когда вы ускользаете из дома Все время-время-время, когда у вас были сомнения И не забывайте обо всех неприятностях, в которые мы попали У нас есть то, что вы не можете отменить, сделайте Смеялся так чертовски сильно. Разбилась новая машина твоего отца Все шрамы, которые у нас общие Обещаю, клянусь Куда бы вы ни отправились, просто всегда помните Что у тебя есть дом сейчас и навсегда А если вам станет плохо, просто звоните мне в любое время Это моя клятва вам Куда бы вы ни отправились, всегда помните Вы никогда не одиноки, мы птицы одного полета И мы никогда не изменимся, независимо от погоды Это моя клятва вам Я знаю, что иногда сводю тебя с ума, хм, Я знаю, что называю тебя ленивым, и это чаще всего Но ты дополняешь меня, и это не ложь Ты мой смокинг, а я твой галстук-бабочка Мы в машине поем-поем-поем нашу песню Раскачивание

Yogi yo! "Umukunzi wanje somambike gushika kw'iherezo" Abakunzi b'umuziki w'i Ngozi ntibakwiye kwiyerekana Urakeneye ukuboko, kandi ndi iruhande yawe Mu mwijima, nzobabera umuco mwiza wo kukuyobora Eko 10.2016 2016 Shirako shirasu shirasu you ni nare yo tashikana mono Ntiwibagire ingorane zose twaciyemwo we have something wewe can't be Dariya So hardcore Car Hire Dawe N'ibitenge vyose twasangiye Ndabarahiye, Ndabarahiye Aho uja hose, uzokwama wibuka Utegerezwa kuba ufise inzu y'ubu n'iteka ryose Niwaba umpamagara igihe cose Iyi ni yo ndahiro yawe Aho uja hose, uzokwama wibuka We're Alone, We're Birds of Feather None Ntituzokwigera duhinduka, n'aho twoba turi hose Iyi ni yo ndahiro yawe I'm crazy, none none I'm call you lazy none Mutesi: Urandendereye, kandi nta kinyoma Kimi no you ni ikitai you ni ikitai mumodoka turirimba indirimbo zacu Eshika The

Yo! Cel mai bun prieten al meu, cel mai bun prieten până la sfârșit Pentru că cei mai buni prieteni, cei mai buni prieteni nu trebuie să se prefacă Ai nevoie de o mână de ajutor, iar eu sunt chiar lângă tine Tu în întuneric, eu voi fi lumina strălucitoare care să te călăuzească "Membru timp-timp-timp care se furișează afară din casă Toate timpul-timp-timpul în care ai avut îndoieli Și nu uitați toate necazurile în care ne-am băgat Avem ceva ce nu poți anula, face Râzând atât de tare A prăbușit mașina nouă a tatălui tău Toate cicatricile pe care le împărtășim Promit, jur Oriunde te-ai duce, amintește-ți întotdeauna Că ai o casă pentru acum și pentru totdeauna Și dacă te desprimezi, sună-mă oricând Acesta este jurământul meu față de tine Oriunde te-ai duce, amintește-ți întotdeauna Nu ești niciodată singur, suntem păsări de o pană Și nu ne vom schimba niciodată, indiferent de vreme Acesta este jurământul meu față de tine Știu că te înnebunesc, huhm, uneori Știu că te numesc leneș și asta de cele mai multe ori Dar mă completezi și asta nu este o minciună Tu ești smochingul meu și eu sunt papionul tău Noi în mașină cântăm-cântăm-cântăm cântecul nostru Legănând

