In Damascus
Houston Palestine Film Festival - short film by Waref Abu Quba
In Damascus is a film about Damascus, an 11,000 years old city, the most ancient and precious of cities, set to the poetry of the world famous Palestinian poet / author Mahmoud Darwish.
Mostra in alta risoluzione
Photographer Stephen Shore
my main source of inspiration
(Fonte: mayanhandballcourt, via mayanhandballcourt)
The Forgotten Pyramids of Meroë
In a desert in eastern Sudan, along the banks of the Nile River, lies a collection of nearly 200 ancient pyramids - many of them tombs of the kings and queens of the Meroitic Kingdom which ruled the area for more than 900 years. The Meroë pyramids, smaller than their Egyptian cousins, are considered Nubian pyramids, with narrow bases and steep angles on the sides, built between 2,700 and 2,300 years ago, with decorative elements from the cultures of Pharaonic Egypt, Greece, and Rome. Though the pyramids are one of the main attractions for Sudan’s tourists, the local tourism industry has been devastated by a series of economic sanctions imposed by various Western nations throughout the course of the country’s civil war and the conflict in Darfur. According to reports, Sudan now receives fewer than 15,000 tourists per year, compared to past estimates of as many as 150,000.
Alan Taylor
Sources: The Atlantic, Journal News , Aljazeera
Piramidi in Sudan.
(Fonte: The Atlantic, via burning-stmandard-deactivated20)
new photobook “Unsoothed” ready for shipping
My latest book is finally ready.
It is experimental, in many ways.
You’ve been warned.
http://it.blurb.com/b/6136490-unsoothed
unsoothed
Pictures from page 3 to page 25 were shot in a half an hour span, on a very cold April afternoon, while I was in a quasi-catatonic state following a rude awakening. I like to think that Huxley was in such a state while experimenting with mescaline. Thus, the things and the locations portrayed have got neither particulare appeal nor importance or any special meaning whatsoever, they’ve only been captured because of their being “very physical” compared to the rest, in that precise moment. Their strong, overbearing and insolent material presence imposed them to the camera, disregarding of the irrelevance to which they were confined by the common sense of aesthetic. The addendum “(Com)promised Land” is presented as a preview of a larger-scale project focusing on the difficult and conflicted relationship with the industrial infrastructures and buildings in a hilly and traditionally agricultural area such as the Irpinian inland.



