israelfacts:
Activist prevents Israeli officer from arresting Palestinian child
During Sunday’s Jerusalem Day events, a Palestinian boy, perhaps 10 years old, was chased down an East Jerusalem street by a very angry officer of the Border Police. The boy tripped and fell, then picked himself up just as the Border Police officer reached him and tried to grab him. But a 22 year-old female Israeli activist prevented the boy’s arrest by throwing herself between the two, allowing the Palestinian boy to flee.
Jerusalem Day is meant to be a celebration of the city’s ‘reunification’ following Israel’s victory in the 1967 war. In practice, it is a day for Israeli nationalists, draped in flags, dancing in circles, singing and chanting (including the popular Israeli nationalist chant, ‘death to Arabs’) as they march through the streets of East Jerusalem and the Old City. Many of the Jewish demonstrators are bused in from right-wing yeshivas in Israel and the West Bank
This year, an Orthodox Jewish man grabbed the Palestinian flag from the hands of a 10 year-old boy and refused to return it. The boy, enraged, tried to prise it out of the Jewish man’s hands. A Border Police officer, seeing the struggle between a 10 year-old Palestinian boy and a fully grown Jewish man, chased the Palestinian boy rather than ordering the Jewish man to return the flag. Someone made a montage of the incident and posted it on Facebook, with commentary. Note the expression of rage in the Border Police officer’s eyes, as seen in the second photo.
In the end the boy got away, due to the intervention of a 22 year-old Israeli activist from Jerusalem named Sahar Vardi, who threw herself in front of the Border Police officer just as he was about to grab the child. Photojournalist Haim Schwarczenberg caught the incident.
The incident was also filmed and the clip posted on Youtube.
Source: +972mag
(via generalbriefing)
Public space belongs to the Public.
genwhyme:
Banksy is a pseudonymous England-based graffiti artist, political activist, film director, and painter.
His satirical street art and subversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.
socialuprooting:
FACT: Last time North Carolina amended their constitution on marriage it was to ban interracial marriage.
Musqueam set up camp at condo site after infant graves desecrated →
perennialflight:
“The Musqueam First Nation has vowed to shut down condo construction to protect a major ancient burial site at the Marpole Midden. Infant graves were unearthed by heavy excavating equipment at the Vancouver location this week.
More than 100 Musqueam and supporters marched to the construction project at 1338 SW Marine this morning. The marchers included representatives from several First Nations. Musqueam are now occupying outside the site and say they will remain until protection for the site is assured.
The moves to protect their 4,000-year-old village site come after more burials were dug up by the condo developer. Construction stopped six weeks ago when the developer first disturbed intact burials. Musqueam leaders say promised talks with the developer, the city and the province have gone nowhere.
The Musqueam reportedly offered a swap with developer Century Holdings for nearby land, but to no avail. The Marpole Midden is considered one of the most important in Canada and was named a National Historic Site in 1938.
Union of BC Indian Chiefs Grand Chief Stewart Phillip announced that the site will “remain shut down until the province is prepared to come to the table and discuss a resolution to this situation.”
Musqueam Chief Ernest Campbell warned “never question our resolve or the resolve of our fellow First Nations, or of any one else for that matter, when it comes to protecting our sacred burial rights.”
Musqueam spokesperson Cecilia Point said supporters are welcome to come down and join the protest on the sidewalk or bring a tent and stay.”
(via Vancouver Media Co-op)
(via etiquette-etc)
[Flash 9 is required to listen to audio.]
peterfeld:
“Isis,” Bob Dylan, live 1975. I married Isis on the fifth day of May…
whoah nice, this version doesn’t have the first verses cut out! all the online cuts i can find start at the “cold in the north” verse. splendid.
"The austerity-stricken university is combustible, and knowledge is incandescent"
—
Enda Brophy, Our University
(via 20yardsoflinen)
(Source: mirrortheories)
Adam ‘MCA’ Yauch spoke out against militarism, occupation (see: Milarepa Fund), sexism, heterosexism, racism, islamophobia, and with the Beastie Boys, gave us a rad soundtrack to celebrate resistance and community.
