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52 results for “sstangl”
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Here's a short and clever mechanics discovery game. It's more fun to play the Japanese version for the mystery of it all: https://donutshunter.itch.io/ninjin-oukoku
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Zur Entspannung ein #Gleitschirm Foto aus der #Steiermark. Der Kollege hat das #Mürztal entlang Richtung #Stuhleck , #Rax und #Schneealpe gefilmt. Unter ihm sind die #Windräder vom #Windpark #Stanglalm und vom Windpark #Hochpürschtling . Der Schirm in der linken oberen Ecke wurde von mir pilotiert. Die #Wolken waren ungefähr auf 2500 Meter über dem #Meer . War ein echt #schönerTag zum #Paragleiten heuer Ende April.
#Paragliding #Hashtagverwenden (exzessiv)
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T.A.E.’s Book Review – The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden by Carol Stangler
Carol Stangler’s The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden is, at heart, a book about persuasion: it asks the reader to see bamboo not as a decorative novelty, but as a living medium with history, utility, and aesthetic dignity. The revised and updated 2009 edition presents itself as “a highly regarded introduction to the material,” one that offers “rich history, fascinating background and great projects,” and that framing matters. This is not merely a how-to manual; it is a conversion narrative in practical form, inviting the reader into an older, more ethical relationship with making.
What gives the book its distinct character is the way it balances romance and procedure. The publisher’s description opens with “beautiful, sustainable bamboo,” a phrase that already joins visual pleasure to ecological responsibility, and then moves quickly into the language of use: “harvesting, storing, and making things with bamboo.” That progression is revealing. The author does not let bamboo remain an abstract symbol of greenness; she insists on its material life, its handling, its resistance, its needs. The book’s appeal, then, lies in its double vision: bamboo is at once an emblem of harmony and a substance that must be cut, dried, bent, fastened, and preserved.
The project list confirms this hybrid ambition. The book promises “30 eco-friendly projects,” including “bamboo fences, trellises, chopsticks, teacups, and even an outdoor shower.” The range is striking because it moves from the infrastructural to the intimate, from garden boundary to tableware, from enclosure to ritual. In literary terms, the book stages bamboo as a material that crosses thresholds: between exterior and interior, craft and architecture, ornament and necessity. Even the improbable charm of an “outdoor shower” suggests bamboo’s capacity to transform ordinary domestic acts into something lightly ceremonial.
The book’s vocabulary further strengthens that impression. Its preview metadata is thick with technical terms—“culm,” “rhizomes,” “square lashing,” “metric equivalents,” “drill bit,” “sealer,” “pressure-treated,” “reed fencing,” and “bamboo lengths.” This lexicon matters aesthetically. It signals a text that respects craftsmanship as a language of exactness, not just inspiration. One could say Stangler writes in the idiom of the workshop rather than the showroom. The result is a style of practical knowledge that feels almost literary in its attention to named parts, precise motions, and the stubborn intelligence of materials.
As a reader, I find the book most compelling when it treats bamboo as both ecological resource and cultural form. Its promise of “lush photography and abundant illustrations” suggests that visual pleasure is not an afterthought but part of the argument: the book wants the reader to admire before they build, to understand with the eye as well as the hand. That is one reason the volume feels enduring rather than merely instructional. It belongs to a tradition of craft books that do more than transmit technique; they cultivate a sensibility, teaching that usefulness and grace need not be opposites.
In the end, The Craft & Art of Bamboo succeeds because it takes seriously the ancient, adaptable intelligence of its subject. It is practical without being dry, ecological without being preachy, and technical without losing a sense of delight. Stangler’s book reminds us that craft is never only about making objects; it is about learning how to see a material world already full of form, possibility, and restraint. Bamboo, in her hands, becomes a lesson in disciplined abundance.
#art #artBooks #Bamboo #BookReviews #CarolStangler #craftProcess #crafts #Design #LiteraryCriticism #Stangler #Sustainability -
Arthur G. Stangland
Is that like Stan-Gland? A mere pretender to the foot gland?
Or maybe Stang-Land? A mystical kingdom of Slack?
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Arthur G. Stangland
Is that like Stan-Gland? A mere pretender to the foot gland?
Or maybe Stang-Land? A mystical kingdom of Slack?
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Zur Erholung in der Timeline ein Foto der Windparks Stanglalm und Hochpürschtling in den steirischen Alpen - fotografiert CO2-frei vom #Gleitschirm aus.
