Sunday, June 22, 2008

Petite Women - Hairstyles

caldo memory of cabeza, sin agua, sin cabeza



Eye slots well in black, tight, sticky slime ball soft dry gained him the Soiffard misplaced, is in custody gargarité the little wet, so little moist remaining, if its secreted almost dry, her liver almost dried up, which packs gregarious secretions, sticky and well massed at the corners, as a last reserve force him to lick when he can, and stiffly back towards the throat Hardback. Would love to drink his own saliva, if there were more. If there were still fluid, clear, saliva. it knocks as ever, but it should advance, even in the overwhelming. Hard work thirsty. He walks, he continues, it continues the pace, but it will not. A sun following or grows, we can not say. But we can say that his movement now is that's here and it may be just that, yet nothing can be read on her face dazzled on the skin so wrinkled mouth, so riddled of both dry mouth, all those little mouths pursed mouths asphixia and voiceless that stunted his face.

End run out of air but still, he has no choice, located in the rout, with the cooked head tanned skin, dive like that since when he knows well, his mouth like that skull embedded in the taisure walking alone is not so sure that it is still he who is there where his head is held. Him, that is to say a good me. But it leaves, it still continues.

In so vast space, now that he stood up and walk there, right track as it may, along a straight line he designs in the head, and takes good care of gargue arid and takes good care of the spawn of the voiceless, the lost desert, Erg and the Great Desert reg breathing, gesture severe wind. As long as he can keep it away, he always follows his line as he is rather shaky right which is in the imagination he has. Something begins to lose the individual in a very special confuses kind of always-same geographical know it all lost, but even should not stop the march of dry taciturn lost in lieu of speech. And erg reg, chapped, choking, loss of its mouth, it's not really keep quiet actually, but here, for him, nothing to say.

sand stone is the voiceless, the mute, wherever he goes, wherever he was stationed, where he resumed, sits, lies down, gets up. Where it crowd, where he scrapes the ground. Where he turns a bit to go. Where it makes holes, raised stones. Where it takes the sand to rub the skin from your feet. There is no face there, and as this in the middle of the mute, the mute running ahead in being erased, and erg reg and reg erg, the mute diminished his mouth walking rout , continuous, and sinks into the desert wilderness, plus the rout surfaced in disarray. In the desert, the rout, the mute march erasing instead of deleting the mouth always wins, that's where it starts to change autic, so to say, this is where the mute mute. From the mute autic a growing mute anyway.

That's what happens: the unrecognizable, it's goin 'on like this line continues, albeit with minor variations, or variations more obvious, but so cyclical, such as the erg to reg and reg erg. This is indeed something that is still nascent, at least it begins to start, but at the same time, can never really tell when this scale. And back and forth to rout the body, and comes and goes without geule-walking, and typed in the desert sun, he goes he comes, and erg reg and reg erg in its defeat, the body throwing up after the circular pattern. As the circle invisible bar his face, like that the ball is lost in the indifferent. On the progress we could say that it deserted, deserted it yes, erg reg and reg erg, and the rout sinks mute mute man and the man leaves the mute man, and all dark and mute within in the outdoors, great indifference. It deserted by transferring the recognizable and yet it clears, and still more, and there is always less than face. On erg reg and reg erg, it mutates so it turns, but what we can say. Similar to the sand, the silence in him advance, and varies as the dune, in stillness.

Wednesday, June 18, 2008

What Causes Night Leg And Arm Pain

We are all the sphinx someone


There in the yurt, it seems a noggin. Igualito, yurt and tests Mesme struggle. In yurt there is room for the sphinx, noggin man mixed animal, the Mongolian domestic alliance volatile, the shaman Jah Klacan the idiom, not n'parlant lang de l'hom but the language of things, the language of of tidal yurt. In

yurt there is room for figures of meaning hidden seeds in the soil planted, there is room for this kind of ciphers need to extricate the eye pedestrian, the pedestrian in the meaning that must unravel ith toe, or even go to 4 feet , tal that the animal in good animal, we must take the good grazing Animalist, ith the biting vectors mouth horizontally, flush with the ground, his mouth no vocal, no not just the eloquent but scathing.

