#Graphic design Arab World

[fashionbooksmilano]

Arabesque 2

Graphic Design from the Arab World and Persia

Edited by Eps51 - Ben Wittner and Sascha Thoma

Foreword by John Martin and Salma Tuquan

Die Gestalten Verlag, Berlin 2011, 208 pages, 24,5x29cm, ISBN 978-3-89955-330-7

euro 40,00

email if you want to buy booksinprogressmilano@yahoo.it

Cutting-edge graphic work from the Arab world and Iran that is emblematic of the cultural emancipation of this entire area. The wave of protests that started this year in Tunisia, Egypt, Yemen, Libya, and other countries have made it clear just how much the Middle East is searching for a new identity. Young designers in the region are playing a part in this movement by increasingly emancipating themselves creatively. In their work, they are charting their own compelling course between local visual convention and a modern international style. Arabesque 2 documents the potential of this current creative emancipation in the Arab world and Iran. The book features examples of recent innovative and groundbreaking design work that is inspired by the richness of the region’s visual culture. Given the important role of calligraphy in the Middle East, Arabesque 2 focuses on typography. The book presents a wide range of Arabic fonts and typefaces inspired by traditional calligraphy. These are accompanied by a rich selection of applications. Select examples of design and graffiti serve as powerful demonstrations of how text can be used illustratively. This work is particularly relevant to those creating street art and poster design. Arabesque 2 also features graphic design, logos, Edited byial design, and illustration by young designers and activists from Egypt, Iran, Saudi Arabia, Jordan, Lebanon, and the United Arab Emirates. Regardless of the location and nationality of their creators, all of the examples included in the book combine modern design with the traditional, letter-based canon of Arab forms in striking ways. The book’s preface is written by John Martin, co-founder of Art Dubai. Additional texts and interviews describe the environments in which the featured designers and artists work.

09/01/24

[lepreuxchevalier]

The latest edition of the faction iconography I designed for The Akbarid Dynasty, the ruling clan of The Caliphate of Khashabar in my low-fantasy world, as well as an illustration of a desert cavalryman I originally retouched to feature the colours of the faction iconography I designed for The Akbarid Dynasty of The Caliphate of Khashabar. Both this faction iconography and this associated design are artworks I originally designed for a low-fantasy world of my original conception with technology equivalent to the late medieval and renaissance periods. Where formations of heavily armoured and mounted aristocratic knights in either suits of full plate armour or heavy coats of chainmail fight alongside professional armies of pikemen and matchlock musketeers. Where medieval-style stone castles are gradually being outsourced in favour of both lavish country estates and devoted military fortifications, or “bastions,” due to the technological advancements made in artillery design. And where fledgling nation-states in the form of kingdoms and empires look beyond the great oceans and the frontiers of the known world in search of even greater wealth and territory. In context to the lore of my low-fantasy world, The Caliphate of Khashabar is the single largest state in the entirety of “The Known World,” as strictly and traditionally defined and interpreted by the clergy of The “Conservative” Church of The New Gods, as well as the nonconformist preachers of the myriad “Reformed” and “Dissenter” Churches of The New Gods. Although technically not part of “The Civilized World” proper, both the Conservative clergy as well as the myriad Reformed and Dissenter preachers have come to a general consensus that the Erizen and Ashuryan tribes meet the standards of “civilized” peoples, despite subscribing to a strange and bizarre religion devoted to the worship of a single “omnipresent, omnipotent, omnibenevolent deity” as opposed to the one or more canon pantheons of deities more popularly worshipped throughout the civilized world, with each deity within the canon pantheons of The Old Gods and The New Gods governing a specific sphere or aspect of the human and/or natural world. This general assumption by the clergy of The Conservative Church of The New Gods, one that was later generally shared by the nonconformist preachers of the multitude of Reformed and Dissenter Churches of The New Gods, is based on the hard-earned, worldly knowledge acquired during the many historic “errantry wars” or “crusades” officially prosecuted and overseen by the sanctioned authorities of The Conservative Church of The New Gods in previous epochs of the history of The Civilized World. In the centuries following the gradual collapse of “The Romulan Empire,” or “The Empire of Mankind Primus,” at the hands of tribal Teutogen, Norscan, and Moravian invaders. Merchants, emissaries, and adventurers from the multitude of barbarian kingdoms carved out from the neglected remnants of The Empire of Mankind Primus have observed the magnificent, if not seemingly decadent, opulent, extravagant, perhaps slightly hedonistic cultural, technological, economic, industrial, and civilizational prosperity enjoyed the cultures and states within The Caliphate of Khashabar. Such was the degree of civilizational prosperity enjoyed by the peoples of The Caliphate, since it’s original founding by The Erizen and Ashuryan tribes autochthonous to the Khashabar heartlands, that the so-called “Civilized World” had not seen this same degree of prosperity and civilization since the mythical “golden age” of classical civilization enjoyed by the long forgotten dynasties of Romulan Imperators of The Empire of Mankind Primus. By the time that The Caliphate had expanded to the northern frontier of The Mazovian Plains, the multitude of barbarian kingdoms that formed during, and in the wake of the eventual collapse of Classical Romulan Civilization and The Empire of Mankind Primus had formed, or otherwise “amalgamated,” through a combination of petty conquest and diplomatic coercion into the nascent forms of the contemporary states of “The Civilized World,” as traditionally defined and interpreted by both the ecclesiastical and monastic clergy of The Conservative Church of The New Gods since it’s original founding by The Romulan Imperator Cassadorian the Great during his “Cassadorian Reforms” formally decreed in the wake of “The Enochian Heresy” that culminated in the expulsion of Saint Enoch the Sufferer and most of the surviving clergy of The Church of The Old Gods to the bleak, unforgiving wastes of The Vylkova Badlands, Where Saint Enoch the Sufferer and his clerical and lay followers would find new political allies and religious converts in the Gospodar warchief Rurik Vojvodin as the founding head of House Vojvodin and first Prince of Rus’skaya. Following news of The Caliphate of Khashabar’s incursion into Die Kurpfalz on the northernmost frontier of “The Empire of Mankind Secundus,” as it was called since the official coronation of the new “Emperor of Mankind” by Archpatriarch Demetrius IV to Prinz Heinrich Von Nymphenburg, Archpatriarch Ptolemeus II as 201st Bishop of Romulus and head of The Conservative Church of The New Gods publicly and officially prosecuted the first “great crusade” or “errantry war” against the monotheistic infidels from The Caliphate of Khashabar, who had “unlawfully subjugated and oppressed the pious and devoted worshippers of The Canon Pantheon of The New Gods who had peopled The Mazovian Plains northwest of The Empire Secundus since time immemorial.” The site he chose for the official, church-sanctioned prosecution of the first great crusade against The Caliphate of Khashabar and the monotheistic infidels that worshipped the so-called “One, True god,” known as “Arua” to The Erizen tribes and as “Eo” to The Ashuryan tibes as the founding cultures of both The Caliphate of Khashabar and “The Faith of The One, True God,” was The Morceaux Valley in The Kingdom of Aquitaine, where Galloys Lafleur as the mythical first King of Aquitaine and the maternal progenitor to House Williamson officially embraced The Faith of The New Gods following a prophetic dream revealing both his divine heritage to Shelyn as the patron goddess of love, beauty, art, music, poetry, drama, the grape harvest, and gardening, as well as his prophesized destiny to unite the multitude of Aquitainii tribes under his hereditary leadership as their first king and drive the Norscan warbands to the sea. The official prosecution of the first great errantry war against The Caliphate garnered attention from both aristocrats and commoners alike from throughout The Kingdom of Aquitaine, who assembled a mighty host that included tens of thousands of aristocratic knights atop their prized, thoroughbred warhorses and in their artificer coats of chainmail finely edged with gilded burnings under the collective leadership of feudal lords representing each of the great houses of Aquitainian nobility, including a Prince Vastorian Williamson as The Duke of Armagnac and the official representative of The Aquitainian Monarch and his dynastic household in this first, great “errantry war” to reclaim The Mazovian Plains from the worshippers of The One, True God. Throughout the centuries of bloody conflict and religious upheaval between the crusading monarchs and princes of The Civilized World and the sultans and sheikhs of The Caliphate of Khashabar that precipitated from The Caliphate’s initial expansion into The Mazovian Plains as well as the subsequent “first crusade” or “errantry war” as officially prosecuted by Archpatriarch Ptolemeus II at The Morceaux Valley in Aquitaine, both the crusading knights and sanctioned church authorities involved in all the great crusades and the errantry wars against The Caliphate have always acknowledged the seemingly advanced culture, technology, economy, industry, and civilization that had traditionally characterized the lands and the peoples within The Caliphate of Khashabar, as well as the truly endearing values, traditions, and morality that came to engender the worshippers of “Arua,” or “Eo,” as The One, True God of the Erizen and Ashuryan tribes, respectively. In terms of it’s historical and cultural inspiration, The Caliphate of Khashabar is loosely inspired by both The Islamic World and The Jewish Diaspora from the time of The Ummayad Caliphate to The Early Ottoman Empire, or both Islamic and Jewish civilization from late antiquity to the renaissance in European history, with The Erizen and Ashuryan tribes being roughly analogous to tribal Arabs and Jews of respectively.

