#afghan — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #afghan, aggregated by home.social.
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Play goes beyond the archives to revive an Adelaide street’s lost history
As far as streets go, Logan Street is as unremarkable as they come, unless you know. WARNING: First…
#NewsBeep #News #Entertainment #Adelaide #Afghan #alexiswest #aliammouchi #archives #AU #Australia #cameleer #History #indigenous #jacobboehme #loganstreet #theatre
https://www.newsbeep.com/au/811070/ -
Play goes beyond the archives to revive an Adelaide street’s lost history
As far as streets go, Logan Street is as unremarkable as they come, unless you know. WARNING: First…
#NewsBeep #News #Entertainment #Adelaide #Afghan #alexiswest #aliammouchi #archives #AU #Australia #cameleer #History #indigenous #jacobboehme #loganstreet #theatre
https://www.newsbeep.com/au/811070/ -
Play goes beyond the archives to revive an Adelaide street’s lost history
As far as streets go, Logan Street is as unremarkable as they come, unless you know. WARNING: First…
#Australia #Adelaide #afghan #alexiswest #aliammouchi #archives #cameleer #history #Indigenous #jacobboehme #loganstreet #theatre
https://www.europesays.com/australia/53820/ -
‘You have to be silent twice’: Afghan women in Britain still living in fear of the Taliban
Almost five years on from the Taliban’s ascent to power, Afghan women living in the UK say repression…
#EuropeSays #Britain #Europe #EU #Afghan #Afghanistan #London #News #repression #Taliban #transnational #Women
https://www.europesays.com/britain/84500/ -
https://www.europesays.com/britain/84500/ ‘You have to be silent twice’: Afghan women in Britain still living in fear of the Taliban #Afghan #Afghanistan #Britain #London #News #repression #Taliban #transnational #Women
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#ANNE #DIEU LE #VEUT allgraph.ro/advanced-sea... #LIST OF #AFGHAN #FLAGS www.perplexity.ai/search/new?q... Semantic SEO: The Bridge between Humans and Artificial Intelligence. Bridgy Fed: fed.brid.gy/bsky/globalv...
MultiSearch Tag Explorer -
EU invites Taiban members to discuss Afghan migrant returns
The European Commission has invited officials from Afghanitan’s Taliban to discuss the returns of certain migrants. It’s controversial…
#Europe #EU #EuropeanCommission #afghan #migrant #taiban #Taliban
https://www.europesays.com/europe/39899/ -
According to information from "Spiegel", the German government once again deported a large group of criminal offenders to Afghanistan during the night leading i... https://news.osna.fm/?p=43582 | #news #afghan #authorities #criminals #deport
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Infomigrants
La Cour européenne des droits de l’Homme annule l’expulsion d’un Afghan depuis la Suède
https://mcinformactions.net/la-cour-europeenne-des-droits-de-l-homme-annule-l-expulsion-d-un-afghan-depuis
#Suede #Afghan #migrants #immigration #CEDH -
Infomigrants
La Cour européenne des droits de l’Homme annule l’expulsion d’un Afghan depuis la Suède
https://mcinformactions.net/la-cour-europeenne-des-droits-de-l-homme-annule-l-expulsion-d-un-afghan-depuis
#Suede #Afghan #migrants #immigration #CEDH -
🎉🎉🎉 #BonneNouvelle 🎉🎉🎉
La justice fait sont travail 👍
Le #violeur de la #jeune #joggeuse de #Frégus, a été condamné à 15 ans de réclusion criminelle.
👇
La cour criminelle du #Var, à #Draguignan, a condamné ce mardi matin un #ressortissant #Afghan à la peine maximale prévue par la loi pour le #viol d’une jeune #femme commis le 28 août 2023 sur les rives du #Reyran, à Fréjus.
Source : #NiceMatin
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https://theconversation.com/whats-behind-pakistans-war-with-afghanistans-taliban-government-277105. This article denies the role of the #Pakistani #ISI in establishing the #Afghan #Taliban in the first place. See: https://www.lse.ac.uk/international-development/Assets/Documents/PDFs/csrc-discussion-papers/dp18-The-Sun-in-the-Sky.pdf. This is a plain distortion of historical fact, & is completely unacceptable.
