tag:blogger.com,1999:blog-49257673714033043792024-03-05T06:15:55.276-08:00Fork Burke
Words and Poetic Function
intent on disrupting the agreements
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.comBlogger58125tag:blogger.com,1999:blog-4925767371403304379.post-35870338469349282292018-04-30T05:58:00.000-07:002018-04-30T06:01:10.619-07:00Checklist by Fork Burke<br />
Checklist<br />
<br />
1 It is not future<br />
2 Your body is a boat<br />
3 1/2 hour in Rome<br />
4 Exclusion is not possible<br />
5 Never underestimate the power of glitter<br />
6 Audience does not serve the magical application<br />
7 Audience is a way to forget<br />
8 What renders a vital component impotent<br />
9 The audience is the enemy of the work<br />
10 It assimilates the potential of the piece<br />
11 This is so we cannot be healthy enough to endure the process of liberation<br />
12 Corrupt African leaders<br />
13 Article headings reflect your desire<br />
14 You tell me the areas you overlooked by the words you use<br />
15 Gimme Shelter<br />
16 If you got no rhythm<br />
17 Art confronts the separation<br />
18 Yes but world domination is something else<br />
19 romantic military<br />
20 conditioned farmed trained<br />
21 Because it`s from Asia<br />
22 Best ideas come in bed<br />
23 This is what people dedicate their lives to<br />
24 To speak to you is to be silenced traveling dead roads<br />
25 The morning mind<br />
26 Waits is my inner soundtrack<br />
27 The way my body moves here lessens my ability to learn from it<br />
28 Serbia ok<br />
29 What pussy knows<br />
30 Until the body has nothing left to do kind of technology<br />
31 It`s not about breastfeeding it`s about securing the meaning shift of natural across the board<br />
32 Sell need as freedom<br />
33 degreesForkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-87066910704137250182018-01-25T10:48:00.002-08:002018-03-29T13:34:05.982-07:00Checklist by Fork Burke
<div style="margin-bottom: 0cm;">
Checklist</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
1 Paris as reference point</div>
<div style="margin-bottom: 0cm;">
2 Unshockable</div>
<div style="margin-bottom: 0cm;">
3 What became of the sameness
</div>
<div style="margin-bottom: 0cm;">
4 retail thearpy
</div>
<div style="margin-bottom: 0cm;">
5 No object will ever fully grasp
another object</div>
<div style="margin-bottom: 0cm;">
6 You really dodged a bullet with that
one</div>
<div style="margin-bottom: 0cm;">
7 What we gonna do with this failure</div>
<div style="margin-bottom: 0cm;">
8 Less and less magical universe
instruction</div>
<div style="margin-bottom: 0cm;">
9 Mark E. Smith So there</div>
<div style="margin-bottom: 0cm;">
10 Can you get a picture of me with it
</div>
<div style="margin-bottom: 0cm;">
11 Interior and Exterior are 50/50</div>
<div style="margin-bottom: 0cm;">
12 Manners</div>
<div style="margin-bottom: 0cm;">
13 What you believe at the moment of
the experience</div>
<div style="margin-bottom: 0cm;">
14 Surveillance was key to the shift</div>
<div style="margin-bottom: 0cm;">
15 They got rid of everything they
couldn`t pronounce</div>
<div style="margin-bottom: 0cm;">
16 There is a limit to experimental
writing if you want people to read it
</div>
<div style="margin-bottom: 0cm;">
17 But you continue to refer to
yourself as white – so there`s that</div>
<div style="margin-bottom: 0cm;">
18 Every example of where we are going
is at the base African lead</div>
<div style="margin-bottom: 0cm;">
19 The weapons are in the museum</div>
<div style="margin-bottom: 0cm;">
20 This is not where it`s at</div>
<div style="margin-bottom: 0cm;">
21 Shame is playback exposure to
disapproval</div>
<div style="margin-bottom: 0cm;">
22 Certain magical acts learn to be
silent</div>
<div style="margin-bottom: 0cm;">
23 The ultimate object</div>
<div style="margin-bottom: 0cm;">
24 Distracted by inclusion in the
vision of the enemy</div>
<div style="margin-bottom: 0cm;">
25 To achieve complete freedom from
past conditioning is to be in space</div>
<div style="margin-bottom: 0cm;">
26 Blockchain hangover</div>
<div style="margin-bottom: 0cm;">
27 The Poet should write poems</div>
<div style="margin-bottom: 0cm;">
28 There never was</div>
<div style="margin-bottom: 0cm;">
29 I`m sorry to tell you honey – We
already met</div>
<div style="margin-bottom: 0cm;">
30 I stand open before new worlds</div>
<div style="margin-bottom: 0cm;">
31 Fb is an abandoned carnival
</div>
<div style="margin-bottom: 0cm;">
32 For there is only this
</div>
<div style="margin-bottom: 0cm;">
33 Degrees</div>
<br />
Checklist<br />
<br />
1 Ferries and Full Moons<br />
2 Bright as Butter<br />
3 Wild Baby`s Breath<br />
4 The Seen and Unseen of us<br />
5 <br />
6 Elastic Imagination<br />
7 <br />
8 We were prayed for<br />
9 I made the whole thing up<br />
10 you dreaming me<br />
11 inner voice travel<br />
12 Through the old television<br />
13 <br />
14 <br />
15 <br />
16 The reason you disagree is what you believe in<br />
17 yellow ways to think about it<br />
18 idiot yes please<br />
19 system = outsider<br />
20 Get some rest<br />
21 Push harder they`re pretending<br />
22 Stop explaining after the second question<br />
23 He never showed up<br />
24 Because everything is plural<br />
25 Genetic disk<br />
26<br />
27 <br />
28<br />
29 Where does the stamp go <br />
30<br />
31 By the time the image had taken hold<br />
32 Reward<br />
33 degreesForkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-30210240200620217572017-11-23T12:40:00.004-08:002017-11-23T12:43:40.314-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPTgSpRYnmV7tDMjIMek27XVdIrpHd8cygy2KLL_ezeyDAmVdtsHuxxfmxK7Kc3EDyb-h_pXnOzluT-BYgPinpbWPh9Z4NBT2i6YTe_OQRTFvCGI1xOG2UUsPGHCShFXV0Lq2vlwZlCQ/s1600/DSCF3672.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPTgSpRYnmV7tDMjIMek27XVdIrpHd8cygy2KLL_ezeyDAmVdtsHuxxfmxK7Kc3EDyb-h_pXnOzluT-BYgPinpbWPh9Z4NBT2i6YTe_OQRTFvCGI1xOG2UUsPGHCShFXV0Lq2vlwZlCQ/s320/DSCF3672.JPG" width="320" /></a></div>
Checklist<br />
<br />
1 Being with you taught me how to be alone<br />
2 You can`t say "It`s not that bad" and "I didn`t know"<br />
3 Evil is focused<br />
4 All is temporary with loss<br />
5 The dog bites<br />
6 The greater messengers died before you<br />
7 The Arab slave trade<br />
8 Can`t see what never hide<br />
9 The circle of reason<br />
10 Tears of butter<br />
11 Sunlight steeped in hell awhile<br />
12 Geographical limitations<br />
13 Rate this translation<br />
14 Artist has become a lifestyle limitation<br />
15 Le beurre Bordier<br />
16 I want 150 people to taste it<br />
17 What canned sardines<br />
18 The sun is an ingredient<br />
19 Laurie Ann<br />
20 Libre Service 1938<br />
21 You inhabit two worlds<br />
22 Dead dirt<br />
23 We use to call it a long film<br />
24 The devil ain`t got no music<br />
25 Human Power is targeted<br />
26 We don`t properly understand Let It Come Down<br />
27 Why are you satisfied with your level of understanding that lead you to that conclusion<br />
28 Media lead urgency<br />
29 Confusion<br />
30 Our vision for us<br />
31 They tore the phone off the wall<br />
32 Cut to the chase<br />
33 degrees <br />
<br />Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-44495640212363479232017-11-03T07:19:00.002-07:002017-11-03T07:22:39.222-07:006 November <a href="https://kosmos.ch/programm/veranstaltungen/kosmopolitics-reclaim-anger-wut-als-feministische-kraft/103614" target="_blank">https://kosmos.ch/programm/veranstaltungen/kosmopolitics-reclaim-anger-wut-als-feministische-kraft/103614</a>
<br />
<h2>
Kosmopolitics – Reclaim Anger. Wut als feministische Kraft</h2>
<h3>
Mit dem Feministischen Salon</h3>
«Ich habe
gelernt, meinen Ärger zu nutzen, ehe er meine Visionen verzehrt»,
schrieb die Schwarze Feministin Audre Lorde. Für sie war Wut visionär,
Wut war politisch. Es ist an der Zeit, Wut wieder als eine feministische
Kraft zu entdecken. Eine Kraft, die sich der Domestizierung von
negativen Gefühlen widersetzt, die sich gegen die Betäubung des Denkens
durch die Doktrin der guten Laune auflehnt, die den Sinn für
Ungerechtigkeit und Verweigerung schärft. Eine Kraft, die das «Spiel»
von Macht und Unterdrückung verdirbt. «Killjoy» ist ein Ausdruck für
feministische Wut. Wir können nicht länger zulassen, dass unser Zorn vom
Produktionsapparat abgeschöpft wird, im Nichts verpufft oder sich gegen
uns selbst wendet. Wir dürfen uns nicht einlullen lassen von
Karriereversprechen, Ich-Versautheit oder dem übernächsten angesagten
Unsinn. Lasst uns Feminismus wieder mit Wut aufladen. Das allein ist
noch nicht die Lösung, aber ein Anfang.» (Text vom feministischen Salon)
<br />
<br />
Der Abend ist eine Hommage an den Zorn – mit Lesungen, Poetry
Slam und Musik von Filmemacherin/Musikerin Jamika Ajalon (Paris) und
Sebastian Rotzler (Double Bass), den Spoken Word-Künstler*innen Fork
Burke (Biel) und Meloe Gennai (Genf) und der feministischen
Bloggerin/Aktivistin Franziska Schutzbach (Basel).