[mostlysignssomeportents]

Deena Mohamed’s ‘Shubiek Lubiek’

Shubeik Lubeik, a trilogy of graphic novels by Deena Mohamed, took the Arab comics world by storm, winning Best Graphic Novel and Grand Prize at the Cairo Comix Festival; today, Pantheon Books releases a gorgeous hardcover omnibus English translation:

https://www.penguinrandomhouse.com/books/606934/shubeik-lubeik-by-deena-mohamed/

The world of Shubeik Lubeik is an intricate alternate history in which wishes are real, and must be refined from a kind of raw wish-stuff that has to be dug out of the earth.

Naturally, this has been an important element of geopolitics and colonization, especially since the wish-stuff is concentrated in the global south, particularly Egypt, the setting for our tale.

Though the underlying wish mechanism is metaphysical, Mohamed plays out her worldbuilding in a very science fictional way, constructing an intricate — and skillfully deployed — set of social consequences for a world where wishes are a fact of life.

Indeed, it’s this science fictional trick of “in-clueing” (to use Jo Walton’s excellent critical term) that makes Shubiek Lubeik such a cracking, cross-cultural read:

https://www.tor.com/2010/01/18/sf-reading-protocols/

For though the three stories that make up the trilogy are intensely culturally situated in modern Egypt, they play out as universal, intricate human ethical dilemmas. Mohamed delivers the realistic — but unfamiliar to westerners — depiction of contemporary Egyptian life with the same smart, deft technique that she uses to paint in the rules of a world where wishes are real.

The framing device for the trilogy is the tale of three “first class” wishes: these are the most powerful wishes that civilians are allowed to use, the kind of thing you might use to cure cancer or reverse a crop-failure.

These first-class wishes are the near-exclusive purview of the rich and powerful and their use is tightly monitored and licensed. However, three of these wishes, of Italian origin, are, improbably, in the inventory of Shokry, a poor, pious kiosk owner in central Cairo.

Despite knock-down prices, no one wants to buy Shokry’s wishes. Potential customers are put off by his desperate, hand-lettered sign advertising the wishes, combined with the implausibility of first-class wishes being offered for sale in a humble koisk.

But one of Shokry’s regulars, a fiery old lady who buys her cigarettes from him each day, convinces him to let her nephew design a slick poster advertising the wishes, and the tale begins in earnest.

Every story of a wish is both a puzzle — how would you construct a wish so that it couldn’t possibly backfire — and an ethical conundrum. That is what makes wish stories so delicious to read, whether it’s Sheherezade’s tales or O. Henry.

The engine of wish-fulfillment is a powerful one, capable of hauling behind it almost any kind of tale. Mohamed’s three-act play blends class- and sectarian divides, gender relations, depression and resilience, and kindness and regret.

The first volume, Aziza, is about corruption, using a parable about elite wish-hoarding to tell a wrenching story about loss, love, hope and resilience. It’s a gorgeous, deeply romantic love story, and because it’s a wish story, there’s a devilish twist.

The second volume, Nour, is about depression, privilege, coping, and gender (and, like Aziza, it’s ultimately about resilience, too). There’s some delicious worldbuilding here, and Nour herself is a great character, whose depression is mapped in a series of comedy charts worthy of Randall Munroe.

The conclusion, Shorky, opens the world up, showing us how wishes interact with theology, colonialism, the antiquities trade, and sectarian Egyptian politics. All three stories have wish-style surprises, but the surprises in this one are jaw-dropping. And while all the stories have a lot of broad comedy and great characterization, this one introduces a sprawling cast that is choreographed with absolute mastery.

It’s easy to see why this book did so well in the Arab world. It’s incredibly exciting to see it in English. Many of us have experienced Japanese comics, of course, and if you follow the brilliant publishing program of First Second, you’ve gotten some great French and Spanish comics. But this is the first graphic novel from the Arab world that I’ve had the pleasure of reading. It won’t be the last.

[Image ID: The cover for the Pantheon English translation of Deena Mohamed's 'Shubeik Lubeik.']

[whentherewerebicycles]

ugh I am really struggling with a thing with a former student/mentee of mine. in the week or two of the post-hamas attack aftermath I posted something on instagram that was basically like, i feel an obligation to be an informed global citizen and believe me I read/think about/despair over the news every day but I also think it’s ok to really viscerally hate “doing politics” on social media, where complex, centuries-old geopolitical and cultural conflicts get reduced to a sensationalized infographic some teenager designed on canva last night. at the time I was watching people spread rampant misinformation about the hospital explosion when we had zero conclusive information, and had also just heard jon favreau talking about research indicating that something like 80% of the images and videos people were sharing on social media weren’t actually FROM the current conflict or couldn’t be verified as real. and idk I also have some private thoughts about how american leftists in particular really glom onto this issue because we perceive israelis as ‘white people’ and palestinians as people of color and we get to feel like we are exorcising our own country’s racial demons by advocating for the expulsion of the israeli people from land that many of them actually have deep historical ties to and at least a semi-legitimate cultural and religious claim to inhabiting.

to be clear I think the current israeli government is pretty much your trump-inspired shitty/evil right-wing militaristic populist movement and I feel like their response has squandered every single ounce of empathy garnered by the hamas attacks!! but idk I guess what I want to carve out space for is like, the right to say I AM NOT AN EXPERT HERE. I DO NOT HAVE DEEP ENOUGH KNOWLEDGE TO FULLY UNDERSTAND THE ROOTS OF THIS CONFLICT. I WORRY ABOUT SPREADING DANGEROUS MISINFORMATION IN BOTH DIRECTIONS IF I SHARE UNVERIFIED SOURCES OR REDUCTIVE TAKES. ALSO I AM A PRIVATE CITIZEN AND I DO NOT HAVE A “PLATFORM” JUST BECAUSE I HAVE A SOCIAL MEDIA ACCOUNT. I RESERVE THE RIGHT TO BE CONFUSED, TO NOT PASS SNAP JUDGMENTS ON RAPIDLY EVOLVING INTERNATIONAL INCIDENTS, AND TO ENGAGE IN POLITICS BY MEANS OTHER THAN SOCIAL MEDIA POSTING. but idk this former student, who I had a really good relationship with for many years, has just come after me in my DMs and keeps sending me posts implying that anyone who is not furiously posting right now is pro-Palestinian genocide, etc etc, and meanwhile she is posting hundreds of unverified stories a day from Arabic-language sources that aren’t just like, anti-Zionist but are actively pro-Hamas, actively denying that the attacks on Israel happened, and actively calling for the immediate and violent expulsion of all Jews from the area. dude idk she’s not my student anymore so I think I’m just going to disengage/not respond and continue staying off insta because it sucks out there!! but it sucks!

I also just refuse to experience a war via unfiltered social media posts again. I did that for a month or two at the start of the ukraine invasion and I can’t unsee some of the stuff I saw on telegram. I don’t actually think any of us have a moral obligation to watch or share a 24/7 feed of graphic images of maimed corpses and crying children. I can’t make the violence STOP by watching that content and I also don’t believe that ravenously consuming the most terrible moments of people’s lives is a form of meaningful political solidarity. WHATEVER as you can see I still feel super conflicted about how to feel about all of this but I also have to remind myself that IT’S NOT NORMAL to click through my stories or scroll down my feed alternating between liking people’s cat photos and watching people dying half a world away. we were NOT BUILT to process world-historical events this way and it is OKAY to opt out of watching a livestream of human suffering you are personally powerless to do anything about.

[usafphantom2]

The MiG-25 Foxbat

In the late 1960s, the USSR revealed the existence of the aircraft that appeared to be the world’s deadliest fighter, the MiG-25 (NATO reporting name “Foxbat”). This aircraft could outrun any fighter in the air, and indeed any military aircraft other than the SR-71 Blackbird.

SR-71 T-Shirts

CLICK HERE to see The Aviation Geek Club contributor Linda Sheffield’s T-shirt designs! Linda has a personal relationship with the SR-71 because her father Butch Sheffield flew the Blackbird from test flight in 1965 until 1973. Butch’s Granddaughter’s Lisa Burroughs and Susan Miller are graphic designers. They designed most of the merchandise that is for sale on Threadless. A percentage of the profits go to Flight Test Museum at Edwards Air Force Base. This nonprofit charity is personal to the Sheffield family because they are raising money to house SR-71, #955. This was the first Blackbird that Butch Sheffield flew on Oct. 4, 1965.

Loaded with two R-40 missiles (NATO reporting name AA-6 ‘Acrid’), the Foxbat could reach 78,000 feet, but with its full complement of four missiles, it was limited to 68,900 feet. By contrast the Habu flew at cruise speeds above Mach 3 at over 80,000 feet.

Nevertheless, once an SR-71 Blackbird flown by Col. Darrel Cobb was fired on by a MiG-25, as Cobb himself recalls in this interview given to his son Chris;

The “holy grail” of the soviet air defense system: shooting down an SR-71 Blackbird

Col. Cobb’s SR-71 Blackbird fired on by a MiG-25.

‘Operational missions.

‘First let me assure you; we never broke President Eisenhower’s promise to cease overflying the Soviet Union. We remained over international water – 12 mi offshore.

‘All of my operational flying was from Kadena, Okinawa. Area of interest was Vietnam; Korea; Vladivostok, USSR; China. Later, we flew transatlantic & return from Seymour Johnson, NC supporting the Israel Arab war. After I left the program, the SR flew from Mildenhall, England & Bodo, Norway.

