#quasi-provocative
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Adorable japanese anal sluts enjoying coarse gangbang
Another ebony thot back shots
Fucking indian bhabhi
Urso abrindo o bundao gostoso
moglie italiana fa un pompino incredibile
Sexy petite asian girl in maid outfit oil show strip tease dance and solo play masturbate for you
Alexis Fawx having interracial anal sex
Morena gostosa mete muito garganta profunda
Fist fucking guy and anal gay sex story hindi The master likes to
Sexy dykes are getting their bald pussies pleasured
#mis-space#Almeeta#Anti-ibsenite#non-condensing#shadowed#remodeled#Myzodendraceae#unsplendourous#vice-warden#prussianised#Corsica#quasi-provocative#Jenna#smooth-barked#Excalibur#undivulged#analogs#centuplicating#andabatism#saturnism
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I am once again posting the solarpunk manifesto because I keep seeing people saying that solarpunk is just an aesthetic
Inspired by Solarpunk: A Reference Guide and Solarpunk: Notes Towards a Manifesto
A Solarpunk Manifesto
Solarpunk is a movement in speculative fiction, art, fashion, and activism that seeks to answer and embody the question “what does a sustainable civilization look like, and how can we get there?”
The aesthetics of solarpunk merge the practical with the beautiful, the well-designed with the green and lush, the bright and colorful with the earthy and solid.
Solarpunk can be utopian, just optimistic, or concerned with the struggles en route to a better world , but never dystopian. As our world roils with calamity, we need solutions, not only warnings.
Solutions to thrive without fossil fuels, to equitably manage real scarcity and share in abundance instead of supporting false scarcity and false abundance, to be kinder to each other and to the planet we share.
Solarpunk is at once a vision of the future, a thoughtful provocation, a way of living and a set of achievable proposals to get there.
We are solarpunks because optimism has been taken away from us and we are trying to take it back.
We are solarpunks because the only other options are denial or despair.
At its core, Solarpunk is a vision of a future that embodies the best of what humanity can achieve: a post-scarcity, post-hierarchy, post-capitalistic world where humanity sees itself as part of nature and clean energy replaces fossil fuels.
The “punk” in Solarpunk is about rebellion, counterculture, post-capitalism, decolonialism and enthusiasm. It is about going in a different direction than the mainstream, which is increasingly going in a scary direction.
Solarpunk is a movement as much as it is a genre: it is not just about the stories, it is also about how we can get there.
Solarpunk embraces a diversity of tactics: there is no single right way to do solarpunk. Instead, diverse communities from around the world adopt the name and the ideas, and build little nests of self-sustaining revolution.
Solarpunk provides a valuable new perspective, a paradigm and a vocabulary through which to describe one possible future. Instead of embracing retrofuturism, solarpunk looks completely to the future. Not an alternative future, but a possible future.
Our futurism is not nihilistic like cyberpunk and it avoids steampunk’s potentially quasi-reactionary tendencies: it is about ingenuity, generativity, independence, and community.
Solarpunk emphasizes environmental sustainability and social justice.
Solarpunk is about finding ways to make life more wonderful for us right now, and also for the generations that follow us.
Our future must involve repurposing and creating new things from what we already have. Imagine “smart cities” being junked in favor of smart citizenry.
Solarpunk recognizes the historical influence politics and science fiction have had on each other.
Solarpunk recognizes science fiction as not just entertainment but as a form of activism.
Solarpunk wants to counter the scenarios of a dying earth, an insuperable gap between rich and poor, and a society controlled by corporations. Not in hundreds of years, but within reach.
Solarpunk is about youth maker culture, local solutions, local energy grids, ways of creating autonomous functioning systems. It is about loving the world.
Solarpunk culture includes all cultures, religions, abilities, sexes, genders and sexual identities.
Solarpunk is the idea of humanity achieving a social evolution that embraces not just mere tolerance, but a more expansive compassion and acceptance.
The visual aesthetics of Solarpunk are open and evolving. As it stands, it is a mash-up of the following:
1800s age-of-sail/frontier living (but with more bicycles)
Creative reuse of existing infrastructure (sometimes post-apocalyptic, sometimes present-weird)
Appropriate technology
Art Nouveau
Hayao Miyazaki
Jugaad-style innovation from the non-Western world
High-tech backends with simple, elegant outputs
Solarpunk is set in a future built according to principles of New Urbanism or New Pedestrianism and environmental sustainability.
Solarpunk envisions a built environment creatively adapted for solar gain, amongst other things, using different technologies. The objective is to promote self sufficiency and living within natural limits.
In Solarpunk we’ve pulled back just in time to stop the slow destruction of our planet. We’ve learned to use science wisely, for the betterment of our life conditions as part of our planet. We’re no longer overlords. We’re caretakers. We’re gardeners.
Solarpunk:
is diverse
has room for spirituality and science to coexist
is beautiful
can happen. Now
-The Solarpunk Community
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Quelques citations:
«La médecine a pris crédit pour certaines avancées dans le domaine de la santé qu’elle ne mérite pas. Le choléra, le typhus, le tétanos, la diphtérie et la coqueluche, etc., étaient en régression avant que les vaccins spécifiques ne soient utilisés. En fait, cette régression résultait de l’amélioration des conditions d'hygiène, de l'évacuation des eaux d'égout, et de la distribution de la nourriture et de l’eau.»
Andrew Weil, Health and Healing.
«Les vaccins donnent les maladies et en créent de nouvelles. La preuve scientifique qu’une provocation artificielle d’une maladie empêche l’apparition d’une maladie naturelle n’a jamais été établie.»
Dr Paul-Émile CHÈVREFILS.
«Les vaccinations en bas âge ont des effets dangereux sur le système immunitaire de l’enfant, ne protègent pas l’enfant durant sa vie ouvrant la voie à d’autres maladies suite à une dysfonction immunitaire.»
Drs. H. BUTTRAM et J. HOFFMANN.
«La plupart des personnes qui sont mortes de la variole la contractèrent après avoir été vaccinées.»
Dr. J.W. HODGE, The Vaccination Superstition.
«Certaines souches de vaccins peuvent être impliquées dans des maladies dégénératives telles que l’arthrite rhumatoïde, la leucémie, le diabète et la sclérose en plaques.»
Dr. G. DETTMAN, Australian Nurses Journal
«Le risque de souffrir de complications sérieuses provenant des vaccins contre la grippe est beaucoup plus grand que la grippe elle-même.»
Dr. William FROSEHAVER
«Les vaccins peuvent causer l’arthrite chronique, la sclérose en plaques, le lupus érythémateux, le Parkinson et le cancer.»
Pr. R. SIMPSON, American Cancer Society
«Contrairement aux croyances antérieurement établies à propos des vaccins du virus de la polio, l’évidence existe maintenant que le vaccin vivant ne peut être administré sans risque de produire la paralysie.»
Dr. SALK (créateur du vaccin original de la polio dans les années 50).
«Le déclin du tétanos en tant que maladie commença avant l’introduction de l’anatoxine dans la population.»
Medical Journal of Australia, 1978.