Hilft gegen #DieFossilenFürstenDerFinsternis #Trump und #putin
#Windenergie #Windkraft #Windpark #Energiewende #Erneuerbare #ErneuerbareEnergie #Paragleiten
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Current status: I need a waltz.
The Stanglers' Golden Brown, cover by Mariachi Mexteca featuring Hugh Cornwell.
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T.A.E.’s Book Review – The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden by Carol Stangler
Carol Stangler’s The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden is, at heart, a book about persuasion: it asks the reader to see bamboo not as a decorative novelty, but as a living medium with history, utility, and aesthetic dignity. The revised and updated 2009 edition presents itself as “a highly regarded introduction to the material,” one that offers “rich history, fascinating background and great projects,” and that framing matters. This is not merely a how-to manual; it is a conversion narrative in practical form, inviting the reader into an older, more ethical relationship with making.
What gives the book its distinct character is the way it balances romance and procedure. The publisher’s description opens with “beautiful, sustainable bamboo,” a phrase that already joins visual pleasure to ecological responsibility, and then moves quickly into the language of use: “harvesting, storing, and making things with bamboo.” That progression is revealing. The author does not let bamboo remain an abstract symbol of greenness; she insists on its material life, its handling, its resistance, its needs. The book’s appeal, then, lies in its double vision: bamboo is at once an emblem of harmony and a substance that must be cut, dried, bent, fastened, and preserved.
The project list confirms this hybrid ambition. The book promises “30 eco-friendly projects,” including “bamboo fences, trellises, chopsticks, teacups, and even an outdoor shower.” The range is striking because it moves from the infrastructural to the intimate, from garden boundary to tableware, from enclosure to ritual. In literary terms, the book stages bamboo as a material that crosses thresholds: between exterior and interior, craft and architecture, ornament and necessity. Even the improbable charm of an “outdoor shower” suggests bamboo’s capacity to transform ordinary domestic acts into something lightly ceremonial.
The book’s vocabulary further strengthens that impression. Its preview metadata is thick with technical terms—“culm,” “rhizomes,” “square lashing,” “metric equivalents,” “drill bit,” “sealer,” “pressure-treated,” “reed fencing,” and “bamboo lengths.” This lexicon matters aesthetically. It signals a text that respects craftsmanship as a language of exactness, not just inspiration. One could say Stangler writes in the idiom of the workshop rather than the showroom. The result is a style of practical knowledge that feels almost literary in its attention to named parts, precise motions, and the stubborn intelligence of materials.
As a reader, I find the book most compelling when it treats bamboo as both ecological resource and cultural form. Its promise of “lush photography and abundant illustrations” suggests that visual pleasure is not an afterthought but part of the argument: the book wants the reader to admire before they build, to understand with the eye as well as the hand. That is one reason the volume feels enduring rather than merely instructional. It belongs to a tradition of craft books that do more than transmit technique; they cultivate a sensibility, teaching that usefulness and grace need not be opposites.
In the end, The Craft & Art of Bamboo succeeds because it takes seriously the ancient, adaptable intelligence of its subject. It is practical without being dry, ecological without being preachy, and technical without losing a sense of delight. Stangler’s book reminds us that craft is never only about making objects; it is about learning how to see a material world already full of form, possibility, and restraint. Bamboo, in her hands, becomes a lesson in disciplined abundance.
#art #artBooks #Bamboo #BookReviews #CarolStangler #craftProcess #crafts #Design #LiteraryCriticism #Stangler #Sustainability -
T.A.E.’s Book Review – The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden by Carol Stangler
Carol Stangler’s The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden is, at heart, a book about persuasion: it asks the reader to see bamboo not as a decorative novelty, but as a living medium with history, utility, and aesthetic dignity. The revised and updated 2009 edition presents itself as “a highly regarded introduction to the material,” one that offers “rich history, fascinating background and great projects,” and that framing matters. This is not merely a how-to manual; it is a conversion narrative in practical form, inviting the reader into an older, more ethical relationship with making.