It is indeed the Mesme mouth that said, it is the Mesmer, who delves into the carpet signif encrypted, it is the Mesme that eats material, which makes the mute and makes the enigmatic, which is the body through the mouth. It is through this hole that sphingeons. Let

yurt although the man does not derive dignity of his position (4 legs to eat the signifier, it is nobler) but to address feline and democratic, its cultivated taste for the ravine where everything comes together . A

pintor had once said, had heard the "j'étions ravine of the world" knew not whence it came out but had pintor razon, ¿he did not say razon such cosa?

Lo que busque mouth in the yurt, so it's a language, it is a language of the ravine. At this time of life speaking in the sort of scraping the bottom of the ravine, tal El pintor profitablament had stated, must always busque language that would keep our word in our lives.

In fuss would rattle, our life, a life furrowed by the voices of the ravine, a life furrowed voices of the real world, the world's largest mond'poche that the large pocket of the world flowing in crowd at the ravine, flowing ravine say who founded what took me in a language of another. So what

me, tal busque a party to, the excavation, hollow, with you my friend, expatriate, who inaugurated icelui a screed highly shared dialogue sphinx, mysterious speach, hence the de-lang-l'hom violancée changes our lives talking, the mutates into something else, corresponds to the need for another life talking, another language, and darn philosophical, language dug well, a language burrowing.

want to make our life a mystery, because you see that their lives are, are just that, an enigma. Hereunto, talking heads, others also, imparlantes heads. We are all the sphinx of someone. And somewhere in all things is the Sphinx of another, even across the big world, even when it n'dit nothing audible. Between the great things of the world, there is this: everything is connected in the puzzle.

Even mond'poche, even at the Citadel Europe, even in my tooth oxy-bastards, we're in the ravine.

Jah Klacan

Friday, June 6, 2008

Mounted Clothes Dryer

my tongue will die



My tongue is going to die. They say, and probably going about languages like civilizations, religions. My language is born as I write, because we write it, speak it. This requires the youth still incipient suppport of unfathomable age. Who speaks of decadence? The dying alone, silent, traitors, talkative, the powerless.

language arises from a failure: It can not suddenly be at the service of its references to name, to reflect. The French language is naturally subject to the signified: it must provide evidence, detailed accounts, setting rules, giving representation. But suddenly, rupture, and not generally break into a particular mouth, which became the birthplace of the revolution.

In France, the common language is dependent on things and power: it does not, it records. Must dissociate themselves from this joint normal to give birth - in that language mine - the jubilation a freedom that springs from the individual rupture. Then, a moment at least, everything turns from a mouth, and it is not the world that justifies the words, because words enlighten.

ago in this country an old complex of legitimation: everything must serve and is recognized all over the place, but what is a recognition that is established by defining? The French language's role is to anchor these limits, to naturalize by appointment. She is also the substance of power. It is itself mediating since, under the pretext that they can communicate, it freezes everyone and everything in its function as the most servile. My

language is dead in the cultural discourse. My tongue moves his own body, the turns, the next generation. My language is born in the dead language: it too hard skin that meant, she stirred up this verb defeated, and the meaning comes just as the breath of nudity ...

that language is not French in French: it makes the world its meaning, and this model any shape, because the flesh is made word for the bodies to be the future of the words ...



Bernard Christmas

Friday, January 11, 2008

Best Pocket Camcorder And Camera Combo

Patrol East

Director and writer: Amar Laskri
Assistant: Mohamed Bouamari
Director of Photography: Noureddine Guenefi
Montage: Rachid Dabouz
Interpretation: Smain Hajj Hadjadj, Cheikh Noureddine ...
ONCIC Production Year 1972. Black and white. 35 mm. 1:35
Winner of the twentieth Anniversary of the Revolution.
A patrol of the liberation army must cross the eastern border to transport a prisoner to Tunis. The film inspired by a true enabled the director to film his experiences in the bush during the war. Remember he wants to film witness to the life of the maquis. But the descriptive method and a little naive Laskri does not always the goal.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.