«Les personnes vaccinées contre la grippe ont approximativement 10 fois plus de chances de contracter le syndrome de Guillain-Barré que ceux qui n’ont pas été vaccinées.»
Center for Disease Control, 1977.
«Il existe un lien entre l’autisme et la vaccination. Les enfants sont blessés par vaccinations.»
Dr. Bernard RIMLAND, directeur et fondateur du Autism Research Institute of San Diego.
«Pendant 23 ans, j’ai observé que les enfants non vaccinés étaient plus sains et plus robustes que les enfants vaccinés. Les allergies, l’asthme et des perturbations comportementales étaient clairement plus fréquentes chez les jeunes patients vaccinés. De plus, ils souffraient plus souvent ou plus sévèrement de maladies infectieuses que les autres.»
Dr. Philip INCAO.
«Sur les 3,3 millions d’enfants vaccinés annuellement aux États-Unis avec le DCT, 16 038 démontrèrent des crises aiguës et des pleurs persistants ‑‑ ce qui est considéré par plusieurs neurologistes comme l’indication d’une irritation du système nerveux central ; 8 484 eurent des convulsions ou furent en état de choc dans les 48 heures suivant l’injection du DCT.»
Dr. Allan HINMAN et Jeffrey COPELAN, Journal of the American Medical Association.
«Un enfant a huit fois plus de chances de mourir trois jours après avoir reçu le vaccin DCT (diphtérie, coqueluche, tétanos) qu’un enfant non vacciné.»
The American Journal of Epidemiology, 1992.
«Chaque fois qu’un enfant meurt de méningite dans les premières semaines de sa vie, on doit suspecter le BCG.»
Dr Jean ELMIGER, La médecine retrouvée.
«Les campagnes publicitaires en faveur des vaccins représentent un véritable lavage de cerveau : désinformation, trucage des statistiques, amalgame savant de l'effet protecteur du vaccin avec d'autres affections, annonce de possibilité de contagion totalement fantaisiste et enfin banalisation de l'acte vaccinal.»
Dr Alain SCOHY.
«La quasi-totalité des cas de poliomyélite recensés aux USA, de 1980 à 1994, a été causée par l'administration du vaccin oral atténué.»
Dépêche AFP, 1er février 1997.
« Il n'a jamais été prouvé scientifiquement que les vaccins étaient efficaces et sans danger.»
Dr Louis DE BROUWER, Vaccination, erreur médicale du siècle.
«Le système immunitaire est sévèrement endommagé suite aux vaccinations courantes.»
Le Concours médical, 20 janvier 1974.
«On risque sa vie en se soumettant à une intervention probablement inefficace afin d'éviter une maladie qui ne surviendra vraisemblablement jamais.»
Dr. Kris GAUBLOMME.
«Les 2/3 des 103 enfants décédés de la mort subite du nourrisson avaient reçu le vaccin DTP (DCT ?) dans les trois semaines précédant leur mort. Certains même étaient morts le lendemain.»
Dr. TORCH, Neurology, 1982.
«Les vaccinés, loin de constituer un barrage protecteur vis-à-vis des non-vaccinés, sont au contraire dangereux et peuvent contaminer le reste de la population, puisqu'il est prouvé qu'ils peuvent être porteurs et transmetteurs de virus poliomyélitiques par voie intestinale, et peut-être par d'autres voies.»
Dr Yves COUZIGOU.
«Depuis 1957, l'OMS ne recense dans les statistiques que les formes paralytiques de poliomyélite, alors qu'avant la vaccination, toutes les formes de polio étaient incluses, ce qui permet de faire apparaître une régression des cas qui est loin d'être vérifiée.»
Dr. SCHEIBNER, expert australien.
«Après l'échec retentissant du vaccin Salk (au Massachusetts, 75 % des cas paralytiques avaient reçu trois doses ou davantage du vaccin), une parade géniale fut trouvée pour sortir l'industrie du médicament du pétrin : on décida de nouvelles normes pour l'établissement du diagnostic de la polio.»
Pr. GREENBERG.
«Si le principe de la vaccination était concevable au début du 20e siècle du fait que le monde médical et scientifique ignorait pratiquement tout de la biologie moléculaire, des virus et rétrovirus endogènes et même exogènes et du principe de la recombinaison de ces derniers, il en va tout autrement depuis quelques décennies. Continuer à vacciner des populations entières -- des centaines de millions d'individus depuis 1978 -- constitue une erreur monumentale et un quasi-génocide.»
Dr Louis de Brouwer, Sida, le vertige.
«La vaccination est le modèle de l'incertitude, des interactions et relations imprévisibles. Elle se situe aux antipodes de l'esprit scientifique.»
Dr Jacques KALMAR.
«Dans plusieurs pays en voie de développement, la fréquence de ces maladies a augmenté, allant même jusqu'à quintupler depuis la vaccination.»
Pr Lépine, Médecine praticienne, n° 467.
«En réalité, la baisse de nombreuses maladies provient d’une meilleure hygiène et d’une meilleure nourriture qui ont permis de développer le système immunitaire.»
Peter Duesberg, professeur de biologie moléculaire et cellulaire à l'Université Berkeley.
«Un virus, même atténué, peut reprendre sa virulence; c'est notamment le cas du virus polio vaccinal, qui redevient pathogène après son passage dans l'intestin et contribue à contaminer l'entourage. Les cas de polio chez les contacts des vaccinés par le vaccin oral sont bien connus.»
Dr Garcia Silva, Le Maroc médical, n° 43.
«L'introduction volontaire et non nécessaire de virus infectieux dans un corps humain est un acte dément qui ne peut être dicté que par une grande ignorance de la virologie et des processus d'infection. Le mal qui est fait est incalculable.»
Pr R. Delong, virologue et immunologue de l'Université Toledo aux États-Unis.
«En 1945, la Hollande était le pays d'Europe le plus touché par la tuberculose. En 1974, sans jamais avoir eu recours au BCG, la maladie y était totalement éradiquée. A l'inverse, la tuberculose reprenait de la vigueur partout où le BCG est encore pratiqué.»
Bulletin statistique du ministère de la Santé publique et de la Sécurité sociale, n° 1, 1974.
«La présence d’un œdème cérébral chez des enfants en bas âge qui meurent peu de temps après une vaccination contre l’hépatite B est inquiétante. Les enfants de moins de 14 ans ont plus de chance de mourir ou de souffrir de réactions négatives après avoir reçu le vaccin de l’hépatite B que d’attraper la maladie.»
Dr. Jane ORIENT, médecin, directrice de l’Association des médecins et chirurgiens américains
«Une vaccination est toujours, biologiquement et immunitairement parlant, une offense contre l'organisme.»
Pr R. Bastin, Concours médical, 1er février 1986.
«Toute vaccination peut provoquer une encéphalite légère ou grave.»
Dr. Harris COULTER, Vaccination Social Violence and Criminality.
«Le pire vaccin de tous est celui contre la coqueluche. Il est responsable d'un grand nombre de morts et d'un grand nombre de dommages cérébraux irréversibles chez les nouveau-nés.»