<br />
<br />
«Reclaim Anger» wurde erstmals 2016 in anderer Besetzung im Theater Neumarkt Zürich aufgeführt.
<br />
<br />
Türöffnung: 19.30 Uhr
<br />
Beginn: 20.00 Uhr
<br />
Eintritt frei, Kollekte
<br />
<br />
WEITERES DATUM MIT DEM FEMINISTISCHEN SALON
<br />
Montag, 11. Dezember 2017
<br />
<br />
__________
<br />
<br />
ÜBER DEN FEMINISTISCHEN SALON
<br />
Der feministische Salon veranstaltet intellektuelle, provokative,
politische, lustige, radikale, affektive und nachdenkliche Abende zu
queer_feministischen Themen. Im feministischen Salon gibt es Glitzer und
Dreck, Weichheit und Härte, Negation und Affirmation, Wut und Care,
Politik und Anti-Politik, Fiktion und Utopie, Solidarität und Kritik,
Trash und schlechten Geschmack, Rausch und Depression, Analyse und
Poesie. Und Prosecco und Bier. Hinter dem feministischen Salon stehen
Franziska Schutzbach, Anelis Kaiser und Yvonne Apiyo Brändle-Amolo.<br />
<div class="ticketbuttons veranstaltung">
<table class="event">
<tbody>
<tr>
<td class="starttimes"><span class="frames"></span>
<span class="dateday">Mo. 06.11., 20.00 Uhr</span>
<span class="auditorium">Forum</span>
</td>
</tr>
</tbody></table>
</div>
<br />
<aside class="eventcredits">
<br />
</aside>
<figure>
</figure>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-55702930189324342322017-11-03T06:57:00.002-07:002017-11-03T06:57:10.674-07:00<a href="http://parislitup.com/event/fork-burke-poet-extraordinaire-accompanied-by-sebastian-rotzler-on-bass/" target="_blank">http://parislitup.com/event/fork-burke-poet-extraordinaire-accompanied-by-sebastian-rotzler-on-bass/</a><br />Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-41445320495825799192017-10-05T05:57:00.002-07:002017-10-05T06:03:54.122-07:00A Word for a Play<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU_K3WWe9Ev6X_WMVFIAeBH5Hid5fOFGLYrhoQChFDa6g2mfFg5DTsUTn_xIrnGjBcBebP2QT-ZiiNSFGCHLzkp3byC2KAB8Al0KIO4Lu-R9bzc383arwca7maXWhtGGQQxpo2XtZQ8ss/s1600/Espace+libre+-+hotcha+et+l%2527ours+polaire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1225" data-original-width="818" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU_K3WWe9Ev6X_WMVFIAeBH5Hid5fOFGLYrhoQChFDa6g2mfFg5DTsUTn_xIrnGjBcBebP2QT-ZiiNSFGCHLzkp3byC2KAB8Al0KIO4Lu-R9bzc383arwca7maXWhtGGQQxpo2XtZQ8ss/s320/Espace+libre+-+hotcha+et+l%2527ours+polaire.jpg" width="213" /></a></div>
<div style="margin-bottom: 0cm;">
Being pulled out of my
language now speaking – witness translate I write – Our
</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Hands have never lied</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Images hide a world –
Images announce a world – describe what you see and go</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Open up images – Do you
see it – end of new eyes
</div>
<div lang="en-US" style="margin-bottom: 0cm;">
What color is the black
bird</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Her name begins with the
letter O or L and mine begins with me</div>
<div lang="en-US" style="margin-bottom: 0cm;">
not a sound – we haven`t
created anything and lucky for leaks
</div>
<div lang="en-US" style="margin-bottom: 0cm;">
That there is force
between you and the crushing world is plenty</div>
<div lang="en-US" style="margin-bottom: 0cm;">
I want to remember what
dreams are for – I don`t want to know what dreams mean</div>
<div lang="en-US" style="margin-bottom: 0cm;">
We will never be trained
well enough like this</div>
<div lang="en-US" style="margin-bottom: 0cm;">
There will be no arrival –
I am only speaking into you – Perhaps</div>
<div lang="en-US" style="margin-bottom: 0cm;">
the storyteller and the
listener are the same – I write because I don`t know you at all</div>
<div lang="en-US" style="margin-bottom: 0cm;">
because outside agreements
are a consideration I know I swore I`d never do it again</div>
<div lang="en-US" style="margin-bottom: 0cm;">
words create a
simultaneous entry</div>
<div lang="en-US" style="margin-bottom: 0cm;">
The door is closed</div>
<div lang="en-US" style="margin-bottom: 0cm;">
The door is open
</div>
<div lang="en-US" style="margin-bottom: 0cm;">
It began with a water drop
– a drop of water</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Textual kinship is good
home training – It began with a text – translating yourselves to
yourself</div>
<div lang="en-US" style="margin-bottom: 0cm;">
We are all in here</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Can we choreograph my text
– I don’t speak to say what I mean</div>
<div lang="en-US" style="margin-bottom: 0cm;">
I speak to our with that I
may discover what I mean</div>
<div lang="en-US" style="margin-bottom: 0cm;">
What really needs to be
said – we mustn`t quote each other anymore</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Quotes are memory going
deeper into where language shifts you</div>
<div lang="en-US" style="margin-bottom: 0cm;">
Write what happened to
your body – where you went – not what was said
</div>
<div lang="en-US" style="margin-bottom: 0cm;">
You were already there for
so long – what opens us knows only the power of our organs</div>
<div lang="en-US" style="margin-bottom: 0cm;">
and collaboration and ears
– I write to tell you I am here</div>
<div style="margin-bottom: 0cm;">
<a href="https://www.blogger.com/null" name="_GoBack"></a><span lang="en-US">that
I will cut your fragments open your empty mouth ready</span></div>
<br />
<br />
photo by Christelle Geiser <br />
<br />Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-18332294506063886662017-09-28T01:13:00.001-07:002017-09-28T01:13:24.583-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjdv9GI4HmIkF9ZxpoRSUhHXikuNCX10Ol55lmFci8BAhh_UpEU8Pz0FX7FVSqAD2k8tqSXSXmkkHGQwxmEe4QYzXsbVZNtWjqFVu9cM5pIZjriV8VeWWsF9hd7xW2sA-8LrWfGIqgNEE/s1600/22053172_10155042491050773_547546275_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjdv9GI4HmIkF9ZxpoRSUhHXikuNCX10Ol55lmFci8BAhh_UpEU8Pz0FX7FVSqAD2k8tqSXSXmkkHGQwxmEe4QYzXsbVZNtWjqFVu9cM5pIZjriV8VeWWsF9hd7xW2sA-8LrWfGIqgNEE/s320/22053172_10155042491050773_547546275_n.jpg" width="228" /></a></div>
8 October at 17h<br />
Berekeley Books of Paris - <span class="_xdb"> </span><span class="_Xbe">8 Rue Casimir Delavigne, 75006 Paris, France</span><br />
<span class="_Xbe">With The Poets</span><br />
<span class="_Xbe">Malik Ameer Crumpler</span><br />
<span class="_Xbe">Jamika Ajalon</span><br />
<span class="_Xbe">Bruce Edward Sherfield</span><br />
<span class="_Xbe">and joining Fork Burke - Sebastian Rotzler</span><br />
<span class="_Xbe"><br /></span>
<br /><span class="_Xbe"><span style="color: black;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Sebastian
Rotzler is a double-bass player, improviser and
sound-creator. His
work emphasizes experimental, improvised music with a strong
attachment to composed aspects. His playing is inspired by
associations, by developing sound patterns, but it can also
outburst
into sudden but still specific sound interventions.</span></span></span><span style="color: black;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><br />
Next
to his own playing he initiated divers art- and music
projects and
plays together with different exponents of the improvised
music-scene. </span></span></span><span style="color: black;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><a class="m_7026537364415952531moz-txt-link-abbreviated" data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.sebastianrotzler.ch&source=gmail&ust=1506672601556000&usg=AFQjCNG-IjBScfhfDYtnhuQv5EPdN2e_Gw" href="http://www.sebastianrotzler.ch/" target="_blank">www.sebastianrotzler.ch</a></span></span></span></span><br />
<br />Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-90146306497238204812017-09-14T04:21:00.001-07:002017-09-14T04:34:21.139-07:00Checklist by Fork Burke1 I gave birth in two languages<br />
2 Too many words for flavor<br />
3 Structure that helps follow the idea<br />
4 remote control dream<br />
5 Ask the cucumbers<br />
6 Discomfort is one of the last pleasures<br />
7 Where in the body is religion located<br />
8 A missed shot<br />
9 Pursuit of a temporary fix<br />
10 The Fuckin Rabbit<br />
11 The food we eat gives the energy back to the wine<br />
12 Once a year I find a wallet<br />
13 Liquid Rock<br />
14 People are the ultimate fiction<br />
15 full skin contact for texture and territorial identity<br />
16 How have you trained yourself<br />
17 It`s not the evil it`s the permission<br />
18 all they be left with is fuckin their cousins and eatin squirrels<br />
19 Places of sacred orgasmic known knowns<br />
20 You gotta get your hands on it - get the written record and insert a little part of yourself<br />
21 I seek no permission no equality<br />
22 Nestled in Zermatt<br />
23 Observation changed me too<br />
24 Destroy it before they let you have it<br />
25 A sense of terror<br />
26 Less Unreadable<br />
27 You have to say yes twice<br />
28 Bifocal Foundation<br />
29 Each step is a question Fed and Formed<br />
30 YES<br />
31 You want me to collaborate with my own demise<br />
32 HA!<br />
33 degreesForkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-79771067333525390962017-09-14T02:45:00.001-07:002017-09-14T02:45:12.368-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJypPds5Wv0om6bYBP9vbtEk9ktNbSkeuZf4u5Acyd_gxOP4bdLMOJn3rwmdphUyulI8C7gdU1obipFqR-bWu6ltPlSU12JTrXadtZYb0N7xVBLFIWY9q7v7gfxeg75Ov67bfQe-MnQw/s1600/67155_471258387332_4217649_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJypPds5Wv0om6bYBP9vbtEk9ktNbSkeuZf4u5Acyd_gxOP4bdLMOJn3rwmdphUyulI8C7gdU1obipFqR-bWu6ltPlSU12JTrXadtZYb0N7xVBLFIWY9q7v7gfxeg75Ov67bfQe-MnQw/s320/67155_471258387332_4217649_n.jpg" width="213" /></a></div>
Life is A Cut-Up <br /><br />Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-47075666815355548792017-05-12T06:25:00.002-07:002017-05-12T06:27:29.951-07:00<a href="http://www.metonicrecords.com/" target="_blank">http://www.metonicrecords.com/</a><br />
<br />
<h2 class="wsite-content-title" style="text-align: left;">
<span style="color: #2a2a2a; font-size: x-small;"><strong>NEWS</strong></span><br /><span style="color: #2a2a2a; font-size: x-small;">Sound
and Coffee was an interactive sound installation initiated by Nicolas
Engel. It took place from December 2015 to June 2016 at Literaturcafé
Biel, Switzerland. More than 40 artists were invited to perform live to
the existing sounds from the musicians and the recorded environment.