What gives the book its distinct character is the way it balances romance and procedure. The publisher’s description opens with “beautiful, sustainable bamboo,” a phrase that already joins visual pleasure to ecological responsibility, and then moves quickly into the language of use: “harvesting, storing, and making things with bamboo.” That progression is revealing. The author does not let bamboo remain an abstract symbol of greenness; she insists on its material life, its handling, its resistance, its needs. The book’s appeal, then, lies in its double vision: bamboo is at once an emblem of harmony and a substance that must be cut, dried, bent, fastened, and preserved.
The project list confirms this hybrid ambition. The book promises “30 eco-friendly projects,” including “bamboo fences, trellises, chopsticks, teacups, and even an outdoor shower.” The range is striking because it moves from the infrastructural to the intimate, from garden boundary to tableware, from enclosure to ritual. In literary terms, the book stages bamboo as a material that crosses thresholds: between exterior and interior, craft and architecture, ornament and necessity. Even the improbable charm of an “outdoor shower” suggests bamboo’s capacity to transform ordinary domestic acts into something lightly ceremonial.
The book’s vocabulary further strengthens that impression. Its preview metadata is thick with technical terms—“culm,” “rhizomes,” “square lashing,” “metric equivalents,” “drill bit,” “sealer,” “pressure-treated,” “reed fencing,” and “bamboo lengths.” This lexicon matters aesthetically. It signals a text that respects craftsmanship as a language of exactness, not just inspiration. One could say Stangler writes in the idiom of the workshop rather than the showroom. The result is a style of practical knowledge that feels almost literary in its attention to named parts, precise motions, and the stubborn intelligence of materials.
As a reader, I find the book most compelling when it treats bamboo as both ecological resource and cultural form. Its promise of “lush photography and abundant illustrations” suggests that visual pleasure is not an afterthought but part of the argument: the book wants the reader to admire before they build, to understand with the eye as well as the hand. That is one reason the volume feels enduring rather than merely instructional. It belongs to a tradition of craft books that do more than transmit technique; they cultivate a sensibility, teaching that usefulness and grace need not be opposites.
In the end, The Craft & Art of Bamboo succeeds because it takes seriously the ancient, adaptable intelligence of its subject. It is practical without being dry, ecological without being preachy, and technical without losing a sense of delight. Stangler’s book reminds us that craft is never only about making objects; it is about learning how to see a material world already full of form, possibility, and restraint. Bamboo, in her hands, becomes a lesson in disciplined abundance.
#art #artBooks #Bamboo #BookReviews #CarolStangler #craftProcess #crafts #Design #LiteraryCriticism #Stangler #Sustainability -
T.A.E.’s Book Review – The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden by Carol Stangler
Carol Stangler’s The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden is, at heart, a book about persuasion: it asks the reader to see bamboo not as a decorative novelty, but as a living medium with history, utility, and aesthetic dignity. The revised and updated 2009 edition presents itself as “a highly regarded introduction to the material,” one that offers “rich history, fascinating background and great projects,” and that framing matters. This is not merely a how-to manual; it is a conversion narrative in practical form, inviting the reader into an older, more ethical relationship with making.
What gives the book its distinct character is the way it balances romance and procedure. The publisher’s description opens with “beautiful, sustainable bamboo,” a phrase that already joins visual pleasure to ecological responsibility, and then moves quickly into the language of use: “harvesting, storing, and making things with bamboo.” That progression is revealing. The author does not let bamboo remain an abstract symbol of greenness; she insists on its material life, its handling, its resistance, its needs. The book’s appeal, then, lies in its double vision: bamboo is at once an emblem of harmony and a substance that must be cut, dried, bent, fastened, and preserved.
The project list confirms this hybrid ambition. The book promises “30 eco-friendly projects,” including “bamboo fences, trellises, chopsticks, teacups, and even an outdoor shower.” The range is striking because it moves from the infrastructural to the intimate, from garden boundary to tableware, from enclosure to ritual. In literary terms, the book stages bamboo as a material that crosses thresholds: between exterior and interior, craft and architecture, ornament and necessity. Even the improbable charm of an “outdoor shower” suggests bamboo’s capacity to transform ordinary domestic acts into something lightly ceremonial.
The book’s vocabulary further strengthens that impression. Its preview metadata is thick with technical terms—“culm,” “rhizomes,” “square lashing,” “metric equivalents,” “drill bit,” “sealer,” “pressure-treated,” “reed fencing,” and “bamboo lengths.” This lexicon matters aesthetically. It signals a text that respects craftsmanship as a language of exactness, not just inspiration. One could say Stangler writes in the idiom of the workshop rather than the showroom. The result is a style of practical knowledge that feels almost literary in its attention to named parts, precise motions, and the stubborn intelligence of materials.
