Death Star

http://www.newstatesman.com/science-tech/space/2016/12/most-dramatic-death-star-ever-recorded

Carl Sagan on extraterrestrials

Beauty is in the Street

source

Saulo Steinberg

The Lighthouse

Stalagpipe Organ

Alike

The Coup

Fred Hampton: "fight racism with solidarity"

“We got to face some facts. That the masses are poor, that the masses belong to what you call the lower class, and when I talk about the masses, I’m talking about the white masses, I’m talking about the black masses, and the brown masses, and the yellow masses, too. We’ve got to face the fact that some people say you fight fire best with fire, but we say you put fire out best with water. We say you don’t fight racism with racism. We’re gonna fight racism with solidarity. We say you don’t fight capitalism with no black capitalism; you fight capitalism with socialism.”

source 

 

Damascus, Syria (2014)

source

Hip Hop for the World

High Jump

more here w/ english translation (some nsfw)

A mind needs books

Yosuke Yamashita, Burning Piano

read here

The Bee Movie

Some people...

김윤아 - 꿈

German Shepherd Troll

Michael Che: Matters (2016)

Township Stories

here

Domestic Violence

here

profile

via GIPHY

Operation Broccoli

Tupac Shakur - Somebody gon clean it up

We Stopped Dreaming

The Apology (documentary trailer)

read about it here

Drones banned from flying over Standing Rock

Dr. Seuss on the US and Nazism

Anarchist Monopoly

source: existential comics

Supernova

Nietzsche: HR Director

from existential comics

Japanese elderly women + 24K Magic

On US Money

Silence (trailer)

Arrival (trailer)

Moonlight (trailer)

white rainbow

A Tribe Called Red - Burn Your Village To The Ground

fungi

He-Man: "Heyeayea" (4 Non-Blondes Parody)

박노해 - 나무가 그랬다

비바람 치는 나무 아래서

찢어진 생가지를 어루만지며

'이 또한 지나가리라' 울먹이자

나무가 그랬다

정직하게 맞아야 지나 간다고

뿌리까지 흔들리며 지나간다고

좋은때도 있고 나쁜때도 있지만

그냥 그렇게 지나가는 것이 아니라고

뼛속까지 새기며 지나가는 거라고

나무가 그랬다

오직 그때만 할 수 있는 일이 있다고

행운의 때건 불운의 때건 지금 이 순간

꼭 해야만 하는 일이 있다고

비바람치는 산길에서

나무가 그랬다 

나무가 그랬다

Meet the Donors: Does Money Talk (HBO documentary)

read here

Luna - (Korean Gayageum ver) "Another Brick in the Wall"

Reading the news these days

Immortal Technique - 4th Branch

Into the abyss

The Chaos by Gerard Nolst Trenite

English is difficult; source

AmeriKKKa

RIP Sharon Jones

Kim's Convenience

State of the People

돈의 맛 (The Taste of Money)

American History X

Thunder Road

Backfired Political Strategy?

김광석 - 너무 아픈 사랑은 사랑이 아니었음을, 일어나

" Lee Joo-yup, a music critic, argues that his songs portrayed individuals who are constantly hovering around the border of pessimism and optimism, but sublimated the self-consciousness that never give up the strain of facing the reality. “Standing in the midst of darkness of night, I can’t see even an inch ahead, where I am going, where I am standing, uselessly looked around, drifting over the river of life like floating weed, I may perish away at unknown river bank, stand up, stand up, give it a try, stand up, stand up, like the sprouts in Spring” (Stand up)"

김윤아

A Day

Smile

White without the privilege

Penguin Troll

Make you feel my love (cover)

Jordan in 89-90 Season opener

Drowning in Ignorance

Charlie Parker - Anthropology

Beautiful Minds

Making Dogs Happy

Erykah Badu unplugged

Satisfaction; AccessHollywood

Sun Ra - That's How I Feel

타니모션 (Tan+Emotion)

Bridges

Putumayo Women of the World - Acoustic

Soul of a Nation: The Royal Family of Thailand

Lichen Katydid

Muddy Waters - Forty Days & Forty Nights

Far East Movement ft. Yoonmirae - Fighter

복면가왕 161009

Lightnin' Hopkins - Woke Up This Morning

Muddy Waters Live

광해

Hanggai (Mongolia) - The Rising Sun

Radiohead - The Numbers

Humming Urban Stereo

Mama Can't Help You

Ode by Arthur O'Shaughnessy

We are the music makers,
  And we are the dreamers of dreams,
Wandering by lone sea-breakers,
  And sitting by desolate streams;—
World-losers and world-forsakers,     5
  On whom the pale moon gleams:
Yet we are the movers and shakers
  Of the world for ever, it seems.