These sounds were recorded live and re-arranged for a new listening
experience.<br /><br /><strong>ARTISTS</strong><br />Lucien Dubuis / Jonas
Kocher / Mathilde Bigler / Tobias Schramm / Jérémie Jolo / Michael Pauli
/ Hannes Prisi / Jan Buchholz / Simon Iten / Franziska Brücker /
Daniel Erismann / Jeremy Mage / Amin Mokdad / Christian Müller / Henry
Strongbox / Nick Porsche / Sirup Gagavil / Adrien Guerne / Andreas Reese
/ Vera Schneider / Rea Collins / Lionel Friedli / Emanuel Künzi /
Olivier Toulemonde / Sven Widmer / Armelle Scholl / Judith Wegmann /
Hans Koch / Tobias Meier / Barbara Gasser / Improvviso Youth Orchestra
/ Léa Legros / Sebastian Rotzler / Laura Schuler / Fork Burke / An Chen /
Hannah E. Hänni / Hari Köchli / Samuel Müller / Sarah Elena
Müller / Corina Schranz / Igor Stepniewski / Rea Dubach / Nicolas Engel</span><br /><br /><span style="font-size: x-small;"><strong>Vinyl Release Party is scheduled April 23, 2017 @ La Voirie in Biel/Bienne Switzerland - order new album <a href="https://www.cdbaby.com/cd/nicolasengel" target="_blank"><span style="color: #818181;">here</span></a><a href="https://www.youtube.com/watch?v=6eJtRaPkYe8" target="_blank">https://www.youtube.com/watch?v=6eJtRaPkYe8</a></strong></span></h2>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-30237439828287409532017-05-09T12:36:00.002-07:002017-05-09T12:36:40.796-07:00Checklist by Fork BurkeChecklist<br />
<br />
1 One way to destroy a country is to make a list<br />
2 The Universe is playful and exact<br />
3 What they want to remove is the memory of If you did it once You can do it again<br />
4 We go from childhood to confusion<br />
5 Not if I see you first<br />
6 Perception is based on knowledge<br />
7 The machines are always wrong<br />
8 Subject Changers<br />
9 Love Letters and sex substitutes<br />
10 rubber parts and school laboratory furniture<br />
11 replacements<br />
12 You still believe...<br />
13 Define crime<br />
14 How do you think you spell it<br />
15 Why are you asking<br />
16 Rituals for the murdered<br />
17 Bleeding gums<br />
18 The food has no access to it`s information when it is produced like that<br />
19 They either laughing at your god or profiting off your god<br />
20 Until African greatness is understood we...<br />
21 Spirituality is key<br />
22 Watch as well as pray<br />
23 You got to study it`s crimes as well as it`s virtue<br />
24 Where it all comes from<br />
25 It`s a good thing it`s inside you<br />
26 Why I left<br />
27 It`s painful but it`s true<br />
28 If you don`t know you don`t know<br />
29 The least you could do<br />
30 When the French moved in they assumed nothing great had ever happened<br />
31 North Africa - You know what happened<br />
32 I`m a prisoner not a visiting scholar<br />
33 DegreesForkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-38664323665999435232017-04-30T02:48:00.001-07:002017-04-30T02:52:03.690-07:0056---> jamika & fork & hughes & burroughs<a href="http://www.verseofapril.com/verseofapril/2017/4/19/56-jamika-fork-hughes-burroughs" target="_blank">http://www.verseofapril.com/verseofapril/2017/4/19/56-jamika-fork-hughes-burroughs</a><br />
<br />
<div class="video-caption-wrapper">
<div class="video-caption">
"Nowhere
Blues," an audio-visual-poem cutup inspired by a Langston
Hughes-William S. Burroughs collaboration between poets Jamika Ajalon
and Fork Burke.<br />
<br />
</div>
</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-73049347148959308882017-04-12T05:59:00.004-07:002017-04-12T06:09:24.236-07:00Those That This --- Issue 11 - featuring Napoleon`s Black Wife<a href="https://thosethatthis.com/poem/napoleons-black-wife/" target="_blank">https://thosethatthis.com/poem/napoleons-black-wife/</a><br />
<br />
THOSE THAT THIS !!!!!<br />
<br />
Issue 11 ----------Napoleon`s Black Wife<br />
I am honored to be included in this issue Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-69634722300903487762017-04-07T10:24:00.002-07:002017-04-07T10:26:25.714-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUC3597NAwRimrw1rDLxAY7oZwGksON7Rj7-mXiQRSskI3UrmYWu3hm2EOCZb4vkgFRzdCMm-n5fddcqWs3wkJv3ThMNQu4jUSTVaE0JNwx0WReCcT_Q8s24lCGLJx_s_peFQel-tzle8/s1600/17760043_10212129635376055_5394810504749320413_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUC3597NAwRimrw1rDLxAY7oZwGksON7Rj7-mXiQRSskI3UrmYWu3hm2EOCZb4vkgFRzdCMm-n5fddcqWs3wkJv3ThMNQu4jUSTVaE0JNwx0WReCcT_Q8s24lCGLJx_s_peFQel-tzle8/s320/17760043_10212129635376055_5394810504749320413_n.jpg" width="320" /></a></div>
April 18th at Berkeley Books Of Paris!Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-37137936347189407702017-01-22T02:01:00.004-08:002017-01-22T02:01:29.478-08:00Forever PUSSY<div style="margin-bottom: 0cm;">
PUSSY</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Pussy Pussy Pussy Pussy Pussy Pussy
Pussy over and over saying the space into juicy being – working
like sage clearing energy lifting spirit sharpening focus and
restoring joy
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Never mistake the work of destroying
this system as over again – push it over the cliff til it hits the
bottom til the chain is broken off every Woman Girl every Man Boy
every Animal every Molecule of water and Memory is restored and Dirt
nourishes and Food becomes real and the image of god ceases to be a
violent fiction and we teach our own Children and our Sex makes
living as a Human possible til the new Dreams are reality</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
we feel we know a we listen to a we
live We think with a critical We – don`t use it before that We well
come we well come on each we of us knows something that will make
this shift away from the dream of control solid – sisters who know
pussy power and portals etc – sisters with all kinds of tools -
make this shift this unfolding us now connect bleed on mother earth
for mother earth
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
We can now Be everything to each other
at once – we are Women we are humans we share this planet this
universe connect merge with earth - be the Earths Pussy and push
our life into being – I honor all the deities their love - anger -
sex - compassion - mothing - warrior - non mothering – keepers of
and agents of change and protection – that we may celebrate our
full being always when we look at each other</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
I SEE YOU</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Years ago when I lived in New York I
was taking a shower and what I can only describe now as the first cry
happened – All at once I allowed myself to feel how much we as
women were hated and feared by this system histroic and present
violence told it`s truth and I held it I witnessed it I did not turn
away and it broke something in me already broken – I could say I
had a break down in the shower that day but it also felt like I stood
in all the truth of the breaking – this morning I had what I now
call the second cry – I cried because all that In My Life Time
vision and the lie of impossible was broken yesterday because we have
to put an end to this system of power this system of unspeakable
horror – I cried because women showed up clear and willing to get
clear – I cried because I saw that women understand this is our
last chance and best chance – I cried because Women understand what
a Woman is - Women have been conditioned to be threatened by Women
and that isolation was broken yesterday with the image of all those
women sending out energy standing with every woman in every corner of
the world - some with a plan and deep experience some for the first
time – but being</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Yesterday I wathced all the images and
listened to voices and I bled into it
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Keep our Pussy`s leading know your
pussy know your power – put the needs of our life our living before
any country or patriarchal party because this is a different animal
so to speak
</div>
<div style="margin-bottom: 0cm;">
Pussy comes first which means we
understand what work we are all doing – the main thread the sexism
that is all the isms root that exist in order to chokes the life
energy of all people - those systems of control have no power over us
In This Now and forever And So It Is
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
There is no need to share everything in
social media there is a need to share everything - we have ways to
create to get it done – do that – a march serves a purpose - do
that when that needs to happen - all present – Confidence Restored
- something can happen - Orientation Day was powerful - Great
start Great continue I am so deeply moved – more than I expected
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<br />
<div style="margin-bottom: 0cm;">
I always have something to say about
the place I live to be critical of place to watch how it functions to
liberate spirit or weigh it down – Biel-Bienne was a hard (quiet)
place to be when Bowie died when Prince died and I have been starved
for a kind of active speak - yesterday I missed you all so much from
this quiet place – Every place offers unique combinations of the
tools we require – isolation has been shed dependence on patriarchy
has been shed - It`s aim on earth is ending life on earth – It is
the end of their story - Thank you to all the Women and Men Spirit
Ancestors Weapons Creativity Community and Warriors who have given us
what we need to SEE each other and be here now – We have all we