As a reader, I find the book most compelling when it treats bamboo as both ecological resource and cultural form. Its promise of “lush photography and abundant illustrations” suggests that visual pleasure is not an afterthought but part of the argument: the book wants the reader to admire before they build, to understand with the eye as well as the hand. That is one reason the volume feels enduring rather than merely instructional. It belongs to a tradition of craft books that do more than transmit technique; they cultivate a sensibility, teaching that usefulness and grace need not be opposites.
In the end, The Craft & Art of Bamboo succeeds because it takes seriously the ancient, adaptable intelligence of its subject. It is practical without being dry, ecological without being preachy, and technical without losing a sense of delight. Stangler’s book reminds us that craft is never only about making objects; it is about learning how to see a material world already full of form, possibility, and restraint. Bamboo, in her hands, becomes a lesson in disciplined abundance.
#art #artBooks #Bamboo #BookReviews #CarolStangler #craftProcess #crafts #Design #LiteraryCriticism #Stangler #Sustainability -
T.A.E.’s Book Review – The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden by Carol Stangler
Carol Stangler’s The Craft & Art of Bamboo: 30 Eco-Friendly Projects to Make for Home & Garden is, at heart, a book about persuasion: it asks the reader to see bamboo not as a decorative novelty, but as a living medium with history, utility, and aesthetic dignity. The revised and updated 2009 edition presents itself as “a highly regarded introduction to the material,” one that offers “rich history, fascinating background and great projects,” and that framing matters. This is not merely a how-to manual; it is a conversion narrative in practical form, inviting the reader into an older, more ethical relationship with making.
What gives the book its distinct character is the way it balances romance and procedure. The publisher’s description opens with “beautiful, sustainable bamboo,” a phrase that already joins visual pleasure to ecological responsibility, and then moves quickly into the language of use: “harvesting, storing, and making things with bamboo.” That progression is revealing. The author does not let bamboo remain an abstract symbol of greenness; she insists on its material life, its handling, its resistance, its needs. The book’s appeal, then, lies in its double vision: bamboo is at once an emblem of harmony and a substance that must be cut, dried, bent, fastened, and preserved.
The project list confirms this hybrid ambition. The book promises “30 eco-friendly projects,” including “bamboo fences, trellises, chopsticks, teacups, and even an outdoor shower.” The range is striking because it moves from the infrastructural to the intimate, from garden boundary to tableware, from enclosure to ritual. In literary terms, the book stages bamboo as a material that crosses thresholds: between exterior and interior, craft and architecture, ornament and necessity. Even the improbable charm of an “outdoor shower” suggests bamboo’s capacity to transform ordinary domestic acts into something lightly ceremonial.
The book’s vocabulary further strengthens that impression. Its preview metadata is thick with technical terms—“culm,” “rhizomes,” “square lashing,” “metric equivalents,” “drill bit,” “sealer,” “pressure-treated,” “reed fencing,” and “bamboo lengths.” This lexicon matters aesthetically. It signals a text that respects craftsmanship as a language of exactness, not just inspiration. One could say Stangler writes in the idiom of the workshop rather than the showroom. The result is a style of practical knowledge that feels almost literary in its attention to named parts, precise motions, and the stubborn intelligence of materials.
As a reader, I find the book most compelling when it treats bamboo as both ecological resource and cultural form. Its promise of “lush photography and abundant illustrations” suggests that visual pleasure is not an afterthought but part of the argument: the book wants the reader to admire before they build, to understand with the eye as well as the hand. That is one reason the volume feels enduring rather than merely instructional. It belongs to a tradition of craft books that do more than transmit technique; they cultivate a sensibility, teaching that usefulness and grace need not be opposites.
In the end, The Craft & Art of Bamboo succeeds because it takes seriously the ancient, adaptable intelligence of its subject. It is practical without being dry, ecological without being preachy, and technical without losing a sense of delight. Stangler’s book reminds us that craft is never only about making objects; it is about learning how to see a material world already full of form, possibility, and restraint. Bamboo, in her hands, becomes a lesson in disciplined abundance.