Nuga̲! Ma mäs xi hño mpädi, xi hño ma mpädi asta ar ngäts'i Getho ya mpädi mäs xi hño, ya mpädi mäs xi hño hingi pe̲ts'i yá da fingir Necesitas 'nar 'ye̲, ne Nugu̲ga̲ di xa ja ir ngehnu̲ Nu'i jar oscuridad, Nugu̲ga̲ ge ga tsibi brillante pa ga guiar 'Nar maxte ar tiempo-tiempo — tiempos escabullendo ar jár ngú Nga̲tho ar tiempo-tiempo — ya 'nandi Temu̲ gá t'o̲t'e ya ntso̲'mi Ne hingi olvides ngatho ya hñäki ja ya ne ga metimos Di pe̲ts'u̲he 'naxtu̲i nä'ä hingi tsa̲ gi deshacer, gi 'yo̲ Thede ngut'ä malditamente xí nze̲di Chocó auto 'ra'yo ir tada Ga̲tho ya cicatrices da compartimos Nä'ä D�� xi'i, jura'i Vayas ho vayas, gi mbeni nzäm'bu̲ Nä'ä gi pe̲ts'i 'nar hogar nu'bya ne pa zäntho Ne nu'bu̲ gi deprimes, xekwi ga nu'bu̲ gi Nuna gehna ma juramento pa nu'i Vayas ho vayas, gi mbeni nzäm'bu̲ Ni 'nar pa gi ho̲ntho, dí ts'ints'u̲ xkagentho 'nar plumaje Ne ni 'nar cambiaremos, hinda importar ar pa Nuna gehna ma juramento pa nu'i Gi 'bu̲i nä'ä gi vuelvo loco, eh, ya 'nandi Gi 'bu̲i nä'ä gi ma perezoso ne ge'ä 'nar dätä xe̲ni ya 'nandi Pe nu'i di completas ne hingi ge'ä mentira Nu'i gar ma esmoquin ne Nuga̲ Dar ir pajarita Nugu̲je ja ar coche cantamos — cantamos — cantamos ma canción Meciendo ar

[lboogie1906]

Solomon Tshekisho Plaatje (October 9, 1876 - June 19, 1932) was a South African intellectual, journalist, linguist, politician, translator, and writer. He was a founding member and first General Secretary of the South African Native National Congress, which became the African National Congress. The Sol Plaatje Local Municipality, which includes the city of Kimberley, is named after him, as is the Sol Plaatje University.

He was born in Doornfontein, South Africa. His parents Johannes and Martha were members of the Tswana nation. They were Christians and worked for missionaries in South Africa. When he was four, the family moved to Pniel. He was taught to play the piano and violin and gave him singing lessons. He became a pupil-teacher.

He moved to Kimberley where he became a telegraph messenger for the Post Office. He was able to vote, a right he would lose when the Cape Colony was merged with other Southern African colonies into the Union of South Africa. He criticized the British government for this decision in an unpublished 1909 manuscript entitled Sekgoma – the Black Dreyfus.

He became a court interpreter for the British colonial authorities in Mafeking when the settlement was under siege and kept a diary of his experiences which was published posthumously.

Fluent in at least seven languages, he worked as a court interpreter during the Siege of Mafeking and translated works of William Shakespeare into Tswana. His talent for the language would lead to a career in journalism and writing. He was the editor and part-owner of Kuranta ya Becoana in Mahikeng, and in Kimberley Tsala ya Becoana and Tsala ya Batho.

He was the first Black South African to write a novel in English – Mhudi. He wrote the novel in 1919, but it was only published in 1930. He wrote Native Life in South Africa and Boer War Diary which was first published 40 years after his death.

His recording of “Nkosi Sikelel’ iAfrika” is believed to be the earliest extant recording of what would become the national anthem of South Africa. #africanhistory365 #africanexcellence

[naturecoaster]

