Those who cannot remember the past are condemned to repeat it

Beit Beirut or the Barakat building in Beirut is the only real civil war memorial Lebanon has.
The house was a strategic spot for snipers inside the green zone during the 1975-1990 civil war. War traces are kept incorporated in the reconstruction of the house, now serving as museum. The museum also has an auditorium for lectures and workshops for young people on issues relating to memory, history and war- issues whom have not been addressed at all in Lebanon.
Mona el Hallak; an architect and activist, who worked for years to save this iconic building and prevent Beirut’s municipality from destroying it:
"Just as the Lebanese themselves should, the building will look firmly into the future while paying tribute to its past. “We are dealing with the building as if it is war wounded and starting to heal again. These traces cannot be erased, they are like scars.” 

architecture against collective amnesia

Those who cannot remember the past are condemned to repeat it. 
George Santayana (16 December 1863 in Madrid, Spain – 26 September 1952 in Rome, Italy)

i am A MAN

not a "boy"

The Memphis sanitation strike began in February 1968 in Memphis, Tennessee.

Disaster is a Need

 convenience is the death to mankind

 

FREE MOVE 9

see

 Let the Fire Burn, a documentary about MOVE 

directed and produced by David Osder

Holger can can

adios amigos

🌴

the new negro has no fear

Beyrut 💚 بيروت

When the living rot on the bodies of the dead
When the combatants’ teeth become knives
When words lose their meaning and become arsenic
When the aggressors’ nails become claws
When old friends hurry to join the carnage
When the victors’ eyes become live shells
When clergymen pick up the hammer and crucify
When officials open the door to the enemy
When the mountain peoples’ feet weigh like elephants
When roses grow only in cemeteries
When they eat the Palestinian’s liver before he’s even dead
When the sun itself has no other purpose than being a shroud

the human tide moves on . . .

Etel Adnan, “XXXIX” from The Arab Apocalypse.