With wonderful deathless ditties
We build up the world's great cities,     10
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
  Shall go forth and conquer a crown;
And three with a new song's measure     15
  Can trample a kingdom down.

We, in the ages lying
  In the buried past of the earth,
Built Nineveh with our sighing,
  And Babel itself in our mirth;     20
And o'erthrew them with prophesying
  To the old of the new world's worth;
For each age is a dream that is dying,
  Or one that is coming to birth.

A breath of our inspiration     25
Is the life of each generation;
A wondrous thing of our dreaming
Unearthly, impossible seeming—
The soldier, the king, and the peasant
  Are working together in one,     30
Till our dream shall become their present,
  And their work in the world be done.

They had no vision amazing
Of the goodly house they are raising;
They had no divine foreshowing     35
Of the land to which they are going:
But on one man's soul it hath broken,
  A light that doth not depart;
And his look, or a word he hath spoken,
  Wrought flame in another man's heart.     40

And therefore to-day is thrilling
With a past day's late fulfilling;
And the multitudes are enlisted
In the faith that their fathers resisted,
And, scorning the dream of to-morrow,     45
  Are bringing to pass, as they may,
In the world, for its joy or its sorrow,
  The dream that was scorned yesterday.

But we, with our dreaming and singing,
  Ceaseless and sorrowless we!     50
The glory about us clinging
  Of the glorious futures we see,
Our souls with high music ringing:
  O men! it must ever be
That we dwell, in our dreaming and singing,     55
  A little apart from ye.

For we are afar with the dawning
  And the suns that are not yet high,
And out of the infinite morning
  Intrepid you hear us cry—     60
How, spite of your human scorning,
  Once more God's future draws nigh,
And already goes forth the warning
  That ye of the past must die.

Great hail! we cry to the comers     65
  From the dazzling unknown shore;
Bring us hither your sun and your summers;
  And renew our world as of yore;
You shall teach us your song's new numbers,
  And things that we dreamed not before:     70
Yea, in spite of a dreamer who slumbers,
  And a singer who sings no more.

Roy Hodge - I Am King

Asian sex stereotypes

more here

Icheon Ceramics Masters

My Neighbor Totoro in Minecraft

Gil Scott Heron: A Talk

Gil Scott-Heron - We Beg Your Pardon

Evolution of Stop-Motion

The films included are:
– The Enchanted Drawing (1900)
–Fun at the Bakery Shop (1902)
–El Hotel Electrico (1905)
–Humorous Phases of Funny Faces (1906)
–The Cameraman’s Revenge (1912)
–The Night before Christmas (1913)
–Häxan (1922)
–The Lost World (1925)
–The Tale of Fox (1930 version)
–King Kong (1933)
–The New Gulliver (1935)
–The Beast from 20,000 Fathoms (1953)
–It Came Beneath The Sea (1955)
–Earth vs Flying Saucers (1956)
–The Seventh Voyage of Sinbad (1958)
–Jason and the Argonauts (1963)
–Closed Mondays (1975)
–Star Wars Episode IV: A New Hope (1977)
–Star Wars Episode V: Empire Strikes Back (1980)
–Clash of the Titans (1981)
–The Terminator (1984)
–Robocop (1987)
–Beetlejuice (1988)
–Wallace and Gromit: A Grand Day out (1990)
–The Secret Adventures of Tom Thumb (1993)
–The Nightmare Before Christmas (1993)
–James and the Giant Peach (1996)
–Chicken Run (2000)
–Corpse Bride (2005)
–Coraline (2009)
–Mary and Max (2009)
–Fantastic Mr.Fox (2009)
–The Pirates! In an Adventure with Scientists! (2012)
–Paranorman (2012)
–Frankenweenie (2012)
–Star Wars Episode VII: The Force Awakens (2015)
–The Little Prince (2015)
–Anomalisa (2015)
–Kubo and the Two Strings (2016)

On the Run

Ringo Oiwake

Tears under a microscope

Sons of Kemet - In the Castle of my Skin

MC Escher: Adventures in Perception

Blank on Blank: Gene Wilder

Aquascape timelapse

Toro Y Moi

Grown Up Calls from Primary Colors on Vimeo.

Woman by Hira Bansode

Iris Marion Young (1980): 'Throwing Like a Girl'

HUMAN STUDIES 3, 137-156 (1980)

Throwing Like a Girl:

A Phenomenology of Feminine Body Comportment

Motility and Spatiality

IRIS MARION YOUNG

[...]