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https://theconversation.com/whats-behind-pakistans-war-with-afghanistans-taliban-government-277105. This article denies the role of the #Pakistani #ISI in establishing the #Afghan #Taliban in the first place. See: https://www.lse.ac.uk/international-development/Assets/Documents/PDFs/csrc-discussion-papers/dp18-The-Sun-in-the-Sky.pdf. This is a plain distortion of historical fact, & is completely unacceptable.
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The First Thing They Burn: Why War Always Comes for Beauty
When the Mongol army sacked Baghdad in 1258, they did not stop at killing the Caliph. They threw the contents of the House of Wisdom into the Tigris. Manuscripts on astronomy, medicine, mathematics, philosophy, and poetry turned the river black with ink for days. Killing people was not enough. What those people had made, what they had thought and dreamed and rendered into form, that had to be annihilated too. Kill a generation and you end a bloodline. Destroy what a generation built and you erase the proof that the bloodline mattered. This is strategy, not collateral damage. Invading armies have always understood something about beauty that peacetime democracies pretend not to know: beauty is power. A public display of beauty is a sovereignty claim, and no occupying force has ever been able to tolerate one.
The Testimony of Walls
When an army takes a city, the administrative buildings get repurposed. The granaries get seized. The roads still work. But a cathedral cannot serve a conqueror who worships a different god. A public statue celebrating a national hero cannot remain standing in a square patrolled by the forces that hero fought against. And a library full of a people’s philosophy, jurisprudence, and literature makes a case, just by sitting there on its shelves, that the conquered had minds worth preserving. That case has to be silenced.
The Nazis grasped this with clinical precision. The Einsatzstab Reichsleiter Rosenberg, the regime’s art looting operation, was organized before the invasions were finished. It was catalogued and systematic. Over five million cultural objects were seized across occupied Europe. Paintings by Vermeer, Rembrandt, and Raphael ended up crated in salt mines or hanging in private collections. But for Jewish communities, the seizure of Torah scrolls, menorahs, and cultural artifacts did something beyond theft. If you take a people’s art, you remove the physical evidence that they existed as a civilization. You flatten them from a culture into a population, from citizens into bodies. Bodies are easier to dispose of than civilizations.
ISIS followed the same logic at Palmyra in 2015. The Temple of Baalshamin had stood for nearly two thousand years. It threatened no one. It held no weapons, commanded no strategic high ground, and generated no revenue for the Syrian state. But it was beautiful, and old, and it testified to a version of human civilization that predated the caliphate’s claim to be the sole legitimate ordering of human life. So they packed it with explosives and filmed the detonation for propaganda. They filmed it. The explosion was not a byproduct of the war. The explosion was the content.
The Taliban’s demolition of the Bamiyan Buddhas in March 2001 spoke the same language. Mullah Omar initially said the statues would be preserved. Then the order reversed: destroy them. Artillery, anti-aircraft weapons, and dynamite were unleashed on sixth-century sandstone carvings. Those statues had survived over 1,400 years of Islamic governance in the region without incident. The destruction had nothing to do with theology and everything to do with demonstrating total authority, authority that extended beyond the living and reached backward into the inherited visual landscape of Afghan memory. If you can obliterate what a people have looked at for a millennium, you have announced a power that administration alone cannot claim.
Beauty as Collective Selfhood
So why does beauty threaten power? Strip away the geopolitics and the answer is startlingly intimate.
A fountain in a town square is not decoration. People sit near it, eat lunch beside it, talk beside it, propose marriage in front of it. Over decades, a public work of beauty weaves itself into the social fabric of a place. It accrues meaning the way a family home accrues meaning, not because of its market value but because of what happened there. The residents of Sarajevo did not love their National Library because it held books. They loved it because it was theirs, because its existence confirmed that Sarajevo was a city of readers, of thinkers, of people who built beautiful things and expected them to last. When Serbian forces shelled it in August 1992, destroying an estimated 1.5 million volumes and over 155,000 rare books and manuscripts, the target was never the building. The target was the idea of Sarajevo as a civilized place.
