Great illustration of why projections are so important.

Area accurate Peters Projection Map overlaid with common Mercator Projection Map
18th Aug 201414:5581 notes
~   Assata Shakur (via mangoestho)

(via transwomanofgod)



Stokely Carmichael (Kwame Ture)

"Dr. King’s policy was that nonviolence would achieve the gains for black people in the United States. His major assumption was that if you are nonviolent, if you suffer, your opponent will see your suffering and will be moved to change his heart. That’s very good.

He only made one fallacious assumption: In order for nonviolence to work, your opponent must have a conscience. The United States has none.”

(via disciplesofmalcolm)

10th Aug 201412:5722,987 notes


Ghare Baire (1984) - Satyajit Ray

"Part of Ray’s experimentalism lies in the ways that his revision expresses a utopianism that is not only different from Tagore’s but that can only by described as catastrophic, since this is the sole vantage point left from which to articulate anything resembling a critical conception of emergence, both cinematic and historical. Tagore, in his novelistic rendering of the dilemmas of nationalism, could not foresee how the future - our present - would unfold. Nevertheless, his vision of possibilities and impossibilities exemplifies a certain kind of gamble on historical futures, however unrealized. This is because the present is not only given by what came before; it also enables any prospect of what is to come. Thus the past and the future have something in common: the bond of the present, in turn revealing that conceptions of history depend on a temporal orientation to the future, and, crucially, vice versa. 

 If the fetish depends for its meaning on the condensation of imaginative possibilities, Ray’s depiction of Bimala is a tour de force construction exactly to the extent that he does not represent her as merely a ‘stand-in’ for certain static notions - such as the future, the new woman, the commodity, or the tragic. Rather, she becomes a dynamic conjugation of emergent ways of being, coalescing as a form of subjective possibility not yet conceivable in the world except as catastrophic, disastrous, or monstrous. Seen in this aspect, Bimala embodies a revelation: a projection into the future even though she is nominally cast as a figure from the past. Referred to at the end of the film (by her sister-in-law) as a rakshasi (demoness), her uncanniness bespeaks the future and the fear engendered by the unknown. As such a rakshasi - with its allied sense of the wild, the disagreeable, and the brazen - Bimala is thrust out of the ‘natural’ space of wifehood and womanhood into the unnatural topos of the phantasmagoric. Her incapacity either to be the grihalakshmi (domestic goddess) or step into the role of the memsahib (European woman) and, at the different level, to overcome the opposition of pracheena/nabeena (traditional woman/new woman) becomes the measure of her ‘dummy’ character, gesturing toward the possible rather than the existent - what might be as opposed to what is.”

- Keya Ganguly, “Catastrophe and Utopia: Ghare Baire, or the Household Goddess,” from Cinema, Emergence, and the Films of Satyajit Ray

(via pomegranate-poet)


Predrag Pajdic
6th Aug 201418:5118 notes

This boy was dressed up in flowers for the ritual being performed named as ” THOOKKAM ” Kerala,India
by Tom Abraham
5th Aug 201412:40913 notes

Devi, The Goddess (1960)
Opaque  by  andbamnan