‘We already touched on missions against Vietnam & the only night mission.

‘Today let’s cover “north missions.”

SR-71 print

This print is available in multiple sizes from AircraftProfilePrints.com – CLICK HERE TO GET YOURS. SR-71A Blackbird 61-7972 “Skunkworks”

‘Take off, refuel & head into the Sea of Japan; between Japan & south Korea. Accelerated to operational speed – 3.20. Head directly at Vladivostok. headquarters of USSR air defense; and test/r & d of new radar & intercept development. 2200 mph guaranteed to light up all the radar & intercept systems they had.

‘A MiG-25 interceptor squadron was based just outside of Vladivostok. The “holy grail” of the soviet air defense system was to shoot down an SR-71.

‘Turn north up the Sea of Japan & make a U-turn back down the USSR coast (12 mi offshore) with ELINT & SIGINT recorders going full bore. Photo cameras looking oblique into the USSR, updating the interceptor air order of battle. Head south east till past Vladivostok then turn slightly left then right to cross Korea at the DMZ. Photo cameras updating N. Korea force readiness to resume hostilities against S. Korea.

SR-71 Blackbird fired on by a MiG-25

‘Continue down the yellow sea coast of China. All sensors evaluating China’s threat to Taiwan. Turn left- decel & land at Kadena. I flew this profile several times during the 4 years I flew ops missions. One of these got very, very thrilling. Southbound, passing Vladivostok, Reg (my RSO) announced;

‘”We’ve got a fighter locked on – it’s gotta be a MiG-25″

‘”Our DEF [Defensive Electronic Gear, DEF. It Provided ground-to-air and air-to-air missile protection. Still Classified. Def systems were labeled DEF A,B,C,E and G. Later modifications to the DEF Systems resulted in DEF A2, C2, H and M systems. Nearing retirement of the SR-71, a programmable DEF labeled A2C could defeat all known threats to the Blackbirds] is blanketing all beautifully.”

Fedotov MiG-25RB altitude world record

‘”Oops – he just fired – – we’ve got a missile locked on”

‘”Our def has shifted to its missile magic”

‘”There – lock’s broken. Missile’s back in search”

‘”That’s weird – sounds like the missile’s locked on – but not locked on us”

‘”He’s gone – coming up on the “s” turn to the DMZ.”’

Fast forward to late 1976 Col. Cobb retired from the Air Force.

MiG-25 at risk of being shot down by its own missile

Cobb continues;

‘I’m retired! Learning that retirement means no days off; no vacation; no holidays; big pay cut.

‘I find the aircraft TV channel & history channel. Lots & lots of SR-71 films. I avidly watch at every opportunity. In my den, glued to the TV & today’s SR-71 show, & who do I see comparing the MiG-25 with the SR-71??

SR-71 pilot recalls that time his Blackbird flew so fast that he and his RSO landed at Kadena AB two hours before they took off from Beale AFB beating the sun

‘You’re right – – Lt Victor Belenko!

‘He was totally gobsmacked; his MiG-25 burned up the engines getting to Mach 3 yet the SR’s cruise speed was greater than 3.0.

‘Belenko is the one who said that the Holy Grail of soviet air defense was to shoot down an SR.

‘He told of how they would pre-position ahead of the SR’s radar track and had to zoom up to get a lock on & fire their missile.

‘Belenko stressed how quickly & precisely they had to perform because the window of opportunity was so very short.

‘Their target was traveling at 3600 ft/sec. Faster than a speeding bullet.

‘He described in detail how precise the post firing breakaway had to be executed to avoid getting shot down by their own missile; talking as though they found this out the “hard way.”’

Cobb Concludes;

‘Man talk about intense attention – – I’m quickly mentally replaying that tape from the inter-phone – –

‘”We’ve got a fighter locked on – it’s gotta be a Mig-25″

MiG-25

‘”Our DEF is blanketing all beautifully.”

‘”Oops – he just fired – – we’ve got a missile locked on”

‘”Our def has shifted to its missile magic”

‘”There – lock’s broken. Missile’s back in search.

‘”That’s weird – sounds like the missile’s locked on – but not locked on us.”’

What happened to the missile fired by the MiG-25 Foxbat at the SR-71 Blackbird?

What happened to the missile fired by the MiG-25? Could it have locked onto the Foxbat itself? Could the SR-71 DEF have deceived it? We’ll never know.

However, we can assume that given that SR-71 had a cruise speed faster than the top speed of the MiG-25’s Acrid missiles, the Blackbird simply outran the AA-6. There was no chance a Foxbat could conduct a tail-chase interception of an SR-71 (the MiG-25 couldn’t carry out a head-on intercept of a Blackbird too: in fact, the Foxbat’s radar and fire control system was not sophisticated enough to solve the problems of a head-on intercept at closing speeds that would exceed Mach 5).

Be sure to check out Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer) Twitter X Page Habubrats SR-71 and Facebook Page Born into the Wilde Blue Yonder for awesome Blackbird’s photos and stories.

This model is available in multiple sizes from AirModels – CLICK HERE TO GET YOURS.

Photo credit: Dmitriy Pichugin via Wikimedia and U.S. Air Force

@Habubrats71 via X

Linda Sheffield Miller

Grew up at Beale Air Force Base, California. I am a Habubrat. Graduated from North Dakota State University. Former Public School Substitute Teacher, (all subjects all grades). Member of the DAR (Daughters of the Revolutionary War). I am interested in History, especially the history of SR-71. Married, Mother of three wonderful daughters and four extremely handsome grandsons. I live near Washington, DC.

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[pinktwingirl]

Hi. I’m Israeli, I saw a few of your posts and I would like to share my perspective with you.

You talk a lot about Zionism as an ideology, but I think it’s important to distinguish between the ideology itself and what is being done today.

Zionism is an ideology that states that Jews have a right for self determination in their own state. A lot of it is rooted in religion, but a large part of it was a response to Jewish persecution in Europe, North Africa and the Middle East. Being a minority you are essentially helpless when people decide to pillage you or treat you like a second class citizen (and yes, that also happened to Jews in North Africa and the Middle East) when you have your own state, you can at least defend yourself.

Just like any other group of people can strive for self determination (including Palestinians) so can Jews. It’s not just a matter of being secluded from others, or being elitist, it’s a matter of insuring your own security as much as you can as a people.

Zionism is not an evil ideology. You can maybe argue that the way it was achieving its goal is evil, but by that logic you can also argue that Palestinians are evil since they had also committed heinous acts against Jews in this land way before the invention of Zionism and even before they defined themselves as Palestinians.

Zionism is also very tied to Judaism. The longing for returning to “the homeland” is referenced throughout countless Jewish texts in the diaspora, again, way before the invention of Zionism.

There are some sects of Judaism that are against it, but saying “hey, Judaism and Zionism are completely detached!” Is I’d say… incorrect. Like to a point where the overwhelming majority of practicing Jews have some sort of Zionist views.

So about the situation today. in an ideal world, I believe that Palestinians have a right for self determination as much as we do. Saying Zionism is just like this evil, western colonial power, whose sole purpose is to harm and torture Palestinians is very very incorrect.

Thanks for reading, have a nice day 🙏🏽

This is gonna take me a whole essay to respond to so I’m gonna do y’all a favor and put a cut below feel free to read more if you want

If Zionism were purely about “Jewish self-determination”, that would be one thing. However, the reality is that the ideology of Zionism is inseparable from anti-Arab racism and the ethnic cleansing of Palestinians. The argument you are making only works if you are operating under the assumption that Palestine was an empty piece of land before it was settled by Israelis, which is a notion that many Zionists have tried to push, hence the Zionist slogan: “A land without a people for a people without a land.” However, this is not true. There were always people living in Palestine, and there is no way that an exclusively Jewish state could have existed there without systematically murdering them and expelling them from their land. If you go back and read the texts of the original Zionist leaders, they make it explicitly clear that this was their objective from the very beginning. Ilan Pappe’s book “The Ethnic Cleansing of Palestine” documents this extensively. I’ll include a few excerpts here. This is Zionist leader David Ben-Gurion’s second in command Moshe Sharett explaining how he wanted to pay off villagers to leave in order to “reduce the number of Arabs” in Palestine:

This is the description of “Plan Dalet”, which was explicitly designed to drive out Palestinians and murder whoever remained:

This is David Ben-Gurion explicitly saying that even 40% “non-Jews” (aka Arabs) in Palestine was unacceptable:

This is an example of how Plan Dalet was carried out in the village of Deir Yassin (tw: murder, sexual assault, this is extremely graphic)

While to some, Zionism might seem like a nice idea, in practice, it requires murder and systematic cruelty towards the Palestinian population that is continuing to this day. This is why people are opposed to it. It has nothing to do with religion or antisemitism; it is because people can very plainly see that the occupation and genocide it has caused is morally wrong. To quote Dr. Gabor Mate on why he is no longer a Zionist: “Yes, we created this beautiful dream, but we created a nightmare for somebody else.”

I don’t know what percentage of the Jewish population are Zionists, but I think the fact that there is such a strong Jewish anti-Zionist community is proof enough that Zionism should not be linked to Judaism. In fact, you could even argue that saying so is antisemitic because it implies that every single Jewish person is complicit in Israel’s war crimes, which is not true. Furthermore, I strongly believe that many Jewish Zionists subscribe to the ideology because they have been told lies and propaganda about the creation of Israel. It is very evident that Israel is going out of its way to cover up its crimes against Palestinians (i.e. outlawing mentioning the Nakba, planting trees over destroyed Palestinian villages to make it look like nothing was ever there, etc.) I think more Jewish people would have second thoughts about Zionism if they knew the truth behind the ideology.