Beauty is identity made visible. A mural on a government building announces: we are the kind of people who commission murals. A concert hall full on a Tuesday night announces: we gather to hear music performed with skill, and we do it on a weeknight because it matters that much. Under occupation, every one of these announcements becomes defiance. They all say the same thing: we had a life before you arrived, and that life had grace.
Conquerors understand this instinctively. Occupation depends on the conquered internalizing a particular story: the old order was weak, corrupt, worthless, and the new order is the only legitimate reality. But every beautiful thing that predates the conquest talks back. Every church, every mosaic, every hand-carved doorframe contradicts the occupier’s narrative just by continuing to exist. Something fine was here before you, and it did not need you.
The American Erasure
Bring this logic home. The United States is not being invaded by a foreign army. But beauty is being removed from American public life through a mechanism that is slower and quieter than artillery while producing a structurally identical outcome: defunding.
The National Endowment for the Arts runs on a budget that, adjusted for inflation, has been shrinking for decades. In 2024 its allocation stood at roughly $207 million, which is approximately what the Department of Defense spends in under three hours. The NEA funds the infrastructure that makes beauty visible where people actually live: murals in post offices, sculptures in civic plazas, theater programs in rural communities, music education in public schools. Cut that funding and you do not inconvenience artists. You remove beauty from the spaces where ordinary people encounter it without paying admission.
Arts education in American public schools has been gutted with special thoroughness. Since the 1980s, school boards under budget pressure have treated music, visual art, drama, and dance as luxuries to be trimmed first. The framing is always fiscal: we cannot afford it. But the effect is ideological, and it compounds. A child who never learns to draw, who never stands on a stage, who never reads music, becomes an adult for whom beauty is something that happens elsewhere, to other people, in expensive places behind glass. Beauty turns into a class marker instead of a civic inheritance. The public square goes aesthetically bare, and nobody notices because nobody was taught to notice.
No conspiracy is required. Indifference operating over time is the peacetime equivalent of what artillery accomplishes in a week. The Mongols threw the books into the river. American school boards stopped buying them. The destination is the same: a population severed from its own capacity to create, recognize, and demand beauty.
The Deeper Threat
Beneath the political, there is a still more fundamental reason beauty makes power nervous. Beauty tells the truth. Not factual truth in the journalistic sense, but existential truth: that human life has dimensions which cannot be quantified, administered, or optimized. A Rothko painting produces no revenue. A Beethoven string quartet contributes nothing to GDP. A poem by Wislawa Szymborska will never improve worker productivity. These things assert, simply by existing, that the economic vocabulary fails to describe what it means to be alive.
Authoritarians have always known this. Stalin did not go after Shostakovich because the symphonies were bad. He went after him because the symphonies were good, because they carried an emotional truth that exceeded the party’s official version of reality and, by exceeding it, exposed it as insufficient. Mao’s Cultural Revolution did not target art by accident. Art is where a culture keeps its unauthorized thoughts, its unofficial feelings, its capacity for complexity that slogans cannot hold. The Red Guards who smashed temple carvings and burned classical texts were doing what the Mongols had done in Baghdad seven centuries earlier: destroying the evidence that human experience is richer than any ideology can contain.
Beauty is an argument for human dignity. A carved stone lintel above a doorway in a medieval village means that someone, centuries ago, decided it was worth spending hours making that doorway more than functional. That impulse, the impulse to ornament, is the fundamental assertion of human worth. We are not creatures that only eat, sleep, reproduce, and die. We are creatures that decorate our world because the world, and our brief presence in it, deserves decoration.
Destroy the ornamentation, by bombs or by budget cuts, and you deny the premise. The invading army denies it with fire. The indifferent legislature denies it with a line item. And the child who graduates from an American high school without ever having held a paintbrush has received the same message the people of Palmyra received when the temple came down: beauty is not for you.
