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Gay Oral Videos



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A themed collection of oral histories and interviews recorded between the 1970s and 1990s. Topics include, but are not limited to, early California settlers, ranching, homosexuality, and the East Bay during World War II.


The GLBT Historical Society's digital collection at California Revealed consists of moving image and audio recordings from the 1920s to the 2000s. The collection includes interviews, oral histories and event footage, related to topics such as LGBTQ culture and experience, San Francisco, the Folsom Street Fair, sexuality, and more.


Audiovisual, text, and image material relating to topics about the California Gold Rush which lasted from 1848 to 1855. Material includes recorded oral histories, documentaries, Gold Rush-era newspapers, and Gold Rush-era maps.


The Graduate Theological Union Library and Archives' digital collection at California Revealed consists of moving image and audio recordings from the 1970s to 1990s. The collection includes oral history interviews with former students and faculty of the school, as well as seminars presented at the school.


A sexually transmitted infection caused by the bacterium Treponema pallidum. Transmission can occur by direct contact with a syphilis sore during vaginal, anal, or oral sex. Sores may be found around the penis, vagina, or anus, or in the rectum, on the lips, or in the mouth, but syphilis is often asymptomatic. It can spread from an infected mother to her unborn baby.


This essay is about how ten diverse queer and trans DIY digital humanists, mostly students and all social justice oriented, created three digital exhibitions on queer and trans history, with accompanying podcasts, over the course of four weeks. Our project was based at The ArQuives, the largest independent LGBTQ+ community archive in the world, and the three projects focused on a wide range of Toronto-based queer and trans activist history: Not a Place on the Map: The Desh Pardesh Project, an oral history project about the queer South Asian diasporic arts and culture festival Desh Pardesh (1988 - 2001); the Foolscap Gay Oral History Project, a 1980s community-based oral history project of Toronto gay life pre-Stonewall; and gendertrash from hell, the trans zine published by Ross and MacKay in the early 1990s. We worked together daily on a collaboration that brought together the LGBTQ Oral History Digital Collaboratory (the Collaboratory), a multi-year project on US and Canadian queer and trans oral history directed by Prof. Elspeth H. Brown; The ArQuives; the South Asian Visual Arts Centre (SAVAC); the University of Toronto; and York University.


We understood our work to be in dialogue with other scholars who bring questions of critical humanities scholarship to bear on digital praxis: projects that are motivated by questions of social transformation and radical politics. The work here is growing, but see scholars and activists networked with #transformDH and the FemTechNet collective, as well as As an intergenerational, multi-institutional, queer, trans, and racially diverse gathering of DIY critical digital humanists, our work is an experiment in radical pedagogy that cuts across the institutional boundaries of both the liberal, LGBTQ+ community archive and the neoliberal university. Indeed, if part of the point of doing queer/trans digital histories is providing meaningful access to generational knowledge transfer, then involving undergraduate students, graduate students, postdoctoral scholars, senior faculty, archivists, and community members as makers is key to expanding our understanding of cultural and political inheritance, both in terms of what histories, politics and cultures are remembered and what histories, politics, and cultures can be inherited.


Working with archival collections, we soon recognized our three projects as a form of transmedial intergenerational cultural and political transfer and inheritance, and yet we also recognized how both the archival collections we selected and our group itself looked decidedly different from the kinds of white, cis, and heteronormative narratives which are often celebrated in LGBTQ+ community archival practice. The data we inherited, and the DH practices that we undertook, would have an uneasy relationship to where many of us understood our own position to be in LGBTQ+ history and life. We recognized these tricky encounters as precisely the kinds of trans(affective)mediations described by Brouwer and Licona. Where they documented the various affects that emerged when using queer ephemera that had been digitized, we sought to explore trans(affective)mediation through the process of digitization and mounting. Practically speaking, our projects drew on a range of analog and born-digital objects. In some cases, we digitized oral history interviews from cassette tapes that had not been listened to since the early 1980s. Other interviews conducted more recently came to us as digital audio, and in these cases, our digitizing work meant creating transcripts, abstracts, metadata, and streaming audio. Across all three projects, we accessed larger, paper-based archival collections to curate the exhibitions, choosing appropriate material to digitize and finding documents, images, photographs, and other ephemera that would bring these rich histories to life for users. We designed three creative exhibitions using Omeka and its Neatline plugin, an open source platform for digital collections designed by the Roy Rosenzweig Center for History and New Media at George Mason University. All three exhibitions were accompanied by podcasts, specific to the content and process of collaborative, critical DH praxis. Our undergraduate participants curated the digital exhibitions and made the podcasts while more senior members of the lab provided mentorship, including scholarly and technical support. In addition to the podcasts, we also took turns creating reflective social media content (blogs for The ArQuives and the Collaboratory websites; Facebook, Twitter and Instagram posts) about our work in progress: a form of public-facing outreach to the communities we hoped to reach with our digital projects. To learn all of these technical processes, we came up with a series of workshops on topics such as writing abstracts, creating metadata, and using Omeka. We taught each other skills that were specific to particular collections, such as digitizing cassette tapes and records, or scanning photographs. In many cases we learned together. For example, Neatline was new to all of us, as was writing, recording, and producing podcasts. We sought support from the GitHub community when we were truly stumped by Neatline, and we reached out to the Queer Zine Archive Project, and a few DH librarians, via Twitter and Facebook when we wanted to learn best practices around document accessibility. Through these practices, all of us explored the wider, collaborative DH world.


Like our reflections on making data, a critical transmediation practice required us to insert our own processes of encountering the originals in the stories we told to users about making these digital collections. To launch and contextualize each collection, we produced podcasts, through a workshop format lead by Stacey Copeland, a feminist podcast-maker, radio host, and doctoral candidate at Simon Fraser University. As Hannah McGreggor argues, learning podcasting develops technical skills from which queer, trans, and racialized communities, outsiders to normative representations of maker cultures, are often excluded. Podcasting is not actually that difficult, technically speaking, and allows students to engage with processes of making that enrich humanities education and provides opportunities for self-expression. In each of these podcasts, students found ways to place themselves within the stories they told about making digital collections.


Primary sources are materials that provide firsthand testimony to a subject under investigation. Researchers often use these firsthand accounts of specific events to understand events from the viewpoint of people living during that time period. Primary sources include letters, diaries, photographs, newspaper articles, and pamphlets. Primary sources also include writings and recordings by witnesses who experienced the events or conditions being documented. For example, oral histories, autobiographies, and memoirs are primary sources.


Among the more than 1.1 million Americans living with HIV there are vast disparities in the communities most affected. African Americans represent 14% of the US population but account for 44% of HIV diagnoses, while Latinos represent 18% of the US population and 25% of HIV diagnoses. PrEP, which refers to any drug that reduces the risk of contracting HIV, is currently prescribed as a daily, oral pill to individuals who do not have HIV and are at substantial risk of contracting the virus. It has been shown to reduce the risk of contracting HIV by up to 99 percent. Focused efforts to increase awareness of PrEP in these communities could help reduce new HIV diagnoses. 041b061a72


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