Blast that injured two was 'terrorist attack', Ukrainian authorities say The suspect is a 21-year-old local resident who claims he was blackmailed and forced to plant explosives.

#Russia doesn't just fight on the battlefield. Drones and missiles target civilians and #Putin bribes or blackmails unscrupulous people to commit acts of terror on the streets of #Ukraine
No targeting of military installations.
#Ukrainewar #StateTerror #Warcrimes
www.bbc.com/news/article...

'Enrollment' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "Novel tyranny is not a thing: circle your crimes and join the line."

'God's Gift' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "Trademark god forgives the trademark terrors of its human designer."

'His Endgame' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "Old dog's endgame: if not for us, or them, then for his visceral self."

'Deep Dive' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "One gulp is enough air for a deep dive into that morality."

Haiku/senryu, March 2026:
- ‘Enrollment’
- ‘God’s Gift’
- ‘His Endgame’
- ‘Deep Dive’
#haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #president #dictator #war #terror #bombing #civilian #stateterror #narcissism

'Don't Look' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Don't Look' the main motif is a chunky, white, diagonal cross - like a check-box or crossing-out mark - its four limbs slightly uneven. At its centre is an almost-closed human eye. The background is a vaporous mass of fiery red and sooty black. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Don't Look' might be an icon for deliberate, obvious or performative inaction.

'Look Around' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Look Around' the main motif is like a super-bold, claw-like letter 'C', rough-hewn out of straight lines, positioned on its 'back' with the opening between its almost-touching extremities uppermost. At diametrically opposite positions on this claw are two human eyes, their gaze directed into the central area framed by the claw: a background of vaporous, fiery red and sooty black. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central, claw-like figure of 'Look Around' might be an icon for deliberate or performative circumspection, perhaps as an alternative to direct involvement in some chaos unfolding further away.

'Look Down' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Look Down' the main motif is like a flying drone, stylised along the lines of a folded paper aeroplane. At the blunt tip of this craft a single, fleshy human eye gazes down over a shattered, burning landscape of fiery red and sooty black. The background here is formed from an aerial view of Gaza in 2025, photographed after months of bombardment by Israeli forces. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Look Down' is an icon for oppressive drone surveillance of any kind, and, more specifically, a memory-marker for the aerial surveillance undertaken by British military aircraft during the 2024-25 Gaza bombardments.

'Over Look' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Over Look' the main motif is a giant, two-legged entity - something like a crooked dockyard crane with a single human eye in its distorted crosspiece - over-striding a burning landscape of fiery red and sooty black. This background is formed from an aerial view of Gaza in 2025, photographed after months of bombardment by Israeli forces. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Over Look' is an icon for cruel and dominating oversight: typical, in 2025, of belligerent, technologically-augmented agencies of State.

‘Icons’ drawing series, 2025:
- ‘Don’t Look’
- ‘Look Around’
- ‘Look Down’
- ‘Over Look’
All w/alt text.
#art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #politics #stateterror #surveillance

'Over Look' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Over Look' the main motif is a giant, two-legged entity - something like a crooked dockyard crane with a single human eye in its distorted crosspiece - over-striding a burning landscape of fiery red and sooty black. This background is formed from an aerial view of Gaza in 2025, photographed after months of bombardment by Israeli forces. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Over Look' is an icon for cruel and dominating oversight: typical, in 2025, of belligerent, technologically-augmented agencies of State.

‘Over-Look’
Drawing 2025.
W/alt text.
#art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #politics #stateterror #surveillance

'Look Down' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Look Down' the main motif is like a flying drone, stylised along the lines of a folded paper aeroplane. At the blunt tip of this craft a single, fleshy human eye gazes down over a shattered, burning landscape of fiery red and sooty black. The background here is formed from an aerial view of Gaza in 2025, photographed after months of bombardment by Israeli forces. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Look Down' is an icon for oppressive drone surveillance of any kind, and, more specifically, a memory-marker for the aerial surveillance undertaken by British military aircraft during the 2024-25 Gaza bombardments.

‘Look Down’
Drawing 2025.
W/alt text.
#art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #politics #stateterror #surveillance

'God's Gift' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "Trademark god forgives the trademark terrors of its human designer."