The Preservation Imperative
When a government defunds the arts, it is declaring what kind of citizens it wants: consumers instead of creators, audiences instead of participants, workers instead of whole human beings. When an army shells a library, it makes the same declaration with more efficient tools. The scale differs. The intent rhymes.
Preserving beauty, then, is a form of resistance, and it always has been. A community that maintains a public mural, a school that fights to keep a music program, a city that funds a free museum day, these are acts of civilizational self-defense, whether the people performing them think of it that way or not.
The people who rebuilt the Mostar Bridge in Bosnia understood. Croat forces destroyed the bridge in 1993, a masterpiece of Ottoman architecture that had spanned the Neretva River since 1566. Its reconstruction, completed in 2004, was not an engineering project. It was a rebuttal. You may destroy what we build, but we will build it again, because the building is the point.
In the American context, every fight over arts funding is a fight over something much larger than a budget line. Do we believe beauty belongs in public life, or are we content to let it retreat behind gallery walls and subscription paywalls? Does a child in rural Nebraska deserve the same access to the experience of beauty as a child on the Upper East Side? What kind of civilization do we intend to be?
The armies that burn the beautiful things know exactly what they are destroying. The rest of us should start asking whether we know what we are losing.
#afghan #annihilation #art #beauty #danger #destruction #palmyra #persia #temple #testimony #usa #war -
The First Thing They Burn: Why War Always Comes for Beauty
When the Mongol army sacked Baghdad in 1258, they did not stop at killing the Caliph. They threw the contents of the House of Wisdom into the Tigris. Manuscripts on astronomy, medicine, mathematics, philosophy, and poetry turned the river black with ink for days. Killing people was not enough. What those people had made, what they had thought and dreamed and rendered into form, that had to be annihilated too. Kill a generation and you end a bloodline. Destroy what a generation built and you erase the proof that the bloodline mattered. This is strategy, not collateral damage. Invading armies have always understood something about beauty that peacetime democracies pretend not to know: beauty is power. A public display of beauty is a sovereignty claim, and no occupying force has ever been able to tolerate one.
The Testimony of Walls
When an army takes a city, the administrative buildings get repurposed. The granaries get seized. The roads still work. But a cathedral cannot serve a conqueror who worships a different god. A public statue celebrating a national hero cannot remain standing in a square patrolled by the forces that hero fought against. And a library full of a people’s philosophy, jurisprudence, and literature makes a case, just by sitting there on its shelves, that the conquered had minds worth preserving. That case has to be silenced.
The Nazis grasped this with clinical precision. The Einsatzstab Reichsleiter Rosenberg, the regime’s art looting operation, was organized before the invasions were finished. It was catalogued and systematic. Over five million cultural objects were seized across occupied Europe. Paintings by Vermeer, Rembrandt, and Raphael ended up crated in salt mines or hanging in private collections. But for Jewish communities, the seizure of Torah scrolls, menorahs, and cultural artifacts did something beyond theft. If you take a people’s art, you remove the physical evidence that they existed as a civilization. You flatten them from a culture into a population, from citizens into bodies. Bodies are easier to dispose of than civilizations.
ISIS followed the same logic at Palmyra in 2015. The Temple of Baalshamin had stood for nearly two thousand years. It threatened no one. It held no weapons, commanded no strategic high ground, and generated no revenue for the Syrian state. But it was beautiful, and old, and it testified to a version of human civilization that predated the caliphate’s claim to be the sole legitimate ordering of human life. So they packed it with explosives and filmed the detonation for propaganda. They filmed it. The explosion was not a byproduct of the war. The explosion was the content.
