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nomadamsterdam:

Some of Somalia’s traditional clothing in different times. 

(via ourafrica)

1,588 notes

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thepeoplewillnotstaysilent:

New York Tribune on Palestine. 6/17/1917 (rare)

(via zeal4truth)

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fnhfal:

West Bank - Israel 

(via zeal4truth)

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Foucault

literarystarbucks:

Michael Foucault goes up to the counter and orders an iced coffee. Is his choice a product of his past or his present? Aren’t we all just at the whim of the power structures that control our society? Should we abandon this Starbucks and take control of our own beverages? What do we know about coffee? What do any of us know about anything? The barista, not surprisingly, quits her job.

(via theharmattan)

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allthingseurope:

Ribe, Denmark (by Mal Kearney)

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trueclit:

why does Tony Abbott always look he’s up to something

(Source: noidedmag, via theabbottchronicles)

9,867 notes

Photos

yagazieemezi:

Laurent Elie Badessi traveled to Niger, Africa in 1987 and 1988 to photograph indigenous tribes for his Master’s Degree thesis project entitled “Ethnological Fashion Photography”. His goal was to study the impact of photography on natives from different ethnical groups, some of who had never (or very rarely) been exposed to this medium. The psychological aspect in the interaction that occurs between a photographer and his sitter during a photo session was also a focal point in his research.

For this undertaking, Badessi adopted the method of “La photographie négociée” (the Negotiated Photography), introduced to him by his teacher photographer Michel Séméniako. Badessi was seduced by this method and decided to use it here, because it allows the sitter to determine most of the parameters for a photo session that captures his/her image. In this case: the pose, the clothes, the make-up, the accessories, the time of day and the location. To make these sittings playful, he decided to use an element specific to human kind—clothing—as the main source of interaction between him and the autochthones.

For his research to be pertinent, Badessi decided to stay extended periods of time with each different ethnicity to better appreciate their culture. He and his team lived with the following ethnicities all across the country: the Haoussas, the Bororo (Wodaabe), the Kanouris, the Gourmances, the Djemmas, the Beri Beris and the Touareg.

The experience with the Bororo happened to be one of the greatest highlights of the project. Because they worship beauty, this highly nomadic group was particularly drawn to the “magic” and playfulness of having their photo taken.

Photography was totally foreign to this group of Bororo. To familiarize them with the medium, Badessi started taking Polaroid of his teammates, so they could see and understand its process. Little by little they became more comfortable with the team and expressed an increasing curiosity towards the “magic box” known to us as the camera. This particular group of about 100 nomads had only seen their image as a reflection of themselves into the water or in the mirror. When Badessi took their photo on Polaroid, he had to explain what to look for on the image–their face, their hat, their accessories, et cetera. Appearing so small wasn’t rational to them. It was total magic, because they were used to see their reflection as a life-size image, but not as a “tiny person” on a small piece a paper! Once they were able to recognize themselves, they laughed and placed the Polaroid over their heart. It was very emotional to see how touched they were and how precious the Polaroid became to them.

The photo sessions were a success and they became an integral part of the Bororo’s daily routine. After the cores, they could not wait to get ready for the sittings.

As Badessi mentions in his thesis, “we were in symbiosis with them, as much as they were with us. They were excited to have visitors and to share these great moments together. It was very inspirational to look at them getting ready. Somehow it was a meditative experience for us, because they took their time, you did not feel the constant pressure of the clock ticking in the back of your head, like we do in our culture, especially in big megalopolises. They totally lived in harmony with Mother Nature and respected her rhythm.” (Keep reading)

Website / Facebook / Twitter / Instagram

Dedicated to the Cultural Preservation of the African Aesthetic

(via zeal4truth)

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justaguywitharrows:

ignoring-spiders:

theyoungradical:

mass producing your fake revolution

the fucking irony

This image is a metaphor for everything wrong with neoliberalism.

(Source: fuzzyhorns, via zeal4truth)

162,446 notes

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minimist:

All I want is education, and I am afraid of no one
Malala Yousafzai

"Yes She Can!" by Anat Ronen
Avis Frank Gallery, Houston TX

(via zeal4truth)

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Quote

"To live is to suffer. To survive is to find some meaning in the suffering."

Friedrich Nietzsche (via acrylicalchemy)

(via acrylicalchemy)

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superselected:

#IamaLiberianNotaVirus. A Call to End Ebola Stigmatization and Prejudice.

MORE.

(via ourafrica)

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Quote

"

'O Zarathustra, you stone of wisdom, you projectile, you star-destroyer! You have thrown yourself thus high, but every stone that is thrown — must fall!'

Thereupon the dwarf fell silent; and long he continued so. But his silence oppressed me; and to be thus in company is truly more lonely than to be alone…

But there is something in me that I call courage: it has always destroyed every discouragement in me. This courage bade me stop and say: ‘Dwarf! You! Or I!’

For courage is the best destroyer — courage that attacks: for in every attack there is a triumphant shout…

Courage also destroys giddiness at abysses: and where does man not stand at an abyss?

Courage destroys even death, for it says: ‘Was that life? Well then! Once more!’

"

Friedrich Nietzsche, Thus Spoke Zarathustra (via sisyphean-revolt)

(via camus-coffee)

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