"do animals have less fear because they live without words"
Elias Canetti: The Human Province (1973)
Trevor Paglen - They Watch the Moon (2010)
"This photograph depicts a classified ‘listening station’ deep in the forests of West Virginia.
The station is located at the center of the National Radio Quiet Zone, a region of approximately 34,000 square kilometers in West Virginia and parts of Maryland.
Within the Quiet Zone, radio transmissions are severely restricted: omnidirectional and high-powered transmissions (such as wireless internet devices and FM radio stations) are not permitted.
The listening station, which forms part of the global ECHELON system, was designed in part to take advantage of a phenomenon called moonbounce.
Moonbounce involves capturing communications and telemetry signals from around the world as they escape into space, hit the moon, and are reflected back towards Earth.
The photograph is a long exposure under the full moon light.”
there is a very intimate connection between Canada and the US military-industrial complex that so many researchers and members of the public fail to publicize and acknowledge.
General Dynamics, a Canadian weapons company, for example, manufactures some of the drone technologies that Americans use presently to attack civilians in Yemen, Pakistan, Somalia etc. they just won a $10 billion contact with the US military to supply arms being used in military bases in Saudi Arabia and several South American countries.
there’s a very dangerous line being crossed when canadians are taught in public schools the notion of Canada as a “peace-keeping” nation-state, as if rarely having previously engaged directly in a conventional war mission immunes this damned country from the imperialism-driven empire ambitions of its southern brother the US.
this is a dangerous, imperialist country, with a dangerous imperialist government that no one in either global media or in IR research ever truly gives enough attention to. this country supplies the weaponry—the guns and bombs, so to say—to those american war criminals and cleverly enough, consequently saves face and evades the anti-americanism.
A “terrao” is an oasis in the urban landscape. The reddish tone of a soccer field turns into a stage for the resistance of popular soccer. These fields are increasingly rare to see because of property speculation and land occupation.
Some of them have their own football clubs, while others are publics spots. Some of them are mainly dirt, while others are of sand, rests of weathered grass. But they are a breath for the hard daily life of those who lives in the outskirts of Sao Paulo. These fields show the urgency for public and communal places to practice sports, a portrait of those who fights for leisure in a city as Sao Paulo. Colored and powerful in face of the greyish scenario, these fields are a solid basis of soccer’s spirit in Brasil.
It’s not hard to find friends, relatives, adults and children cheering together for their local teams. Even through social and political difficulties, a “terrao” shows us the real soccer, far away from a society mediated by powerful media groups. The rawness of a “terrao”can’t be fitted as a media spectacle.
My husband, photographer Michael Nye, once photographed in a West Bank Palestinian refugee camp for days, and was followed around by a little girl who wanted him to photograph her. Finally, he did — and she held up a stone with a poem etched into it. (This picture appears on the cover of my collection of poems, 19 Varieties of Gazelle — Poems of the Middle East). Through a translator, Michael understood that the poem was ‘her poem’ — that’s what she called it. We urged my dad to translate the verse, which sounded vaguely familiar, but without checking roundly enough, we quoted the translation on the book flap and said she had written the verse. Quickly, angry scholars wrote to me pointing out that the verse was from a famous Darwish poem. I felt terrible.
I was meeting him for the first and last time the next week. Handing over the copy of the book sheepishly, I said: ‘Please forgive our mistake. If this book ever gets reprinted, I promise we will give the proper credit for the verse.’ He stared closely at the picture. Tears ran down his cheeks. ‘Don’t correct it,’ he said. ‘It is the goal of my life to write poems that are claimed by children.’
Naomi Shihab Nye, from her essay “Remembering Mahmoud Darwish”
With hand-drawn typography influenced by a series of 1960’s John O’Hara novels, the Vintage design team has conjured up this playful new series.
By collecting all nine you can reveal the classic poster on the reverse. (see the magic happen on our Facebook page!)
The poster was supplied by the Science and Society Picture Library. It dates from 1910 and was a stock magic poster used by smaller acts where performance names could simply be inserted into a strip at the top of the image, which would explain why so many different types of magic acts are represented.
To be published October 2014 by Vintage.