The Taliban’s demolition of the Bamiyan Buddhas in March 2001 spoke the same language. Mullah Omar initially said the statues would be preserved. Then the order reversed: destroy them. Artillery, anti-aircraft weapons, and dynamite were unleashed on sixth-century sandstone carvings. Those statues had survived over 1,400 years of Islamic governance in the region without incident. The destruction had nothing to do with theology and everything to do with demonstrating total authority, authority that extended beyond the living and reached backward into the inherited visual landscape of Afghan memory. If you can obliterate what a people have looked at for a millennium, you have announced a power that administration alone cannot claim.
Beauty as Collective Selfhood
So why does beauty threaten power? Strip away the geopolitics and the answer is startlingly intimate.
A fountain in a town square is not decoration. People sit near it, eat lunch beside it, talk beside it, propose marriage in front of it. Over decades, a public work of beauty weaves itself into the social fabric of a place. It accrues meaning the way a family home accrues meaning, not because of its market value but because of what happened there. The residents of Sarajevo did not love their National Library because it held books. They loved it because it was theirs, because its existence confirmed that Sarajevo was a city of readers, of thinkers, of people who built beautiful things and expected them to last. When Serbian forces shelled it in August 1992, destroying an estimated 1.5 million volumes and over 155,000 rare books and manuscripts, the target was never the building. The target was the idea of Sarajevo as a civilized place.
Beauty is identity made visible. A mural on a government building announces: we are the kind of people who commission murals. A concert hall full on a Tuesday night announces: we gather to hear music performed with skill, and we do it on a weeknight because it matters that much. Under occupation, every one of these announcements becomes defiance. They all say the same thing: we had a life before you arrived, and that life had grace.
Conquerors understand this instinctively. Occupation depends on the conquered internalizing a particular story: the old order was weak, corrupt, worthless, and the new order is the only legitimate reality. But every beautiful thing that predates the conquest talks back. Every church, every mosaic, every hand-carved doorframe contradicts the occupier’s narrative just by continuing to exist. Something fine was here before you, and it did not need you.
The American Erasure
Bring this logic home. The United States is not being invaded by a foreign army. But beauty is being removed from American public life through a mechanism that is slower and quieter than artillery while producing a structurally identical outcome: defunding.
The National Endowment for the Arts runs on a budget that, adjusted for inflation, has been shrinking for decades. In 2024 its allocation stood at roughly $207 million, which is approximately what the Department of Defense spends in under three hours. The NEA funds the infrastructure that makes beauty visible where people actually live: murals in post offices, sculptures in civic plazas, theater programs in rural communities, music education in public schools. Cut that funding and you do not inconvenience artists. You remove beauty from the spaces where ordinary people encounter it without paying admission.
Arts education in American public schools has been gutted with special thoroughness. Since the 1980s, school boards under budget pressure have treated music, visual art, drama, and dance as luxuries to be trimmed first. The framing is always fiscal: we cannot afford it. But the effect is ideological, and it compounds. A child who never learns to draw, who never stands on a stage, who never reads music, becomes an adult for whom beauty is something that happens elsewhere, to other people, in expensive places behind glass. Beauty turns into a class marker instead of a civic inheritance. The public square goes aesthetically bare, and nobody notices because nobody was taught to notice.
No conspiracy is required. Indifference operating over time is the peacetime equivalent of what artillery accomplishes in a week. The Mongols threw the books into the river. American school boards stopped buying them. The destination is the same: a population severed from its own capacity to create, recognize, and demand beauty.
The Deeper Threat
Beneath the political, there is a still more fundamental reason beauty makes power nervous. Beauty tells the truth. Not factual truth in the journalistic sense, but existential truth: that human life has dimensions which cannot be quantified, administered, or optimized. A Rothko painting produces no revenue. A Beethoven string quartet contributes nothing to GDP. A poem by Wislawa Szymborska will never improve worker productivity. These things assert, simply by existing, that the economic vocabulary fails to describe what it means to be alive.
Authoritarians have always known this. Stalin did not go after Shostakovich because the symphonies were bad. He went after him because the symphonies were good, because they carried an emotional truth that exceeded the party’s official version of reality and, by exceeding it, exposed it as insufficient. Mao’s Cultural Revolution did not target art by accident. Art is where a culture keeps its unauthorized thoughts, its unofficial feelings, its capacity for complexity that slogans cannot hold. The Red Guards who smashed temple carvings and burned classical texts were doing what the Mongols had done in Baghdad seven centuries earlier: destroying the evidence that human experience is richer than any ideology can contain.
