D-23467: Yeah, easy to say that, you asshole, you're not the one about to be- [pause] They are just… watching, using some of the rocks around me to circle around me. They don't have eyes, or at least ones that I can see. They look about [70cm] long all told. It's like someone made an octopus out of a rock, Command, but… how the hell is it so fluid? Rocks don't… rocks don't- [cursing] ████er just sprayed me with sand, Command, I can't see ████ right now. Squids do that ████ with ink, I guess these ████ing things do with sand. [sounds of compressed air] Oh thank God, they're gone now, Command. Permission to return to the airlock; I'm running out of air in this thing, and I'm not going to get caught in another duststorm without enough air.
As large-scale media visualizations from the Selfiecity database of images shot in five cities on four continents indicate, the selfie has become a truly transnational genre that is as much about placemaking as it is about the narrowcasting of particular faces and bodies. At the same time, the scholarly literature around this specific form of self-representation through closely distant mobile photography has struggled to keep up with theorizing emergent new media practices that utilize lenses, screens, mirrors, and armatures in novel ways and generate compositions with distinctive framing and posing that mark belonging to selfie taxonomies.
According to the position of leftish thinkers, this principle presupposes the government’s intrusion into people’s life – if there is no such intrusion, the equality isn’t supported. In their opinion, this concept means that every person should have equal possibility irrespective of all the other aspects of his and others’ lives. He may come from any kind of family, receive any education, but still be eligible for the same things that a person who came from a completely different background and was brought up in a completely different way is.