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An introvert braves the cybersex, the pitfalls of eating out alone, the difficulties of weight gain, and other hurdles faced by shy people living in a world that urges us to be cool as "J" humorously recounts her life in all its awkward glory.
Perfect funny or gag gift for the tired woman in your life. Book features: Gratitude journal pages with prompts including: asshole of the day, I am proud I didn't, I'm lucky to have and more! Corresponding pages with areas to include important shit to do today and other important shit to remember. This journal is designed as a funny gift to help an overstressed friend find a way to laugh at the crazy and hectic days of motherhood, work and life in general. 152 pages. 6" x 9" soft cover.
An argument that by amplifying alienation in performance, we can shift the emphasis from the sonic to the social. Work in sound studies continues to seek out sound "itself"--but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance--the discrepancy between our individual narcissism and our social capacity. Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.
"This highly theoretical work of ethnomusicology is a reclamation of Indigenous ceremonial and artistic practice arguing that the inclusion and appropriation of Indigenous performers in classical music traditions only enriches the settler nation-state. Robinson gives shape to Western musical and aesthetic practices as well as to Indigenous listening practices in order to eschew traditional (Western) forms of musical analysis. Instead, the work argues that new modes of listening and studying reception, emerging out of critical Indigenous studies, are essential to understanding Indigenous musical expression in ways that do not reify the power of the settler state"--
This monograph accompanies poet and interdisciplinary artist Jen Bervin's survey exhibition at University Galleries of IIlinois State University. It features her individual and collaborative works made from 1997 through 2020.
Can music be a curse? Here is an alternate history of online politics and new technology from the perspective of listening, typing, composing, and shared hearing. Emile Frankel presents a rigorous account of a world felt to be in crisis. The aesthetic and tonal ramifications for such feelings are twisted within the oppressive online structures mediating new music. The legacies of Silicon Valley digitalism, 4chan, Less Wrong, and Chaos Magic are compared to the magical thinking which underlies stochastic composition, and the aesthetics of deconstructed club music. Despite a pessimistic account of Accelerationism and reactionary philosophy, Frankel's spirited writing is full of hope. Hearing the Cloud considers the communal online conversations we engage in daily as profound acts of defiance. Sweet, lithe, oily, and honest music is shown to be an important source of togetherness.
Poetry. Literary Nonfiction. African American Studies. Harmony Holiday's tête-bêche book-length lyric essay collection GO FIND YOUR FATHER/A FAMOUS BLUES immerses itself and its readers in a deeply personal interrogation of perhaps the most difficult subjects of all: love and family legacy. Holiday addresses these topics in verse, prose, and, most affectingly, in letters to her father--the late singer-songwriter Jimmy Holiday. Through these notes as well as her poems bearing long, ambitious, uncompromising lines, Holiday explores how we distill our own identities from memories and responsibilities bound up in tenderness and violence. Do any black children grow up casual? Naw, we grow up shipped, knowing that we are loved but knowing more than that, that terror, that knowing is scrawled money for our bank. We're sure-shot and avoided, singing blue devil blues like a black and blue disciple, out from Sallis, Attala off delta, change-played, flowed to that subcommon up-river fate, our Waterloo and phonic quarry, step-sharp, sharp-squared, strait- shawled, boot-sharp visitor, made for walking, talking remnant of an extra- impossible accord, then Los Angeles. Resonances and renascence of everywhere we come from, Harmony, deepest Holiday since Jason, since Jimmy, having gone to find him, makes these missive runs, assured of her allure but running from and in that into open, unsure dream. She sees it's getting late. Her archive has a microtonal blush. Sightsound, as Russell Atkins says. Can you say what it is to sing a song of love I can show you, right here, ask me now.--Fred Moten
How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon—delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art in the post-truth era. Staal shows that propaganda is not a relic of a totalitarian past but occurs today even in liberal democracies. He considers different historical forms of propaganda art, from avant-garde to totalitarian and modernist, and he investigates the us versus them dichotomy promoted in War on Terror propaganda art—describing, among other things, a fictional scenario from the Department of Homeland Security, acted out in real time, and military training via videogame. He discusses artistic and cultural productions developed by such popular mass movements of the twenty-first century as the Occupy, activism by and in support of undocumented migrants and refugees, and struggles for liberation in such countries as Mali and Syria. Staal, both a scholar of propaganda and a self-described propaganda artist, proposes a new model of emancipatory propaganda art—one that acknowledges the relation between art and power and takes both an aesthetic and a political position in the practice of world-making.
A veteran journalist discovers an ancient system of speech techniques for overcoming the fear of public speaking—and reveals how they can profoundly change our lives. In 2010, award-winning journalist John Bowe learned that his cousin Bill, a longtime extreme recluse living in his parents’ basement, had, at the age of fifty-nine, overcome a lifetime of shyness and isolation—and gotten happily married. Bill credited his turnaround to Toastmasters, the world's largest organization devoted to teaching the art of public speaking. Fascinated by the possibility that speech training could foster the kind of psychological well-being more commonly sought through psychiatric treatment, and intrigued by the notion that words can serve as medicine, Bowe set out to discover the origins of speech training—and to learn for himself how to speak better in public. From the birth of democracy in Ancient Greece until two centuries ago, education meant, in addition to reading and writing, years of learning specific, easily taught language techniques for interacting with others. Nowadays, absent such education, the average American speaks 16,000 to 20,000 words every day, but 74 percent of us suffer from speech anxiety. As he joins Toastmasters and learns, step-by-step, to successfully overcome his own speech anxiety, Bowe muses upon our record levels of loneliness, social isolation, and political divisiveness. What would it mean for Americans to learn once again the simple art of talking to one another? Bowe shows that learning to speak in public means more than giving a decent speech without nervousness (or a total meltdown). Learning to connect with others bestows upon us an enhanced sense of freedom, power, and belonging.