need to do the work – Remove this system from reality</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com2tag:blogger.com,1999:blog-4925767371403304379.post-30318239833163035432017-01-07T02:38:00.001-08:002017-01-07T02:38:18.790-08:00Checklist
<div style="margin-bottom: 0cm;">
</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
Checklist</div>
<div style="margin-bottom: 0cm;">
<br />
</div>
<div style="margin-bottom: 0cm;">
1 Disposable surveillance</div>
<div style="margin-bottom: 0cm;">
2 Mean pinched bitter evil faces</div>
<div style="margin-bottom: 0cm;">
3 Anger needs discipline and focus</div>
<div style="margin-bottom: 0cm;">
4 rare vintage</div>
<div style="margin-bottom: 0cm;">
5 preparation notes</div>
<div style="margin-bottom: 0cm;">
6 Always watch out for the true
believers
</div>
<div style="margin-bottom: 0cm;">
7 Mommy!</div>
<div style="margin-bottom: 0cm;">
8 Kill it while it`s alive</div>
<div style="margin-bottom: 0cm;">
9 Because what is given can be quickly
taken away</div>
<div style="margin-bottom: 0cm;">
10 doing nothing</div>
<div style="margin-bottom: 0cm;">
11 He flooded the net with himself</div>
<div style="margin-bottom: 0cm;">
12 I am comfortable excluding your
reality</div>
<div style="margin-bottom: 0cm;">
13 I`m gonna need more paper</div>
<div style="margin-bottom: 0cm;">
14 Henry needs his privacy</div>
<div style="margin-bottom: 0cm;">
15 Back in the box Grace</div>
<div style="margin-bottom: 0cm;">
16 I`m so proud of us</div>
<div style="margin-bottom: 0cm;">
17 We were seeds</div>
<div style="margin-bottom: 0cm;">
18 unspeakable triggers</div>
<div style="margin-bottom: 0cm;">
19 Feed the awakening well</div>
<div style="margin-bottom: 0cm;">
20 Take the definitions back</div>
<div style="margin-bottom: 0cm;">
21 premise and context</div>
<div style="margin-bottom: 0cm;">
22 Long birth of a poem</div>
<div style="margin-bottom: 0cm;">
23 When Christianity is no longer
useful to power it will be discarded</div>
<div style="margin-bottom: 0cm;">
24 Outlawed rituals</div>
<div style="margin-bottom: 0cm;">
25 Good citizens are the last to know</div>
<div style="margin-bottom: 0cm;">
26 fuck holidays</div>
<div style="margin-bottom: 0cm;">
27 state sponsored holiday celebration</div>
<div style="margin-bottom: 0cm;">
28 magnetic fields</div>
<div style="margin-bottom: 0cm;">
29 gravity flip</div>
<div style="margin-bottom: 0cm;">
30 you don`t know how to think about it
</div>
<div style="margin-bottom: 0cm;">
31 This reality is the definition of
mental illness</div>
<div style="margin-bottom: 0cm;">
32 The dream is the telling of the
dream</div>
<div style="margin-bottom: 0cm;">
33 Degrees</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-73801737222031778482016-11-11T13:11:00.000-08:002016-11-11T13:11:00.675-08:00Checklist1 Screaming Eagle<br />
2 Wherever there are words there is material for checklist<br />
3 BIG WIGS Golden Ponds Dinner Show<br />
4 Ava DuVernay<br />
5 Bean Pie<br />
6 Joyce Mansour<br />
7 Sick or Angry<br />
8 A truth for each context<br />
9 dadabusinesssmalltalkshit<br />
10 HELP is a prayer<br />
11 What are you going to do with it<br />
12 Sue Eko<br />
13 Reclaim Anger<br />
14 The roots determine the route<br />
15 fleeting and deliberate<br />
16 The end has many sounds<br />
17 The wrong incubator will consume your solitude and eat you alive<br />
18 The British Museum<br />
19 Limitation of the instrument<br />
20 MisEducation is no mistake<br />
21 We will have to prepare for the fully human being again<br />
22 Unleashing strategy<br />
23 You`ll never get those words back<br />
24 Public executions are pledges of allegiance<br />
25 If they fear your vote - vote<br />
26 What it kills to grow in <br />
27 The first step America is to admit you have a problem<br />
28 I love a poem that needs more than one poet<br />
29 The appetite grows for what it feeds on - Ida B. Wells<br />
30 Electoral College<br />
31 Get rid of - I think therefore I am<br />
32 Borders are off the map<br />
33 DegreesForkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-25410601619133438062016-11-10T06:08:00.003-08:002016-11-25T13:42:00.819-08:00Women's Rage from Marxism and the Interpretation of Culture, ed. Cary Nelson and Larry Grossberg (Champaign IL: University of Illinois Press, 1988) from Jump Cut, No. 31 (1985) by Julia Lesage<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: large;">Women's Rage</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">from <u>Marxism
and the Interpretation of Culture</u>, ed. Cary Nelson and Larry Grossberg (Champaign
IL: University of Illinois Press, 1988) </span><span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">from
<i>Jump Cut</i>, No. 31 (1985)</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">by Julia Lesage</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Feminism by itself
is not the motor of change. Class, anti-imperialist, and antiracist struggles
demand our participation. Yet how, specifically, does women's consciousness
change? How do women move into action? How does change occur? What political
strategies should feminists pursue? How, in our political work, can we constantly
challenge sexual inequality when the very social construction of gender oppresses
women?</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">In 1981 I visited
Nicaragua with the goal of finding out how and why change occurred there so
quickly in women's lives. "The revolution has given us everything,"
I was told. "Before the revolution we were totally devalued. We weren't
supposed to have a vision beyond home and children." In fact, many Nicaraguan
women first achieved a fully human identity within the revolution. Now they
are its most enthusiastic supporters. For example, they form over 50 percent
of the popular militias, the mainstay of Nicaragua's defense against United
States-sponsored invasions from Honduras and Costa Rica. In the block
committees, they have virtually eliminated wife and child abuse. Yet in Nicaragua
we still see maids, the double standard sexually, dissatisfaction in marriage,
and inadequate childcare. Furthermore, all the women I talked to defined their
participation in the revolution in terms of an extremely idealized notion of
motherhood and could not understand the choice not to reproduce.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">I bring up this
example of Nicaragua because Nicaraguan women are very conscious of the power
of their own revolutionary example. They know they have been influenced by the
Vietnamese and Cuban revolutions and are very much shaping how Salvadoran women
militants are looking at women's role in the Salvadoran revolution. Because
of the urgency and violence of the situation, unity between men and women was
and is necessary for their survival, but the women also want to combat, in an
organized and self-conscious way, specific aspects of male supremacy in
the workplace, politics, and daily life.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Both here and
in Nicaragua, women's daily conversation is about the politics of daily life.
They talk to each other often, complaining about men and about managing the
domestic sphere. Women's talk also encompasses complaints about poor and unstable
work conditions, and about the onerous double day. However, here in the United
States that conversation usually circulates pessimistically, if supportively,
around the same themes and may even serve to reconfirm women's stasis within
these unpleasant situations. Here such conversation offers little sense of social
change; yet in our recent political history, feminists have used this preexisting
social form--women's conversation in the domestic sphere--to create
consciousness-raising groups. But to what degree is consciousness raising
sufficient to change women's behavior, including our self-conception and our
own colonized minds?</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">We do not live
in a revolutionary situation in the United States. There is no leftist political
organization here providing leadership and a cohesive strategy, and in particular
the struggle against women's oppression is not genuinely integrated into leftist
activity and theory. Within such a context, women need to work on another, intermediate
level, both to shape our revolutionary consciousness and to empower us to act
on our own strategic demands. That is, we need to promote self-conscious,
collectively supported, and politically clear articulations of our anger and
rage.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Furthermore,
we must understand the different structures behind different women's rage. Black
women rage against poverty and racism at the same time that they rage against
sexism. Lesbians rage against heterosexual privilege, including their denial
of civil rights. Nicaraguan women rage against invasions and the aggressive
intentions of the United States. If, in our political work, we know this anger
and the structures that generate it, we can more genuinely encounter each other
and more extensively acknowledge each other's needs, class position, and specific
form of oppression. If we do not understand the unique social conditions shaping
our sisters' rage, we run the risk of divisiveness, of fragmenting our potential
solidarity. Such mutual understanding of the different structures behind different
women's anger is the precondition of our finding a way to work together toward
common goals.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">I think a lot
about the phenomenon of the colonized mind. Everything that I am and want has
been shaped within a social process marked by male dominance and female submission.