As for the notion that the military occupation and apartheid of Palestinians is somehow “necessary” for Jewish safety, I would say that this is not only untrue but also makes no sense. Violence is inherently necessary to run a military state and keep a population under an occupation, and violence is always going to beget more violence, which is the exact opposite of the “safe utopia” that Israel strives to depict itself as. Think about it: if you were in a Palestinian’s shoes, would you not do exactly what they are doing? If you were born under a military occupation where you were routinely at risk of being bombed and having your home stolen by settlers, would you not resist by any means necessary, even if it meant resorting to violence? At the end of the day, the only difference between you and a Palestinian is luck in where you were born - that’s it. Safety is not achieved by oppressing others. Safety is achieved with peace and respect for others. I am not against Israelis living in Palestine. But there is no reason why Palestinians need to be ethnically cleansed for that to happen. People of different religions coexisted in Palestine before Israel; there is no reason why that can’t happen again. The more Israelis that realize ending the occupation is in their best interest, the faster the violence will end. It really is that simple.

[lady-eris]

Hello! I was wondering if i could get a jjk matchup? I go by she/her and am bi. Im also 21 so Id like adult characters.

As for personality I am quite introverted and tend to love just chilling in my room. I do however open up around close friends where I can be loud, especially when talking about my interests.

As for hobbies I love digital art. I love digital illustration, making character models/art for game design, web design, graphics, and more. I love playing rpg video games, visual novels, otomes etc. I also love reading fantasy, classical literature, myths and folklore. I like making jewelry too! Love watching films from like every era while beading bracelets and necklaces as well. As much as i enjoy spending time in my room with my hobbies, one of my favorite things to do is travel the world. I also love to bellydance to Arabic and Bollywood music.

Id say my strengths are definitely my imagination and creativity. I tend to get lost in my head in made up worlds and use that for my digital art. Id also say that im quite good at being on top of things and will always finish all my work before play.

For weaknesses its my pessimism and anxiety. I get into ruts where sometimes all I see is a doom scenario.

Thats it! Thank You!

I match you with

Utahime Iori!

with all the stress from Gojo, and Her students She'd need the quietness with you, she'd feel much calmer, and would love to get involved with whatever activity's you do. I like to imagine that she can't draw, so she's really amazed when you do! She'd watch movie's with you whenever she can, and when not on missions would wear whatever jewellry you make her. though she'll take it off, for class and mission's as she doesn't want to break them!

She'd love the fact, you dance and would do her best to learn how to bellydance so she could do it with you. She'd also try to teach you how to dance like her.

[jordanianroyals]

2 May 2023: Queen Rania inaugurated the Wijdan Art Space building at the Jordan National Gallery of Fine Arts (JNGFA) Park in Jabal Al Weibdeh, in the presence of Princess Wijdan bint Fawaz Al-Hashemi and other members of the Royal Family.

Named in honor of Princess Wijdan, president of the Royal Society of Fine Arts (RSFA), the Wijdan Art Space includes studios and spaces for mentored courses and workshops in drawing, painting, pottery, sculpture, printmaking, graphic design, and art appreciation. These training opportunities, to be announced on all JNGFA social media platforms, will cater to students, emerging artists, and hobbyists of all ages.

The Wijdan Art Space also includes outdoor areas for hosting cultural, artistic, and musical evenings, as well as a café serving trainees and visitors. (Source: Petra)

During the event, it was also announced that the original building housing the JNGFA had also been named after Princess Wijdan, a decision by the RSFA Board of Trustees to acknowledge Her Royal Highness’ role in supporting art and artists over the past 44 years.

“Here, in what was a single-story house featuring a collection of 77 artworks, a dream was born,” said JNGFA Director General Dr. Khaled Khreis. “Princess Wijdan’s passion for art led her to establish the Jordan National Gallery of Fine Arts in this very building.”

“This monument to art and culture, which now includes four buildings and a park, is not only a platform for artists from Jordan and the Arab World, but also as a bridge between cultures and civilizations conveying the message of coexistence, love, and peace through art,” Khreis added.

In 1979, Princess Wijdan decided to dedicate herself to the promotion of art in Jordan and the creation of an accessible space for Arab art, leading her to found the RSFA and, one year later, the JNGFA, established in a rented villa fitted with dozens of pieces of art, most of which came from her private collection.

Today, the gallery has 3,000 works in its permanent collection, and has grown to become a dynamic institution comprising four buildings, a park, and various projects, such as its Touring Museum and The Factory Platform, which aims to involve the local community in all aspects of the creative process.

Following the establishment of the JNGFA, Her Royal Highness was inspired to further her education by studying art movements in the region. She received a doctorate in Islamic Art from the University of London’s School of Oriental and African Studies (SOAS) in 1993, and has since written and edited several books on the history of Islamic Art.

In addition to teaching at three leading Jordanian universities, the Princess also founded the Higher Institute of Islamic Art and Architecture at Al al-Bayt University and the Faculty of Arts and Design at the University of Jordan, where she served as its first dean.

[dredgelord]

Hello! Could i get a bg3 matchup?

 I go by she/her and don’t have a gender preference. 

As for personality I am quite introverted and tend to love just chilling in my room. I do however open up around close friends and family where I can be loud, especially when talking about my interests.

As for hobbies I love digital art. I love digital illustration, making character models/art for game design, web design, graphics, and more. I love playing rpg video games, visual novels, otomes etc. I also love reading fantasy, classical literature, myths and folklore. As much as i enjoy spending time in my room with my hobbies, one of my favorite things to do is travel the world. I also love to bellydance to Arabic and Bollywood music. 

Likes: lil coffee shops, earl grey tea, chai, sushi, boba, purple, chokers, butterfly clips, people who value personal space

Dislikes: overly touchy people, suddenly deciding to switch plans, anything too crowded or loud

Id say my strengths are definitely my imagination and creativity. I tend to get lost in my head in made up worlds and use that for my art. Id also say that im quite good at being on top of things and will always finish all my work before play. 

For weaknesses its my pessimism. I get into ruts where sometimes all I see is a doom scenario. 

 Thats it! Thank You! 

Hi Danza, thank you for the request! Bellydancing sounds like such a fun, interesting hobby ! I had a friend who did some form of belly dancing before, too.

Taking into account you don't have a gender preference. I did some thinking on this one, and I decided to pair you wiiiith...

.

.

.

Karlach!

Now, hear me out. You say that you are mostly introverted, but you find it easier to open up when you're around loved ones - namely when you feel comfortable enough to talk about your interests.

Karlach as we know her is of course, the rambunctious, loud, cinnamon roll with the mouth of a truck driver - she's also very loveable and excitable, kind of like...almost puppy-behavior. In that same regard, she's fiercely loyal - so, Karlach is definitely dog-coded.

I think the two of you would make a good pair because personally I'm a sucker for those couples who balance the other out. You're quiet, she's not - you're introverted, she's not - but while you do have differences, you do have similarities.

If you're in a situation you don't entirely want to be in (i.e. the kind you just want to hole yourself up in your room), never fear, as Karlach will either help to physically remove you from the situation (whether it's coming up with a perfectly goofy excuse like, "Ah fuck. We left the uh...fireplace... on fire." Or, literally picking you up and physically removing you from said situation, literally (whichever your preference is, but I don't think so given you're not fond on touch). The two of you would probably have a "signal" or secret code word of some sort that you give each other for scenarios like this.

Either way, you can count on her to do all the talking so you don't have to, if that's what you'd prefer.

Regarding your weakness with pessimistic tendencies and thoughts, Karlach is an excellent comforter. If motivational words aren't really your thing (which she's great at. Maybe not the most eloquent but who cares? The girl can give a good fuckin' speech), she has plenty else to offer. Whether it's telling you stories or jokes to get you out of the rut, or offering the best hug you've ever received, she will be very empathetic to you during those times. She's there for you, even if you aren't in the mood to talk. Just don't shut her out completely, and she'll be there for you when you're ready.

With your hobbies, Karlach is your #1 listener. Whether you have a new idea for an art piece based off of something you'd conjured from your imagination and no one to share it with, welp, now you do - Karlach loves hearing what you have to say, and the best part: she listens. Not only that but I see her as more of a "visual" person so she would love to offer her own ideas if you're struggling putting something on paper. She gives a lot of, "What about this? How about trying this color?" suggestions to try and assist you.

Sort of the same when it comes to the books you read. I feel like she actually WOULDN'T be a big reader until she asks you about whatever you're reading at the time, and then she decides to give it a shot. Seeing as how you love it so much and it seems so important to you of course, naturally, she wants to at least attempt to read. Pretty soon you've created a monster, and she's throwing in some big words in between swears.

All that aside, I definitely see her as one who wants to travel the world with you, too. Making memories together and finding some silly souvenirs are great, but the best part of any trip is having spent more time together with you.

A relationship with her would be long, sweet, and caring.

[honoka-marierose]

The Forgers’ fun continues when Loid, Anya, Yor, and Bond return for adventure in SPY x FAMILY Season 2, premiering this October. Streaming only on Crunchyroll, the series will be subtitled and dubbed in all of its territories, with new episodes premiering every week starting on Saturday, October 7 after its broadcast in Japan!