Dr. Kalokerinos, Sunwell Tops, 24 mai 1987.
«Peu de médecins sont disposés à attribuer un décès ou une complication à une méthode qu’ils ont eux-mêmes recommandée et à laquelle ils croient.»
Pr. Georges DICK, British Medical Journal, juillet 1971.
«Les micro-organismes inoculés à travers toutes les barrières naturelles entraînent chez la majorité des individus des pathologies chroniques dont les symptômes ne sont pas faciles à rattacher à leur cause initiale.»
Dr Jacqueline Bousquet.
«Ne vous hâtez pas de faire tomber la fièvre de votre malade ; s’il souffre d’une affection virale, vous risquez de compromettre sa guérison.»
Pr André LWOFF Prix Nobel de médecine.
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Abbondanza e fame
È la sua abbondanza a scoparsi la fame. A saziarne l'asprezza dura.
Basta guardarli, lo vedi, lo capisci come lei nutre la sua l'erezione con i succhi e come la placa avvolgendola di carne, frattaglie morbide e bagnate, tante, oltre, da riempirgli anche la bocca e sovrabbondargli la necessità.
Le annusa appena entra, appena la vede, appena lei gli mostra con un pudore emotivo che da solo basta ad aizzargli il cazzo.
Una malizia che lui vuole quasi immatura, perchè gli piace così, come quelle tettine acerbe. Una malizia che in realtà mal cela una consapevolezza delle erezioni provocate dal suo essere femmina deliziosa.
A lui piace premere proprio lì ogni volta che entra in quella cucina, ogni volta che sente nell'aria il sapore sapido del sugo, ogni volta che prende a piena mano tra le gambe sapendo cosa trova, sapendo che lì in mezzo placheranno la voglia che ribolle.
Pulito vergine e lurido, litania dei contrasti, il delicato bucato santo del monte di venere glabro e il salato glutammato di piscio e vagina delle labbra gonfie sessuali.
Cucina, salsa e figa, cuoce lenta la voglia che monta nei giorni d'attesa, cresce la fame del digiuno, che diventa gusto al solo odore, mentre si mostra alla finestra, vicina e lontana, lì, domani.
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è da un po' che mi frullano in testa dei pensieri un po' slegati che non riesco mai a buttare giù e mettere in ordine, vediamo se stavolta ci riesco.
io credo che ognuno di noi abbia un bagaglio con se. per la precisione uno di quelli senza ruote, lo immagino più come un baule con una maniglia. lo portiamo dovunque andiamo, sempre. negli anni lo riempiamo delle nostre esperienze, positive e negative, e ciò che più di tutto lo rende pesante da trasportare è ciò che ci ha fatto male. questo lascia intendere che c'è chi ha un bagaglio più leggero, e chi ha un bagaglio più pesante. ecco, è come se sentissi che il mio bagaglio è diventato troppo pesante. non mi piace il vittimismo, mi sento sempre quasi in colpa al pensiero di dire ad alta voce tutto questo, infatti lo sto chiamando vittimismo anche se in realtà non credo neanche che lo sia davvero. per essere breve, va a finire che non sono mai queste le cose di cui parlo con le persone, neanche con chi mi è più vicino come alcuni amici o la famiglia. questo bagaglio, questo baule, lo sento più pesante ad ogni passo che faccio, ogni giorno che vivo. si stanno accumulando tante cose al suo interno, tante provocate da persone da cui non me lo sarei neanche aspettata, e questo ne raddoppia il peso. ognuno di noi ha un bagaglio, e alcuni giorni pesa più di altri. poi, credo che se hai qualcuno che ti aiuti a trasportarlo, non sembri neanche più cosi pesante. e forse è proprio questo il punto, forse è trasportarlo continuamente da sola da così tanto tempo, che mi sta sfinendo. ma come si fa a capire di chi fidarsi per trasportarlo assieme? come faccio ad essere sicura che non lo spalanchi davanti a tutti e butti fuori tutto quanto, lasciandomi poi sola di nuovo a rimettere a posto? come faccio ad essere sicura che quella persona non usi proprio quelle cose trovate all'interno del baule per ferirmi? è più facile, se sai dove colpire. ed è più facile, se chi vuoi colpire è già a terra, se è già sanguinante. e ciò che rende il tutto ancora più facile, e disgustoso da fuori, e devastante da dentro, è la consapevolezza che chi è a terra non ti farà nulla neanche dopo che avrai finito, perché ti ha lasciato aprire il suo baule e sarà troppo sofferente e troppo impegnata a rimetterne insieme i pezzi, una volta che l'avrai rivoltato. ecco, a volte quando questo baule non riesco più a portarlo e inizio ad inciampare e cascare a terra piangendo, quasi mi pento di non aver fatto o detto qualcosa dopo, a quelle persone. ma in fondo, cosa avrei potuto fare? a cosa sarebbe servito? poi infatti ci penso meglio, e non mi pento affatto di essere una brava persona, di non aver causato a qualcun altro lo stesso dolore che ha causato a me, e di averle aiutate dopo quando avevano bisogno, fregandomene del prima. l'unica cosa di cui posso pentirmi è di non aver ascoltato quel dolore prima, ai primi oggetti buttati con foga fuori dal baule, posso chiedermi scusa perché oggi avrei vissuto meglio senza tutte quelle scene impresse nella mente. non sono frammenti, io non ho frammenti, ho lungometraggi. ricordo ogni cosa, ogni singolo secondo. potrei chiedermi scusa, si, ma ancora non riesco, non mi sono affatto perdonata, per averlo permesso. per fortuna non sogno quasi mai, almeno sono scene che vedo e rivivo soltanto durante il giorno. e questo bagaglio è pieno zeppo di queste scene, e pesa tantissimo, e con le braccia non ce la faccio più a portarlo, e continuo ad attirare l'attenzione quando passo, che si nota che trasporto qualcosa che pesa più di me e arranco da morire, e mi si legge in faccia, e sono come un'incidente stradale che tutti si fermano a guardare.
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I’ve already said this in the tags of a reblog of mine, but I’d like to reiterate it. There’s a beauty I find in art that I struggle to find in most other things. It’s not only visually and emotionally pleasing and provocative, but also a scientific fascination of mine. Even early humans species felt the need to express themselves, be it cave paintings or various types of makeup. And now it’s evolved into what we see today. No matter who you are, there’s art out there for you - made by someone who was perhaps suffering through a similar, or even the same issue, or perhaps not suffering at all. There’s a particular medium for anyone, as, truly, almost anything at all can be considered a work of art. There’s sculpting, there’s drawing, there’s painting, there’s music, there’s film, there’s makeup, there’s fashion, there’s literature - and they can each manage to evoke something from within you in their own unique ways, even if it turns out to be a muted experience for you in comparison to others’. Art is made to be shared with the rest of the world, similarly to a culture. Which makes sense, given the face that art is culture. It’s a large part of many cultures worldwide, if not all. And it is something anyone on the planet, and not even just Homo Sapiens, can participate in. It has a special way of bringing humans together, human from completely different backgrounds and cultures, and even humans who may not speak the same language. It has transcended time and become quasi-immortalized through museums and the internet. The internet being, in my opinion, even more useful since most people now have access to it, meaning more and more people are able to see various works of art without traveling. All this to say, art is truly a wonder of mine, and it’s incredibly fascinating how humans not only began self-expressing through a variety of different forms, but have taught other animals, such as elephants, to paint. Art is something that can be shared not only amongst mankind, but amongst the animal kingdom. And that, for me at least, garners great curiosity.