#art #artBooks #Bamboo #BookReviews #CarolStangler #craftProcess #crafts #Design #LiteraryCriticism #Stangler #Sustainability -
Η Γαλλία δεν χρειάζεται νέο ηγέτη, αλλά μια νέα Δημοκρατία
Γράφει ο Cole Stangler
Η Γαλλία βίωσε ένα έντονο Φθινόπωρο. Αρχικά, η κυβέρνηση ανετράπη από ένα εξοργισμένο…
#Greece #GR #Europe #Europa #EU #greece #NewYorkTimesOpinion #ΓΑΛΛΙΑ #Ελλάδα #ΕΜΑΝΟΥΕΛΜΑΚΡΟΝ #νεα #ΣεμπαστιάνΛεκορνί
https://www.europesays.com/2672382/ -
«𝔼𝕃 ℂ𝕆𝕄𝔼𝕋𝔸»
🚀 2 ᴅᴇ ᴍᴀʀᴢᴏ ᴅᴇ 2004, ᴄᴏᴍɪᴇɴᴢᴀ ʟᴀ ᴍɪꜱɪóɴ @ᴇꜱᴀ_ʀᴏꜱᴇᴛᴛᴀ
_______________El diseñador Christian Stangl y el compositor Wolfgang Stangl han creado este vídeo que recoge en cosa de tres minutos la misión de 𝐑𝐨𝐬𝐞𝐭𝐭𝐚 𝐲 𝐏𝐡𝐢𝐥𝐚𝐞 𝐚𝐥 𝐜𝐨𝐦𝐞𝐭𝐚 𝟔𝟕𝐏, 𝐂𝐡𝐮𝐫𝐲𝐮𝐦𝐨𝐯-𝐆𝐞𝐫𝐚𝐬𝐢𝐦𝐞𝐧𝐤𝐨. Fue la primera misión de la historia en orbitar un cometa. Fue la primera misión de la historia en aterrizar de forma suave en un cometa.
► https://www.microsiervos.com/archivo/espacio/the-comet-video-mision-rosetta-philae.html
El vídeo lo componen imágenes tomadas por Rosetta, así que nada de imágenes creadas por ordenador. Son imágenes reales de un mundo real por muy alienígena que aparezca a nuestros ojos. Y es que, mientras no seamos capaces de ir nosotros mismos, las sondas que enviamos a recorrer el sistema solar y a visitar otros mundos nos permiten, de hecho, explorar el universo que existe más allá de nuestros sentidos.
_______________"𝚃𝚑𝚎 𝙲𝚘𝚖𝚎𝚝"
#Ciencia #Tecnología
#Science #Technology
#NASA #ESA #Rosetta #Philae
#Efeméride #Ephemerid #OTD -
#Klimadashboard zur Visualisierung der #Klimakrise startet
Adrian Hiss, Johannes Stangl und David Jablonski haben am Mittwoch das sogenannte „Klimadashboard“ an den Start gebracht. Zum Launch des Projekts gibt es zwei Visualisierungen. Diese zeigen die Weltkarte, auf der jene Länder eingefärbt sind, die bei der #Weltklimakonferenz COPD26 in Glasgow den sogenannten „Deforestation Pledge“ unterzeichnet haben.
🔗 https://futurezone.at/science/klimadashboard-data-science-klima-krise/401793152 -
Košice (Slovakia), 1920
Košice: House
Regional Geography, Cathedrals, Interiors, Altars
Graphic, Local Postcards
Štangler
From Digital Library and Digital Archive of Slovak National Library
https://dikda.snk.sk/view/uuid:348a335c-5011-485b-…
#Slovakia #Slovensko #SVK #SK #history #image #photography #photo #postcards #postcard #map #maps #retro #photos -
Košice (Slovakia), 1920
Košice: House
Regional Geography, Cathedrals, Interiors, Altars
Graphic, Local Postcards
Štangler
From Digital Library and Digital Archive of Slovak National Library
https://dikda.snk.sk/view/uuid:348a335c-5011-485b-…
#Slovakia #Slovensko #SVK #SK #history #image #photography #photo #postcards #postcard #map #maps #retro #photos -
Košice (Slovakia), 1920
Košice: House
Regional Geography, Cathedrals, Interiors, Altars
Graphic, Local Postcards
Štangler
From Digital Library and Digital Archive of Slovak National Library
https://dikda.snk.sk/view/uuid:348a335c-5011-485b-…
#Slovakia #Slovensko #SVK #SK #history #image #photography #photo #postcards #postcard #map #maps #retro #photos -
#Lektürebeginn: Natascha Gangl, Das Spiel von der Einverleibung. Frei nach Unica Zürn, mit Bildern von Toño Camuñas, Starfruit Publications.