Beauty is an argument for human dignity. A carved stone lintel above a doorway in a medieval village means that someone, centuries ago, decided it was worth spending hours making that doorway more than functional. That impulse, the impulse to ornament, is the fundamental assertion of human worth. We are not creatures that only eat, sleep, reproduce, and die. We are creatures that decorate our world because the world, and our brief presence in it, deserves decoration.
Destroy the ornamentation, by bombs or by budget cuts, and you deny the premise. The invading army denies it with fire. The indifferent legislature denies it with a line item. And the child who graduates from an American high school without ever having held a paintbrush has received the same message the people of Palmyra received when the temple came down: beauty is not for you.
The Preservation Imperative
When a government defunds the arts, it is declaring what kind of citizens it wants: consumers instead of creators, audiences instead of participants, workers instead of whole human beings. When an army shells a library, it makes the same declaration with more efficient tools. The scale differs. The intent rhymes.
Preserving beauty, then, is a form of resistance, and it always has been. A community that maintains a public mural, a school that fights to keep a music program, a city that funds a free museum day, these are acts of civilizational self-defense, whether the people performing them think of it that way or not.
The people who rebuilt the Mostar Bridge in Bosnia understood. Croat forces destroyed the bridge in 1993, a masterpiece of Ottoman architecture that had spanned the Neretva River since 1566. Its reconstruction, completed in 2004, was not an engineering project. It was a rebuttal. You may destroy what we build, but we will build it again, because the building is the point.
In the American context, every fight over arts funding is a fight over something much larger than a budget line. Do we believe beauty belongs in public life, or are we content to let it retreat behind gallery walls and subscription paywalls? Does a child in rural Nebraska deserve the same access to the experience of beauty as a child on the Upper East Side? What kind of civilization do we intend to be?
The armies that burn the beautiful things know exactly what they are destroying. The rest of us should start asking whether we know what we are losing.
#afghan #annihilation #art #beauty #danger #destruction #palmyra #persia #temple #testimony #usa #war -
Doggie Détente. After months of eyeing each other warily, Vira and Cousin Razzy are finally sitting together on the couch, touching. Franklin approves. #dog #dogs #canine #canines #furbaby #furbabies #family #familymember #familymembers #mutt #mutts #companion #companions #dogpack #dogpacks #dogfriends #doglover #doglovers #homemadeafghan #afghan #afghans #inlaidtable #inlaidconvicttable #convicttable #couch
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Doggie Détente. After months of eyeing each other warily, Vira and Cousin Razzy are finally sitting together on the couch, touching. Franklin approves. #dog #dogs #canine #canines #furbaby #furbabies #family #familymember #familymembers #mutt #mutts #companion #companions #dogpack #dogpacks #dogfriends #doglover #doglovers #homemadeafghan #afghan #afghans #inlaidtable #inlaidconvicttable #convicttable #couch
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Doggie Détente. After months of eyeing each other warily, Vira and Cousin Razzy are finally sitting together on the couch, touching. Franklin approves. #dog #dogs #canine #canines #furbaby #furbabies #family #familymember #familymembers #mutt #mutts #companion #companions #dogpack #dogpacks #dogfriends #doglover #doglovers #homemadeafghan #afghan #afghans #inlaidtable #inlaidconvicttable #convicttable #couch
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Doggie Détente. After months of eyeing each other warily, Vira and Cousin Razzy are finally sitting together on the couch, touching. Franklin approves. #dog #dogs #canine #canines #furbaby #furbabies #family #familymember #familymembers #mutt #mutts #companion #companions #dogpack #dogpacks #dogfriends #doglover #doglovers #homemadeafghan #afghan #afghans #inlaidtable #inlaidconvicttable #convicttable #couch
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Doggie Détente. After months of eyeing each other warily, Vira and Cousin Razzy are finally sitting together on the couch, touching. Franklin approves. #dog #dogs #canine #canines #furbaby #furbabies #family #familymember #familymembers #mutt #mutts #companion #companions #dogpack #dogpacks #dogfriends #doglover #doglovers #homemadeafghan #afghan #afghans #inlaidtable #inlaidconvicttable #convicttable #couch
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At long last an Afghan trucker is freed from unjust imprisonment after 104 days.