Ignoring all this, the Globe and Mail is celebrating him for how he brought hip-hop to a “wider audience,” which is racist Canadian newspaper code for “white people.”
"MCA is one of the only figures in hiphop to acknowledge moral mistakes he made in the past while trying to correct them as he moved forward. Have you ever seen a legendary musician apologize to females for the negative bullshit they spit on record? Ever? This guy did and he kept it moving. He attached himself to honorable causes and continued to help make classic albums with the Beasties. I can only imagine how devastated those guys are right now. They were best friends for so long."
— Sage Francis on the passing of Adam Yauch (via rljd)
(Source: strangefamousrecords.com, via rljd)
Socialist Scum: FBI Supplied the Anarchist “Terrorists” Arrested in May Day Plot →
aheadfullofempty:
As the Occupy movement carries out massive May Day protests around the country, the FBI Joint Terrorism Task force is trumpeting the arrest of “self-proclaimed anarchists” and “terrorists” who allegedly conspired to destroy a bridge in Ohio. Integral to the development and…
greatleapsideways:
Continuing on in the vein of the photographic re-working of David Harvey’s thoughts on political subjectivity, society and the city, the above selection of images from Daniel Shea’s “Baltimore” and Brian Ulrich’s “Copia” work speak to the interrelation of yesterday’s image selection and the broader themes in Harvey’s work as they intersect with Manuel De Landa’s ideas in “A Thousand Years of Non-Linear History”.
“Contrary to what may be supposed, monetary systems are of not commercial but political origin. Specifically, they were developed by central hierarchies to facilitate the extraction of agricultural surpluses and the raising of taxes. In the early part of the millenium, feudal landlords extracted this excess energy, and in many cases peasants would come to a market town to sell their goods, not to buy other goods, but to get cash to pay their rent to the owners of their land.
(…)
Because towns are necessarily parasitic on their rural surroundings, urban ecosystems encompass more than what is found inside their walls. A town with three thousand inhabitants, a medium-sized town in the Middle Ages, needed to control the lands of at least ten villages around it (an area of approximately five square miles) to ensure a constant supply of edible biomass”
— excerpted from A Thousand Years of Non-Linear History, by Manuel De Landa (pages 35 & 107 respectively)
(via ghost-of-algren)
kateoplis:
Bruce by Danny Clinch from Friends of Anton auction at Christie’s NY, benefitting the children of slain photojournalist Anton Hammerl, who was killed in 2011 covering the conflict in Libya.
youmightfindyourself:
A 36-minute video essay by Erlend Lavik called “Style in The Wire,” which carefully and thoroughly analyzes the various visual techniques used by the show’s directors over the course of its five seasons.
As Lavik notes, the visual style of The Wire is much less discussed than its multifaceted narrative, its wide range of complicated characters, and its social critique. But he makes a compelling case that the look of The Wire also contributes to the show’s power, and that the series’ directors established a visual approach that suited the show’s aims.
The primary influence on the show’s look is documentary filmmaking, particularly the work of Frederick Wiseman, Lavik says. In conversation scenes, for instance, the camera will often not switch to a speaker until that character has begun talking, as though the cameraman does not know in advance who will speak when. And the camera often “sneaks up” on a scene, creating the impression that we are eavesdropping on something actually taking place.
Even the 4:3 aspect ratio—which has, according to Lavik, become rare among cable’s prestige dramas—was chosen by Simon because it seemed less inherently cinematic, more “real.” (Lavik points out, however, that directors on the series often constructed a widescreen effect by shooting with a long lens across a blurry, horizontal object in the foreground, as in the scene with Mayor Carcetti and Bunny Colvin pictured above.)
Much of the show’s style comes from what it does not include: There are no dream sequences, for instance, which have become common on other prestige dramas (like The Sopranos andMad Men); only once does the camerawork overtly echo the psychological state of a character (after Ziggy shoots someone in Season 2); and the show’s only flashback—a brief, black-and-white shot in the pilot episode—was apparently dictated by network executives, who were worried viewers wouldn’t follow the story.
From that point on, the show trusted the audience’s intelligence enough not to rely on techniques that might have made the series more viewer-friendly, but which would have distracted from the show’s no-frills narrative style. (via)