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E mentre sei semi svenuta sul letto,con visioni mistiche (e non) provocate dal caldo, mentre non riesci più a scindere la realtà dall'illusione, sei in un trip mentale che quasi quasi ti piace.
Qualcosa ti riporta terribilmente con i piedi per terra, la mente ritrova una semi lucidità.
Cos'è???
Il gatto che vomita🤮
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Jarman's early life and career
Derek Jarman, born on January 31, 1942, navigated his formative years during what he later described as a 'grey decade' in the 1950s. The dullness of his surroundings, such as the monotony of his school uniform and the lacklustre broadcast television of the time, shaped his early perceptions of normative British culture, and contributed to his career as an artist. In an attempt to avoid the dreary environment provoked by adherence to English traditions, Jarman spent a lot of time in art studios, where he found a profound love of art.
In an interview, Jarman mentioned that he knew he was queer as a young boy. The criminalization of homosexuality made it very challenging for him to be open about his sexual orientation during his adolescence and young adulthood. Homosexual acts were legalized in Britain in 1967, when Jarman was 25. This marked a significant milestone in gay liberation, however, this progress was made complicated by the subsequent era of Thatcherism (1979-1989).
Jarman was starkly and openly opposed to Margaret Thatcher's conservative government, and he considered her his enemy. Many of Jarman's film's portray Thatcher as a monstrous figure, and much of his art was a rebellion against the heteronormativity and homophobia emblematic of the Thatcher government.
Jarman's bold stance against Thatcherism persisted throughout her tenure as Prime Minister, and he found satisfaction in witnessing her fall from power in 1989. His life and art were inextricably linked to the sociopolitical landscape, making him a trailblazer in the fight for queer visibility and rights in a conservative era.
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1978: Jubilee
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Derek Jarman embarked on the creation of his avant-garde cinematic venture, Jubilee, amidst the tumultuous backdrop of London during the spring to summer of 1977. This period, marked by Queen Elizabeth II's Silver Jubilee and the controversial release of the Sex Pistols' single "God Save the Queen," inadvertently positioned Jubilee as the inaugural British punk feature film. The film unfolds as a quasi-documentary, blurring the lines between reality and invention, responding creatively and critically to the burgeoning punk scene in 1970s London. Jarman's distinctive approach, characterized by a script resembling a dense scrapbook and casting drawn from his social circles, aligns with his broader artistic methodology.
Structured as a collage, Jarman described Jubilee as "parochial, too particular, juvenilia, and at times silly." The film's unconventional nature contributed to mixed reviews upon its February 1978 release. Figures like Adam Ant expressed initial embarrassment, and Siouxsie Sioux dismissed it as 'hippy trash'. Vivienne Westwood, a punk icon, went further by openly criticizing the film on a T-shirt, denouncing it as the "most boring and disgusting film" she had ever seen. While accusations swirled that Jordan's character, 'Amyl Nitrate,' was a satirical jab at Westwood, the critique resonated on the theme of self-indulgence in Jarman's work.
Jubilee provocatively features a distant and desolate Queen Elizabeth II, left for dead on a derelict site, an object of fleeting curiosity for the time-traveling Queen Elizabeth I. This irreverent treatment aligns with Jarman's disdain for the modern British royal family. The film's audacious portrayal of the 'New Elizabethan' age prompts reflection on Jarman's motivations to desecrate the reigning monarch. A plausible explanation lies in the film's engagement with the 1950s celebration of the New Elizabethan age, intertwined with a resurgence of social conservatism and sexual repression. The official 'Moral Rearmament' campaign in 1950s Britain, framed as a post-World War II moral cleanup, provides a backdrop for Jarman's subversive exploration of sexual morality and family values. In Jubilee, pretentiousness becomes a deliberate choice, prompting viewers to confront societal norms and Jarman's challenging, avant-garde vision.
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1979: The Tempest
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Jarman's 1979 adaptation of Shakespeare's 'The Tempest' serves as a unique exploration of the classic Renaissance revenge play. Created before the onset of the HIV/AIDS epidemic, the film not only anticipates but also reflects Jarman's distinct political and activist viewpoints that he continued to convey through his art, even after his diagnosis. Diverging from mainstream media norms, Jarman's low-budget approach and traditional use of "masters, mid-shots, and close-ups" distinguish his adaptation.
This rendition of 'The Tempest' showcases Jarman's bold choices, including the introduction of a same-sex relationship between Prospero and Ariel, a thematic decision that resonates with his intended audience — members of the British counterculture, particularly punk and queer communities. Departing from the traditional Shakespearean adaptations of its time, Jarman's manipulation of the original script involved rearranging and omitting sections, creating a distinctive cinematic experience.
Critics have praised the film as an "outrageously invigorating breath of fresh air" in stark contrast to the "stale, safe atmosphere" of the BBC Shakespeare productions. Jarman's fearless deviation from societal norms, evident in his reshaping of this classic piece of British literature, becomes a potent political statement, cementing his role as a boundary-pushing artist unafraid of challenging conventions.
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1984: GBH Series
In 1984, Derek Jarman's installation at the Institute of Contemporary Arts (ICA) in London marked the apex of his fascination with apocalyptic themes. By revisiting and reshaping Christian notions of apocalypse, he aimed to challenge the repressive sexual climate in British culture. Jarman, known for critically engaging with contemporary threats like the AIDS epidemic, nuclear weapons, and environmental devastation, consistently viewed these issues through an apocalyptic prism. Jarman never specified what the acronym GBH stood for, however he did state that it means “whatever you want it to: grievous bodily harm, great British horror, gargantuan bloody H-bomb.”.
The GBH series comprises six monumental works. Displayed in a contemplative space within the ICA, these towering pieces, reaching almost three metres in height, featured a map of Britain painted in acrylic. Swirls of charcoal, gold, and fiery red pigment enveloped the map, creating a visually striking effect. Executed on a hand-laminated base constructed from linen layered with torn newspaper saturated in glue, the dense and undulating surface added complexity, obscuring the aerial view of Britain. The visual elements evoked imagery of smoke, flames, and burning, presenting viewers with a visceral vision of apocalypse. Circles inscribed over each map, reminiscent of wartime bombing sights, further contributed to the overall impression.
Jarman's inspiration for the series arose from his observation of Britain's shape in an atlas, noting its resemblance to an H-bomb explosion, reinforcing the apocalyptic interpretation of the artwork. By showcasing these artworks, he highlights a specific juncture in Northern Ireland and the political history of the UK, emphasizing the parallels between the political struggles of that time and the present.