How can women come to understand and collectively attack this sexist social
order? We all face, and in various ways incorporate into ourselves, sexist representations,
sexist modes of thought. Institutionally, such representations are propagated
throughout culture, law, medicine, education, and so on. All families come up
against and are socially measured by sexist concepts of what is "natural"--that
is, the "natural" roles of mother, children, or the family as a whole.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Of particular
concern to me is the fact that I have lived with a man for fifteen years while
I acutely understand the degree to which heterosexuality itself is socially
constructed as sexist. That is, I love someone who has more social privilege
than me, and he has that privilege because he is male. As an institution, heterosexuality
projects relations of dominance and submission, and it leads to the consequent
devaluation of women because of their sex. The institution of heterosexuality
is the central shaping factor of many different social practices at many different
levels--which range, for example, from the dependence of the mass media
on manipulating sexuality to the division of labor, the split between the public
and private spheres, and the relations of production under capitalism. Most
painfully for women, heterosexuality is a major, a social and psychological
mode of organizing, generating, focusing, and institutionalizing desire, both
men's and women's. Literally, I am wedded to my own oppression.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Furthermore,
the very body of woman is not her own--it has been constructed by medicine,
the law, visual culture, fashion, her mother, her household tasks, her reproductive
capacity, and what Ti-Grace Atkinson has called "the institution
of sexual intercourse." When I look in the mirror, I see my flaws; I evaluate
the show I put on to others. How do I break through representations of the female
body and gain a more just representation of my body for and of myself?</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">My social interactions
are shaped by nonverbal conventions which we all have learned unconsciously
and which are, as it were, the glue of social life. As Nancy Henley describes
it in <i>Body Politics, </i>women's nonverbal language is characterized by shrinking,
by taking up as little space as possible. Woman is accessible to be touched.
When she speaks in a mixed group, she is likely to be interrupted or not really
listened to seriously, or she may be thought of as merely emotional. And it
is clear that not only does the voyeuristic male look shape most film practice,
but this male gaze, with all its power, has a social analog in the way eye contact
functions to control and threaten women in public space, where women's freedom
is constrained by the threat of rape.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">We need to articulate
these levels of oppression so as to arrive at a collective, shared awareness
of these aspects of women's lives. We also need to understand how we can and
already do break through barriers between us. In our personal relations, we
often overcome inequalities between us and establish intimacy. Originally, within
the women's movement we approached the task of coming together both personally
and politically through the strategy of the consciousness-raising group,
where to articulate our experience as women itself became a collective, transformative
experience. But these groups were often composed mostly of middle-class
women, sometimes predominantly young, straight, single, and white. Now we need
to think more clearly and theoretically about strategies for negotiating the
very real power differences between us. It is not so impossible. Parents do
this with children, and vice versa; lovers deal with inequalities all the time.
The aged want to be in communion with the young, and third-world women
have constantly extended themselves to their white sisters. However, when women
come together in spite of power differences among them, they feel anxiety and
perhaps openly express previously suppressed hostility. Most likely, such a
coming together happens when women work together intensively on a mutual project
so that there is time for trust to be established.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Yet as we seek
mutually to articulate the oppression that constrains us, we have found few
conceptual or social structures through which we might authentically express
our rage. Women's anger is pervasive, as pervasive as our oppression, but it
frequently lurks underground. If we added up all of women's depression--all
our compulsive smiling, ego-tending, and sacrifice; all our psychosomatic
illness, and all our passivity--we could gauge our rage's unarticulated,
negative force. In the sphere of cultural production there are few dominant
ideological forms that allow us even to think "women's rage." As ideological
constructs, these forms end up containing women.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Women's rage
is most often seen in the narratives that surround us. For example: Classically,
Medea killed her children because she was betrayed by their father. Now, reverse-slasher
movies let the raped woman pick up the gun and kill the male attacker. It is
a similar posture of dead end vengeance. The news showed Patty Hearst standing
in a bank with a gun embodying that manufactured concept "terrorist,"
and then we saw her marrying her FBI bodyguard long after her comrades went
up in flames. In melodrama and film noir, as well as in pornography, women's
anger is most commonly depicted through displacement onto images of female insanity
or perversity, often onto a grotesque, fearful parody of lesbianism. These displacements
allow reference to and masking of individual women's rage, and that masked rage
is rarely collectively expressed by women or even fully felt.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">We have relatively
few expressions of women's authentic rage even in women's art. Often on the
news we will see a pained expression of injustice or the exploitative use of
an image of a third- world woman's grief. Such images are manipulated purely
for emotional effect without giving analysis or context. Some great feminist
writers and speakers such as Mary Wollstonecraft, Virginia Woolf, Elizabeth
Cady Stanton, and Harriet Tubman have provided models by which we can understand
ourselves, but too often the very concept of "heroine" means that
we hold up these women and their capacity for angry self-expression as
the exception rather than the rule.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">In Illinois,
women chained themselves together in the state house when it was clear that
the ERA would not pass; the women sought to express our collective anger at
our legislators' cowardice and to do so in a conspicuous, public way. But actions
such as these often have little effect beyond their own time span. We need to
think beyond such forms to more socially effective ones. It is a task open to
all our creativity and skill--to tap our anger as a source of energy and
to focus it aesthetically and politically. We may have to combine images of
anger with something else--say, images of how women can construct the collectivity
as a whole. It is here that, by their example, our third-world sisters
have often taken the lead. Rosa Parks refusing to sit in the back of the bus,
Harriet Tubman leading slaves to the North, an Angolan mother in uniform carrying
a baby and a rifle, a Vietnamese farmer tilling and defending her land, Nicaraguan
women in their block committees turning in wife abusers to the police--these
images let us see that women can gain more for themselves than merely negating
the bad that exists. And it is in their constant need to attack both sexism
and racism, as well as poverty and imperialist aggression, that third-world
feminists now make us all see much more clearly both the urgent need for and
the possibility of reconstructing the whole world on new terms.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Artistically,
emotionally, and politically women seem to need to glimpse dialectically the
transcendence of our struggle against sexism before we can fully express sexism's
total negation, that is, our own just rage. Sometimes our suppressed rage feels
so immense that the open expression of it threatens to destroy us. So we often
do not experience anger directly and consciously, nor do we accurately aim our
rage at its appropriate target. To transcend negation and to build on it means
that we have to see what is beyond our rage. An example of such transcendence
was demonstrated by Nicaraguan mothers of "martyred" soldiers (those
killed by U.S.-paid counterrevolutionaries) to Pope John Paul II when
he visited Managua in April 1983. They stood in the rows closest to the podium
where the Pope spoke and they all bore large photos of their dead children.
As the events of the day unfolded, the women created an image that stirred the
whole people, one that the Pope could not go beyond or even adequately respond
to. Here is what happened: The Pope spoke on and on to the gathered crowd about
obeying the hierarchy and not getting involved with the things of this world.
In frustration and anger, the women began to shout, "We want peace,"
and their chant was taken up by the 400,000 others there. The women's rage at
personal loss was valorized by the Nicaraguan people as a whole, as the grieving
mother became a collective symbol of the demand for peace. The chant, "We
want peace," referred simultaneously to national sovereignty, anti-imperialism,
religion, and family life. The women spoke for the whole.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">This brings me
back to my original question about women's political action in the United States
today. One of the major areas of investigation and struggle in the women's movement
has been the sphere of daily life. This struggle, represented by an early women's
movement phrase--"the personal is the political"--derives
from women's real material labor in the domestic sphere and in the sphere of
social relations as a whole. Women have traditionally done the psychological
labor that keeps social relations going. In offices, in neighborhoods, at home,
they often seek to make the social environment safe and "better,"
or more pleasant. That such labor is invisible, particularly that it is ignored
within leftist theory and practice, is one of the more precise indices of women's
oppression. And it is feminists' sensitivity to and analysis of social process
that clarifies for them the sexism on the Left. Often at a leftist conference
or political meeting, many men continue to see women and women's concerns as
"other," and they do not look at what the Left could gain from feminist
theory or from women's subcultural experience or from an analysis of women's
labor. Women who come to such an event have already made a commitment to learn
and to contribute, so they make an effort to continue along with the group as
a whole but are impeded by sexist speakers' intellectual poverty (e.g., use
of the generic "he"), macho debating style, and distance from political
activism. Furthermore, not only women feel this political invisibility at leftist
events. When black labor and black subcultural experience in the United States
is not dealt with, nor is imperialism, or when racism is theoretically subsumed
under the rubric of "class oppression" and not accorded its specificity,
then third-world participants face the same alienation.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">To demonstrate
this process and analyze what divides us, I will describe an incident that occurred
at the Teaching Institute on Marxist Cultural Theory in June 1983. It is worth
discussing because it is the kind of incident that happens all too often among
us on the Left. Early in that summer session, a coalition of students and the
two women faculty members, Gayatri Spivak and me, formed to present a protest
statement to the faculty. It was read in every class. Here is what it said:</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">The Marxist-Feminist
Caucus met on Friday June 17th and concluded that the "limits, frontiers
and boundaries" of Marxist cultural theory as articulated by the Teaching
Institute excluded and silenced crucial issues of sexism, racism and other forms
of domination. We find ourselves reproducing in the classrooms of the Teaching
Institute the very structures which are the object of our critique. The Marxist-Feminist
Caucus therefore proposes that each class set aside an hour weekly to discuss
strategic silences and structural exclusions. A Marxism that does not problematize
issues of gender and race, or of class consciousness in its own ranks, cannot
hope to be an adequate tool for either social criticism or social transformation.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">The institute
had a format of having famous Marxist intellectuals lecture, specifically males
with job security who have never incorporated a feminist analysis into their
theoretical work. Both the format and the content of their lectures enraged
some of us, but not others. In a sense, writing a protest statement divided
the school's participants between the political ones and the consumers of Marxist
theory. This is because critical theory itself has become a pathway for elitist
advancement in the humanities and social sciences in universities where these
areas are facing huge cutbacks. And the canon of that critical theory is based
on Marx and Freud and their contemporary interpretants, Althusser and Lacan.
