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spunfun28714 · 1 year
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Who wants to party and play
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オカズちょーだい☆
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Alguien en Atlanta
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Why are all meth heads such jealous mother fuckers
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Connection to Country: Aboriginal Artists’ Responses to Climate Change 
I chose to examine Aboriginal artists visual responses to climate change because environmental issues in Australia are inherently tied to systemic coloniality as well as more broadly endured socio-cultural impacts. Indigenous peoples “greater exposure to the impacts of climate change” can be explained both through their “deep connection […] to place and culture” and a “heightened vulnerability owing to entrenched disadvantages and injustices” (Blashki, Bradshaw, Gardner, & Gergis, 2023, p. 36). As such, I want to reflect on four artworks to understand the logic of place in Aboriginal artists’ responses to environmental degradation: Nici Cumpston’s Lake Bonney Barmera – place of large water (2022) (Figure 1), Judy Watson’s string over water (alkurrji kingkarri wanami) (2019) (Figure 2), Megan Cope’s Kinyingarra Guwinyanba (On Country) (2022) (Figure 3) and Brian Martin’s Methexical Countryscape Wurundjeri #3 (2012) (Figure 4). 
I find enormous value in Louise Gwenneth Phillips’ and Tracy Bunda’s Research through, with and as storying (2018), which I imagine as a cross-cultural handbook that informs my ongoing research. The authors come “two-gather” to provide a complex, critical framework to engage in alternative means of knowledge-building through the act of ‘storying’ (Phillips & Bunda, 2018, p. 1). Phillips and Bunda (2019) describe storying as “the act of making and remaking meaning through stories”, as “living and active rather than fixed, archived products” (p. 7). Here, marginalised voices are accentuated by considering intersectional standpoints and unconventional methodologies. As an Anglo-Saxon woman who lives on the unceded lands of so-called Australia, I approach this topic from a largely academic perspective that draws upon first-hand knowledge from the selected Aboriginal artists. I rely upon First Nations stories because I do not wish to make assumptions about, nor impose my own biases upon, an evolving and variable culture(s). However, I would like to take this opportunity to critically reflect upon my unique reception on these works to highlight my potential (mis)understandings. As I will attempt to express myself through a storying research framework, the following text will present as creative exploration. This will demonstrate the development of my understandings of Aboriginal and Torres Strait Islander perspectives.
For me, Cumpston’s Lake Bonney Barmera - place of large water presents as an abstracted, apocalyptic landscape. The long-dead, scrabbly trees almost seem parched as they sink heavily into an expansive body of still water. Cumpston’s multimedia style combines the inherent realism of photography with the intimacy of hand-colouring, creating an eerie presence. Even as the horizon softly blazes, recalling devasting Australian wildfires, it seems almost hopeful too. Perhaps that is the call of flourishing lands, because there seems to be a forest just out of reach. Here, Lake Bonney Barmera - place of large water highlights the conflict that pervades the public sphere: while disaster lies around us, we can still see an attainable future. There still exists trees to be cut down and coal to be extracted. Yet Cumptson foregrounds the destruction of the present moment, the damage that her Country has survived. This immediacy demands the viewer to problematise their worldview throughout closer, more careful reflection. I relate to this image through a comparison of the land around my own home, whose unpredictable weather patterns often leave communities devastated after ‘natural’ disasters. I think this is a powerful strategy to approach the highly contested and emotionally conflicted issues of climate change. She offers an adaptable access point that individuals can engage with, inviting audiences to reflect on their own story. Yet this personal exploration remains mediated by the artist’s visual stimulus. This keeps one’s reception grounded by one’s relation to Cumpston’s worldview. As such, further critical analysis of the artwork should take into consideration the coloniality of Australian landscapes. 
Watson’s string over water (alkurrji kingkarri wanami) follows a different pathway: this artwork traverses the concept of memory as a link between matrilineal ties and lands. The artwork positions audiences underneath a rippling surface that emphasises the ephemerality of Country – from elusive fragments of open sky to sinuous string that delicately unwinds. This string reflects traditional Waanyi practices where hair follicles are rolled to absorb oils and subsequently woven. As such, the string holds the memory of ancestors. Watson’s creative inquiry into the role of memory extends to that of Waanyi Country, where she understands water as an inherent, enduring quality that will remember its original pathway (QAGOMA, 2020). Unfortunately, this phenomenon is not always allowed. These pathways are often forcibly displaced or altered: poisons from agricultural runoffs or mining effects water quality and imposed infrastructure redefines its form. I see this darkness within string over water (alkurrji kingkarri wanami) where deep hues seep into the work from the bottom right corner. Here, visual strategies animate dialogue around environmental action where she promotes a custodial approach: Country should be appreciated as a living entity to encourage active conservation and sustainable practices. This standpoint directly opposes Western perspectives surrounding environmental interaction, which ‘knows’ land as an inanimate object available for ownership.
