![]() It presents a queered reading of fatal arachnid narratives of sex/birth in which death is not violence or programmatic terminus, but a zoëtic expression of desire as conatus: endlessly reaching for affirmative becomings through (re)productive cominglings of bodies-whether by penetration, modulation, ingestion, absorption. This paper seeks to recalibrate storied accounts of spider death rites through a critical, creative posthumanist approach to nonhuman life as zoë (Braidotti). The teleological outcome of ‘reproductive sex’-generation of spider progeny-also embeds a deathly caution: potential cannibalism of the mother by her children, overwritten in scientific and popular accounts as an altruistic act of ‘maternal self-sacrifice’. Implied in spider sex stories is the thrill of possible death, in which mortality becomes both eroticized and biologically rationalized. These accounts are buoyed by popular media narratives, supported by scientific observation, and, as has been argued, written into scientific practice and theory in ways that ‘naturalize’ misogynistic conceptions of gender/sexual relations and violence. Our understanding of this behaviour is underwritten by accounts of spider sex roles that borrow from anthropomorphic gender tropes: the disinterested/passive female, the active/performative male, the deceptive conceit of the sexual lure. This paper explores the death/life ecologies that flourish along the queered axes of spider reproductive behaviours-from cannibalistic sex to matricidal birth-and how the affective language and concepts through which these behaviours are understood both reflect and distort heteronormative human accounts of gender/sex, life/death. Nowhere is the porous threshold that interpolates life into death more tangible than in reproductive behaviours that embed the bodily mortality of their actants at the same time as they seek to extend those bodies in replicated biological code. The essay will focus on artists’ experience of an actual border as the boundary line between two states and how the experience of exile is constructed through their body. The paper will question the form that a border takes, trying to challenge its accessibility, permeability and potential as a contact and communication zone. The projects autobiographical paradigm intersects with larger social and cultural issues. ![]() These two projects are an aesthetic exploration of women’s experiences of belonging and otherness in borderland. This paper will look at two distinct forms of feminist performative political practice: Tanja Ostojic’s “Looking for a husband with EU passport” (2001-2005) and Lena Simic’s “Blood & Soil: we were always meant to meet.” (2011-2014). In the wake of this multiple sustainability crisis, unexpected forms of political art practice have gained momentum and public visibility. The post-democratic experience of disempowerment at the grass-roots level of many European societies coincides with the urgent need for new visions of social prosperity and wellbeing as revealed by the recent crisis of economic, environmental and social sustainability. So far, the results are not splendid, if you consider the debacle in the Mediterranean Sea and the increasing waves of xenophobia and racism that are sweeping across the union. ![]() The Europe of the European Union is virtual reality: it’s a project that requires hard work and commitment. We argue that dismantling the productive/unproductive dichotomy could lead to new forms of resistance, solidarity and/or collective action. the university) the control over “cognitive labourers” is exercised through distribution of anxiety which forces subjects to be productive. ![]() We argue that in this particular work environment (i.e. #Isadora mulvey freeWe pose the following questions: What happens to bodies in an increasingly neoliberal academia, which produces precarious, nomadic and, oftentimes, sick bodies (depressed, burned-out, anxious)? What are the ways in which control is being exercised over these bodies? Inspired by the idea of “situated knowledges” we claim that to produce academic discourses on how bodies and lives are kept under control, it is vital to recognize one’s own position (in this case it is a position located within the context of the academia) as a space which is not free from the relations of control, power and violence. We will attempt to bring together the “old” (Marxist) and new traditions of materialism in order to re-think the material of the cognitive work. ![]() This paper addresses the intersection of problems of labour, capitalism and the body, and situates it in the context of contemporary academia. ![]()
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![]() ![]() ![]() The sai is a pointed, rod-shaped baton, with two long, unsharpened prongs attached to the handle. Generally speaking, the forward part of the tonfa is used for blocking, and the ends for direct thrusting. In the hand of a proficient adapt, the tonfa can also be used to apply armlocks techniques and to control an opponent. The Tonfa can be used to strike with circular rotating movements, to thrust, to block or parry weapons. Two tonfa are often used simultaneously and can be utilized for both defense and offense. The origin of the tonfa is heavily debated, but most historians agree that it comes from Okinawa, where it was originally used as a millstone handle. The length of the baton is about the length of the user's forearm, and it's attached to a handle that's a little longer than the width of the user's hand. The tonfa is a wooden baton-like weapon used in Okinawan Kobudo. I'll begin this list from the most common to the least known weapons. In Kobudo, the weapon is an extension of the body, and almost every Karate movement can be reproduced with a weapon in hand. Like Karate, the martial art of Kobudo (a.k.a Okinawan Kobudo), had a strong Chinese cultural influence and focuses on the study of weapons like the bo, sai, kama, tonfa, nunchaku, and tekko. Let's learn more about those so-called "Karate weapons". The Okinawan people trained in secret and learned to use farmers and fishermen's tools as weapons. Kobudo was developed