Exploring Inverness Florida: Where Downtown Waterfront Parks Shine

A pair of limpkins balanced on a tree branch over a sparkling blue lake with edges laced in flowering yellow pond water lilies. Spanish moss hung in a softly swaying curtain around the long-legged birds. Around them, the sounds of cicadas joined in a heated chorus, and beneath them, an alga-encrusted cooter turtle paddled in the water. A pair of limpkins find a shady perch by Liberty Boardwalk Trail. Photo by Sally White All this nature exists only a short stroll away from the historic downtown of Inverness, Florida. Known as Citrus County’s ‘Small Town Done Right’, the City of Inverness coexists with green space and local parks that showcase this region’s outdoor beauty. Three of the City of Inverness waterfront parks, Cooter Pond, Wallace Brooks, and Liberty are located downtown on the Inverness throughfare of the 46-mile Withlacoochee State Trail. The Withlacoochee State Trail is Florida’s longest paved multi-use recreation trail, stretching from Citrus Springs near Dunnellon to Trilby in Pasco County. Three Amazing Waterfront Parks to Explore in Downtown Inverness Florida Cooter Pond Park The first Inverness waterfront park we explored is Cooter Pond Park. The cooter is a type of turtle and they are prolific here. Instagram gets littered with pictures of the boardwalk trail traversing the 25-acre pond in front of the local Citrus County Sherriff’s Office. With views of the dome of the historic courthouse in the view from behind, visitors can stroll along the boardwalk, built in the early 2000s, and see cooter turtles, bluegills, wading birds, and alligators.  Flowering water hyacinths provide shade and refuge to aquatic life on the sunny Florida days at Cooter Pond Park. Photo by Sally White. Water hyacinths decorate the pond with clusters of purple flowers bursting among the green, their shady floating islands making the ideal refuge for fish on a hot sunny day. In the distance water spraying from a fountain makes the perfect pond centerpiece. A paddle launch at Old Mills Road invites the adventurous to launch their kayaks and canoes for a paddle through the pond, but many visitors prefer the .07-mile boardwalk hike. There is a shaded pavilion near the US Highway 41 South entrance, but otherwise, this is a full sun walk. The .07-mile boardwalk trail around Cooter Pond provides ample opportunities for viewing the local wildlife near downtown Inverness. Photo by Sally White A thick swathe of marsh and cattails separates the trail from the Sheriff’s office and helipad, but if you stop to look, you may spot wildlife among the cattails.  Park near the Cooter Pond boardwalk entrance of this county park to enjoy this walk. This park is open from sunset until dusk and fishing is allowed. In the evenings the boardwalk is lit up with rainbow-colored lights making for a unique visual experience. Cooter Pond Park is located at 181 US Hwy 41 South in Inverness, Florida The 46-mile Withlacoochee State Trail cuts through the center of Wallace Brooks Park on Lake Hernando near Inverness' downtown. Photo by Sally White Wallace Brooks Park Wallace Brooks Park was named in 1968 in honor of Wallace Brooks, the oldest African-American citizen of that time and an industrious resident who worked for the Atlantic Coastline Railway of Inverness.  It is one of the most relaxing Inverness waterfront parks to visit. With a boat ramp, boat house, and fitness training area, Wallace Brooks Park is an integral part of Inverness’ green space. Nestled along the curve of Lake Henderson, the 422-acre Citrus County lake and part of the Lake Tsala Apopka chain of lakes this local park features water activities. Boaters launch their boats and anglers cast their lines here in hopes of catching a prize-winning largemouth bass. Pit-stops on the Withlacoochee State Trail, the waterfront parks of downtown Inverness are bicycle friendly and there are ample bike stands to use while you are exploring the parks. Photo by Sally White. Wallace Brooks Park is only 6 minutes away from Cooter Pond Park, a short 0.3 hike or bike ride, although parking is available here. Restroom facilities are on-site as well. If the water calls you, take the Liberty Boardwalk Trail from Wallace Brooks Park to the adjacent Liberty Park.  