Per #vtdigger
BURLINGTON – An #Afghan man held for 104 days without access to counsel or family was released Friday after a federal judge granted bond.
A long-haul truck driver living in Oregon, Enayetullah Walizada, 29, had been transporting food from Vermont to California when he inadvertently took a wrong turn that led him out of the United States and into a Canada #border crossing. He was detained Sept. 5.
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At long last an Afghan trucker is freed from unjust imprisonment after 104 days.
Per #vtdigger
BURLINGTON – An #Afghan man held for 104 days without access to counsel or family was released Friday after a federal judge granted bond.
A long-haul truck driver living in Oregon, Enayetullah Walizada, 29, had been transporting food from Vermont to California when he inadvertently took a wrong turn that led him out of the United States and into a Canada #border crossing. He was detained Sept. 5.
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For the first time, an Afghan citizen was deported from Bavaria on a regular flight.
For the first time, a repeat offender has been #deported from #Bavaria to #Kabul using a regular commercial flight instead of a specialized charter. With more returns already in the pipeline. Find out how these new agreements with #Afghan authorities are changing the landscape of #German #security.
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The German Greens party leader, Felix Banaszak, has launched a scathing rebuke of Interior Minister Alexander Dobrindt (CSU) over the recent announcement to fac... https://news.osna.fm/?p=27785 | #news #accusations #afghan #coldness #germanys
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The German Greens party leader, Felix Banaszak, has launched a scathing rebuke of Interior Minister Alexander Dobrindt (CSU) over the recent announcement to fac... https://news.osna.fm/?p=27785 | #news #accusations #afghan #coldness #germanys
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The German Greens party leader, Felix Banaszak, has launched a scathing rebuke of Interior Minister Alexander Dobrindt (CSU) over the recent announcement to fac... https://news.osna.fm/?p=27785 | #news #accusations #afghan #coldness #germanys
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From #AnnafromUkraine @[email protected]
MOSCOW #REFINERY: MASS REPLACEMENT BY FOREIGNERS Vlog 1252: War in #Ukraine
Official figures are classified by the #Kremlin, but #Moscow cannot hide the fact that thousands of Russian men are no longer showing up to work. Hundreds of #Indian, #Vietnamese, #Afghan, and #CentralAsian men in a endless queue for jobs that used to be done by local Russians.
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From #AnnafromUkraine @[email protected]
MOSCOW #REFINERY: MASS REPLACEMENT BY FOREIGNERS Vlog 1252: War in #Ukraine
Official figures are classified by the #Kremlin, but #Moscow cannot hide the fact that thousands of Russian men are no longer showing up to work. Hundreds of #Indian, #Vietnamese, #Afghan, and #CentralAsian men in a endless queue for jobs that used to be done by local Russians.
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Female Afghan ambassador in Austria ignores Taliban warni…
The Taliban government asked her to leave. But for more than four years, Manizha Bakhtari has defied the…
#Austria #AT #Europe #Europa #EU #afghan #Ambassador #austria #female #ignores #in #Nachrichten #Österreich #position #Quit #Taliban #TO #warning
https://www.europesays.com/2540934/ -
Austria deports first criminal to Afghanistan in four years https://www.byteseu.com/1474315/ #a #Afghan #Afghanistan #an #and #Austria #Austrian #been #Citizen #committed #confirmed #continue #country #Crime #criminal #deports #first #four #Gerhard #had #in #interior #Karner #Minister #process #returned #that #the #to #who #would #years
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Dieses Wochenende steht ein Besuch in #Oelsnitz im Vogtland an. Ich möchte gerne die Ausstellung im Museum vom Schloß Voigtsberg besuchen. Zu sehen gibt es Kriegsteppiche aus #Afghanistan.
