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Showing posts from June 9, 2019
It has to be within the socio-economic transformation that produces industrialisation and modernity in Africa. And there has to be a social forces/social forces who have interests in such a change. Cultural, educational and intellectual life breaks away from neocolonial studies in parallel/following a break away from economic hegemony and backwardness. A white curricula in Western universities is a useful tool to foster superiority and ideological legitimation. Hence the dominant paradigms, the belief in NGOisation, international aid, etc. Including some "black/brown" scholars, journalists, feminists, etc in the curricula is like including a black man as president of the US or a woman/gay as a president of an international institution:  maintaining power relations by diversifying the agents of oppression. " How truly decolonise the study of Africa "
If you believe that "Communism" had already existed in the Soviet Union, for example, that capitalism goes with our "human nature", and that poverty exists because of laziness and cultural factors, do not read this article. "We Need Fully Automated Luxury Communism" (An opinion in The New York Times)
Royal Opera House Muscat (Oman) and Budapest Symphony Orchestra (Hungary) led by composer  Yasser Abdelrahman
An interesting part in this analysis is "democracy", especially the one that should make you question the constant drumming in the mainstream (Western media) that the Tiananmen Square movement was about "democracy" as the Western liberals define it, inflating the role of students in the movement, and devoiding it from any class content.  A part which sounds weak for me is the first one about the scope of workers' control, as the writer has not backed his argument by evidence. The part on the historical process from the 1960s until 1989 is illuminating. The last part, post-1989, also sounds weak, for it does not take into consideration the industrial revolution China has embarked on since 1978 and its ongoing "tormented birth" in the passage to "modernity". ***** Students constantly tried to exclude workers, seeing the movement as “their own,” and sought to maintain its “purity.” Walder and Gong pointed out that until the end of May

Nation Estate

Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. With its glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, Nation Estate explores a vertical solution to Palestinian statehood. In Sansour’s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population – now finally living the high life. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour’s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks.  The story follows the female lead, played by Sansour herself, in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the
Reminding Europe of its responsibility is central to Hirzel’s work. “We should be ashamed. We’re hypocrites – talking about human rights, calling it ‘the boat of innocents’. But if they had survived we would have called it ‘the boat of illegal immigrants’. They’re just doing what people have done for all of humanity – when they need to, they move.  Sinking Without Trace
Another evidence that it is not about culture but about a capitalist sytem that does not work for the whole of humanity. "Will Artificial Intelligence kill developing world growth?"