Time will bring us everything.
Cosimo Galluzzi
Cosmic Funnies
"I'm Dorothy Gale from Kansas"
One Nice Bug Per Day
d e v o n
𩵠avery cochrane š©µ
Keni

blake kathryn
noise dept.
KIROKAZE
No title available

Discoholic šŖ©
Today's Document
Lint Roller? I Barely Know Her

No title available

if i look back, i am lost
Xuebing Du
h
Show & Tell
Stranger Things
seen from United States
seen from United States

seen from Malaysia
seen from United States
seen from Finland
seen from Colombia

seen from Türkiye

seen from Germany

seen from South Korea

seen from Russia

seen from Türkiye
seen from Türkiye

seen from Bangladesh

seen from Malaysia
seen from United States
seen from United Kingdom
seen from Indonesia
seen from Argentina

seen from Russia

seen from T1
@processedlives
Time will bring us everything.
Francesco Francia
Charles Corsten
Ā« Madona Pretu Ā»
Oil on hardboard, 1950
āāā
Madonna Pretu, ku bo wow di tristesa
PintÔ pa mi mes man, humilde di koló
Ta tin un kurason sklamando ku dolo
Pa bo imagen su yorando bunitesaā¦
- RenƩ de Rooy
Felix de Rooy
Ā« Brokopondo Spirits Ā»
Textile Embroidery, 2007
Sarah Vos & Sander Snoep - CuraƧao (2010)
Ralph McQuarrie: Star Wars: The Empire Strikes Back Portfolio (1980)
Aaron Samuel Mulenga ā Afronaut Mwamba (chitenge fabric & acrylic on burlap, 2017)
We can say, for now, that Marx recognizes trans-Atlantic slaveryās ostensive ācapitalist natureā as a historical particular, important for the development of capital and the means by which it is reproduced, yet ultimately inessential to his critical presentation of capitalist totality. Sequestering his profound insights into the genesis of subjectivity from the constitutive problem of slavery and blackness, the slave can only analogically reappear as theoretical ammunition in a comparative explication of capitalist materiality. Marxās grafting method is incongruous with his major methodological innovation: Slavery is theoretically abstracted out of the capitalist totality, even though the purveyors of personal dominationāmasters, purportedlyāare recognized in their transformation into those capitalists who, in Marxās articulation, are themselves sufferers of abstract domination. Indeed, in the second volume of Capital, Marx again afļ¬rms that the slave market āretains an element of natural economyā and āreceives supplies of the commodity labour-power from war, piracy, etc., and this pillage is not mediated by a process of circulation, but is rather the appropriation in kind of other peopleās labour-power by direct physical compulsion.ā The difference that historiographers have identiļ¬ed in the slave market, where slaves were being produced for circulation in a complicated causal relationship to blackness, is explicitly disavowed, its qualitative difference repressed. Slaveryās modes of subjection, then, never become the Marxist premise from which to re-think the condition of production of knowledge and social life, of mind and matter, of freedom and necessity. A large determinant of this repression is that Marx never theorizes race as a productive force. In a key fragment found in Marxās āWage Labor and Capital,ā Marx parrots Pierre-Joseph Proudhon to ask (and answer) āWhat is a Negro slave? A man of the black race. The one explanation is as good as the other.ā His critique of Proudhonās tautology does not fare much better, as Marx continues: āA Negro is a Negro. He becomes a slave only in certain relationships.ā Blackness is naturalized apart from the economy, and slaveness is contingent on broader relations of production. By naturalizing, and thus neutralizing, the power of racial slavery, capitalismās disavowal of its own conditions of reproduction is theoretically carried over into Marxism, insofar as, to be a little glib, Marx is himself a product of capitalism and immanent to its standpoint. Or, as Hortense Spillers suggests with respect to Freud, Marx ācould not āseeā his own connection to the āraceā/culture orbit, or could not theorize it, because the place of their elision marked the vantage point from which he spoke.ā Because Marxās method expresses the political ontology of the human (only), it is one-sided: Slavery, as a real abstraction, goes behind Marx and Marxistsā backs.
Sara-Maria Sorentino, from The Abstract Slave: Anti-Blackness and Marxās Method
James Baldwin (New York, 2 augustus 1924 ā Saint-Paul-de-Vence, 1 december 1987). Part of an interview writer James Baldwin had in 1981 with
Mary Frank ā Homage to Henri Rousseau (oil on glass, 1989/1990)
female bodybuilders across india
captured by keerthana kunnath
The party says it wants to put African and Caribbean countries "on notice" after a vote at the UN last month.
i should be allowed to rip white english people apart with my teeth
GO HERE NOW AND YOU BETTER FUCKING REBLOG.
READ BRITAIN'S BLACK DEBT.
READ HOW BRITAIN UNDERDEVELOPED THE CARIBBEAN.
LOOK AT US.
Toni Morrison and James Baldwin
St. Paul de Vence. Early 1980s
The Lord is Blessed.
1: ReneĢe Cox, āIt Shall Be Namedā (1994). Gelatin silver prints, mahogany, and plexiglass,
2: Mystic Styles, 1994.
3: Divided Soul, David Alan Harvey, 2003
4: Mock Crucifixion, David Fenton, 1974
What sexy and beautifully rendered images. Boscoeās flesh palate is absolutely impressive. I love it!
Portraits by Lebanese photographer Hashem el Madani, 1950s-1970s