#Buchbeginn: »Spielregeln. 1. Die Teilnehmer*innen bestehen in der ersten Runde aus A, einer Autorin und Zeichnerin, und B, einer Autorin.«
Natascha Stangl hat mit ihrem Text »Da Sta« im letzten Jahr die #tddl gewonnen und neben dem Publikum auch die Lektorin sehr überzeugt.
Auf der Buchmesse hat sie dieses Buch entdeckt – und nun auch Unica Zürn.
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Wer sich auf der 6. Stufe der Kohlberg'schen #Moralentwicklung zu wohl fühlt, kann auch schon mal auf die 7. Stufe kippen, die, nach der man selbst zu "den #Guten" gehört und keinerlei Einschränkung der eigenen Handlungsfreiheit akzeptieren muss, weil man moralisch perfekt ist und immer in sich selbst die absolut unfehlbar korrekte Leitlinie finden wird.
https://arbeitsblaetter.stangl-taller.at/MORALISCHEENTWICKLUNG/KohlbergStufen.shtml
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En France, l’État est interventionniste mais toujours au bénéfice du capital
https://www.les-crises.fr/en-france-l-etat-est-interventionniste-mais-toujours-au-benefice-du-capital/
Les réformateurs néolibéraux qualifient souvent le modèle social français de fardeau insoutenable pour l’entreprenariat privé. Pourtant, au cours des dernières décennies, les aides publiques aux entreprises ont presque triplé en pourcentage du PIB, ce qui montre que les interventions de l’État soutiennent de plus en plus les profits privé. Source : Cole Stangler, Jacobin Traduit […]
#Politique #France #Interventionnisme #Néolibéralisme -
En France, l’État est interventionniste mais toujours au bénéfice du capital
Les réformateurs néolibéraux qualifient souvent le modèle social français de fardeau insoutenable pour l’entreprenariat privé. Pourtant, au cours des dernières décennies, les aides publiques aux entreprises ont presque triplé en pourcentage du PIB, ce qui montre que les interventions de l’État soutiennent de plus en plus les profits privé. Source : Cole Stangler, Jacobin Traduit […]
#Politique #France #interventionnisme #Néolibéralisme #Politique #France #interventionnisme #Néolibéralisme
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Woche 1/17: Trainingsauftakt für Hamburg-Marathon 2026
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#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder http://wildewaelder.org
-
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
-
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
-
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
Woche 1/17: Trainingsauftakt für Hamburg-Marathon 2026
-
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder http://wildewaelder.org
-
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
-
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
-
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
Woche 1/17: Trainingsauftakt für Hamburg-Marathon 2026
-
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder http://wildewaelder.org
-
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
-
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
-
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
Woche 1/17: Trainingsauftakt für Hamburg-Marathon 2026
-
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder http://wildewaelder.org
-
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
-
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
-
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
#weihnachtslauf #vatertochterlauf
- - - - -
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder
- - - - -
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
- - - - -
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
- - - - -
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
#weihnachtslauf #vatertochterlauf
- - - - -
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder
- - - - -
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
- - - - -
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
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#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
#weihnachtslauf #vatertochterlauf
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#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder
- - - - -
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
- - - - -
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
- - - - -
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
#weihnachtslauf #vatertochterlauf
- - - - -
#Kilometersammeln für den guten Zweck:
#jedermarathoneinbaum 🏃🏻♂️🌳
zugunsten #wildewaelder
- - - - -
#Naabtal50Ultralauf
#llcMarathonRegensburg
#antifascistrunningclub
- - - - -
26. April: #HamburgMarathon
27. Juni: Hofer #BackyardUltra
04. September: Fränkischer Backyard Ultra
03. Oktober: Nordiska Mästarnas Backyard Ultra 🇸🇪
18. Oktober: Naabtal50 Ultralauf
- - - - -
#runnersofmastodon
#runningcommunity
#running #marathon #ultramarathon -
"fall display (Allaire State Park, NJ)"
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#fall #2024 #allaire #allairestatepark #Halloween #halloween2024 #nj #newjersey #flickr https://flic.kr/p/2qozTqZ