Photographed in Boston, MA on April 25th.
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Especially the second picture
We did not weep
When we were leaving –
for we had neither
Time nor tears,
and there was no farewell.
We did not know
At the moment of parting
that it was parting,
so where would our weeping
have come from?
We did not stay
awake all night
(and did not doze)
the night of our leaving.
That night we…
Yes.
Weapon of Mass Instruction
Built from a welded frame atop a 1979 Ford Falcon, Raul Lemesoff drives around the streets of Buenos Aires distributing free books to anybody who wants to be assaulted with some serious learnin’.
(via: make / laughingsquid)
Love this!
Mamdani, Mahmood. Saviors and Survivors: Darfur, Politics, and the War on Terror. New York: Pantheon, 2008.
(The HSRC Press PDF edition is available for free download here.)
A geographically, historically, and contextually accounted for reevaluation of both the Darfur conflict and the trajectory of the international social and political movements to stop it. I do not have a background which would allow me to either affirm or contradict some of Mamdani’s conclusions, which ordinarily should temper an inclination to promote a work, but in this case that lack serves instead to underscore the point — that is, the point of not knowing.
It is exceedingly difficult to read this book without hearing in it echoes of the calls to intervene in currently headlining conflicts, which also may be the point. To borrow Didier Fassin’s title, here is “a moral history of the present,” and it is one that those who engage with popular activism aimed at promoting “superpower” military interventions would do well to consider.
‘If we are to draw lessons from the Save Darfur Coalition’s remarkable success, we must begin with an understanding of how the organisation packaged Darfur and the means it used to deliver this package to the intended audiences. If you visit the Save Darfur Coalition website, you will find a record of atrocities—rapes, burnings, killings—some with graphic illustrations, maps, and satellite imagery, almost none of it telling you when it happened. There is no discussion of history or politics: no context, no analysis of causes of political violence or possible consequences of a military intervention. What you see and what you get is a full-blown pornography of violence, an assault of images without context. This is the “CNN effect,” the war as the camera sees it. This is the spin. This pornography is meant to drive a wedge between your political and moral senses, to numb the former and appeal to the latter—to the need to bear witness.’
(by Mosa’ab Elshamy)
This man has been passing himself off as a leading activist in the Egyptian “January 25th Revolution,” and getting paid to do lectures and interviews along the way. Please pass this information along - the more often he shows up, the less likely the next institution is to check his credentials.
Whitney Houston’s funeral, but for being broadcast live and attended by celebrities, seemed unremarkable in the context of other black Baptist memorials I have witnessed. There was rousing gospel; truth-telling; passion; equal doses of laughing and crying, clapping and shouting; references to Jesus; moving sermons; a few long-winded eulogizers; some preening preachers on “thrones” in the pulpit; a sense of sorrow, but a greater sense of joy–celebration of life and of a soul “going home” and being released from earthly sorrows. This is not to say that all African Americans grieve the same way or grieve in a Baptist Christian way, but for most black viewers Houston’s service was not completely alien. But judging from CNN’s coverage, Houston’s home going was alien indeed to the greater public. There was a po-faced Don Lemon painfully explaining what a “wake” is, as if the vigil for the dead is some perplexing rite, rather than a ritual practiced by a host of cultures and religions since ancient days. Then someone noted that, after funeral services, the family might gather to eat and fellowship with love ones, as if that too was odd. It was all very National Geographic. Very othering. It rubbed me the wrong way.
‘Through the selection, marketing, and consumption of particular kinds of art from the Middle East, American cultural elites have sought to create and sustain another image of the region than that emanating from conservative talk radio. Motivated by the rationale of building what is often referred…
(Source: aq.gwu.edu)