A shaded boardwalk path leads you along the edge of Lake Henderson and through a swamp of cypress trees. You can enjoy vista views of the lake, or take in the cypress knees and water lilies beneath the boardwalk shade. You may spot turtles and wading birds and even an alligator or two. Wallace Brooks Park is located at 321 E. Dampier Street in Inverness, Florida The scenic and shady Liberty Boardwalk Trail along Lake Henderson joins Wallace Brooks Park to Liberty Park. Photo by Sally White Liberty Park If you happen to have children with you, the call of laughter ringing in the air might make you leave that boardwalk trail to visit one of the coolest playgrounds around. The bright colors and Seussical-looking equipment of Liberty Park Rotary Centennial Playground can bring out envy in adults as their kids scoot down the chutes and climb up the ladders with a sense of wonder.  Another of the six Inverness waterfront parks, Liberty Park has a more urban feel. Four-acre Liberty Park uses the beauty of Lake Henderson as a backdrop. With rolling greens inviting picnics and impromptu frisbee and football games with friends, this sunny environment invites all to simply relax. The Liberty Park Rotary Centennial Playground has got to be the coolest playground in the area. Photo by Sally White The annual Great American Cooter Festival (now called the Cooter Music Festival) has been held at Liberty Park since 2004. This year they’ll be cranking up the tunes October 4 - 6 to celebrate their 20th anniversary. Parking and restroom facilities are available at Liberty Park. Liberty Park is located at 268 N. Apopka Ave in Inverness, Florida. The Train Station, located by the Liberty Park Playground is the place to go for coffee, ice cream, and snacks while you're out enjoying the waterfront parks of Inverness. Photo by Sally Whtie The Train Station at the Depot District Exploring these three Inverness waterfront parks can make a person hungry or thirsty and when you didn't bring a picnic, head over to the Depot District for a snack and indoor fun at the Train Station. You can grab a coffee or ice cream and play a game of duck-pin bowling, ginormous connect-four, or corn hole at the centrally located Train Station behind the playground at Liberty Park. The newly renovated historic train station was originally built in 1892 as a stop for the Atlantic Coast Line Railroad.  The Train Station is located at 218 N. Apopka Ave in Inverness, Florida The Depot Covered Market The Depot Market holds bi-monthly farmer's market events on the first and third Saturdays of the month under the covered shade. Photo by Sally White If you follow social media about Inverness, you’ve probably seen pictures of the Saturday Farmer’s Market at the Depot. The Depot is literally steps away from Liberty Park Playground and adjacent to The Train Station. Stop by for fresh produce shopping at the covered Depot market on their farmer’s market on the first and third Saturdays of every month from 9 AM to 1 PM. On Saturday, September 14, 2024, there is a Citrus County Business Expo put on by the Citrus County Chamber of Commerce. NatureCoaster helped sponsor the event and we will be there with free area maps and NatureCoaster stickers. The Depot is Located at 300 N. Apopka Ave in Inverness. Three parks and a day full of outdoor adventure. What are you waiting for? Add these downtown Inverness waterfront parks to your getaway list today! Sources: - https://www.inverness-fl.gov - https://citrusbocc.com - https://www.discovercrystalriverfl.com - https://www.fairsandfestivals.net Read the full article