Both at the Teaching Institute and at prestigious universities, young academics
could get their quick fix of Marxism, the knowledge of which could help greatly
in their academic career.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">This is a capitalist
mode of consuming knowledge. Too many students, especially career- pressured
graduate students, want only a well conceived lecture, a digest of Marxist theory
and social analysis, something that can be written in a notebook, taken home,
and quoted from in a future paper or journal article. Furthermore, we intellectuals
fall into this capitalist competitive mode. We feel pressured inside ourselves
to be the best. Students are told to buy the best. All the faculty at the Teaching
Institute felt that they could not make a mistake, that they had to read and
show they had read everything, that they had been challenged on their political
practice, accused of being racist or sexist or undemocratic. Our control over
the classroom and studied theoretical polish became a kind of professional hysteria
and worked against the collective building of Marxist knowledge and theory that
we have needed for more effective social change.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Since the early
1970s women have come together in meetings like these, in feminist seminars,
caucuses, and workshops, partly in resistance to a certain macho leftist or
academic style and partly to build a new body of knowledge and feminist political
practice. And we have been successful at doing this but it has meant double
or triple work for us. Feminist scholarship does not usually lead to academic
promotion for a woman. The knowledge women produce is easily marginalized, as
was made painfully obvious at that summer school.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Feminists and
third-world students came to the Teaching Institute knowing how much they
needed Marxist theory. They understood that abolishing capitalism and imperialism
was the precondition for liberation. They came as political participants expecting
to learn theoretical tools to use in fighting oppression. But sex and race were
too often ignored--I would say stupidly ignored--as social determinants
in the theories presented about social change. (Beyond that, students felt intimidated
by name-dropping and teachers' and other students' failure to explain
terms. They felt they had to give a polished rebuttal or a cohesive "strategic
intervention" before they could speak to refute a lecturer's point.) And
when students raised issues of sexism or racism, deflection became the all too
frequent tactic used by teachers or some of the white male students in response.
No wonder that women, with their sex-role socialization, were often too
intimidated to speak.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">This is a sad
analysis, but not an infrequent one in academia. It speaks about political theory
and academic sexism and racism, and elitism and class privilege. The incident
reveals much of what divides politically progressive people in the United States.
These differences must be acknowledged in depth if we are to work together politically
in a coalition form. In particular, I understand the texture of women's silence
in a forum that demanded a highly rational and developed intervention. Many
of the women students at the Teaching Institute already produced feminist theory,
but the intimidating nature of this kind of aggressive public speaking made
them seem like nonparticipants. And it often happens to me, too. I know that
we watch and despair of our own colonized psyches which hold us back in silence
precisely when we would choose to be political actors, especially in a Marxist
forum.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">What we have
seen in the 1970s and 1980s in North America and Europe is a supercession of
political forms related to developments in radical consciousness. Conditions
have evolved in the United States that make it impossible to conceive of a revolutionary
organizing strategy that does not embrace a black and minority revolution and
a feminist revolution. The lesson of the civil rights/black power movement was
that blacks will organize autonomously. Now it is the offspring of that movement,
Jesse Jackson's Rainbow Coalition, that has taken the lead in building an anti-imperialist
coalition that addresses the specific struggles and organizing forms of blacks,
Latinos, women, and gays. Such a coalition relates to the existence of the women's
movement, the gay and lesbian movement, the anti-imperialist movement,
by supporting these groups' autonomous organizing and granting new respect,
not by subsuming or controlling them. Furthermore, at this point in U.S. history,
issues of mass culture and mass communication have to be dealt with, so that
minority figures such as Jesse Jackson or Harold Washington, Chicago's black
major, have developed an ongoing analysis about racism in the press.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">As a feminist
who has worked both in the cultural sphere and in anti-imperialist work,
I have experienced this supercession of forms. In the early 1970s a politically
active woman was either "on the Left" or "in the independent
women's movement." Some socialist feminists within leftist organizations
formed caucuses to try to influence their organizations. In the 1970s I chose
to work mostly within the independent women's movement, especially in creating
a women's studies program at an urban university. In developing feminist media
now within the women's movement, I find many of my sisters addressing broader
issues of imperialism, racism, class oppression, and the nuclear threat. Many
of us are joining progressive coalitions around these issues. Within these coalitions
we must be able openly to declare, "I am a feminist and our feminist position
represents the most advanced stand. You men have to join us." Indeed, many
men, often younger men, have. As feminists, we are the ones who are building
a whole theoretical critique of mass culture and mass communication; we are
the ones who are learning how to appropriate all of culture in an oppositional
way. And because of our historical position in advanced capitalism, we are one
of the first social movements to address cultural issues in such a thorough
and complex way.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Many feminists
are eager to participate in coalitions, the major political strategy for us
in the 1 980s. In Chicago, we saw the women's movement and the Left work to
elect Harold Washington. In the San Francisco area, gays and lesbians have formed
a Central America support group. Both in the United States and abroad, the antinuclear
movement contains within it all-women's affinity groups. Latinos in various
areas identify and organize as Puerto Rican or Mexican-American according
to their ethnic origins and concentration, and also unite in Central American
solidarity work. This great diversity of sectoral organizing enriches all of
us who are working for social change.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Some of the best
aspects of current progressive organizing have, in fact, derived specifically
from the development of the contemporary women's movement. I mentioned the consciousness-raising
groups earlier. I think the women's movement has introduced into political discourse
an open and direct critique of the macho style and political posturing of many
male leaders. As feminist activists, we have created among ourselves new forms
of discussion and a creative, collective pursuit of knowledge--in contrast
to an older, more aggressive, male debating style. Particularly important for
me, the women's movement has pursued and validated as politically important
cultural and artistic work. In Chicago, where I live, I experience a strong
continuum and network among community-based artists and women in the art
world. We have built up intellectual ties between academic women and feminist
film- and videomakers who have created an analysis of how sexuality is
manipulated in the visual culture that surrounds us. As a consequence, feminist
film criticism has developed a new theoretical framework for analyzing ideology
and the mass media. In fact, I think that our building of a feminist cultural
theory has made a key contribution to the Left and to revolutionary movements
throughout the world.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">When I want to
consider how unleashing our anger might capacitate us to act for change, I reconsider
Frantz Fanon's essay "Concerning Violence" in <i>The Wretched of the
Earth. </i>In that essay he describes decolonization, particularly the process
by which the native sheds the colonizer's values and the colonizer's ways. I
understand that my black and Latina sisters in the United States experience
a rage against the economic and racial violence perpetrated every day against
them; in a way that is similar to what Fanon describes: this rage knows its
resolution lies in a complete change of the economic order in which we live.
At the same time, I must ask what kind of rage it would be that would effectively
contest women's oppression--given all the levels at which gender inequality
and women's oppression is articulated in social and personal life. What Fanon
describes to us is a specific historical moment at which mental colonization
can be and is surpassed. As I look at women's mental colonization, I see our
internalized sense of powerlessness, our articulation into masochistic structures
of desire, and our playing out of personae that on the surface seem "passive,"
"self-defeating," "irrational," "hesitant,"
"receptively feminine," or even "crazy." Much of this behavior
stems from internalized and suppressed rage. Fanon describes such behavior in
the colonized and posits active rage, the violent response to violence, as its
cure.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">What would the
overturning of male supremacy and women's colonization mean to women? How would
it be accomplished? Fanon understands that a whole social structure and a new
kind of person must come into being, and that those with privilege know, fear,
and resist this. His call to armed struggle, based on the very clear demarcations
and abuses of power that the native always sees, signals a survival struggle
that does not characterize the war between the sexes. As I read Fanon for what
he can teach me about women's resistance to oppression in nonrevolutionary society,
I read him as a communist psychiatrist talking about how social movements can
change the mentality of the oppressed. When I ask about revolution for women
now, minimally I see that our contestation cannot be conducted in the mode of
nice girls, of managing the egos of and patiently teaching those who oppress,
which is a skill and duty we learned from our mothers in the domestic sphere.
If we do so, once again we will be placed in that very role of "helpmate"
that we are trying to overcome. Angry contestation may take us the extra step
needed to overcome our own colonized behavior and tardy response.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Let me now rewrite
for you parts of Fanon's essay to show its power when discussing the relation
between psychological and social change. The distance between the violence of
colonization and its necessary response in armed struggle, and the emotional
rage I am referring to here in combating sexism, marks the distance between
the periphery and the center of international capitalism. By using Fanon in
this way, I do not wish to co-opt him for the women's movement but to
learn from him, just as I learned from the Nicaraguan women's courage and tenacity.
If women must learn to be openly angry, we must learn to draw links between
ourselves and those who are more oppressed, to learn new methods of struggle
and courageous response.</span><br />
<blockquote>
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Combating women's
oppression as we know it is a historical process: that is to say, it cannot
become intelligible or clear to itself except in the exact measure that we
can discern the movements that give it historical form and content. Combating
women's oppression is the meeting of two intrinsically opposed forces, which
in fact owe this originality to that sort of substantification that results
from and is nourished by the social construction of gender. The husband is
right when he speaks of knowing "them" well--for it is men who perpetuate
the function of wife. Men owe the reproduction of their bodies and psyches
to the family.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Feminist revolution
never takes place unnoticed, for it influences individuals and modifies them
fundamentally. It transforms passive femininity crushed with inessentiality
into privileged agency under the floodlights of history. A new kind of woman
brings a new rhythm into existence with a new language and a new humanity;
combating women's oppression means the veritable creation of new women who
become fully human by the same process by which they freed themselves.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">Feminists who
decide to put their program into practice and become its moving force are
ready to be constantly enraged. They have collectively learned that this narrow
world, strewn with prohibitions, can only be called into question by absolute
contestation.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">The sex-gender
system is a world divided into compartments. And if we examine closely this
system of compartments, we will at last be able to reveal the lines of force
it implies and to mark out the lines on which a nonoppressive society will
be reorganized.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">At the level
of individuals, anger is a cleansing force. It frees the woman from her inferiority
complex and from despair and inaction; it makes her fearless and restores
her self-respect.</span></blockquote>
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">At this point
I will stop citing from and reworking Fanon, deliberately at the point of individual
rage. Now is a time when we need to work in coalitions, but we must be very
honest about what divides us and what are the preconditions we need before we
can work together. I have made the decision to work in leftist and feminist
cultural work and in Latin American solidarity work. I think in all our strategies
we must analyze the relation of that strategy to feminist, antiracist, and anti-
imperialist demands. Women comprise over half the population; any class issues
in the United States are intimately tied to the question of racism; we all live
off the labor of workers, often underpaid women, in the Third World; and socialist
revolution is being waged very near us. Personally, I know that it is by my
contact with Nicaraguan women, who insist that men and women must struggle together
for our mutual liberation, that I have been politically and emotionally renewed.</span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: small;">The problems
grow more acute. We know that the Right is racist, homophobic, and sexist. We
in the women's movement must stop turning our anger against each other and learn
the most effective ways to work together for social change. We can focus our
anger and harness it, but to do that we must clearly analyze cause and effect.
