The Adventures of Prince Achmed, the Oldest Surviving Animated Feature Film, Is Now in the Public Domain (1926)
03.03.2026 17:30
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The Adventures of Prince Achmed, the Oldest Surviving Animated Feature Film, Is Now in the Public Domain (1926)
Welcome to the public domain, GRAND HOTEL (1930) by Vicki Baum 🏨
A glamorous Berlin hotel is the site for intertwined lives in this bestselling novel of drama, romance, and ambition 📖
The 1932 movie starring Greta Garbo.
Read it here ➡️ archive.org/details/bwb_...
#PublicDomainDay #PublicDomain
Never forget that shutting down your local arms factory is infinitely more useful to the victims of war than voyeuristically consuming imagery of mutilation.
Thinking about this film again this morning. How many of us, directly or indirectly, are working to facilitate last night's bombings? And I don't just mean by paying taxes. How many of our institutions partner with companies like Boeing? What responsibility and leverage does this give us?
a "pixel art" room with a sofa, telephone on a small table, a door, window, and some artwork on the wall, including a Lichtenstein painting titled "Look Mickey"
a bad Leisure Suit Larry game? no, it's Roy Lichtenstein in 1973.
No cheating. Your last saved picture of a celebrity is your therapist. (as close as I could find)
some of their best work was in tweets when that platform was still the place to do that kind of thing
this absolutely calls for a special issue of the journal of gremlins 2 studies
Costa's "Where Does Your Hidden Smile Lie" is a must see in this vein
Screengrab from Nothing Ventured (2004)
Screengrab from Nothing Ventured (2004)
Screengrab from Nothing Ventured (2004)
Screengrab from Nothing Ventured (2004)
20. Nothing Ventured (2004). I love Farocki's films about business culture. He's fearless when it comes to immersing audiences into the utterly mundane office settings where real power is brokered. Makes me curious what one would put in a screening series of films venture capital and private equity?
"you can't stop progress" yes you absolutely can. Remember when they trashed all the intercity rail in north america because a few car companies lobbied for an interstate system?
We've thrown away more good ideas than we can remember. Lets do the same with bad ones
We’ve marched through file cabinets, hierarchies, networks, and relational models in History of the Database. Today we’re at NoSQL! miriamposner.com/classes/is29...
mixed bag but hanging in there. miss you too!
rawk, thx!
ooh is this on openvsx marketplace too?
The website for the Corporation for Public Broadcasting (CPB) is completely scrubbed and gone! They didn't even leave a legacy statement.
The grim roll call of abuses continues. Our govt caused permanent mutilation and damage to a man in U.S. detention, this time in the Tacoma, Washington detention center.
maybe Jesse Lerner's Ruins?
“Dozens of UC faculty groups and unions sued to win the preliminary injunction. UC is not a party to the case.”
Trump administration drops appeal of court order blocking $1.2-billion UCLA settlement
(No-paywall to follow)
Audre Lorde, in a 1989 commencement address, said, "Remember this, despair is a tool of your enemies. That rumor, 'You can’t fight City Hall,' is circulated by City Hall. Facing the realities of our lives gives us the motivation for action, it gives us the power to change. You are not powerless."
This is so unhinged
My wife told me she heard at a training she attended that ICE has argued "ALL ARE WELCOME HERE" signs are invitations to enter private spaces and if that don't beat all I don't know what does.
I'm a labor activist - my knowledge of law, politics, economics, history, etc. is focused primarily and insistently upon supporting the cause of labor - and I never thought I'd see a general strike in my lifetime.
There hasn't been anything like this in the U.S. since the Palmer Raids in 1920.
BC was also the source of one of my first flexidiscs
![Let me quickly emphasize, as Gell does, that doing media history does not make one a philistine; rather, it can offer a methodological detour around the aesthetic in order to make the multiple conditions of its cultic status (that is, aesthetic value) more clear. The goal is to understand the aesthetic in a broader, more catholic sense.6 This amplifies a move made so deftly by John Guillory (1993, xiii) in Cultural Capital, which aims at today’s crisis in the humanities by focusing “debate away from the question of who is in or out of the canon [and toward] the question of canonical form in its social and institutional contexts. The form we call ‘literature’ organizes the syllabus and determines criteria of selection much more directly than the particular social biases of judgment which have been invoked to explain the canonical or noncanonical.” The social and institutional contexts that have produced literariness as a canonical form—as a belief, Gell might say—include as well as partly consist of media, the techniques and conditions that structure communication as cultural practice, and that thus provide the ground for any specifically literary communication, whether the early American texts established by Tyler or the U.S. authors edited by the Center for Edition’s of American Authors with the imprimatur of the MLA. As Guillory puts it, drawing on Walter Benjamin, “Canonicity is not a property of the work itself but of its transmission in relation to other works in a collocation of works” (55).](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:spe2m7u2mljogbjp57bbpokk/bafkreidgyvipzl2mjenyplalxw5tvunrtjw5ewqlrmakkfeaw6m52hbhmy@jpeg)
Let me quickly emphasize, as Gell does, that doing media history does not make one a philistine; rather, it can offer a methodological detour around the aesthetic in order to make the multiple conditions of its cultic status (that is, aesthetic value) more clear. The goal is to understand the aesthetic in a broader, more catholic sense.6 This amplifies a move made so deftly by John Guillory (1993, xiii) in Cultural Capital, which aims at today’s crisis in the humanities by focusing “debate away from the question of who is in or out of the canon [and toward] the question of canonical form in its social and institutional contexts. The form we call ‘literature’ organizes the syllabus and determines criteria of selection much more directly than the particular social biases of judgment which have been invoked to explain the canonical or noncanonical.” The social and institutional contexts that have produced literariness as a canonical form—as a belief, Gell might say—include as well as partly consist of media, the techniques and conditions that structure communication as cultural practice, and that thus provide the ground for any specifically literary communication, whether the early American texts established by Tyler or the U.S. authors edited by the Center for Edition’s of American Authors with the imprimatur of the MLA. As Guillory puts it, drawing on Walter Benjamin, “Canonicity is not a property of the work itself but of its transmission in relation to other works in a collocation of works” (55).
it's in the epilogue of always already new (p 154), missing some context but this is it
Lisa Gitelman discusses this a bit in the intro of ... umm either paper knowledge or always already new. I'll grab the quote in a bit
a 5x12 chart with some of the boxes containing scraps of words (often pairs of letters like 'ffi', 'ta', 'Deem') with the heading N followed by EMPLOYER __/__ ______ DATES
N
EMPLOYER / DATES [...]
The censored 60 Minutes' segment, Inside CECOT, is now available.
Download from @ddosecrets.com: data.ddosecrets.com/Inside%20CEC...
Download/stream from @archive.org: archive.org/details/insi...
The original video was recorded by @jasonparis.bsky.social, and cleaned up by @emma.best
looks rad, one of my students used strudel.cc for a project, they'll dig this!