during the 17th century when the Samurai of the Satsuma clan had invaded Okinawa (called the Ryukyu Kingdom at the time) and established a ban on weapons and martial arts practice. In this article, I will cover the following: ![]() ![]() ![]() Terranova: Winner of the Inaugural MagneticFox Official Match Competition Since most of the MagneticFox community migrated over from electricferret when the latter closed down, I thought it might be best to add them here as well. STAFF EDIT: The next couple of entries being added were winners of the MagneticFox writing tournaments. XLEGACYx: Winner of the CBUB May Challenge Nova Force Nova: Winner of the CBUB February Challengeīoratz: Winner of the CBUB March Challengeĭeojusto: Winner of the CBUB April Challenge ThePhenomenalOne: Winner of the CBUB January Challenge Thetrekker: Winner of the CBUB August Challengeīoratz: Winner of the CBUB October Challengeīoratz: Winner of the CBUB December Challenge Marvel Man: Winner of the CBUB July Challenge Johnny Chany: Winner of the CBUB June Challenge LoneWolf: Winner of the CBUB May Challenge ShadowFlesh: Winner of the CBUB April Challenge But you know what we do have? A meaningful existence on the edge of oblivion.Ruinus: Winner of the Inaugural CBUB Tournament.ĭSkillz: Winner of the CBUB March Challenge I suppose the question is, are you antifascist? Are you a revolutionary? Are you a defender of decency and life on Earth? Because no one who is any of those things has ever had the odds on their side. “And there is nothing revolutionary about fatalism. ![]() When it comes to the climate crisis, there’s one essay I recommend everyone read: Kelly Hayes‘ “Saturday Afternoon Thoughts on the Apocalypse.” THIS QUOTE: “Who do you want to be at the end of the world?” Also, this profile of MN’s own Isra Hirsi, who makes vital connections between environmental justice and racial justice. ![]() I’d also recommend checking out poet Bernard Ferguson’s fantastic “Hurricane Dorian Was a Climate Injustice” in the New Yorker, on the difference between unavoidable tragedy and avoidable injustice. Check out the “hosted by” list at the event page. Here in MN, today’s climate strike is sponsored by a bunch of organizations that are worth a follow, from MN350, to TakeAction MN, to MN Youth Climate Strike and beyond. ![]() There’s a reason the song ends with “it’s a good thing we brought matches” and not “it’s a good thing I brought matches.” But those actions are not a substitute for organizing. So that means joining organizations, donating to organizations, voting for candidates with bold plans to tackle the problem, pressuring the politicians who don’t, and dreaming bigger.Īnd yeah, if I recycle, use less plastic, and pick up litter at the park on the way there, that’s fine. We need large-scale, sustainable policy change, the the mass movements that can drive that policy change. Because when it comes to this work, individual action will not be enough. Part of the song is about rejecting the narrative of the individual hero or revolutionary, and instead attempting to tap into something larger, something more communal, something more connected. I’m thinking about this song in the context of today’s Global Climate Strike. The song wasn’t written about the climate crisis, but let’s talk about it. It’s kind of a personal “mission statement,” something that drives a lot of what I try to do. You may know it from the Sifu Hotman album, or from it being featured as the weather on an episode of Welcome to Night Vale. ![]() ![]() ![]()
#GOOGLE CLOUD PRINTER MAC SOFTWARE#You must know the network printer’s IP address or host name, printing protocol, and model number or printer software name. Note: Some printers connected using these generic protocols may offer limited functionality. #GOOGLE CLOUD PRINTER MAC FULL#Make sure the settings in that dialog accurately reflect your printer’s installed accessories so you can take full advantage of them. If it can’t, a dialog appears that lets you specify them. ![]() When you add a printer, macOS can usually detect whether the printer has special accessories installed, such as additional paper trays, extra memory, or a duplex unit. #GOOGLE CLOUD PRINTER MAC INSTALL#If you see a message prompting you to download new software, make sure to download and install it. It may take a minute or two for your printer to appear. ![]() When your printer appears in the list, select your printer, then click Add. If you don’t see your printer listed on the left, click the Add Printer, Scanner, or Fax button on the right.Ī dialog appears listing printers on your local network. See the Apple Support article Connect an AirPrint printer to a Wi-Fi network.Īdd the printer to your list of available printers: Choose Apple menu > System Settings, then click Printers & Scanners in the sidebar. After setting up, you can disconnect the cable from your printer and Mac, and the printer should remain connected to the Wi-Fi network. After connecting the printer to your Mac, install the Mac software that came with the printer and use the printer’s setup assistant to connect the printer to your Wi-Fi network. If you have a Wi-Fi printer, you might need to connect the printer to your Mac with a USB cable to set up Wi-Fi printing. Turn on the printer and make sure it’s not displaying any errors.Ĭonnect your printer: Follow the instructions that came with the printer to connect it to the network. Prepare your printer: Use the instructions that came with your printer to unpack the printer, install ink or toner, and add paper. If you have an AirPrint printer, you don’t need to check for software updates. #GOOGLE CLOUD PRINTER MAC UPDATE#On your Mac, update your printer software: Check with your printer’s manufacturer to see if any updates are available for your printer model. If you don’t see your printer, you can add it. To check, choose File > Print, click the Printer pop-up menu, choose Nearby Printers or Printers & Scanners settings, then choose your printer. If your Mac and printer are already connected to the same Wi-Fi network, the printer might be available to you without any setup.
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