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IL MONDO SI ACCORDA PER COMPENSARE I DANNI CLIMATICI
Un nuovo pilastro per il clima globale è stato approvato alla COP28 di Dubai dove quasi 200 Paesi hanno trovato l’accordo per l’istituzione di un meccanismo di compensazione per i danni subiti a causa della crisi climatica.
Dopo oltre 10 anni di lavoro e trattative viene istituito il fondo mondiale “perdite e danni”, per aiutare a compensare i paesi vulnerabili dalle spese provocate del cambiamento climatico. L’accordo riconosce una maggiore responsabilità delle nazioni più ricche nel surriscaldamento globale rispetto ai paesi più economicamente deboli e istituisce un meccanismo per evitare che i loro bilanci siano ulteriormente appesantiti dalle spese per fronteggiare le emergenze climatiche, sottraendogli risorse per la transizione energetica ed ecologica.
Le nazioni che contribuiscono meno alle emissioni di gas serra sono meno attrezzate per affrontare la siccità, l’innalzamento del livello del mare e altre distruzioni legate al clima e agli eventi meteorologici estremi. Con l’aumento di questi eventi e dei danni da essi causati, il fondo “perdite e danni” mira a fornire le risorse finanziarie per permettere che le infrastrutture vitali possano essere ricostruite e sostituite con versioni più sostenibili e, a loro volta, meno impattanti sul clima e sull’ambiente.
“Oggi abbiamo consegnato la storia” ha detto il presidente della COP28 Sultan Al Jaber. “… un’ancora di salvezza per le persone nella loro ora più buia, permetterà alle famiglie di ricostruire le loro case dopo i disastri, sostenere gli agricoltori quando i loro raccolti vengono spazzati via” ha dichiarato il presidente del World Resources Institute Ani Dasgupta.
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I wonder, with your knowledge of comics, was there also this wave of quasi pedophilia, or "mixing overly cute with sexy" shit, or is this mostly unique to Japan?
It's not unique to Japan; it's a feature of modernity. My grandparents were watching Betty Boop when they were kids! In her famous theoretical explication of cuteness, Sianne Ngai explains:
To use an everyday, ready-at-hand object as an example of commercially produced cuteness, this small and compact knickknack, a frog-shaped bath sponge, shows how much the aesthetic depends on a softness that invites physical touching—or, to use a more provocative verb, fondling. [...] We can thus start to see how cuteness might provoke ugly or aggressive feelings, as well as the expected tender or maternal ones. For in its exaggerated passivity and vulnerability, the cute object is as often intended to excite a consumer’s sadistic desires for mastery and control as much as his or her desire to cuddle.
Cuteness, like other aspects of the 19th-century romanticization of childhood and the 20th-century romanticization of adolescence, is, as the exaggerated "other" of adulthood and therefore of sexuality, rife in practice with return-of-the-repressed sexualization, from Alice in Wonderland to Shirley Temple, in the same way that cute animals inherently imply the Darwinian "nature red in tooth and claw" they were invented to de-fang, as in Beatrix Potter. Now Betty Boop notwithstanding, I would say that the cute-sexy dialectic is not nearly as prominent a feature of American comics as of Japanese, however, as far as I can tell, or wasn't before widespread Japanese influence, even though it existed elsewhere in American culture. So comics is the cultural variable here between the U.S. and Japan, not the cute-sexy dialectic. American high literature had Lolita as Japanese high literature had Naomi, but only Japanese comics had Sailor Moon. I can't think of an American cognate for the latter in comic books. (I've never read/watched Sailor Moon. I vaguely remember its initial vogue when I was in high school and have been told by today's media literate and with-it youth that it sexualizes female neoteny.) The sexuality you'd find in Superman or Batman or X-Men tended to be iconographically adult, largely of the T&A variety meant to appeal to adolescent boys who were also swiping dad's Playboy in the days before the internet. The return of the repressed Maus deliberately enacts upon funny animal comics is exclusively focused on politics and violence with no special attention paid to sex, while the return of the repressed Watchmen deliberately enacts upon superhero comics is saturated in sex but absent any cuteness. Maybe I'm missing something. A forbidden thought: did the cute-sexy dialectic originate as a style of female eros?—hence its notable early appearance in manga directed at girls just as it appeared in the west in female-targeted children's literature, before it became generalized to males as well, now even stereotypically associated with males, clutching their proverbial waifu pillows in their proverbial goon caves. Someone also recently told me that furry culture comes out of funny animal comics from the '50s and the way those comics absorbed the libidinal energy repressed by the Comics Code. I have no idea if that's true. I'm happy, sort of, to be informed if anyone knows more.
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A Solarpunk Manifesto
Many people have written about Solarpunk during the last 10+ years. Mostly after 2014.
The genre is not yet clearly defined.
This Solarpunk Manifesto is a creative re-adaptation of ideas about solarpunk written by many people. These ideas can be mainly found in Solarpunk: a reference guide which can be found here and in Solarpunk: Notes towards a Manifesto by Adam Flynn, which can be found here.
A Solarpunk Manifesto
Solarpunk is a movement in speculative fiction, art, fashion, and activism that seeks to answer and embody the question “what does a sustainable civilization look like, and how can we get there?”
The aesthetics of solarpunk merge the practical with the beautiful, the well-designed with the green and lush, the bright and colorful with the earthy and solid.
Solarpunk can be utopian, just optimistic, or concerned with the struggles en route to a better world , but never dystopian. As our world roils with calamity, we need solutions, not only warnings.
Solutions to thrive without fossil fuels, to equitably manage real scarcity and share in abundance instead of supporting false scarcity and false abundance, to be kinder to each other and to the planet we share.
Solarpunk is at once a vision of the future, a thoughtful provocation, a way of living and a set of achievable proposals to get there.
We are solarpunks because optimism has been taken away from us and we are trying to take it back.
We are solarpunks because the only other options are denial or despair.
At its core, Solarpunk is a vision of a future that embodies the best of what humanity can achieve: a post-scarcity, post-hierarchy, post-capitalistic world where humanity sees itself as part of nature and clean energy replaces fossil fuels.
The “punk” in Solarpunk is about rebellion, counterculture, post-capitalism, decolonialism and enthusiasm. It is about going in a different direction than the mainstream, which is increasingly going in a scary direction.
Solarpunk is a movement as much as it is a genre: it is not just about the stories, it is also about how we can get there.
Solarpunk embraces a diversity of tactics: there is no single right way to do solarpunk. Instead, diverse communities from around the world adopt the name and the ideas, and build little nests of self-sustaining revolution.
Solarpunk provides a valuable new perspective, a paradigm and a vocabulary through which to describe one possible future. Instead of embracing retrofuturism, solarpunk looks completely to the future. Not an alternative future, but a possible future.
Our futurism is not nihilistic like cyberpunk and it avoids steampunk’s potentially quasi-reactionary tendencies: it is about ingenuity, generativity, independence, and community.
Solarpunk emphasizes environmental sustainability and social justice.
Solarpunk is about finding ways to make life more wonderful for us right now, and also for the generations that follow us.
Our future must involve repurposing and creating new things from what we already have. Imagine “smart cities” being junked in favor of smart citizenry.
Solarpunk recognizes the historical influence politics and science fiction have had on each other.