If theory accompanies anger, it will lead to effective solutions to the problems
at hand. We have great emotional and social power to unleash when we set loose
our all too often suppressed rage, but we may only feel free to do so when we
know that we can use our anger in an astute and responsible way.</span>Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-57074315458717840892016-10-13T10:50:00.003-07:002016-10-13T10:50:44.450-07:00<a href="http://www.theaterneumarkt.ch/plattform-10/veranstaltungen/Reclaim-Anger.html">http://www.theaterneumarkt.ch/plattform-10/veranstaltungen/Reclaim-Anger.html</a><br />
<br />
<div class="float-block">
<h1 class="clear">
<span class="title-6">Reclaim Anger oder Zorn ist Visionär</span>
</h1>
</div>
<div class="float-block space-top5">
<span class="bold">Gespräche, Gedichte, Performance über weiblichen Zorn</span>
</div>
<div class="float-block space-top10 bold">
Mit: Fork Burke, Güzin Kar, Franziska Schutzbach<br />
<br />
<br />
</div>
<div class="float-block space-top10">
<span class="bold">
</span>
</div>
<div class="float-block space-top10">
<span class="bold">
TICKETS für Vorstellungen am: <br />
<span class="future"><a class="link inline highlight" href="http://webshop.zurichticket.ch/tan.webshop/webticket/shop?event=2929" target="_blank">Sa 12. Nov., 20.00 Uhr</a></span>
</span>
</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-4784847003731713252016-10-13T10:41:00.002-07:002016-10-13T10:41:28.892-07:00Unrecognizable<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:HyphenationZone>21</w:HyphenationZone>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>DE-CH</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="372">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Normale Tabelle";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-fareast-language:EN-US;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Speak of
edges – no not this – The We you look longer for – Unprotectable square eyed</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The last
don`t writings – disappearing high silences</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">poems that
reverse poems</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">What a We
of weapons </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Here the
body is slow and elegant<span style="mso-spacerun: yes;"> </span>- untapped<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span lang="EN" style="mso-ansi-language: EN;"></span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">Unformed </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">understanding
forced reference <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">Constructed
whiteness my eyes no longer adjust – I recognize nothing </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">Stepping over saints
pushed into pockets - snatching us back from death</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">St John of
the cross </span><span lang="EN" style="mso-ansi-language: EN;"></span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">the fluids </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">Drain back into
the wound</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">poems come before
this denial </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">resistance is
disease </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">What can I do
with dada that I can`t <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>do <span style="mso-spacerun: yes;"> </span>alone</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">The poems are as
out of place as<span style="mso-spacerun: yes;"> </span>We are</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">reverse the curse
– What language is the one we don’t understand – write in this language</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">every reality
constructed by Whiteness<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>is a crime </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">we are lazy and
let them continue to make square buildings</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">This us and them <span style="mso-spacerun: yes;"> </span>believe in dead and gone – silences last
voice and mother trees –<span style="mso-spacerun: yes;"> </span>seals
portals<span style="mso-spacerun: yes;"> </span>with <span style="mso-spacerun: yes;"> </span>rest in peace</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">We fail to protect
<span style="mso-spacerun: yes;"> </span>- <span style="mso-spacerun: yes;"> </span>who I am<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>who you were <span style="mso-spacerun: yes;"> </span>who is coming</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">We fail to
protect immortality </span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">The horror of
them loving you more than you love them</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">words come later
at first – there are no words to make it out of here – Unprotectable people
require Unrecognizable poems<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">I am real and I
only see you</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-174380157379794392016-10-02T02:45:00.001-07:002016-10-02T02:45:43.773-07:00“I want the following word: splendor, splendor is fruit in all its succulence, fruit without sadness. I want vast distances. My savage intuition of myself.” <br />― <a class="authorOrTitle" href="https://www.goodreads.com/author/show/86098.Clarice_Lispector">Clarice Lispector</a>, <span id="quote_book_link_153462"><a class="authorOrTitle" href="https://www.goodreads.com/work/quotes/148140">The Stream of Life</a></span>Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-69786127515671261112016-10-01T11:04:00.001-07:002016-10-01T11:07:56.479-07:00Upcoming Performance<a href="http://www.theaterneumarkt.ch/plattform-10/veranstaltungen/Reclaim-Anger.html">http://www.theaterneumarkt.ch/plattform-10/veranstaltungen/Reclaim-Anger.html</a><br />
<br />
<span class="title-6">Reclaim Anger oder Zorn ist Visionär</span><br />
<div class="float-block space-top5">
<span class="bold"><span style="font-family: Thread-00000b70-Id-000000d0;">Gespräche, Gedichte, Performance über weiblichen Zorn</span></span> </div>
<div class="float-block space-top10 bold">
Mit: Fork Burke, Güzin Kar, Franziska Schutzbach<br />
<br />
</div>
<div class="float-block space-top10">
<span class="bold"></span> </div>
<div class="float-block space-top10">
<span class="bold"><span style="font-family: Thread-00000b70-Id-000000d0;"> TICKETS für Vorstellungen am: <br /><span class="future"><a class="link inline highlight" href="http://webshop.zurichticket.ch/tan.webshop/webticket/shop?event=2929" target="_blank"><span style="color: black;">Sa 12. Nov., 20.00 Uhr</span></a></span> </span></span><br />
<span class="bold"><span style="font-family: Thread-00000b70-Id-000000d0;"><div class="bold">
</div>
</span>Die ‹wütende Frau› ist eine zentrale Figur in Geschichte und Mythologie. Mal tritt sie in Gestalt der Hexe auf, mal als Medusa, Kindsmörderin, frustrierte Emanze, böse Mutter oder ‹angry black Woman›. Der Mythos vom ‹ewig bösen Weib› hat seit jeher die Funktion, den Einfluss von Frauen zurückzubinden oder zu diskreditieren. Die feministische Autorin Audre Lorde fordert deshalb Frauen auf, Wut selbstbestimmt und positiv zu besetzen und in den öffentlichen Raum zu tragen. Denn Wut ist visionär. Und der Kampf um weibliche Sichtbarkeit kann nicht höflich geführt werden.<br />
Eine Hommage an den Zorn.<br />
Ein kontroverser, wütender und verspielter Abend mit der Spoken Word-Künstlerin <a href="http://forkburke.blogspot.ch/"><span style="color: black;">Fork Burke</span></a>, der Drehbuchautorin und Filmregisseurin <a href="http://guzin.ch/"><span style="color: black;">Güzin Kar</span></a> und der Geschlechterforscherin und Bloggerin <a href="https://franziskaschutzbach.wordpress.com/franziska-schutzbach/"><span style="color: black;">Franziska Schutzbach</span></a></span><div class="bold">
</div>
</div>
<div class="stage space-top10">
<div class="slider-prev" style="cursor: pointer;">
</div>
</div>
<div class="rich-text clear float-block space-top10 space-bottom10">
</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-44067082641616296842016-10-01T04:48:00.000-07:002016-11-13T06:40:06.380-08:00Checklist by Ste Epi Phany<div class="_4lmk _2vxa autofocus _5s6c" id="js_9e" tabindex="-1">
<div class="">
<div class="_42ef _8u">
<div class="_3uhg">
<div class="_4_j7 _5s6c">
<a href="https://www.facebook.com/notes/ste-epi-phany/tschecklischte/10154649761922789">tschecklischte</a></div>
