अनन्त का छंद - 2

Photo of the Day: Drifting Along in Cambodia

A little girl drifts through a floating village on Tonle Sap Lake in Cambodia on November 14, 2013. (Tartarin2009 [travelling]/Flickr)

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Virtual Artists Talks Series: Praveen K. Chaudhry on New York City: Pand...

नवज्योति की नव-मीमांसा

नवज्योति की नव-मीमांसा हिन्दुत्व का दार्शनिक विमर्श प्रसन्न कुमार चौधरी 1. परम्परा और आधुनिकता युरोपीय आधुनिकता और गैर-युरोपीय परम्पराओं के बीच सम्बन्ध, उनके बीच टकराव और उनकी अन्तःक्रियाएँ पिछली दो शताब्दियों में बौद्धिक विमर्श का अत्यन्त महत्वपूर्ण विषय रही हैं । दुनिया भर के सर्वश्रेष्ठ मस्तिष्कों ने इस विषय पर समग्रता में, और अपने-अपने देशों के संदर्भ में, गहन मंथन किया है और इस विषय पर…

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Bill Gates’ Global Agenda and How We Can Resist His War on Life - Independent Science News | Food, Health and Agriculture Bioscience News

The pandemic is not a war. The pandemic is a consequence of war. A war against life.

The pandemic is not a war. The pandemic is a consequence of war. A war against life.

(via https://www.youtube.com/watch?v=GW2zZFLPLM8)

RIP

—Jessica Greenbaum, Poetry, July/August 2012 At the Los Angeles Review of Books, Lisa Russ Spaar reviews Greenbaum’s The Two Yvonnes, mentioning “the abecedarian ‘A Poem for S.,’” above.

अनन्त का छंद - 7

अनन्त का छंद – 7 प्रसन्न कुमार चौधरी घ. चेतन अस्तित्व सामान्य 96. अपने जीवनयापन के क्रम में मनुष्य निरन्तर अपनी समृति में डूबता-उतराता रहता है, अपने होने के अनेको अर्थ उलीचता जाता है, अपने को परिभाषित और पुनर्परिभाषित करने की ज़द्दोज़हद में उलझा पाता है । मैं नहीं जानता मैं क्या हूँ, मेरा मन भटकता फिरता है । ऋग्वेद के एक श्लोक का कुछ ऐसा ही भावार्थ है । स्मृति ही भौतिक जीवन के परस्पर विरोधी…

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Virtual Guantanamo (by Draxtor Despres)

nonnydlp.com | nonnydelapena.com | pyedogproductions.com

Fast Company’s Co-Create Magazine called Nonny de la Peña one of the 13 People Who Made the World More Creative. She is the pioneer of Immersive Journalism, a groundbreaking brand of nonfiction that offers fully immersive experiences of the news using virtual reality gaming platforms. Combining her communication and technology skills with her lengthy career as a reporter, de la Peña believes newsgames can deepen the understanding of complex stories. Her most recent project Hunger in Los Angeles creates the feeling of ‘being there’ as a real crisis unfolds on a food-bank line at the First Unitarian Church. Hunger was called ‘one of the most talked-about’ pieces at the 2012 Sundance Film Festival. Her other projects include the MacArthur funded Gone Gitmo, a virtual Guantanamo Bay Prison; Cap & Trade, an interactive exploration of the carbon markets built with Frontline World and CIR; Ipsress which investigates detainees held in stress positions; and Three Generations, a newsgame on the California eugenics movement that premiered at 2011 Games For Change. She also co-founded the Knight News Challenge winner Stroome.com, an online collaborative video editing platform that hosted users from 126 different countries. A graduate of Harvard University, she is a award-winning documentary filmmaker with twenty years of journalism experience including as a correspondent for Newsweek Magazine and as a writer whose work has appeared in the New York Times, Los Angeles Times Magazine, Premiere Magazine, and others. Her films have screened on national television and at theatres in more than fifty cities around the globe, garnering praise from critics like A.O. Scott who called her work ‘a brave and necessary act of truth-telling.”

Ladies of the Zenana (Womens Quarters) on a Terrace at Night - 17th Century Rajput Painting

Artist : Ruknuddin

Ruknuddin was active at the court in Bikaner ca. 1650-97. especially under the patronage of Anup Singh. Ruknuddin was a master of color and patterns. In this work, the exquisitely rendered folds of Vishnu’s robe, the semitransparent fabrics of the women presenting gifts to the divine couple, and the subtle shading of the faces are obviously reminiscent of Mughal painting. Beautiful women, even in a secular context, were among Ruknuddin’s favorite subjects. If one compares such pictures from the 1660s and 1670s as a group, one is particularly struck by the porcelain-like treatment of the faces that recurs in works of this period. Ruknuddin accompanied the rulers of Bikaner on their military campaigns to the Deccan, which were conducted as part of their contractural service to the Mughal court. He is associated with a number of portraits painted there in a distinctly Mughal manner, reflecting his exposure to further currents of influence. (via)