Patrouille a l'est - Ma-Tvideo France2
Patrol has is - My-Tvideo France2

Glory Hole In Manchester

Good Families

Written and Directed by: Jafar Damardji
Director of Photography: Boubaker Tourqui
Editing: Mouloud Djemaa
Interpretation: Hassan El Hassani, Khaled Safer, Rabah Chouider, Jafar Damardji
Production Cultural Services of the FLN 1972. 35 mm. Color. 1:30
"The film aims to explain the phenomena dialectically family alliances of the city and countryside, the technocracy and bourgeois property" (from the synopsis published in Film Production Film 1957-1973-Ed . Ministry of Information and Culture, Algiers).
This film has not been exploited so far. We mentionons memo.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.

Chocolate Brown Accent Wall Bedroom

Wars Of Liberation

Director: Farouk Belloufa
Editing: y. Khodja Hamid Djellouli
Music: Piccioni
Comment: Ahmed Fadhel
Production: Ministry of Information. Executive Producer CAC Year 1972. 35 mm. Black and White. 1:30
It is a bit embarrassing to fill the data sheet for this film. Farouk Belloufa had indeed made a film based archival materials purchased after the film made in France from the book by Yves Courrière " The war in Algeria." This work, entitled "Liberation " placed the Algerian war of liberation from a historical perspective linking the October Revolution to the struggles of national liberation in Asia and Africa.
the producer (the Ministry of Information) estimates that the film did not meet his vows and made up this document he then called "The War of Liberation . We can say immediately that the new title (and final movie) reveals at least much less ambitious than the original draft Farouk Belloufa. On the publication of the Ministry of Information: Cinema Film 1987-1973, the producer's name does not appear. And also it refuses to recognize " The war of liberation" as his film. This shows how difficult it was to fill the sheet of film has changed titles, which no longer exists and the director denies the paternity. The film it is possible to see a documentary is "honest" about the Algerian war of liberation.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.

Swollen Face Headache

Noua

Director: Abdelaziz Tolbi
Scenario: Abdelaziz Tolbi, adapted from a novel by Tahar Ouatara.
Cameraman: N. Abdel.
Editing: Aladjali Meddad-Rezzab
Interpretation: Non-professional production
RTA. Inflated 16 mm to 35 mm. Black and white. 1972.
This beautiful film Abdelaziz Tolbi-and the only one that day was made for television, in favor of a "spring" born of the battle for the Agrarian Revolution. Television officials had to appeal to young filmmakers left in the inaction thus far, in order to image the campaign launched by the government. The story begins on the eve of November 1st, in a village of Aures living in abysmal squalor. Against the poor there is the colonial administrators and Algerians owners. It's also the love story of Noua, the daughter of Taleb and poor laborer's son. The scenario places the highly intelligent young people escape the night of the reconciliation of the tribes. French against the oppressor, the farmers come to realize that they must unite and cut down the tree on the night of discord. By its rigor and beauty, this film brings to the cinema Algerian a tone, a quality he lacked.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.

Merilyn Sakova Jumping Around

Near Saf Saf

Director: Moussa Haddad
Scenario: Othman Ameur
Director of Photography: Smatt Mohamed Abdellah Nounedjar
Editing: Tewfik Soltan
Interpretation: non-professionals.
Production RTA. 1972. Black and white. Invertible. 16mm. 1:00
Slimane decides to dig a well and use it for the money he sends his son emigrated to France. His wife want it, spend the money to marry the boy. Despite the objections of his wife and the villagers, the peasant begins work. But as he is alone and has few resources, is one day of the accident. The village people finally understand that the result of Slimane is also theirs, then they are doing the rescue. This moral tale is the first feature film produced as part of the agrarian revolution launched by the RTA. This is one of the best. He placed among Moussa Haddad hopes of Algerian cinema.
In "Omar Gatlato Meanwhile, looks on Algerian cinema " of Wassyla Tamzali. Editions EN.AP 1979.