In Kinyingarra Guwinyanba (On Country), Cope engages with the concept of memory in an alternative way: she participates in the ongoing, transgenerational storying of Country where she creates a sustainable, eco-activist project. Located near Myora, an intertidal area, Cope has secured numerous hand built sculptural “sea gardens” in an effort to heal Country (Cope, n.d.). Her work is grounded by the environmental degradation she stands witness to throughout Quandamooka Country (Stradbroke Island, Queensland), in particular the diminished population of oyster reefs. This is a direct impact of the extractive settler-colonial practices that were imposed after Australian invasion (ABC Arts, 2022). Where oyster reefs provide habitats as mineral-rich, carbon-capturing filtration organisms, large-scale depletion has had notable consequences on surrounding ecosystems (ABC Arts, 2022). As such, Cope has engaged in a radical approach to artistic activism: her living sculpture works as an innovative, functional habitat restoration project. Through caring for Country, Kinyingarra Guwinyanba (On Country) contributes to an ongoing storying of Aboriginal creative inquiry: where she foregrounds custodianship, Cope pledges resistance to the colonial project by regenerating ancestorial practices to offset the consequences of climate change. 
Martin’s highly theoretical strategy toward environmental action, as presented in Methexical Countryscape Wurundjeri #3, is grounded by an embodied, ‘methexical’ visual storying of Country: that is, the performative “reverberation of bringing something into being” (CLIMARTE, 2021). This artwork is made up of thirty individual hand-drawn canvases that depicts a ‘Bunggabi’ (tree) on Wurundjeri Country (CLIMARTE, 2021). I think it is interesting that the artist presented the work in charcoal, which typically dims its subject. However, I find this decision emphasises the sculptural forms of the land and emphasises its diverse ecological features. Here, Martin effectively transforms embodied knowledge into visual data to animate Country as a subject. I find Martin’s conceptual grounds difficult to engage with, which might speak to my limited perspective as a non-Indigenous person more than the difficulty of the philosophy. Yet I can grasp this idea when thinking about the nature of storytelling as animating something intangible. In Methexical Countryscape Wurundjeri #3, Martin relies on the visual embodiment of memory to story the land into being. As such, Methexical Countryscape Wurundjeri #3 presents as an immersive, intersubjective aesthetic experience. 
I have also drawn from Kombu-merri and Waka Waka philosopher Mary Graham’s Some Thoughts About the Philosophical Underpinnings of Aboriginal Worldviews (2008) where the author critically assesses the singular nature of Aboriginal ontology. She beautifully expresses the inextricable role of Country in human life, where she explains that “[b]ecause land is sacred and must be looked after, the relations between people and land becomes the template for society and social relations” (Graham, 2008, p. 106). I would like to approach my critical essay with her writing in the back of my mind as this underlying ontology can be seen to pervade each Aboriginal artists’ expression of Country. I also found this an important truth to live by, particularly in a time when many people feel disconnected from each other. We can look to heal our relationships by first healing the lands upon which we live. This perspective provides an alternative worldview to concepts born from the Anglosphere that are ingrained within white Australian culture and government. For example, the supposed limitless resource of natural environments that allows for endless extraction. This utilitarian language purposefully strips ecologies of the possibility, or inherent existence, of a meaningful relationship between people and place. As such, the model for social relationships is strictly functional. Graham’s text offers an alternative structure that foregrounds sensuous understanding of the land as well as our reciprocal dependence for existence. I find this concept of embodied knowledge is often brought up in discussions around Aboriginal artwork, which I think speaks to the depth of artists connection with their world. As such, I would like to turn to an important moment that influenced my understanding of Aboriginal cultural expression.