1. navegando el oceano de los deseos<br />2. mis amigas sin huevos<br />3. sinnliche wahrnemungen sind die oberfläche des hier und jetzt<br />4. o arrepio musical<br />5. cada indicio de inverno es un saludo de tu llegada<br />6. i had to sit in the no fun chair<br />7. jetzt zerbrechen Sie sich mal nicht meinen Kopf!<br />8. "what is the immediate thing that you need most..? ...is it wood<span class="text_exposed_show">? medicine? food? bodies? or all of the above?"<br /> - "love"<br />9. to tao loca porque to careta!<br />10. hablar ya ayuda<br />11. es gibt nichts, was mehr Salka ist als ein kolobri!<br />12. das mikro macht mich dumm!<br />13. mich von deinen worten ernähren<br />14. mich von deiner stimme ernähren<br />15. büroman<br />16. sí; creo que los pajaros deben poder volar<br />17. zervixschleim deluxe<br />18. an amazing homeless<br />19. hemos hablado del amor en 2012?<br />20. hood-karma<br />21. eigeblödler<br />22. lungefueter<br />23. um himmels wille stefanie<br />24. du weisch ja, wänns winter wird, wird amigs mega komisch...<br />25. 5-fach allein<br />26. i wött au öpper kenne wo neo heisst<br />27. grüessech wohl herr selassie<br />28. es la vulgaridad que me envenena<br />29. eine katze, die an der leine ist, kann nur zerren und fauchen<br />30. peschtalozzi spile<br />31. jugar en tu cama<br />32. quiero que me cuentes todo sobre mi hermano<br />33. degree</span><br />
<br />
<br />
<br />
<a class="_2yug" href="https://www.facebook.com/schteffani" target="_blank">Ste Epi Phany</a><span class="_4_mg">·</span><a class="uiLinkSubtle" href="https://www.facebook.com/notes/ste-epi-phany/checist/10154625518822789">Saturday, 5 November 2016</a><span class="_4_mf"></span></div>
</div>
</div>
<div class="_39k5 _5s6c">
<div>
<div class="_2cuy _3dgx _2vxa">
1. mi cuerpo desnudo</div>
<div class="_2cuy _3dgx _2vxa">
2. Hello Eternal Loving Presence!</div>
<div class="_2cuy _3dgx _2vxa">
3. take the focus off the man</div>
<div class="_2cuy _3dgx _2vxa">
4. my talent to suffer has lead me to wrong decision making</div>
<div class="_2cuy _3dgx _2vxa">
5. sado loving feminist?</div>
<div class="_2cuy _3dgx _2vxa">
masochist martyr feminists?</div>
<div class="_2cuy _3dgx _2vxa">
sexist loving feminist?</div>
<div class="_2cuy _3dgx _2vxa">
6. un amigo amigo</div>
<div class="_2cuy _3dgx _2vxa">
7. love is deepening the truth that we can tell each other</div>
<div class="_2cuy _3dgx _2vxa">
8. to the life that’s right here</div>
<div class="_2cuy _3dgx _2vxa">
10. machs gut und danke! - danke wofür? - genau!</div>
<div class="_2cuy _3dgx _2vxa">
11. i bi zuckerfrei</div>
<div class="_2cuy _3dgx _2vxa">
12. der Raum der 1000 Umarmungen</div>
<div class="_2cuy _3dgx _2vxa">
13. mandar un abrazo</div>
<div class="_2cuy _3dgx _2vxa">
14. online commitment</div>
<div class="_2cuy _3dgx _2vxa">
15. analoge liebe</div>
<div class="_2cuy _3dgx _2vxa">
16. depressive begabung</div>
<div class="_2cuy _3dgx _2vxa">
17. ig bi wenigschtens na fründlech diiir huere wixxer!!!</div>
<div class="_2cuy _3dgx _2vxa">
28. priiv gebrieft</div>
<div class="_2cuy _3dgx _2vxa">
29. nett ist ja bekanntlich der bruder von arschloch</div>
<div class="_2cuy _3dgx _2vxa">
30. mit bösen grüssen</div>
<div class="_2cuy _3dgx _2vxa">
31. yael naim ft. spleen</div>
<div class="_2cuy _3dgx _2vxa">
32. lets fuckin' meet!</div>
<div class="_2cuy _3dgx _2vxa">
33. degrees</div>
</div>
</div>
<br />
checklist</div>
<div class="_2yud clearfix" direction="left">
<div class="_ohe lfloat">
<div class="_2yuf img _8o _8r" style="background-image: url("https://scontent-frt3-1.xx.fbcdn.net/v/t1.0-1/c0.0.50.50/p50x50/154303_464112117788_8031132_n.jpg?oh=351af42190286194a4dee55a0f972688&oe=58AD4A46");">
</div>
</div>
<div>
<div class="_42ef _8u">
<div class="_3uhg">
<a class="uiLinkSubtle" href="https://www.facebook.com/notes/ste-epi-phany/checklist/10154455588902789"> 13 September 2016</a><span class="_4_mf"><span display="inline"><a aria-label="Shared with: Public" class="uiStreamPrivacy inlineBlock fbStreamPrivacy fbPrivacyAudienceIndicator" data-hover="tooltip" data-tooltip-content="Shared with: Public" href="https://www.facebook.com/notes/ste-epi-phany/checklist/10154455588902789#" id="u_6j_2" role="button"><i class="lock img sp_gcs3KwMIzoZ sx_aa64a1"></i></a></span></span></div>
</div>
</div>
</div>
<div class="_39k5 _5s6c">
<div display="block">
<div class="_2cuy _3dgx _2vxa">
1. he wants an insecure girl</div>
<div class="_2cuy _3dgx _2vxa">
2. mein bauch geht nirgendwo hin</div>
<div class="_2cuy _3dgx _2vxa">
3.eichelziegerterror</div>
<div class="_2cuy _3dgx _2vxa">
4. schmeichelfalle</div>
<div class="_2cuy _3dgx _2vxa">
5. gute masturbation = mehr unabhängigkeit</div>
<div class="_2cuy _3dgx _2vxa">
6. hoy hice el amor y pensé en mi</div>
<div class="_2cuy _3dgx _2vxa">
7. die wahrheit in frage zu stellen macht keinen sinn</div>
<div class="_2cuy _3dgx _2vxa">
8. mamãe, tem um philosopho debaixo da cama!</div>
<div class="_2cuy _3dgx _2vxa">
9. aber das weisst du doch nicht!</div>
<div class="_2cuy _3dgx _2vxa">
10. schlechtes gewissen verbreiten</div>
<div class="_2cuy _3dgx _2vxa">
10. freiwillig verliebt</div>
<div class="_2cuy _3dgx _2vxa">
11. mein herz sagt: ich will freude haben!</div>
<div class="_2cuy _3dgx _2vxa">
12. ins leben einsinken</div>
<div class="_2cuy _3dgx _2vxa">
13. you can only get there from here</div>
<div class="_2cuy _3dgx _2vxa">
14. trust is contagious</div>
<div class="_2cuy _3dgx _2vxa">
15. beeing in touch with what really matters to you</div>
<div class="_2cuy _3dgx _2vxa">
16. i wanna make love to an inspiring mind</div>
<div class="_2cuy _3dgx _2vxa">
17. yo cuido lo que amo</div>
<div class="_2cuy _3dgx _2vxa">
18. dedans c'est dommage</div>
<div class="_2cuy _3dgx _2vxa">
19. masterbation</div>
<div class="_2cuy _3dgx _2vxa">
20. ein verlierer im gewinnermodus</div>
<div class="_2cuy _3dgx _2vxa">
21. dä het s grafitti abc nid glehrt</div>
<div class="_2cuy _3dgx _2vxa">
22. er het o müeh mit lache</div>
<div class="_2cuy _3dgx _2vxa">
23.VERDURADA FEST 6 (2012) Reacción Propia - despertando la vida / las murallas y los sueños</div>
<div class="_2cuy _3dgx _2vxa">
24. du dörfsch eifach sii</div>
<div class="_2cuy _3dgx _2vxa">
25. verspätete menstruation - weisse-unterhosen-trick</div>
<div class="_2cuy _3dgx _2vxa">
26. ES ISCH E STIMM VO DE KULTUR!</div>
<div class="_2cuy _3dgx _2vxa">
27. eine solche ausstrahlungsmacht am falschen gegenstand zu betätigen</div>
<div class="_2cuy _3dgx _2vxa">
28. zahnputzlied</div>
<div class="_2cuy _3dgx _2vxa">
29. on attend avec beaucoup de pacience</div>
<div class="_2cuy _3dgx _2vxa">
30. the more you open the more you tight</div>
<div class="_2cuy _3dgx _2vxa">
31. giving us some space to learn, how it is, to be us</div>
<div class="_2cuy _3dgx _2vxa">
32. hay lugar en la mesa</div>
<div class="_2cuy _3dgx _2vxa">
33. degrees</div>
</div>
</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-39108014294543174192016-09-22T01:49:00.003-07:002016-09-22T01:49:33.902-07:00Date 2 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.duuuradio.fr/episode/florence-jung-the-date-n-2&source=gmail&ust=1474617742316000&usg=AFQjCNFgYdBlq_L6-w5SOUsRQcXCS-v2Yg" href="http://www.duuuradio.fr/episode/florence-jung-the-date-n-2" target="_blank"><span style="color: #1155cc;">http://www.duuuradio.fr/<wbr></wbr></span>episode/florence-jung-the-<wbr></wbr>date-n-2</a><br />
<div class="sansserif-font l">
« The Date » is a rendez-vous between two people<br />who don't know each other.<br />« The Date » takes place at Florence Jung’s home.<br />« The Date » takes place without Florence Jung being present.<br />
28/05/2016 : Fork Burke (poetess) and Jaz Ayling (artist)</div>
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0tag:blogger.com,1999:blog-4925767371403304379.post-7126687349504975212016-09-22T00:17:00.000-07:002016-09-22T00:17:21.366-07:00CHECKLIST1 Go cut a Switch<br />
2 Challenge your own mis-education<br />
3 The elements of health are not available<br />
4 Just do whatever the fuck you want <br />
5 The last part of it got chewed off by a dog<br />
6 I eat alone<br />
7 to continue Transmission<br />
8 My longing is seamless<br />
9 nobody travels anymore<br />
10 Enclosed Fictions<br />
11 I`m in a tunnel again<br />
12 we said a great deal<br />
13 Waiters of the world smoke break Beauty<br />
14 Danceable Food<br />
15 Black Market Cigarettes <br />
16 September is great - All the Chefs are here<br />
17 Did they have the apple<br />
18 Kerouac`s shoes<br />
19 Line!<br />
20 Is he still doing the cone thing<br />
21 new memory<br />
22 I only know the first 15 seconds<br />
23 teen curators<br />
24 escargot caviar<br />
25 I don`t need to hang in your house<br />
26 alignment <br />
27 that Little bar somewhere in the 6th - jazz Albums <br />
28 execution porn<br />
29 We burned the flag<br />
30 full Support Story <br />
31 frown of refusal<br />
32 rooted in contempt<br />
33 Degrees<br />
<br />
Forkhttp://www.blogger.com/profile/14765561701235375015noreply@blogger.com0