SPY x FAMILY Season 2 is animated by two acclaimed teams, WIT Studio (Attack on Titan; VINLAND SAGA; Ranking of Kings) and CloverWorks (Horimiya; My Dress-Up Darling; the Rascal Does Not Dream series). This season is co-directed by Kazuhiro Furuhashi (1999’s Hunter x Hunter) and Takahiro Harada who formerly acted as assistant director on the series. Additional staff credits include series composition by Ichiro Okouchi (Mobile Suit Gundam: The Witch From Mercury), character design by Kazuaki Shimada (The Promised Neverland), and music composed by (K)NoW_NAME.

Check out the Japanese voice cast and characters below:

Takuya Eguchi as Loid Forger

Atsumi Tanezaki as Anya Forger

Saori Hayami as Yor Forger

Kenichirou Matsuda as Bond Forger / Narrator

Hiroyuki Yoshino as Franky Franklin

Yuhko Kaida as Sylvia Sherwood

Kazuhiro Yamaji as Henry Henderson

Kensho Ono as Yuri Briar

Natsumi Fujiwara as Damian Desmond

Emiri Kato as Becky Blackbell

Ayane Sakura as Fiona Frost

Dubs for SPY x FAMILY Season 2 will be produced in English, Latin American Spanish, Brazilian Portuguese, German, French, Italian, Castilian Spanish, Russian, and Arabic. Dub premiere dates will be announced at a later time.

Not familiar with the series? Learn more about SPY x FAMILY down below:

World peace is at stake and secret agent (aka Loid Forger) must undergo his most difficult mission yet—pretend to be a family man. Posing as a loving husband and father, he’ll infiltrate an elite school to get close to a high-profile politician. He has the perfect cover, except his wife’s a deadly assassin and neither knows each other’s identity. But someone does, his adopted daughter who’s a telepath.

Be sure to watch the official trailer for season 2 below!

The anime series SPY x FAMILY is produced by TOHO Animation and adapted from the widely acclaimed manga series of the same name written and illustrated by Tatsuya Endo. Serialized in Shueisha’s Shonen Jump Plus, the manga currently has over 31 million copies in circulation and has been nominated for both Harvey and Eisner Awards. SPY x FAMILY has also become a bestseller on The New York Times’ Graphic Books and Manga list and has even climbed into Cricana BookScan's Top 20 Adult Graphic Novels list.

Will you be tuning in to season 2 of SPY x FAMILY this fall? Let us know in the comments down below!

[hopeless-academia]

~ Things From My Harry Potter DR: What I've Done to Hogwarts ~ <3

These are things I have added to my script to make my script and DR more comprehensible, customizable, and all-around cooler.

~~

- Setting

I have set both my HP and Marauders DR in 2020 (but scripted there is no coronavirus), and I have turned them into an extended secondary private school.

- Years and Ages

Basically what that means is all wizard go to 'primary' schools that are littered across the wizarding world where they learn the essential core classes and basic magic, and then when they're 18 they are sent to their region's secondary school (Ex. Hogwarts, Beaxubatons, Durmstrang, etc).

This secondary school (ages 18 (1st years) to 25 (7th years)) is basically where they 'hone their practice' and can choose from a wide range of electives (as well as some essentials) to fashion their schedule to their preferences.

- Core Classes

'Core Classes': History of Magic (6 years of it), Defense Against the Dark Arts (7 Years), Herbology (2 years) (Which you have to take 2 years of to be able to take your Potions classes), and Potions (5 years).

- Electives

Magic classes I've made electives:

Astronomy

Transfiguration

Charms

Divination

Muggle Studies

Ancient Studies

Ancient Runes

Ghoul Studies

Flying (Required if you are on the quidditch team)

Magical Theory

Arithmancy

Advanced Arithmancy

Care of Magical Creatures

Alchemy

Mythology

Non-magic Electives (I'm going to add more later on):

Archaeology

Anthropology

Business Studies

Ceramics

Computer Programming

Creative Writing

Culinary Arts

Drawing

Early Childhood Education

Engineering and Architectural Design

Fashion Design

Filmmaking

Graphic Design

Gym

Health and Basic Aid

Home Economics

Journalism

Law Enforcement

Marine Biology

Music Production

Painting

Philosophy

Photography

Psychology

Public Speaking and Political Science

Pre-Engineering

Sociology

Theology

Video Game Development

Zoology

Language Classes

Arabic

French

German

Hindi

Italian

Latin

Mandarin

Russian

Spanish

- Extracurriculars

Clubs: Astronomy Club, Astrology Club, Book Club, Dance Club, Debate Club, Drama Club, Math Team, Photography Clubs

Sports: Football (Soccer), Swimming and Diving, Track, Hockey, Tennis, Rugby, Quidditch

Misc. Extracurriculars: Choir, Driver's Ed, Jazz Band, School Newspaper, Student Council, Yearbook

- Houses

Other houses are allowed in other houses dormitories and common rooms.

- Dormitories

All dorms are co-ed and accepting of all genders, not just female and male.

I have scripted that dorm rooms are bigger on the inside and function by stepping into one, small, communal lounging space connected to 5 medium-sized bedrooms.

Each of these bedrooms has a closet; a bookshelf; a desk and a double bed with two bedside tables. There’s a wardrobe with 7 house uniforms in it. When you place clothes in this wardrobe and shut the door, they will be clean and wrinkle-free when you open the door again.

- Common Rooms

Every common room has a 'toiletry' closet. Inside are:

Toothbrushes, toothpaste, mouthwash and floss

Hand soap and hand santizer

Toilet Paper

Paper Towels and Tissues

Razors

Blankets and sheets

Towels

Hand clothes

Shampoo, conditioner, and body wash

Soap bars

Pads and Tampons

First Aid Essentials

Every common room has a 'stationery' closet. Inside are all of the supplies you would need for school, such as:

Parchment

Ink

Quills

Pens and Pencils

Erasers

Lined paper

Binders

Folders

Staplers and stapler removers

Tape

White out

A working/hooked up Printer

and art supplies like:

Paint

Colored pencils

Markers

Sharpies

Crayons

Oil pastels

Drawing paper and pencils

Non-lined paper

Canvases

Common rooms are where the houses host parties, both staff approved and hidden from staff 👀

A small platform and a microphone for karaoke night.

A bookshelf full of card and board games that anyone can use. These are always returned in pristine condition.

(I will reblog with more as I add more to my script)

[dustedmagazine]

Dust Volume 8, Number 12

Blood Incantation (but not Blood/Incantation)

Dusted closes out 2022 with blood and incantation.

Specifically, this Dust features two separate recordings with identical band names, one a split release by a pair of metal bands, one named Blood, the other Incantation, the other also metal but more atmospheric whose name is Blood Incantation.  It’s a lot of blood. A lot of incantation.

But never fear if your tastes are less sanguinary. We’ve also got experimental klezmer, power pop, sound art, new weird traditionalism, synth pop, deep house, death metal and jazz both free and more traditional. This edition’s contributors include Bryon Hayes, Jennifer Kelly, Bill Meyer, Jonathan Shaw, Ian Mathers, Patrick Masterson and Jim Marks.

Baltic Furs — Contemporary Ruin (Round Bale Recordings)

Contemporary Ruin by Baltic Furs

For its final release of 2022, the Minnesota-based Round Bale Recordings label offers a cassette from someone in its inner circle. Baltic Furs is the alter ego of Matt Irwin, a graphic designer whose optical artistry enswathes some of the label’s output. Irwin is a drummer-cum-synthesist whose aural hue leans toward the inky black end of the spectrum. On Contemporary Ruin, both Irwin’s percussionist origins and his tendency toward the inchoate are on display. Dreamlike, dimly lit images attempt to bring themselves into focus as warped, bell-shaped tones emanate from unholy objects. Irwin is signalling the coming of an impending disaster: it could be the end of the world or a demon emerging from its resting place. He’s happy to let the listener decide their fate. The latter half of the cassette begets emergent strains of melody that seem to brighten as the music runs its course. The tenderness is nascent and without form, but it’s also indicative that Contemporary Ruin is the first page in the next chapter of Irwin’s engaging narrative.

Bryon Hayes

 Black Ox Orkestar — Everything Returns (Constellation)

Everything Returns by Black Ox Orkestar

Even when it dances, klezmer has a melancholic air. It commemorates, after all, a Jewish-East European culture that flourished despite centuries of persecution until ending, abruptly, in the Holocaust. True, Jewish emigres brought this rollicking but wistful concoction of clarinet and fiddle, elegy and celebration, with them in the diaspora. It reached, even, the experimental precincts of Montreal, where members of Godspeed You! Black Emperor and Thee Silver Mt. Zion formed Black Ox Orkestar in the early aughts, then left it fallow for a decade and a half. Everything Returns is their lovely (and timely) return, a pensive exploration of cross-cultural discourse that melds Jewish, gypsy, Arab and European traditions in bittersweet rumination. This is music made of shadows and sighs, but ready, nonetheless, for the fight. It’s opening salvo, “Tish Nign,” layers wordless vocals over piano, then gathers its strength in martial cadences of bass clarinet. “Skotshne” sparkles with cimbalom, a dulcimer-like instrument with a ghostly echo; it skitters over a skeletal foundation of drums and acoustic bass. But it’s “Viderkol” that stops you short, a dusky lament hedged in by the low hum of clarinet, a run of piano. Even sung in English, it has a foreign, historical aura, as the principals remember the lost with the gentlest, least bitter sort of sadness. “There’s something in us that could make us whole,” they sing, and maybe they mean music and remembering.