Solarpunk recognizes science fiction as not just entertainment but as a form of activism.
Solarpunk wants to counter the scenarios of a dying earth, an insuperable gap between rich and poor, and a society controlled by corporations. Not in hundreds of years, but within reach.
Solarpunk is about youth maker culture, local solutions, local energy grids, ways of creating autonomous functioning systems. It is about loving the world.
Solarpunk culture includes all cultures, religions, abilities, sexes, genders and sexual identities.
Solarpunk is the idea of humanity achieving a social evolution that embraces not just mere tolerance, but a more expansive compassion and acceptance.
The visual aesthetics of Solarpunk are open and evolving. As it stands, it is a mash-up of the following:
1800s age-of-sail/frontier living (but with more bicycles)
Creative reuse of existing infrastructure (sometimes post-apocalyptic, sometimes present-weird)
Appropriate technology
Art Nouveau
Hayao Miyazaki
Jugaad-style innovation from the non-Western world
High-tech backends with simple, elegant outputs
Solarpunk is set in a future built according to principles of New Urbanism or New Pedestrianism and environmental sustainability.
Solarpunk envisions a built environment creatively adapted for solar gain, amongst other things, using different technologies. The objective is to promote self sufficiency and living within natural limits.
In Solarpunk we’ve pulled back just in time to stop the slow destruction of our planet. We’ve learned to use science wisely, for the betterment of our life conditions as part of our planet. We’re no longer overlords. We’re caretakers. We’re gardeners.
Solarpunk:
is diverse
has room for spirituality and science to coexist
is beautiful
can happen. Now
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The Sussexes’ UK visit blasted as ‘chutzpah’ because it resembles ‘royal work’
August 22, 2022
By Kaiser
When the Duke and Duchess of Sussex announced their brief September visit to the UK and Germany, I knew that things would go batty in the royal media, with lots of performative drama about “how dare they VISIT and do charity work!?!” What I didn’t expect is for the Daily Beast’s Royalist column to launch one of the hands-down craziest interpretations of the situation. Tom Sykes – the “Royalist” – wrote an entire column about how Harry and Meghan are violating the terms of their exit agreement with the Crown and they are in danger of being “punished” by the Windsors. The violation of their exit agreement is apparently… coming back to the UK and making some charity appearances. To the Crown, this charity work looks suspiciously like “royal work” and the Sussexes know full well that they were banned from doing royal work! Think of how insane this argument is. Some highlights from this Royalist column.
People are aghast that the Sussexes are visiting charities: Insiders are grumbling that Harry and Meghan are apparently positioning themselves as quasi-royals by undertaking charitable engagements in the style of the institution. Behind palace walls, the mood is one of weary resignation. While any irritation is being carefully tempered by an unwillingness to pour fuel on the fire, one source, a former Buckingham Palace staffer, told The Daily Beast: “The chutzpah of those two is unreal. Their proposal for being hybrid working royals was comprehensively rejected [at the Sandringham Summit], but it looks like they are just going ahead and doing it anyway.
Buckingham Palace is tamping down drama? Queen Elizabeth’s office dismissed the suggestion that there was any irritation at the palace over Harry and Meghan’s visit. Sources at the palace have previously told The Daily Beast they were notified in advance of Harry and Meghan’s plans, but declined to specify how much notice they were given.
Duncan Larcombe complains: “To the casual observer, especially overseas and even more especially in America, this will look like Harry and Meghan are back doing royal jobs, especially given that one of the gigs Harry is doing is the WellChild awards for sick children, which he always used to do when he actually was a working royal. It will be incredibly high-profile. They will be all over the media, and you won’t be able to put a cigarette paper between what Harry and Meghan are doing and what Will and Kate are doing. It’s a calculated provocation on their part. They are seriously pushing their luck and risking the wrath of the queen.”
Christopher Andersen’s take on the Sussexes’ visit: “It makes perfect sense for Harry and Meghan to travel to the U.K. and Germany—these are three charities that are near and dear to their hearts. It makes just as much sense for the queen and the rest of the royals to want to steer clear of the Sussexes. The queen is unwilling to be seen as accepting any half-in, half-out role for Harry and Meghan. She said fish or cut bait—you’re either all in or all out—and she meant it.”
Service is universal: For Harry and Meghan, this visit seems to be very much about blurring the line between their royal and non-royal lives. Their argument—that they are simply helping worthy causes—echoes their rebuff to the queen, “We can all live a life of service. Service is universal.”
Breach of contract: This is where the palace has real grounds to call out Harry and Meghan for breach of contract. Whatever position one takes on their moral right to expose the royals’ alleged vile behavior towards Meghan or Harry’s decision to publish a memoir, it is hard to make the case that the public airing of grievances is a way to “uphold the values” of the queen. There is a compelling case to be made that Harry and Meghan have violated the exit agreement. If, for the sake of argument, one accepts this, the question becomes what sanctions the palace is now capable of imposing on them.
[From The Daily Beast]
Sanctions! Breach of contract! Violation of an exit agreement, like it was a formal document which could be upheld in a court of law! Such foot-stamping! “You promised you wouldn’t come back and take all of the attention away from the dull royals!” And the idea of punishing Harry and Meghan for daring to… do charity work. How dare Harry visit sick children, doesn’t he know that’s what Kate does once every three years! How dare Harry and Meghan speak to youths, don’t they know that William will be incandescent with jealousy? This just goes along with the idea that the Windsors believe that they alone have the franchise on “service.” The Windsors fundamentally do not believe that “service is universal,” nor do they accept that Harry and Meghan could be charitable people or humanitarians without their work being considered “royal.”
#prince harry#meghan markle#duke of sussex#duchess of sussex#royals#brf#abolish the monarchy#celebitchy
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LIST
HOW MANY LICKS: THE 25 DOPEST RAP SONGS TO F*** TO
Rock The Bells Staff
Contrary to what some hand-wringing "purists" might tell you, sex is a part of Hip-Hop.
Shocking, right?
Of course, that shouldn't be breaking news: sex is a part of human experience. It's been a part of culture and art ever since civilization has created culture and art, so why would rap music and Hip-Hop culture be any different? From the minute Big Bank Hank of The Sugarhill Gang rapped about being able to "bust you out with my super sperm"—words that were actually written by Grandmaster Caz aka Casanova Fly (keyword: "Casanova")—sex has been a topic of many rap lyrics and videos. From Too $hort and 2 Live Crew, to LL COOL J and Lil Kim: there is a brilliant, provocative history of sex rap. The examples are endless—Kool G Rap's "Talk Like Sex"; The Notorious B.I.G.'s "F**kin' You Tonight"; there are even popular songs from artists like MC Lyte and Q-Tip that are highly erotic (Google the lyrics to Lyte's "Keep On Keepin' On" right now).
For the purposes of this examination, it should be recognized that sexy rap songs can both offer the sensual and also wallow in the raunchy. The most seductive can feel as tantalizingly alluring as a quiet-storm classic; the raunchiest can make the most bashful bride buss it open. But it's allgood. Balance, people...