'God's Gift'
Haiku/senryu, March 2026.
#haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #president #dictator #war #terror #stateterror #vanity

The #apartheid state of #SouthAfrica bombed the headquarters of the #ANC in London on #ThisDayInHistory in 1982 in an act of international #StateTerror with no deaths. This raised pressure on the #WhiteSupremacist state, with little support left for Pretoria beyond USA & Israel.

Residents of Tehran tell AP of rising fear and isolation as bombs strike without warning An engineer crouches under a park bench as fighter jets roar overhead. An athlete wracked by anxiety can’t sleep as explosions go off. Two weeks of fierce U.S.

"Fierce U.S.-Israeli bombardment of Iran’s capital, Tehran, has left residents in a state of shock. From central historic quarters to upscale northern areas, bombs are shaking the city day and night, with no sirens or warning systems to alert the public."

#StateTerror
#WarMongers
#NoOilWars
#Peace

'Look Around' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Look Around' the main motif is like a super-bold, claw-like letter 'C', rough-hewn out of straight lines, positioned on its 'back' with the opening between its almost-touching extremities uppermost. At diametrically opposite positions on this claw are two human eyes, their gaze directed into the central area framed by the claw: a background of vaporous, fiery red and sooty black. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central, claw-like figure of 'Look Around' might be an icon for deliberate or performative circumspection, perhaps as an alternative to direct involvement in some chaos unfolding further away.

‘Look Around’
Drawing 2025.
W/alt text.
#art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #politics #stateterror #surveillance

Jews who survived Nazi extermination now watch Palestinians trapped under the same logic: occupation, terror, systematic oppression. Victims change, but the machinery of genocide under Nazism and Zionism remains. #Imperialism #StateTerror

'Deep Dive' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "One gulp is enough air for a deep dive into that morality."

'Deep Dive'
Haiku/senryu, March 2026.
#haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #president #dictator #war #terror #stateterror #narcissism

'Don't Look' Andrew Stones 2025. Drawing, square format. One of a series of jagged, graphic icons for a culture of looking, or looking away. Each drawing features a solid white motif with a strong black outline, bearing one or two thick-lidded human eyes, also in black outline. In each case the main motif almost fills the picture frame, allowing only a glimpse of a background suggestive of a sky or landscape filled with fire and churning, sooty smoke. In 'Don't Look' the main motif is a chunky, white, diagonal cross - like a check-box or crossing-out mark - its four limbs slightly uneven. At its centre is an almost-closed human eye. The background is a vaporous mass of fiery red and sooty black. As with other works in the series the drawing style is akin to comic-book drawing, with no sketchiness or ambiguity of line or fill. The contrast between a bold, main motif, and a dynamic, fiery background recalls the comic-art depiction of a 'solid' or heroic figure, striking a singular stance in some instance of war, conflict or conflagration. The central figure of 'Don't Look' might be an icon for deliberate, obvious or performative inaction.

'Don't Look'
Drawing, 2025
W/alt text.
#art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #stateterror #politics

'His Endgame' Haiku/senryu, Andrew Stones 2026. March 2026 version. Square format panel. Pale yellow background with dark grey typewriter script, reading: "Old dog's endgame: if not for us, or them, then for his visceral self."

'His Endgame'
Haiku/senryu, March 2026 version.
#haiku #senryu #poetry #textart #poetrysky #politics #philosophy #president #dictator #oldman #war #terror #stateterror #bombing #civilian #narcissism

The Epstein class is committing atrocities in the name of the American people. #EpsteinClass #StateTerror #EliteCrimes

Os #EUA sempre propagaram que o Irã, a Palestina, o Iraque, Venezuela e afins eram Estados Terroristas.

Hoje sabemos quem são os estados terroristas: #USA, #Israel, #Russia

#StateTerrorism #stateterror #war #iran #iranWar

The mercenary whitenationalist army was chartered as part of the #PatriotAct (itself rammed in upon a stack of lies as pretext to start wars doomed to boomerang upon the US Public) explicitly as a tactical squad to disrupt hijacker groups. #missionCreep #corruption #Sturmabteilung #stateTerror

Original post on mastodon.nl

After years spent documenting state terror, I know it when I see it. And I see it now in the US and Israel (The Guardian)

It’s chilling to watch as Trump and Netanyahu adopt the methods of regimes their countries once condemned.