Jennifer Kelly

 Blood/Incantation — Split 7” (Hell’s Headbangers)

Not Blood Incantation, but Blood and Incantation (see what they did there?) collaborate on this divertingly atavistic split record. Blood Incantation seems to provide the newest front opened in the Hipster Metal Wars — and to be honest, this reviewer can’t really fault the offended (“ambient death metal?”). If anyone might have any sort of right to defend the traditional boundaries of the kingdom of Metal ov Death, the dudes in Blood might be able to claim it. The German band has been making records since 1986, and the two new tracks on this split record are still the same old moldy stuff, a grinding, guttural assault on good taste. Incantation is by contrast the fresher face, having only started releasing music 1990—but the band certainly has the bigger name. Their tune, “Quantum Firmament,” is also the more engaging side of the split. Whether you find this record to be more than a sort of scenester-snarky, vinyl-mediated pun may depend on the degree of your interest in Incantation’s music; if you dig the band, “Quantum Firmament” is worth hearing.

Jonathan Shaw 

 Blood Incantation — Timewave Zero (Century Media)

Denver death metal psychonauts Blood Incantation have never concealed their love of ambient, cosmische, new age synths, et al. They also were clear even before putting out their second record Hidden History of the Human Race that their third would be their own entry into those fields. A 40-minute, two-track EP, Timewave Zero has (based on comments) clearly come as an unpleasant surprise to a grouchy, vocal minority of their existing fanbase. but those more into avowed influence Klaus Schulze than blastbeats, death metal growls and intense riffs will find that Blood Incantation know what they’re doing. This isn’t just the quartet noodling around with some neat synth sounds; there’s pacing, sculpting and evidence of a compositional eye on both halves of the EP. Timewave Zero, then, is admirable on multiple fronts, both as a totally solid record and as evidence of a band determined to follow its muse even in the face of requests to keep making more of the same.

Ian Mathers 

 Dazy — OUTOFBODY (Lame-O)

OUTOFBODY by Dazy

Power pop is harder than it looks. It balances on a knife edge between crusty fuzz and open-hearted tunefulness, and it’s easily tipped towards noise or daffiness. But James Goodson, out of Richmond, gets the blend just about right, a bit to the sweet side of Teenage Fan Club, a bit more muscular than the Raspberries. Indeed, the buzzy, frictive “On My Way” sounds like the Dirtbombs crossed with James, which is to say gloriously clangorous but with its earnest heart showing. “Motionless Parade” swoons and jangles in the vein of True West and the Rain Parade, while “Choose Your Ramone” hilariously amps it up, with a blistering, squalling guitar solo that is neither Joey nor Johnny. Goodson may never be a big star (or a Big Star), but it’s fun watching him try.

Jennifer Kelly

 Bruno Duplant — Nox (Unfathomless)

nox by Bruno Duplant

Art reckons with life on Nox, which is one of the nine full-length recordings that the ultra-productive French sound artist has realized in 2022. The artist’s statement references observations, both recent and antique, of certain bad navigational habits of humans, to wit, they closely circle things that will scorch them. At least moths, who aren’t noted for their brain mass, have an excuse… But even if you aren’t acquainted with the musician’s intent, you’re likely to grasp this immersive, 40-minute-long piece’s intimations of decay. Gathered and generated sounds creak, crackle, and bob around the listener like the chunks of debris that swirled around your surfboard that one time you fell asleep on the beach at low tide and woke up in the middle of the Great Pacific Garbage Patch.

Bill Meyer

 Kelman Duran — “Loko” (self-released)

Kelman Duran is a low-key LA-based Dominican producer who’s made his name on art school dancehall and reggaeton edits, notably 2017’s excellent 1804 Kids. But “Loko” is another animal, blisteringly zooted deep house filth all taut and suspended in that leery-eyed fork in the road where the head says no and makes the good decision but the heart speaks louder, beats yes, makes an ellipsis for you to fill in. Adriana Roslin’s epileptic video (in which she appears, by the way) is the perfect accompaniment, exuding the self-assured swagger of a fashion school grad-turned-social media manager by day and club rat queen by night; you’ll see what I mean when you watch. It’s unclear if this is a brief diversion from his usual speed or a turn toward a more permanent 4/4 producing mode, but either way, Duran has left one of the best dance tracks of 2022 rather late in the going. How late? Consider: At the time I write this, Dust is scheduled to go live in about two hours; “Loko” has been up for less than 24. But we weren’t going to miss out. You shouldn’t, either.

Patrick Masterson

 Family Ravine — Jumpthefox (Round Bale Recordings)

Jumpthefox by Family Ravine

With his Family Ravine project, Kevin Cahill navigates a similar path to that of Henry Flynt, welding his avant-garde sensibility to traditional musical styles. Jumpthefox follows hot on the heels of Away & Instinct, and both records document Cahill’s polyglot approach to music making. The musician has created an Interzone-like fusion of American, British and European folk forms, which he has processed through his tireless creative instinct. Cahill builds a fluid-like loam from loops and fragments, which he layers repeatedly into a strange topography. Working primarily with stringed instruments and melodica, Cahill materializes his songs in a spectrum of shades, from shimmering and bright to muted and foreboding. It must be magical to hear his songs being crafted in real time, but we’ll have to settle for experiencing the finished product. This writer is certainly not complaining.

Bryon Hayes

  Hot Chip — Freakout/Release (Domino)

Consistent quality is a great asset for a band and a thrill for fans, but it can have the opposite of a silver lining for us music writers. Freakout/Release is another topnotch set of emotionally mature, sometimes melancholy synthpop bangers from the now sort-of-venerable Hot Chip (their eighth!). It’s not as if they’re not trying new things, heck here you actually hear a couple of guest vocalists (Lou Hayter on “Hard to Be Funky” and a blistering Cadence Weapon on “The Evil That Men Do”) and the title track is more rough-and-tumble than the Chip usually gets. “Down” rides a Universal Togetherness Band sample to dancefloor glory, while tracks like the hopeful “Broken” and the gossamer “Not Alone” show their more emotive strengths. It’s another great record in a career full of them, and if it’s hard to know what more to say, it feels unfair to them to leave it at that.

Ian Mathers

 Keefe Jackson / Jim Baker /Julian Kirschner — Routines (Kettlehole)

Routines by Keefe Jackson / Jim Baker / Julian Kirshner

Routines? I don’t know. On the one hand, the title might acknowledge that the three musicians on the album can, either together or separately, be counted upon to be heard in some small space that hosts Chicagoan improvisers, on a pretty routine basis. But the music itself is far from routine, unless you want to take a step back and acknowledge that each musician habitually figures out apposite responses to any given situation. Jim Baker can be relied upon to completely change any sound environment with a pivot of his seat, since that will determine whether one is going to hear his restlessly assertive voice on the piano and or the ozone-scorching sizzles he obtains from his ARP 2600. Keefe Jackson can likewise be counted upon to be equally engaged playing either sopranino or tenor saxophone, but lightning disruption he launches from the first differs profoundly from the mercurial forcefulness he summons on the second. Kirshner can also be expected to keep things moving without lapsing into cliché. But the trio keeps enough variables in play that you’ll never know quite how the music is going to get from start to end.

Bill Meyer

 Philip Jeck — Resistenza (Touch)

Resistenza by Philip Jeck

Touch has never been about staying in the past, so it makes sense that the firm would experiment with new formats. Resistenza is a digital-only recording issued on what would have been the 70th birthday of the late Philip Jeck, whose passing was just one of those that has made 2022 an especially rough slog. It’s simultaneously a bit sad and quite poetic that the first (and hopefully not last) posthumous release by an artist whose work was all about the stubborn physicality of vinyl would be a non-physical edition. It comprises two live recordings, both made in 2017-18. The more recent is “Live in Torino,” a fittingly ephemeral sequence of sounds snatched from old records and manipulated into ghostly scraps that spin and bob like the luminous traces left by deep sea fishes. “The Longest Wave,” which was recorded in Jeck’s home town of Liverpool, is quite the opposite. Jeck is joined by Jonathan Raisin, whose piano trills augment Jeck’s already lush flow. The best moments come when the turntablist breaks out some sub-aquatic bass figures that ballast Raisin’s delay-dampened drizzle of notes.

Bill Meyer 

 Niko Karlsson — Its Own Phantom (Feeding Tube)

Its Own Phantom by Niko Karlsson

Look out the window of your Finnish country cabin in the winter and your view is likely to be reduced to a few essentials. Grey sky, green trees, white snow — that’s about it. Its Own Phantom is an apt soundtrack for an afternoon spent gazing upon such a vista. None of its tracks are in a hurry, and each sweep of hand across strings (mostly guitar, sometimes banjo or sitar) unleashes a stream of melodious sound that’ll draw your mind into an imaginary space situated somewhere beyond the farthest visible fir. The term “acid folk” implies a potentially psychedelic experience generated by not entirely voltage dependent means. Let’s call this tape snowshoe folk; it may not induce hallucinatory states, but it has its own way of elevating the listener beyond the cold ground.