In January 2020, The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) hosted a significant event in affiliation with their current interdisciplinary exhibition ‘Water’. The discussion panel, titled “Traditional Responses to Contemporary Problems”, connected Aboriginal artists Watson, Cope, and Wiradjuri woman Nicole Foreshew with Bundjalung and Kullilli host Daniel Browning. Their extensive dialogue took me on a journey to each artists homeland to examine the conditions of their Country in our collective, global climate emergency. Their acts of storying built a web of connection between the audience and each other through the intimacy of sharing and listening (Phillips & Bunda, 2018). This process foregrounded embodied knowledge and evolving relationalities by honouring sensational presence over cognitive perception (Phillips & Bunda, 2018). I found learning about this alternative way of being transformed my understanding of Aboriginal worldviews, as well as broader discourse around knowledge. Using this framework to examine the work of Aboriginal artists will allow for genuine insight into both their practice and intentions. 
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444names · 2 years
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mormon names + list of occult terms from wikipedia
Aarit Abance Abang Abbal Abbend Abenuit Abinet Abion Ablesce Abody Abraed Abreah Ackency Aclain Adedium Adeial Adianisic Adism Adite Adiummult Adolionom Adology Adoodes Aetioma Aetion Agalling Aging Agoet Agrite Aguancy Akabion‎ Akasterit Aligicara Alism Allah Amalmiary Amang Ameroteat Ampirise Aniarology Anics Antath Anter Antrum Aspex Aspiriah Aspon Assex Assiah Asteani Astion Astram Auditer Aught Auguala Automan Automery Avacle Avamin Avamineom Avency Avens Balight Beancy Beanis Biblerit Blemosophy Blermal Bodemani Bodology Boyance Bradel Braearaft Brathermas Bregicrop Brethe Bretion Catallemas Catraught Ccalicen Ccarton Ccumal Chabdown Chamene Chancy Chaosoted Chinelimon Chizedies Chrology Chrom Chron Chroted Cionisial Circe Cisectist Cisticon Clables Clablic Claingur Clairs Clavailogy Clefic Clemal Clemorms Clogy Colimodr Coload Coman Conis Conorturgy Conownet Contal Conterna Contion Cormaner Cormet Cormorma Cormuncy Creght Crothex Crucism Cuidis Da'atch Dalcher Dalmices Dalphy Damishuara Damistants Damune Dancy Dania Deatinge Delah Demann Demos Densce Dentic Derwics Desee Deskton Dology Domal Doods Drucianna Ecorontar Ecregg Ectuances Enaution Enjah Enjurs Entancy Entericir Ention Enuijah Enuit Eseng Evoccat Famedi Famon Fency Fental Fical Ficatios Fighaos Fight Forkasto Foroman Frappenju Fraydeancy Gances Gazin Gelincy Gemes Gemia Gemysting Gholin Giccult Gictini Gilight Gilly Gires Goeting Gradition Graft Gratism Guarying Habah Haban Haditchi Hamer Hamia Haneopy Haosh Helly Herignower Herism Herms Herni Hexage Hodoodoo Homanchi Homesing Honica Hosery Ingurgy Isairce Ishity Istar Jahard Jamism Jarniterop Jaromat Jarusa Jerit Jorcesen Jormes Kastonism Kunce Kunds Kunity Lahad Laing Laings Lancy Lautism Lavaircis Legic Lehic Lemer Lemonas Liciumar Licturaum Lion‎ Lucirving Magazin Mairen Maldr Maldre Mally Malmin Mancerally Manery Matel Matiom Mation Melast Mensing Merchi Merivi Mesects Methex Moramism Morkabrah Mormally Morms Mormshia Mysophomes Mysorthody Mysticy Mystones Mystriand Mystrish Natcheose Naugual Necon Neodr Neophity Neosigion Nephodr Nessiost Netionjuju Noadialaw Nology Nomancy Normstraft Notermanes Nuitchinge Nuity Ocalijam Ocalph Omailack Omanculas Omants Omate Omnis Omultums Otery Othomin Pagicasm Pagraydera Pagreia Palmialing Pardite Patalmilly Pectomer Pelingell Pension Penting Peody Pericani Perprolis Pethronis Pextrethom Pland Playin Polobey Poplack Powsicy Powsion Pricism Pricrucism Prity Projon Promunle Psicis Psychadium Psymbology Psyncy Qabbetion Qablerit Qabrether Raysoppery Reani Retil Retiouspow Rhamed Rhargy Rharolom Rharomange Rishi Romanew Rucifers Saackton Saaraft Saary Saiah Sailion Satil Scrumshia Searopy Sedolk Sents Sephy Sermela Setion Sevochance Shice Shine Sonoleght Sords Sormshi Spent Spown Stalmiance Stine Stion Strucism Stryst Sundann Supunecon Sychabal Séane Séang Tabdoodolk Tabrays Tactonese Talehicer Talical Tanceng Tatayson Tation Tediums Terah Thances Tharmstial Theah Theatchi Thele Theods Therity Thermon Therproly Thesice Tholy Thoma Thomulet Thounes Thously Throtedes Toneophy Topenarcui Traydele Trialphar Trosm Truelasts Truidi Trunle Ukented Unamalincy Uniand Unism Upune Usionscism Uspopeophy Vaclemyson Vacupelin Vinia Viterge Voicer Voirity Voys' Vrical Vrivameth Wance Wancultion Wancy Wangs Wanis Waron Watacy Waticancy Watice Wical Wilaiand Wison Wistiomand Witharom Worman Wormaretic Worme Woron Wriah Wright Wriguarto Wrimal Wrioness Wrism Writy Yancult Zordie Zormand Zormen Zosight Zosormal
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thunderstruck9 · 3 years
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Brian Martin (Australian, b. 1972), Methexical Countryscape: Paakantyi  #14, 2018. Charcoal on paper, 215 x 156 cm.
