houseofthelabyrinth

[houseofthelabyrinth]

Urgent Aid Request!

Hello, all. My friend Abdul, @queersudan has an urgent need for medical attention. He is very sick in his tent without mosquito nets and fears malaria. He needs life saving medicine and some procedure, that will cost him 150 USD.

I told him I would make this post, separate of his gofundme for himself other queer refugees from Sudan that he speaks for. Please help him to get to the hospital soon.

Please reply to this post if you do donate so that I can let him know.

The PayPal given on his behalf is from a friend here that he trusts. I will update with the personal name, the account email is: Joebhule0@gmail.com

Again. Let us know if you've sent donations. He needs to get to the hospital soon.

0/150

[houseofthelabyrinth]

why has anyone bothered to write a kissing scene after annie proulx wrote this in 1997

[houseofthelabyrinth]

I don’t know what to say anymore each day I just pray they are still with us

campaign for @swimminghologramllama

VERIFIED✅ by @bilal-salah0

We appreciate all efforts but the sharing is nothing without donations thank you for understanding

[houseofthelabyrinth]

No home.

No bed.

No baby clothes.

No food.

No safety.

Just a tent.

A hungry child beside me.

A husband who lost everything.

And a baby coming into a world that scares me.

I’m not asking for much.

Just a chance…

A little warmth.

A little kindness.

A little hope.

If you’re reading this, maybe you’re the one who can help.

Even a small gesture could mean the world to us.

[houseofthelabyrinth]

[houseofthelabyrinth]

Finally figured out how to permanently disable google assistant on phone

[houseofthelabyrinth]

absolutely amazing things happening right now. I had to triple check that these were real

[houseofthelabyrinth]

Still Life! Portrait - Rosi Robinson

Scottish, b. 1950 s

Original Batik on cotton  , 32 x 41 cm.

[houseofthelabyrinth]

[houseofthelabyrinth]

Interior Scene - Robert Gustav Otto Panitzsch , 1940.

Danish , 1879-1949

Oil on canvas , 19 x 21½ in. 48 x 55 cm.

[houseofthelabyrinth]

very very evil to be a child in 2008 and an adult in 2025

[houseofthelabyrinth]

Fragment of a linen tunic from Egypt, dating to the 5th or 6th century AD/CE, when the province was part of the East Roman (Byzantine) Empire. The fragment features clavus bands with a red ground and black border; within the bands are polychrome figures of animals. Each band ends in a pendant medallion of inset wool. The tunic is now in the Cooper Hewitt, Smithsonian Design Museum, New York City, NY, USA. Photo credit: Cooper Hewitt.

[houseofthelabyrinth]

DONT use glasses, youll become dependent on them to see!!!! #WARONDRUGS #OVERPRESCRIPTION #CORRECTIVELENSADDICTION

[houseofthelabyrinth]

Once all currencies devalue, I will be investing in this, not Bitcoin.

[houseofthelabyrinth]

whatever happens now is entirely the fault of the united states and israel

[houseofthelabyrinth]

hi welcome to LA! come with me i wanna show you all the oil drilling sites that are disguised as office/government buildings ^_^

[houseofthelabyrinth]

There are, you see, two ways of reading a book, each grounded in a different image of thought. In the first, the book is treated as a vessel of representation—an object containing a signified essence, to be deciphered and interpreted in accordance with a logic of recognition. This is the reading of mediation, where concepts are extracted, one after another, as if each were a determination subordinated to the generality of meaning. The book becomes a nesting doll of other books, each enfolded within or enclosing the last. Annotation, commentary, exegesis—all fall under this regime, governed by the law of the Same and the model of resemblance. This is reading as infinite deferral within the dogmatic image of thought. But there is another way, an intensive reading that operates transversally, machinically. Here, the book is no longer a container but an intensive multiplicity, a divergent series, a system of singularities in flux. One no longer asks what does it mean? but how does it function?—how does it connect, what circuits does it form, what thresholds does it cross? The book works or it doesn’t, like an experiment that either produces a singular event or fails to effect any difference. In this mode, reading is no longer representational but productive, diagrammatic. It ceases to be a hermeneutic act and becomes an act of involution, of folding and unfolding between heterogeneous series. This is reading as encounter, as becoming: where the book is torn from itself and forced into conjunction with other machines—bodily, political, material, affective. And in this tearing, this love of proximity and experimentation, reading becomes an ethics of immanence: not interpretation, but participation.

Gilles Deleuze: Letter to a Harsh Critic (Difference and Repetition Edition)