Bill Meyer

Eva Klesse Quartett — Songs Against Loneliness (Enja)

Songs against loneliness by Eva Klesse Quartett

Holiday season got you feeling isolated? Eva Klesse is here to help you feel better with Songs Against Loneliness. This new set of jazz originals by her quartet (joined occasionally by guitarist Wolfgang Muthspiel) is soothing but not sleepy. Klesse, a drummer, composed five of the 13 tracks here, and the other members of the group, Evgeny Ring on sax, Marc Muellbauer on double bass and Philip Frischkorn on piano, contributed the rest of the compositions.

In practice, apart from the titles of the tracks (“Glory Glory Misfits,” “Der Eremit,” and so on), there is nothing ponderous (or overly perky) about the melodies and arrangements on display here. The quartet’s decade of playing and recording together (apart from Muellbauer, who replaces Robert Lucaciu this time around) is evident in its cohesiveness. Muthspiel and Klesse have worked together before, and his contributions here are fully integrated into the quartet’s sound, beginning with the poignant chords that open the title track “Minor Is What I Feel.” That track and some of the others seem carefully composed, while others, such as “Past, Tense,” are more improvisation. This cut builds slowly from a solo by Muellbauer to the full quartet. Klesse’s rattling percussion keeping things together without ever quite settling on a rhythm.

So take heart if you’re feeling left out and let these well-crafted tunes serve as your soundtrack for the journey back from loneliness. And if you’re already in the holiday spirit, Songs Against Loneliness will help keep you feeling warm and fuzzy.

Jim Marks

 Mdou Moctar — Niger EP Vol. 2 (Matador)

Niger EP Vol. 2 by Mdou Moctar

This is the second in a series to collect early cassette tape recordings of the Niger-ian guitar phenomenon as he and his band travelled, often by bus, to informal gigs: weddings, rehearsals, house parties. The vibe is not much different from Moctar’s studio recordings, pacing torrid runs of guitar with homespun handclaps and hand drums. The difference comes in the ambient sounds. A motorcycle zooms away at the end of “Iblis Amghar,” birds chirp and people go on with the ordinary activities in their lives, even with such incendiary music going on around them. And, indeed, it is fire, this music, balancing locomotive percussion and hypnogogic trance, as on driving, dreaming “Ibitilan” or the searing blues of “Asditke Akal.” “Chimoumounim” sounds as if it comes in from a great distance, its groove approaching, then taking up a central place in our ears and hearts. Moctar’s grooves sound great in the studio, but maybe even better here in their natural space.

Jennifer Kelly

 Mister Water Wet— Top Natural Drum (Soda Gong)

Top Natural Drum by Mister Water Wet

Top Natural Drum is Kansas City producer Iggy Romeu’s third album as Mister Water Wet. It’s also his first to arrive via a label other than West Mineral Ltd., the imprint founded by his buddy Brian Leeds, who most know as Huerco S. Although they’re connected, Romeu and Leeds have taken divergent paths. Romeu’s first two MWW outings were colorful and strange in comparison to Leeds’ grainy, monochromatic fog banks. He brews up his ambient tinctures with hints of jazz, hip hop and elements sourced from his Puerto Rican roots. Romeu is also careful to add subtle bits of the arcane to his concoctions, revealing himself to be a master crate digger. With Top Natural Drum, he drops the ambient veil to show off some rhythmic chops. The result is a series of head nodding beat-scapes sure to please those who spent the 1990s with their ears glued to the turntablism scene.  

Bryon Hayes

 The Modern Folk Trio Band — Always Be Recording (Island House)

IH-002 Always Be Recording by modern folk trio band

The Modern Folk Trio Band is actually a quintet, formed around J. Moss’s languid, liquid guitar, but including Austin Richards, Zach Barbery, Remi Lew and Trevor Schorey trading off on additional guitars, bass, drums and synthesizers. This cassette includes three tracks, two lengthy and one succinct, but all three fluid and luminous. “Diet Coke Extra Ice” winds placidly through slow, chugging lyricism, its lead guitar high and clear and full of light. “Slide Solo,” the short one, is just what its name implies, an interlude of intriguingly bent and haunted sounds, tinged by blues but not exactly boxed into it. And “Hot Jam,” the final cut, is not as viscerally physical as its title suggests, but rather a glistening, nodding, extended drone, grounded by the thud of drums but reaching always for an ethereal other-ness. Throughout, a loose improvisatory air presides. If you’re always recording, sometimes you get something good.

Jennifer Kelly

 Woody Sullender — Music from Four Movements & Other Favorites (Woody Sullender)

Music from 'Four Movements' & Other Favorites by Woody Sullender

What’s the difference between listening and performing listening? If you have the time and credit, you could take up the matter while you pursue an MFA. Or you could go to www.fourmovements.woodysullender.com and download Four Movements, a video game space that “consists of several navigable environments where the virtual participant can perform listening” and live the difference. It is the work of an artist and musician who has studied under Maryanne Amacher and previously performed banjo music under the guise, Uncle Woody Sullender, and it provides the sort of disparate yet cohesive sound experience one might expect from a person whose creative map contains such aesthetic/methodological coordinates. Cantering banjo in just intonation coexists with techno beats, a Robert Hood cover sounds like a streamlined remembrance of Conlon Nancarrow’s player piano music, and moments arise when you might wonder if this guy’s spent some salon time with Horse Lords.

Bill Meyer

 Tchornobog/Abyssal — Split LP (Lupus Lounge)

Tchornobog / Abyssal by Tchornobog

You get two epically scaled tracks of death metal-adjacent mayhem on this split LP. More bang for your buck? More yuck, for sure. Markov Soroka’s utterly whacko project Tchornobog is given the A side, and his 25-minute song “The Vomiting Choir” pummels and roils, blackened on its edges but still very much belly-down in layers of rancid muck (see that title…). There aren’t many opportunities to lift your face out of the sodden slurry and grab a breath — which is sort of impressive for a song so long, and by its halfway point, pretty oppressive, too. So, you may be grossed out by the bubbling, gurgling noises that become audible around the 11-minute mark, but at least the mix is a little less clogged up with clangor and crunch. Abyssal’s contribution, titled “Antechamber of the Wakeless Mind,” is only a minute shorter, but the song seems by contrast rather mannered, alternating slowly suppurating death-doom with long spells of churning, dissonant riffage that always feel consciously composed. The split is not a pleasant experience so much as it is an interesting experiment in differing modes of metal excess.

Jonathan Shaw 

 temp. — Taking notes (American Dreams)

Taking Notes by temp.

temp.’s Erica Mei Gamble is a producer, DJ and video archivist based in Chicago—and one half of the experimental electronic duo Dungeon Mother, but her Taking notes represents a significant step forward for the artist. It gathers music previously posted on Soundcloud into a chilly, cerebral and surprisingly cohesive statement; that is, it sounds very much like an album. It starts in wordless abstraction, the cut “Air” lofting translucent tones of synthesizer onto a pristine background. They pulse and flare like northern lights, unearthly also visceral. “Yah” finds the ghost in the machine as a human cry punctures glistening electric pulses; the cut is clean and a little spooky, like a quieter Shackleton. But it's “What’s Beyond,” performed with Gamble’s Dungeon Mother collaborator Sarah Leitten, that fully realizes the juncture between unreal, ominous sonics and fragile human consciousness. Leitten chants poetry against a seething mesh of synth tones, her words encompassing both natural and super-natural imagery (For example: “I’ll dance with the stars above/and I hold the moon in my hands/and I drink the sun with my eyes/and I am the darkness/I am the abyss.”) Later, with Emme Williams in “Trying to Climb,” Gamble stakes out a minimalist corner of the disco floor, with beats that glitch and blot and corrode and a half-remembered recorder melody tootling in the background.

Jennifer Kelly

  Wild Pink — ILYSM (Royal Mountain)

ILYSM by Wild Pink

John Ross got the idea for his song, “Hold My Hand” while lying on an operating table, waiting for the anesthetic to knock him out before surgery. Ross, who is the main creative force behind Wild Pink, found out he had cancer mid-way through recording this fourth full-length. His uncertainties around this diagnosis, combined with his dogged insistence to finish anyway, define this album, whose bright, soft indie pop textures wrap around some very dark textures. Consider, for instance, “Hell Is Cold,” with its thumping rhythms, its half-focused glitch textures, its shimmering layers of piano. Ross sings just above a whisper, here and elsewhere, in a confiding tone that tickles the hairs inside your ear. Yet while the sonically, the song bounds and wafts, its message doesn’t. “I know I’ll be free when I die,” sings Ross, and the song ends abruptly like a life snuffed out. Likewise, the title track, aims at the kind of soccer stadium anthemic-ness that sends beach balls bobbling out over festival crowds. “I love you so much,” Ross intones over surging synths and pounding drums. Still, despite its ebullience, the cut has a vertiginous feel, as if the bottom is dropping out. Like many people facing difficulties, Ross reached out to friends for aid. The album has striking cameos from Julien Baker (“Hold My Hand”) and a multigenerational brace of guitarists, J. Mascis (who rips a sidewinder “See You Better Now”), Ryley Walker (breezily anthemic in “Simple Glyphs”) and Yasmin Williams (shimmering and gorgeous in “The Grass Widow in the Glass Window”). And yet, for all that, and despite the serious subject matter, the music mostly feels bland and oversaccharine, except for the sludgy, guitar-driven fury of “Sucking on Birdshot” and, at the end, “ICLYM” shuffling out like the Beta Band in shambolic triumph.