[ooluwole]

Pray. ALL-WAYS, Amen.

View this post on Instagram A post shared by 🇹🇬🇳🇱Nestor Tsala (@nestor.tsala)

[peachcrafts]

I wanted to make a prehistoric save on the Sims but it ended up with a twist.

I'll try to keep my sims post down to weekly thing, or less if I don't play at all. But, I have been having fun with the game and wanted to share. I kind of just make up things as I go a long, so it makes the experience a lot more interesting and fun. I wasn't expecting the cult twist. Anyways, if you actually read through this, I hope you enjoyed it.

[miaunel]

True Detective #NightCountry!

Incep prin a spune că este mindfuck acest serial! Nu știu ce părere au alții despre el, dar mie unu mi-a plăcut și finalul a fost demențial!!! Toată nebunia aia, tot misterul ăla cu cine și de ce i-a omorât pe cei 8 angajați ai platformei #tsala sa aflu la final că #AnnieK le-a luat ce a fost mai de preț, adică sufletul! Ba mă lași, no fucking way ! 🫣🫣😳 La asta nu m-am gândit niciodată, dar ce…

[tigerstrikesasteroidnetwork]

LA / carrick bell and Rocco Ruglio-Misurell: The End of Living

The End of Living carrick bell and Rocco Ruglio-Misurell February 18 - March 12, 2023 Opening Reception Saturday February 18th, 7 -10pm Tiger Strikes Asteroid Los Angeles is pleased to present The End of Living, a two-person exhibition of new work by carrick bell and Rocco Ruglio-Misurell. Consisting of video and sound installation (bell) and sculpture, installation, and drawing (Ruglio-Misurell), The End of Living sketches out proposals for scavenging pleasure, hope, and connection in a long apocalyptic now with no guarantee of a future in sight. This exhibition is the second part of an exchange between artist-run spaces in Berlin and Los Angeles; in 2022, bell & Ruglio-Misurell hosted an exhibition of work from the member artists of TSALA in their Berlin-based non-profit space, Horse & Pony. The End of Living takes its name from an inversion of New Queer Cinema filmmaker Gregg Araki’s first feature-length film, The Living End. Shot on a minuscule budget with few resources and fewer permits, Araki’s film took the crisis of a specific community (in this case, the AIDS epidemic at a particular moment in the early 1990s) and spun it into a broader generational existential crisis. Flavored with a strong dose of premillennialist doom, the film asks how we can continue living in a world that is clearly in its death throes. Following two HIV-positive men on a Bonnie and Clyde tour of the American West, The Living End writes a new mythology for how sex, ethics, friendship, and subcultural resistance can be sustained in a world whose centers of meaning and coherence have been fractured and sold off. bell’s new video and sound installation directly engages the source material The Living End, consisting of a multi-screen video installation mounted to a wrought iron fence installed in front of the gallery’s windows. The video installation samples, distorts, and re-edits key fragments from  v. that amplify and elaborate moments of physical and erotic (dis)connection, the repetition and abstraction of found visual material proposing that, rather than seeking to escape where we find ourselves, we would do best to dig in and find our way through. Ruglio-Misurell will present a new body of work using personal experiences of the body, erotic touch, and clothing as the starting point. Pulling from his personal wardrobe, Ruglio-Misurell uses his former clothing to create freestanding sculptures, reliefs and hanging objects through casting and hardening the material. Garments such as jean cut-offs, jockstraps, tank tops, and button-downs are cut up, so only the seams and hems remain to show outlines of bodies. The altered garments have been soaked in Jesmonite (acrylic resin), making them hard once dry, and displayed on foil-covered pedestals. Using literal scraps and a mixture of constructed and found debris, these sculptures assemble leftovers, traces, casts, and impressions to tell fragments of stories. These works don’t offer easy kj to how to escape the disasters our generations have inherited, but they do have some propositions for how we can enjoy ourselves and each other as we try to repair. Rocco Ruglio-Misurell is a Berlin-based artist with a BFA from The Art Institute of Boston and an MFA from The School of the Art Institute of Chicago and was born in Newark, NJ. In 2009, Ruglio-Misurell received a Fulbright Fellowship to Berlin. Exhibitions include a solo show at Dzialdov in Berlin (2022), Jak zapomnieć in Kraków (2019), a two-person show at KH7artspace in Aarhus, Denmark(2018), a solo show at the Helen Day Art Center in Stowe, VT (2017), and a two-person show at LVL3 in Chicago (2016). Past residencies include OxBow (2019), Mass Moca (2017), The Wassaic Project (2017), Vermont Studio Center (2016), Skowhegan (2011), and Ox-Bow (2008). Along with carrick bell, Ruglio-Misurell is the co-director of Horse & Pony, an artist-run studio and non-profit exhibition space with the aim of providing artists, curators, and other project spaces the opportunity to extend or act outside of their existing practices. carrick bell is a Berlin-based video artist and PhD researcher at Chelsea College of Arts. Bell received their MFA from SAIC in 2008, and a BA from Hampshire College in 2004. They have taught at Northwestern University and delivered lectures for the School of the Art Institute of Chicago and NYU’s Tisch School of the Arts. Residencies include Vermont Studio Center Fellowship Residency (2018); Crosstown Arts, Memphis (2018); NARS Foundation (2017); the Wassaic Project (2016) and Ox-Bow (2009). They have exhibited at KH7artspace (Aarhus), Chelsea College (London), Beverly’s New York, Kunsthalle Exnergasse (Vienna) Charim Gallery (Vienna), LW56 (Vienna), .hbc (Berlin), Brooklyn Pavillion of the Shanghai Biennial, and BAM (Brooklyn Academy of Music). They have received stipends for artistic research (Berlin, 2021) and project space programming (Berlin, 2022). They are the co-founder and co-director of Berlin-based artist-run space Horse & Pony, and founder and programmer of Xanadu, a space for artists’ moving image work.

[actu24hp]

Le président de l'Association des chefs de la Lékié Le président s'oppose à la justice et rejette l'appel d'autres chefs pour enterrer Martinez Zogo dans le village de Biya

Le professeur Tsala Ndzomo, président de l’association des chefs traditionnels de Lekie, s’est opposé aux rouages ​​de la justice en rejetant la déclaration faite hier par d’autres chefs de la région, qui ont appelé à une ville fantôme et ont refusé d’enterrer le corps mutilé de Martinez Zogo dans la Division. Il a pris ses distances avec les points soulevés par ses collègues chefs, qui ont…