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vinnytel · 2 years
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Insert Tongue !
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total-modularity · 7 years
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http://www.documenta14.de/en/public-radio/
Every Time A Ear di Soun, a documenta 14 Radio Program, on air from April 8 to September 17, 2017
Every Time A Ear di Soun is a documenta 14 Radio Program in collaboration with Deutschlandfunk Kultur that explores sonority and auditory phenomena such as voice, sound, music, and speech as mediums for writing counterhegemonic histories. Every Time A Ear di Soun reflects on how the sonic impacts subjectivities and spaces, especially through the medium of radio.
For the duration of documenta 14, nine radio stations in Greece, Cameroon, Colombia, Lebanon, Brazil, Indonesia, the United States, and Germany constitute a worldwide art exhibition on air. The radio program live streams on FM in Kassel, online from the documenta 14 website, and on shortwave around the world. The program punctuates each station’s usual programming in their local language with art pieces for radio commissioned by documenta 14, archival material, and broadcast selections from documenta 14’s Public Programs for four hours daily. Every Time A Ear di Soun is also accompanied by live acts addressing issues related to the phenomenology of the sonorous, the sonic as medium for historical narration, Frantz Fanon’s concept of radio as medium of resistance, Rudolf Arnheim’s concept of the imagery of the ear, and more.
The project, which draws its title from Mutabaruka’s dub poetry, takes its cue from the privileging of visual culture over auditory knowledge in most Western cultures. Greek philosophical thought in particular often reduces experience primarily to the visual, building its epistemology of historiography on the act of visual witnessing (autopsia) and considering the act of seeing as the principal source of knowing. In cultures with a so-called oral tradition, histories transmitted through narration freely assume the forms of both identifiable and nonidentifiable vocal utterances, speech, sound, and music. Here, sonority is fundamental and functions outside a visual and written logic, goes beyond it, and can neither be grasped by nor fully understood through it. When auditory experiences are shared, histories too are shared, and not only from mouth to ear: they are perceived by and encoded in the body through the physicality of sound waves and passed on from one generation to another. Because, as pointed out by Jean-Luc Nancy, if the visual is generally mimetic, the sonorous is tendentially methexic; that is, it has to do with participation, sharing, or contagion. It is this ability for auditory phenomena to instigate participatory moments and create spaces of exchange, and their ability to infect others, that makes the medium especially appropriate for transmitting histories beyond words. Every Time A Ear di Soun also explores the possibility of understanding orality and embodiment through auditory phenomena as a means of sharing knowledge and archiving memory in/on a moving, vulnerable body that exists in a specific time and space. The project deliberates on how sound creates and accommodates psychic and physical spaces, and how, through sound, a synchronicity emerges and reigns between bodies, places, spaces, and histories. At the same time, it attempts to give space to alternative narrations, as James Baldwin stated, not only “to redeem a history unwritten and despised, but to checkmate the European notion of the world. For until this hour, when we speak of history, we are speaking only of how Europe saw—and sees—the world” (“Of the Sorrow Songs: The Cross of Redemption,” 1979).
Every Time A Ear di Soun is a collaboration between documenta 14 and Deutschlandfunk Kultur.
Curator: Bonaventure Soh Bejeng Ndikung Co-curator: Marcus Gammel Team: Tina Klatte, Maximilian Netter, Elena Agudio
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debartist · 7 years
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Brian Martin. Muruwari/Bundjalung/Kamilaroi born1972
Methexical countryscape Paakantyi #2, 2013
charcoal on paper, 209x146cm (overall)
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