Jennifer Kelly

[brave-annie]

Censorship is the suppression of free expression, public communication, or other forms of information. This may be done if the material is deemed objectionable, harmful, sensitive, or "inconvenient." Governments, private institutions, and other controlling bodies can all practise censorship. There may be censorship proposals and petitions from other organisations or groups.

Self-censorship is the act of a person, such as an author or other creator, limiting the expression of his or her own ideas or opinions. General censorship occurs in a variety of media, including speech, books, music, films, and other arts, the press, radio, television, and the internet for a variety of alleged reasons, including national security, to control obscenity, pornography, and hate speech, to protect children or other vulnerable groups, to promote or restrict political or religious views, and to avoid slander and libel. Other claimed reasons include to protect children or other vulnerable groups, to protect obscenity, porn etc.

Recently, internet censorship is very prevalent especially on the Web2 platforms. There's so much control and suppression on what can be accessed, published or viewed on the internet enacted by regulators. The velocity of censorship differs. While some nations impose only light Internet censorship, others go as far as to restrict access to information like news and stifle citizen debate.

Elections, protests, and riots are just a few examples of events that can prompt or lead to internet censorship.An example is the increased censorship due to the events of the Arab Spring.

Another instance of internet censorship is when content creator's account is banned for little or no reason. Personally, I registered on a freelancing site to market my skills as a graphic designer but my account was restricted before I could even make use of it. Numerous messages to the support group and attempts to the platform to retrieve my account proved abortive. No explanation for my account being restricted. This proved that centralization isn't a good option for content creators.

Censorship reduces the opportunities for promotion. Corporations and aspiring business owners are the main demographics affected by internet censorship. Limiting access to social media sites like Facebook and Twitter prevents small and medium-sized businesses and organisations from inexpensively reaching audiences. Censorship gives one group of people the power to impose internet censorship measures.

WHAT IS THE ANSWER TO CENSORSHIP?

The most important reason to join Solcial is if you've expressed concern about censorship and free speech, which is becoming more prevalent not only in authoritarian states like North Korea, Iran, and China, but also on large-scale social networks like Facebook and Twitter, which simply ban the accounts of anyone who displeases their CEOs. And no one is safe from them; even the world's most powerful people may be kicked out of centralised social networks.

The goal of Solcial is to reclaim our fundamental human rights to free expression, to be able to express ourselves and our opinions without being censored or banned. This is accomplished by developing an open, uncensored, and permissionless platform that allows users to interact and engage in real time. Solcial content creators now have wings to fly with their posts, opinions, interests, talents, opportunities, and so on. This is an excellent social network.

[daz4i]

How about 53 and 33!! :3

thank you my love!!!!! 

33. something you want to learn

god. everything, really. i did mention music production, but i wanna go back to drums at some point too (used to play it but i’m more than rusty at this point), also bass guitar for the longest time now fr. outside of music, i wanna learn tap dancing!!!!!! so bad!!!!!!!!!!! maybe some graphic design or game development eventually...... i want to learn more about world religions and mythologies, and more about animals i find interesting, and flowers i think are pretty, and how the world works, and i want to learn so many languages, recently i got this bug in my head (from my mom, no doubt) that i need to learn italian, but i also wanna learn russian and arabic and japanese and spanish and- 

53. 5 things that make me happy

OH GOD OKAY UUUUUUUH

my cat!!!!!

creative successes. like finish writing a chapter or liking how a drawing came out or my friends liking a session i ran and such

[redacted due to this being my sfw blog]

g. goro......... my blorbos in general tbh

you >:3🖤

send some numbers?

[nightguide]

Genetics and coding is not different when Arabic numerals don't clash in within roman numerals but when traditional systemisation of numbers become corrupt with heartbreak and slowly overtime, Dubai became a city famed for…. me right now. It's because classic numbering standards of use did not apply when the commodity of numbers became one with life and it doesn't end there

okay. number 8 is not standard english but what happens to when you look at the number before one because 0 and 0 are technically the same until they stand beside 1. and this is where it went

the number 0 does not exist but as the numbers follow on, they don't even tell you the whole story except what the hell is X and they have made humans philosophise the major question of humanity that never had a dream, so the numbers that followed out with X to no standard choice of living, no standard life or income is the reason why the world is in chaos, and i just wrote the simplest coding system known to man all because after Maghrib prayer on the 28/05/2024, i thought of coding as a simple 0101010 scheme when in all naturality, it dates back to the Greco age wondering the same thing about a simulation at large that processes answers which directly inherits the young wife of Prophet Muhammad (PBUH) figuring out why people don't like each other.

okay, it's because the natural laws of coding stand with one next to nothing, all computer programmers know an index of lines and orders they type in to complete a CGI graphic of their life become so the 80's (biggest influence) were large on programming infographics about the world schemes right now to get to somewhere Keanu Reeves calls 'nothing' because the totalitarian of the world become became a pyramid scheme where now only the bottom set gets the worlds riches because the 1 empire stood small to a bottomless 0 when in reality, it's all X because X is now on Twitter putting her entire life to make everybody happy when the Matt Smith has to go and marry her, she found this out from his heart mind because he has to go and marry her.

the woman (me) is a world heartbreaker and computer programmer at large, her database logs to another multi-course infographics she leads on her Tumblr right now telling you how and why you should utilise your heart to make a one world government feel secure to touch, she promotes idealism with purity become with Islamic codex of honour, (that was a message from the last empress of Greece who figured out the totality of the world become)

the new code works in lifelike ways to attribute new system become, so have you noticed the number 0 acting like an 8?

8 1 0 2 3 4 5 6 7 9 10

it's because the world forgot to live and coding actually did create the new Eden it became now, heaven is reasoning when 1 combines with nothing (0) and it becomes nothing so we are just as fcked up qas we think we are because we think 1 comes after 8 because 8 is solid change to the number after 8 is nothing.

so the system changes by habitual expression when they know how to change their hearts so if programmers know how to reboot engines, they should use the new system to procreate designs that will use the new method to get them to space and is highly secure and functional to transform the Earth to new labels of AI, systems used to to manufacture accuracy in search and much more.

i can't wait to explain the metaphysical meaning to the new set of numbers used for coding that will transpire the world become. it's pretty much exciting

[topstoryusa0]

[ad_1] We proceed to take a look at the 2024 Nuart Aberdeen roster by our A Portfolio part on the positioning, at present we take a look at the works of Cairo, Egypt-based artist and speaker, Bahia Shehab. The artist works in movie, stencil road artwork, set up, murals and public initiatives. She is a Professor of Design and founding father of the graphic design program at The American College in Cairo the place she developed a full design curriculum targeted on the visible tradition of the Arab world. She continuously lectures internationally on Arab visible tradition and design training, peaceable protest, and Islamic cultural heritage. Her work is worried with id and preserving cultural heritage. By investigating Islamic artwork historical past she reinterprets up to date Arab politics, feminist discourse and social points. Her art work has been on show in exhibitions, galleries and streets in over 26 cities internationally. The documentary Nefertiti’s Daughters that includes her road art work in the course of the Egyptian rebellion was launched in 2015. Her work has obtained various worldwide recognitions and awards which embrace a TED Senior fellowship, the BBC 100 Ladies checklist and a Prince Claus Award. She is the primary Arab girl to obtain the UNESCO-Sharjah Prize for Arab Tradition. Shehab holds a PhD from Leiden College in The Netherlands and is the founding director of Sort Lab@AUC. Her publications embrace You Can Crush the Flowers: A Visible Memoir of the Egyptian Revolution, At The Nook of a Dream, A Thousand Instances NO: The Visible Historical past of Lam-Alif and the award-winning co-authored guide A Historical past of Arab Graphic Design.[embed]https://www.youtube.com/watch?v=D8ou_3g1IZ0[/embed]Bahia Shehab is a multidisciplinary artist, designer, political activist and historian whose work focuses on the interplay and intersection of contemporary id and historical cultural heritage. Her imaginative mixture of calligraphy and Islamic artwork historical past produced leading edge, stunning, impactful road artwork in the course of the Arab Spring and continues to tell her work as an educator and designer. Having at all times been involved with id and preserving cultural heritage, she investigates artwork historical past to reinterpret up to date Arab politics, feminist discourse and social points. Her culturally oriented work permits her to make use of historical past as a method to raised perceive the current and discover options for the longer term. Bahia believes that artwork could also be employed for the needs of social change and has explored this phenomenon by her art work, which focuses on socially charged themes such because the Arab id and girls's rights. Her analysis is basically involved with understanding the Arabic letters and has been preoccupied with Arabic calligraphy in a lot of her work. Her work has been displayed in exhibitions around the globe and she or he has obtained a number of awards and recognition for her achievements. [embed]https://www.youtube.com/watch?v=T8Hb5HuMSi0[/embed] (function(d, s, id) var js, fjs = d.getElementsByTagName(s)(0); if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.async=true; js.src=" fjs.parentNode.insertBefore(js, fjs); (document, 'script', 'facebook-jssdk')); [ad_2] https://topstoryusa.com/entertainment/juxtapoz-magazine-a-portfolio-nuart-aberdeen-edition-bahia-shehab-tsu/?feed_id=669&_unique_id=663dbaef82909