The basic difference which Straus observes between the way boys and girls throw is that girls do not bring their whole bodies into the motion as much as the boys. They do not reach back, twist, move backward, step, and lean forward. Rather, the girls tend to remain relatively immobile except for their arms, and even the arm is not extended as far as it could be. Throwing is not the only movement in which there is a typical difference in the way men and women use their bodies. Reflection on feminine comportment and body movement in other physical activities reveals that these also are frequently characterized, much as in the throwing case, by a failure to make full use of the body's spatial and lateral potentialities.

Even in the most simple body orientations of men and women as they sit, stand, and walk, one can observe a typical difference in body style and extension. Women generally are not as open with their bodies as men in their gait and stride. Typically, the masculine stride is longer proportional to a man's body than is the feminine stride to a woman's. The man typically swings his arms in a more open and loose fashion than does a woman and typically has more up and down rhythm in his step. Though we now wear pants more than we used to, and consequently do not have to restrict our sitting postures because of dress, women still tend to sit with their legs relatively close together and their arms across their bodies. When simply standing or leaning, men tend to keep their feet further apart than do woman, and we also tend more to keep our hands and arms touching or shielding our bodies. A final indicative difference is the way each carries books or parcels; girls and women most often carry books embraced to their chests, while boys and men swing them along their sides.

The approach persons of each sex take to the performance of physical tasks that require force, strength, and muscular coordination is frequently different. There are indeed real physical differences between men and woman in the kind and limit of their physical strength. Many of the observed differences between men and women in the performance of tasks requiring coordinated strength, however, are due not so much to brute muscular strength, but to the way each sex uses the body in approaching tasks. Women often do not perceive themselves as capable of lifting and carrying heavy things, pushing and shoving with significant force, pulling, squeezing, grasping, or twisting with force. When we attempt such tasks, we frequently fail to summon the full possibilities of our muscular coordination, position, poise, and bearing. Women tend not to put their whole bodies into engagement in a physical task with the same ease and naturalness as men. For example, in attempting to lift something, women more often than men fail to plant themselves firmly and make their thighs bear the greatest proportion of the weight. Instead, we tend to concentrate our effort on those parts of the body most immediately connected to the task - the arms and shoulders - rarely bringing the power of the legs to the task at all. When turning or twisting something, to take another example, we frequently concentrate effort in the hand and wrist, not bringing to the task the power of the shoulder, which is necessary for its efficient performance.

The previously cited throwing example can be extended to a great deal of athletic activity. Now most men are by no means superior athletes, and their sporting efforts more often display bravado than genuine skill and coordination. The relatively untrained man nevertheless engages in sport generally with more free motion and open reach than does his female counterpart. Not only is there a typical style of throwing like a girl, but there is a more or less typical style of running like a girl, climbing like a girl, swinging like a girl, hitting like a girl. They have in common, first, that the whole body is not put into fluid and directed motion, but rather, in swinging and hitting, for example, the motion is concentrated in one body part; and second, that the woman's motion tends not to reach, extend, lean, stretch, and follow through in the direction of her intention.

[...]

For many women as they move in sport, a space surrounds them in imagination which we are not free to move beyond; the space available to our movement is a constricted space.

[...]

All the above factors operate to produce in many women a greater or lesser feeling of incapacity, frustration, and self-consciousness. We have more of a tendency than men to greatly underestimate our bodily capacity. We decide beforehand--usually mistakenly--that the task is beyond us, and thus give it less than our full effort. At such a half-hearted level, of course, we cannot perform the tasks, become frustrated, and fulfill our own prophecy. In entering a task we frequently are self-conscious about appearing awkward, and at the same time do not wish to appear too strong. Both worries contribute to our awkwardness and frustration. If we should finally release ourselves from this spiral and really give a physical task our best effort, we are greatly surprised indeed at what our bodies can accomplish. It has been found that women more often than men underestimate the level of achievement they have reached.

None of the observations which have been made thus far about the way women typically move and comport their bodies applies to all women all of the time. Nor do those women who manifest some aspect of this typicality do so in the same degree. There is no inherent, mysterious connection between these sorts of typical comportments and being a female person. Many of them result, as will be developed later, from lack of practice in using the body and performing tasks. Even given these qualifications, one can nevertheless sensibly speak of a general feminine style of body comportment and movement.

[...]