Terror also operates through fear. Policies are designed to make […]

After years spent documenting state terror, I know it when I see it. And I see it now in the US and Israel | Janine di Giovanni It’s chilling to watch as Trump and Netanyahu adopt the methods of regimes their countries once condemned, says war correspondent and author Janine di Giovanni

www.theguardian.com/commentisfre... #Janine #diGiovanni #StateTerror #POTUS #BibI

After years spent documenting state terror, I know it when I see it. And I see it now in the US and Israel | Janine di Giovanni It’s chilling to watch as Trump and Netanyahu adopt the methods of regimes their countries once condemned, says war correspondent and author Janine di Giovanni

@janinedigi.bsky.social has reported from Syria, Iraq, Egypt and Gaza. She knows state terror when she sees it and she’s warning that the same patterns are now visible in the US. This isn’t hysteria. It’s recognition.

#Stateterror #Justice #RefugeesWelcome #StopTheHarm

Trump ICE Threats Take Darker Turn as MAGA Erupts in Demands for Blood — The New Republic As Trump’s designs grow more unnerving and MAGA figures call for an escalation, a journalist who closely tracks ICE explains how the agency is effectively becoming an instrument of authoritarian state...

“As ☢️☣️💀☣️☢️ Trump’s designs grow more unnerving and #MAGA figures call for an escalation, a journalist who closely tracks #ICE explains how the agency is effectively becoming an instrument of #authoritarian #stateterror.”
apple.news/ACmD9OQETRJ-...

Photos: 'ICE Out' protesters fill Burlington [ #Vermont ] streets to decry “enforcement” violence, disruption, #MHCHAOS #agitation , #stateTerror , #Stumabteilung from current admistration

www.vermontpublic.org/local-news/2026-01-30/ph... [1/2]

Was der tägliche #StateTerror in den #StreetsOfMinneapolis & anderswo für die Hauptbetroffenen, Menschen mit Migrationsbiografie, bedeutet, zeigt dieser Beitrag ⬇️ sehr eindringlich!
#iceout
#fcktrump

Ohio - Crosby, Stills, Nash & Young

https://www.youtube.com/watch?v=MN_9VqfVQ9c #CSNY #Ohio #StateTerror #KentState #1970 #protest #march #fightfascism #Minneapolis #Minnesota

Poetry for #democracy and respect for 2 of many victims in Minnesota of #stateterror #ICEout #ICEoutnow

The entire Patriot Act of which these are all components of the reign of #stateTerror was founded on the lie that Iraq was responsible for September 11, 2001, and had #WMD , a concocted pretext for a war of conquest of the entire region in hopes of eventual, now likely imminent, [3/5]

As reported elsewhere (for confirmation). #statePropaganda #incitement #instigation #stateTerror #stateViolence #manufacturedConsent #authoritarianism #tyranny #thugRule #retaliationAgainstCitizens #fascism #whoElectedT...

As reported elsewhere (for confirmation).

#statePropaganda #incitement #instigation #stateTerror #stateViolence #manufacturedConsent #authoritarianism #tyranny #thugRule #retaliationAgainstCitizens #fascism #whoElectedT...
#democracy #usa #gop #fascists

👉 Vote 'em Out!

#statePropaganda #incitement #instigation #stateTerror #stateViolence #manufacturedConsent #authoritarianism #tyranny #thugRule #retaliationAgainstCitizens #fascism #whoElectedThisFucker [2/2]

#StateTerror #RiseUp
The Trump administration “seeks to reduce U.S. all to a state of constant fear, a fear of violence from which some people at a given moment be spared but from which no one will ever truly be safe. This is our new national reality. State Terror has arrived.” (Gessen)
#MakeTheCall

Disappeared bodies, mass burials and ‘30,000 dead’: what is the truth of Iran’s death toll? Testimony from medics, morgue and graveyard staff reveals huge state effort to conceal systematic killing of protesters

'Testimony from morgues, graveyards and hospitals around the country reveal concerted efforts by authorities to conceal the true size of the toll ...'
www.theguardian.com/global-devel...

#Iran #StateTerror #cruelty #MassKillings

The gestapo thugs involved in the execution of Alex Pretti on Saturday are still on the street terrorizing people. No one knows the names of any of them. #Fascism #StateTerror #IceOut