xvarice:

a masterpost of everything i could find on the situation. if there’s anything important i missed, please message me and i’ll add it.
(click my url to see updated links & stuff)

What’s going on in Ferguson:
basics by clehmentine
with respect to the brown family
livestream of…

imnothavinit:

Link to the NYT article on the autopsy
imnothavinit:

Link to the NYT article on the autopsy
imnothavinit:

Link to the NYT article on the autopsy
imnothavinit:

Link to the NYT article on the autopsy
darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)


darksilenceinsuburbia:

Jill Quigley
Cottages of Quigley’s Point


Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)

darksilenceinsuburbia:

Jill Quigley

Cottages of Quigley’s Point

Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.

It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.

My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)

darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes darksilenceinsuburbia:

Klari Reis
From A Daily Dish
A Catalog of 365 Petri Dishes

darksilenceinsuburbia:

Klari Reis

From A Daily Dish

A Catalog of 365 Petri Dishes

chauvinistsushi:

So today in Feurgeson the cops said people could protest but they can’t congregate. They had to keep moving, like march. This is denying the right to assemble. Black people weren’t allowed to form crowds in this country. Literally Jim Crow. Not New Jim Crow, just Jim Crow. Shit never went away

(via postgenderfemmerobot)

mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?! mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!
Photos by ©izumiechan

Best friends!!

r u kidding me?!

mare-bear:

splashmeadouble:

catsbeaversandducks:

Oliver the Dog and Arashi the Cat: the cutest best friends ever!

Photos by ©izumiechan

Best friends!!

r u kidding me?!

(via totheslaughter)

nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]
nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]

nowinexile:

The last words said by Black youth before they were murdered by vigilantes/Policemen . Rest in peace. [Source: Shirin Barghi]

(via depthlesss)

bryanstars:

Ready for the first day of school!

new always reblog/gpoy

(via actionjacksonlovesbbq)