Merleau-Ponty locates intentionality in motility (pp. 110-112); the possibilities which are opened up in the world depend on the mode and limits of the bodily "I can" (p. 137, p. 148). Feminine existence, however, often does not enter bodily relation to possibilities by its own comportment toward its surroundings in an unambiguous and confident "I can." For example, as noted earlier, women frequently tend to posit a task which would be accomplished relatively easily once attempted as beyond their capacities before they begin it. Typically, the feminine body underuses its real capacity, both as the potentiality of its physical size and strength and as the real skills and coordination which are available to it. Feminine bodily existence is an inhibited intentionality, which simultaneously reaches toward a projected end with an "I can" and withholds its full bodily commitment to that end in a self-imposed "I cannot”.

An uninhibited intentionality projects the aim to be accomplished and connects the body's motion toward that end in an unbroken directedness which organizes and unifies the body's activity. The body's capacity and motion structure its surroundings and project meaningful possibilities of movement and action, which in turn call the body's motion forth to enact them (Merleau-Ponty, 1962)

[...]

For feminine bodily existence, however, the body is often lived as a thing which is other than it, a thing like other things in the world.

[...]

The modalities of feminine bodily comportment, motility, and spatiality which I have described here are, I claim, common to the existence of women in contemporary society to one degree or another. They have their source, however, in neither anatomy nor physiology, and certainly not in a mysterious feminine "essence." Rather, they have their source in the particular situation of women as conditioned by their sexist oppression in contemporary society.

Women in sexist society are physically handicapped. Insofar as we learn to live out our existence in accordance with the definition that patriarchal culture assigns to us, we are physically inhibited, confined, positioned, and objectified. As lived bodies we are not open and unambiguous transcendences which move out to master a world that belongs to us, a world constituted by our own intentions and projections. To be sure, there are actual women in contemporary society to whom all or part of the above description does not apply. Where these modalities are not manifest in or determinative of the existence of a particular women, however, they are definitive in a negative mode--as that which she has escaped, through accident or good fortune, or more often, as that which she has had to overcome.

One of the sources of the modalities of feminine bodily existence is too obvious to dwell upon at length. For the most part, girls and women are not given the opportunity to use their full bodily capacities in free and open engagement with the world, nor are they encouraged as much as boys to develop specific bodily skills. Girl play is often more sedentary and enclosing than the play of boys. In school and after school activities girls are not encouraged to engage in sport, in the controlled use of their bodies in achieving well-defined goals. Girls, moreover, get little practice "tinkering” with things, and thus developing spatial skill. Finally, girls are not asked often to perform tasks demanding physical effort and strength, while as the boys grow older they are asked to do so more and more.

The modalities of feminine bodily existence are not merely privative, however, and thus their source is not merely in lack of practice, though this is certainly an important element. There is a specific positive style of feminine body comportment and movement, which is learned as the girl comes to understand that she is a girl. The young girl acquires many subtle habits of feminine body comportment--walking like a girl, tilting her head like a girl, standing and sitting like a girl, gesturing like a girl, and so on. The girl learns actively to hamper her movements. She is told that she must be careful not to get hurt, not to get dirty, not to tear her clothes, that the things she desires to do are dangerous for her. Thus she develops a bodily timidity which increases with age. In assuming herself as a girl, she takes herself up as fragile. Studies have found that young children of both sexes categorically assert that girls are more likely to get hurt than boys, and that girls ought to remain close to home while boys can roam and explore. The more a girl assumes her status as feminine, the more she takes herself to be fragile and immobile, and the more she actively enacts her own body inhibition. When I was about thirteen, I spent hours practicing a "feminine" walk which was stiff, closed, and rotated from side to side.

[...]

There is, however, a further source of the modalities of feminine bodily existence which is perhaps even more profound than these. At the root of those modalities, I have stated in the previous section, is the fact that the woman lives her body as object as well as subject. The source of this is that patriarchal society defines woman as object, as a mere body, and that in sexist society women are in fact frequently regarded by others as objects and mere bodies.

Massive Attack - The Spoils

De La Soul ft. Little Dragon - Drawn

James Joyce

Solo motivated by Grief

Solo from Abbie Stephens on Vimeo.

Errol Garner - Wild Music

Mirror in Mind

Mirror in Mind (SimGyeong) from Seunghee Kim on Vimeo.

Miles Davis - Nefertiti

Joseph Busto on I Can See Your Voice 3

Mel Blanc

Op. Condor

chess hustle

Centopeia (animation)

http://io9.gizmodo.com/a-singer-gets-caught-in-a-fight-between-a-dictator-and-1784727707