Da ich mir aus Kabul auch so einen geknüpften Widerstand mitgebracht habe, möchte ich gerne erfahren, was es noch für Motive und Geschichten zu sehen gibt.
#911attacks #carpent #teppich #resistance #waronterror #afghan #photography
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Dieses Wochenende steht ein Besuch in #Oelsnitz im Vogtland an. Ich möchte gerne die Ausstellung im Museum vom Schloß Voigtsberg besuchen. Zu sehen gibt es Kriegsteppiche aus #Afghanistan.
Da ich mir aus Kabul auch so einen geknüpften Widerstand mitgebracht habe, möchte ich gerne erfahren, was es noch für Motive und Geschichten zu sehen gibt.
#911attacks #carpent #teppich #resistance #waronterror #afghan #photography
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My First Graphgan
My first attempt at using a crochet graphgan is now completed, and the process has taught me a few things.
The first thing I learned was how to read a graphgan. For those unfamiliar with the term, a graphgan is a diagram of a pattern within a grid, with each square on the grid representing one stitch. The graphgan I worked from is the Cat Silhouette Afghan from Mary Maxim, and it has 28,908 squares.
In order to follow the pattern, I learned to read the front of the afghan from right to left and the back from left to right. At first, that was mind-boggling, but I eventually got it. Instead of counting every stitch for every row, I used a yellow highlighter to identify the stitches I had completed adjacent to the stitches for the cats. That way, I only needed to count the stitches in and around those images. As backup, I also kept a row count.
Various YouTube videos taught me how to join yarn of differing colours mid-row. I also learned that I needed to turn my very large skeins of yarn into multiple golf-ball sized balls of yarn in order to limit the tangles. This was especially important for rows that required sometimes six or eight balls of yarn.
My first attempt to control tangles was to create a box with holes in it so that each thread of yarn would, in theory, stay separated from the others. It didn’t work at all! Complete failure.
By trial and error, I figured out that in order to reduce tangling it was best to turn the work upside down and dangle all the different yarn balls before turning the work and changing row direction. Regardless, I did spend a lot of time untangling yarn, but that is okay because it is a surprisingly soothing activity.
I also made a point of weaving in the yarn ends every ten or twenty rows so that I wouldn’t have such a big chore at the end of working the piece. Weaving in ends is my least favourite crafting thing.
After completing the graphgan pattern I worked eight rounds of border stitching to complete the afghan and happily put it in the mail to my youngest child who has four cats. When Canada Post ends their strike, sometime in the next who-knows-how-long, my work may reach its intended destination. Just like figuring out how to crochet from a graphgan, patience is the most important requirement.
#afghan #CanadaPost #CatSilhouette #cats #crochet #graphgan #humour #MaryMaxim #patience #tangles #yarn
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#ICE crackdown imperils #Afghans who aided #US war effort
2 former #Afghan #interpreters for US forces face #deportation despite following #immigration processes, acc/to attorneys for the men.One former interpreter for US forces in #Afghanistan was detained by ICE agents in Connecticut last month after he showed up for a routine green card appointment. A second was arrested in June, just minutes after attending his first #asylum hearing in San Diego.
#law #Trump
https://www.washingtonpost.com/nation/2025/08/03/afghanistan-immigrants-trump-deportations/ -
#ICE crackdown imperils #Afghans who aided #US war effort
2 former #Afghan #interpreters for US forces face #deportation despite following #immigration processes, acc/to attorneys for the men.One former interpreter for US forces in #Afghanistan was detained by ICE agents in Connecticut last month after he showed up for a routine green card appointment. A second was arrested in June, just minutes after attending his first #asylum hearing in San Diego.
#law #Trump
https://www.washingtonpost.com/nation/2025/08/03/afghanistan-immigrants-trump-deportations/