Here are the 25 Dopest Rap Songs to F*%! To; a playlist for when you wanna get right by gettin' a little wrong...
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#26
"STRAWBERRIES" - SMOOTH [BONUS SONG]
Our BONUS SONG pick is a celebrated classic guest spot! Well, ACTUALLY this is more of an R&B song than a rap song—but Smooth is a rapper and she raps on this seductive classic. So there.
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#25
"COCKTALES" - TOO $HORT
The Oakland legend is one of the foremost authorities on raunchy rap. Hell, he damn-near invented the genre. And this quasi-sequel to his classic "Freaky Tales" is one of his naughty best.
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#24
"TALK SEX" - KOOL KEITH
When it comes to freaky raps, Kool Keith is like $hort Dog's weirdass cousin. Like his Bay Area contemporary, the oddball emcee out of the Bronx is one of the longest-running legends of raunch, and this track from 2018 is an example of his hilariously scatological approach to sex songs.
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#23
"HOW DO U WANT IT" - 2PAC FEAT. K-CI & JO-JO
Pac always found a way to balance his socio-political rage, thuggishness and straight seduction. This monster hit from his double album ALL EYEZ ON ME is one of the most famous examples of the latter. And the X-rated, porn star-themed video is the stuff of legend.
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#22
"RICH SEX" - FUTURE
The Atlanta trap star managed to popularize a new lane within the rap game via his digitized crooning. And it was the perfect launching pad for a sexy sound that came to be embodied by this hit single.
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#21
"BED" - NICKI MINAJ FEAT. ARIANA GRANDE
She's got a more varied body of work than some of her detractors want to recognize, but when Nicki goes sexy, she GOES SEXY. And while this ain't the raunchiest at all, this hit single with pop megastar Ariana Grande is one of her most sinfully seductive tracks.
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#20
"BIG MOMMA THANG" - LIL KIM FEAT. JAY-Z, LIL CEASE
The opening track is everything that announced Kim as a superstar: bold, brazen and bangin.' Jay delivers one of his first high-profile guest spots as Kim makes it clear she's ready for her close-up.
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#19
"ONE MINUTE MAN - MISSY ELLIOTT FEAT. LUDACRIS AND TRINA
Missy found yet another musical kindred spirit in Ludacris during the early aughts, and they capitalized on their connection regularly, including on the 2001 club hit “One Minute Man” from her third album, "Miss E… So Addictive." Trina's guest verse steals the show, as "da baddest bitch" gets raw and raunchy about what she needs in the bedroom.
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#18
"GETTIN SOME ..." - SHAWNNA FEAT. TOO $HORT
The St. Louis rap star was a standout for Ludacris and the Disturbing Tha Peace label, and this monster single was a big reason why. It's one of the early 00s most inescapable tunes, and one of $hort's best guest spots.
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#17
"85" - YOUNGBLOODZ FEAT. BIG BOI, JIM CROW
The hook. That groovy production from Atlanta veterans Parental Advisory. This ATL classic is a late-night creep anthem. Anybody who's ever hopped in the whip to ride down 85 for a rendezvous can relate; and the cameo from Fat Sax is one of his best ever.
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#16
"IMAGINE THAT" - LL COOL J
This steamy Rockwilder-produced single could be considered an unofficial sequel to the classic "Doin' It." The track reunites LL with LeShaun, and their chemistry from that earlier duet is just as strong here.
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#15
"SHAWTY FREAK A LIL SUMTHIN" - LIL JON & THE EASTSIDE BOYZ FEAT. JAZZE PHA
An early gem in Toomp’s discography, “Shawty Freak a Lil Sumthin’” is both an Atlanta and southern classic. Toomp co-produced the track with Jon, which was featured on Lil Jon and the Eastside Boyz’s 1997 offering, GET CRUNK, WHO U WIT: DA ALBUM.
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#14
"SEX FACES" - SCARFACE, TOO $HORT, TELA, AND DEVIN THE DUDE
Another one of his most popular tracks, Scarface takes the ordinary boy-meets-girl tale and spins it into an engaging tale on this very explicit classic. With a noteworthy assist from Devin The Dude, Tela and the $hort Dog himself.
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#13
"LATE NITE TIP" - THREE SIX MAFIA
One of the best moments from Gangsta Boo and from Lord Infamous. Over a flip of Lisa Fischer's quiet storm classic "How Can I Ease the Pain," Three Six delivers a song that's somehow both seductive and sinister.
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#12
"LOVE IN YA MOUTH" - KILO ALI FEAT. BIG BOI
The forefather of Atlanta rap was never shy about freaky songs, and this ode to oral sex is one of the most classic tracks in his repertoire. Big Boi’s guest spot serves as the perfect accent to the nasty perfection here.
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#11
"MIND SEX" - DEAD PREZ
M-1 and stic.man aren’t always just raging against the machine. What set the politically minded duo apart from an act like Public Enemy is that they weren’t averse to showing a more sensual side, as epitomized in this ode to gettin’ it in with someone with whom you actually share a mental and emotional connection.
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#10
"BIG OLE FREAK" - MEGAN THEE STALLION
The Texas rap superstar was still on the rise when she dropped this raunchy rap insta-classic. Meg made it clear early on that she could be playful, freaky as all hell and a take-no-shit emcee—all at the same time.
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#9
"SLOB ON MY KNOB" - THREE SIX MAFIA
Juicy J wrote this little ditty back when he was still a teen in high school, and it has all the adolescent horn dogism that one might expect from a young dude. It's endured as a foulmouthed classic as only Three Six can deliver.
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#8
"LOLLIPOP" - LIL WAYNE FEAT. STATIC MAJOR
It became so ubiquitous that it's hard to remember just how unique it was when it dropped. The ode to oral love became one of the era's biggest smashes and cemented Wayne's omnipresence. The song that seemed to own 2008.
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#7
"PUT IT IN YOUR MOUTH" - AKINYELE
Ah yes, a catchy little ditty from the freakiest rhymer Queens ever produced. Akinyele was never known for subtlety, and this semi-hit from 1996 was his crowning achievement as a single. The song is about — well, y’know — and the hook became a fixture in strip clubs and on dance floors throughout the late 1990s.
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#6
"ME SO HORNY" - 2 LIVE CREW
If there is a "The Message" for sex rap, it's gotta be the X-rated classic from 2 Live Crew that got them banned in the U.S.A. Luke and his boys really go there and it shocked the world. It also opened the door for virtually everybody from Akinyele to Lil Kim.
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#5
"MY NECK, MY BACK" - KHIA
We've used the word "inescapable" a lot on this list, but DAMN—where were YOU when you first heard this foul-mouthed little classic from an upstart out of Florida. After years of rap songs with men telling women how to go down, Khia repped for the ladies with this instructional guide. Get it right, sir. Get it RIGHT.
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#4
"W.A.P." - CARDI B. AND MEGAN THEE STALLION
Two of the biggest stars in contemporary music joined forces for a song that paid homage to both Frank Ski and DJ Uncle Al, the video became the talk of pop culture, and the ladies' provocative performance at the 63rd Grammys led to a record number of complaints. Mission accomplished.
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#3
"DOIN' IT" - LL COOL J FEAT. LESHAUN
It's a raunch rap classic; a sexual tour-de-force from a guy who made this sorta thing his raizon d'etre. The seductive imagery in the lyrics gets more and more explicit, as Uncle L goes bar-for-bar-for-bar with LeShaun over an exquisite sample of Grace Jones' "My Jamaican Guy."
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#2
"WHAT'S IT GONNA BE? - BUSTA RHYMES FEAT. JANET JACKSON
One of Busta’s biggest singles came when he linked with Janet Jackson for “What’s It Gonna Be!?” The chaotic drums on the track are smoothed out with Janet’s signature vocals on the hook. The sexy, futuristic video, directed by Busta and Hype Williams in his prime, is one of the most expensive ever made, and one of the most memorable of the decade.
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#1
"HOW MANY LICKS" - LIL KIM FEAT. SISQO
The Queen Bee is hip-hop's most legendary sex symbol for a reason. On this skittering single, she rattles off all of the lovers she's left in her wake (Tony the Italian, a brother named "King Kong" for very specific reasons, etc.) with the self-proclaimed "Dragon" delivering a soulfully sleazy hook. Nobody does it nastier.
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1 for rated g for gamer girls? 4, 5, 9, 10, 11, 14, 16, 17, 22, 23
👀👀 As you command
1. Song I associate with Rated G for Gamer Girls. You Might Think by The Cars. It has very lighthearted avalil vibes to me, highlighting how unlikely their relationship seems but how it works so well anyway.
4. How many WIPs do I have right now? Of the serious ones, I have 6. Total, I have no idea, too many to keep track of.
5. A fic idea I have that I'll never write. Hmm, well probably my quasi-Good Omens au. The concept is solid but the execution? Idk.
9. Do I write every day? Not every day, I often don't have the energy to thanks to work. But I did write a bit today, so here:
Shannon’s eyebrows rose with impressive speed. "A date? For Lilith?" She set her current glass down and braced both hands on the bar. "Since when?"
10. Answered here!
11. Do I have specific playlists for writing fics? You know I do. Here they are!
14. Answered here!
16. At what point in the process do I come up with titles? Whenever I feel like there's enough to put on AO3 lmao. I don't usually think about it until I'm posting the first chapter.
17. Answered here!
22. Do I know how my fic will end before I start writing? Not always. Sometimes that comes later, like with SCP au. I know the broad strokes and some specific details, but it's still evolving.
23. How do I choose where to end a chapter? I try to find a good line to end on. Something funny, provocative, or just nice. It doesn't always work, in which case I just have to find the best stopping point in the plot. But that's what I try for.
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No one can be provoked forever, and this is even more true for nations. The United States provocations and adventurism will inevitably cause a conflict with China
The post is machine translated
Translation is at the bottom
The collective is on telegram
⚠️ L'AVVENTURISMO ANTI-CINESE DEGLI IMPERIALISTI AMERICANI PORTERÀ ALLO SCONTRO ⚠️
✈️ Il 26/05, un Caccia Multiruolo J-16 dell'EPL ha intercettato un RC-135V nel Mar Cinese Meridionale. Non è la prima volta che ciò accade, dato che gli Imperialisti USA - nei mesi precedenti - hanno continuato a provocare l'Esercito Popolare di Liberazione con voli di RC-135U, EP-3 Orion e P-8A Poseidon 😡
🤔 Come potete notare dalla mappa, l'RC-135V si è avvicinato, intenzionalmente, nel Territorio della RPC, operando all'incontro tra lo Stretto di Taiwan e il Mar Cinese Meridionale ❗️
🤔 L'RC-135V, come ricorda China Army, possiede un Raggio di Ricognizione di ~ 600/800km. Pericolosamente vicino alla Città di Shantou, il velivolo ha quasi oltrepassato il confine dello Stato, quindi è normale che il Comando - una volta notato - abbia preso contromisure preventive, inviando un Caccia per intercettare l'intruso 🌟
🇨🇳 Ricordate le parole del Colonnello Zhou Bo, che definì il Mar Cinese Meridionale come un possibile Teatro di Scontro Militare tra Cina e USA, a causa di «Navi da Guerra e Aerei USA che continuano a sfidare le rivendicazioni Cinesi alla Sovranità nella Regione» ⚔️
🤔 Tuttavia, è anche fondamentale sottolineare un dettaglio: l'RC-135V, intercettato dal J-16, ha lasciato l'Area dopo le 9:30 UTC, dopo che la Portaerei Shandong è entrata nello Stretto di Taiwan. Ciò significa che l'aereo, probabilmente, è stato inviato dagli imperialisti USA per osservare le sua attività ❗️
🔍 Provocazioni degli USA contro la Cina:
一 24/02: il Comando Orientale dell'EPL intercetta un P-8A nel Mar Cinese Meridionale, e invia un Caccia di Superiorità Aerea J-11, armato con Missili Aria-Aria, per scortare l'Aereo USA al di fuori della Zona Cinese 🔥
二 23/03: gli USA inviano il Cacciatorpediniere Milius nel Mar Cinese Meridionale, nell'Area delle Isole Paracel, al fine di provocare la Cina😡
三 28/04: gli USA inviano un P-8A nello Stretto di Taiwan, per provocare la Pace nella Zona
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⚠️ THE ANTI-CHINESE ADVENTURISM OF AMERICAN IMPERIALISTS WILL LEAD TO CLASH ⚠️
✈️ On 26/05, a PLA J-16 Multirole Fighter intercepted an RC-135V in the South China Sea. This is not the first time this has happened, as the US Imperialists - in the previous months - continued to provoke the People's Liberation Army with flights of RC-135U, EP-3 Orion P-8A Poseidon 😡
🤔 As you can see from the map, the RC-135V intentionally approached the PRC territory, operating at the junction of the Taiwan Strait and the South China Sea ❗️
🤔 The RC-135V, as China Army recalls, has a Reconnaissance Range of ~ 600/800km. Dangerously close to Shantou City, the aircraft almost crossed the state border, so it is normal that the Command - once noticed - took preventive countermeasures, sending a Fighter to intercept the intruder 🌟
🇨🇳 Remember the words of Colonel Zhou Bo, who defined the South China Sea as a possible theater of military confrontation between China and the US, due to «US warships and aircraft that continue to challenge Chinese claims to sovereignty in the region» ⚔️
🤔 However, it is also essential to underline one detail: the RC-135V, intercepted by the J-16, left the area after 9:30 UTC, after the aircraft carrier Shandong entered the Taiwan Strait. This means that the plane was probably sent by the US imperialists to observe its activities ❗️
🔍 US provocations against China:
一 24/02: PLA Eastern Command intercepts a P-8A in the South China Sea, and sends a J-11 Air Superiority Fighter, armed with Air-to-Air Missiles, to escort US aircraft out of the Chinese zone 🔥
二 23/03: US sends Destroyer Milius to South China Sea, Paracel Islands Area in order to provoke China😡
三28/04 US sends a P-8A into the Taiwan Strait, to cause Peace in the Area
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