Come away! O human child!
To the woods and waters wild,
With a fairy hand in hand,
For the world’s more full of weeping than you can understand.

Yeats

Painted caves challenge art origins

Scientists have identified some of the earliest cave paintings produced by humans.

Maxime Aubert looking at cave art

The artworks are in a rural area on the Indonesian Island of Sulawesi.

Until now, paintings this old had been confirmed in caves only in Western Europe.

Researchers tell the journal Nature that the Indonesian discovery transforms ideas about how humans first developed the ability to produce art.

Handprint 1

Australian and Indonesian scientists have dated layers of stalactite-like growths that have formed over coloured outlines of human hands.

Early artists made them by carefully blowing paint around hands that were pressed tightly against the cave walls and ceilings. The oldest is at least 40,000 years old.

Wild PigThis painting, from Bone, is of a variety a wild endemic dwarfed bovid found only in Sulawesi, which the inhabitants probably hunted

There are also human figures, and pictures of wild hoofed animals that are found only on the island. Dr Maxime Aubert, of Griffith University in Queensland, Australia, who dated the paintings found in Maros in Southern Sulawesi, explained that one of them (shown immediately below) was probably the earliest of its type.

Oldest ArtAt the top of the worn painting is a faint outline of a human hand. Below it is possibly the earliest depiction of an animal

"The minimum age for (the outline of the hand) is 39,900 years old, which makes it the oldest hand stencil in the world," said Dr Aubert.

"Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one," he told BBC News.

There are also paintings in the caves that are around 27,000 years old, which means that the inhabitants were painting for at least 13,000 years.

In addition, there are paintings in a cave in the regency of Bone, 100 km north of Maros. These cannot be dated because the stalactite-like growths used to determine the age of the art do not occur. But the researchers believe that they are probably the same age as the paintings in Maros because they are stylistically identical.

The discovery of the Indonesian cave art is important because it shows the beginnings of human intelligence as we understand it today.

Abdurrahman stresses that the canton system, a type of confederacy of local communities that administrate themselves by means of local councils and direct democracy, was not merely beneficial to the Kurds, but rather was a project of all the local ethnic groups like the Syriacs, the Yezidis, the Turkmens Arabs and others together.

Wahab and Serhat, two young activists with the DAF (Revolutionary Anarchist Action) who have been at the border for over two weeks to show solidarity with the Kurds from Kobanê, help refugees on both sides of the frontier and keeping guard in one of the villages to prevent aspiring jihadist to cross into Syria to join ISIS share this opinion: “The revolution in Rojava is against state formation and terrorist gangs, it is based on emancipation and direct democracy; it is about autonomy and self-administration and rejects any form hierarchy and authority.”

Hope and despair grips Kurds as Kobanê continues to resist

darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
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darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info
darksilenceinsuburbia:

Dongwook Lee
Sense of Guilt
Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)
Zoom Info

darksilenceinsuburbia:

Dongwook Lee

Sense of Guilt

Dongwook Lee is a South Korean photographer living in Seoul. His body of work which could be described as ethereal, expressive and reflective, invites the observer to contemplate the nature of human existence, curiosity, physicality and morality. Lee who approaches his photography with the idea that ”to see” means using all of one’s senses and memories, means that his photos may very well have different meanings for every viewer, dependent upon past experiences, the subconscious and the limits of perception.

One such collection by Dongwook Lee titled ”Sense of Guilt” (also known as ”Fake Tale”) presents a real world, albeit inhabited by Barbie dolls. Although the settings are familiar and commonplace, the reality is distorted precisely because the dolls are both so human-like and inanimate. Through the  carefully executed scenes that he creates, they are almost like fleeting moments where the onlooker acts as a voyeur and spectator. (by Gerard McGuickin)

Hope and despair grips Kurds as Kobanê continues to resist | ROAR Magazine

ROAR editor Joris Leverink is in north Kurdistan to report on the Kurdish struggle for democratic autonomy and the battle for Kobanê: a first report.

After a couple of days in north Kurdistan; having spoken to a lot of people and having seen and heard more than my head can reasonably process, it’s time to share some of my observations and experiences. Two days ago, on Tuesday October 7, Kurds across Turkey, but especially in the country’s south-eastern region, took to the streets to protest against Turkey’s role in the threatening massacre of Kobanê. The size and intensity of the protests were unprecedented—as was the reaction of the state—and the opinion shared by most of the people I met over the past few days was that this is the beginning of a new Kurdish uprising.

Before anything else, what has to be made absolutely clear is that the Kurds are not protesting to demand an intervention by Turkey, as has been presented in several mainstream media. The protestors, Kurds and sympathizers alike, rather demand an end to Turkey’s covert support for ISIS and for the border at Kobanê to be opened in order to let refugees out, and humanitarian aid and weapons in. Every single person I spoke with in Diyarbakır, Urfa, Suruç and in the villages at the border agree about one thing: ISIS could never have grown as big as they did, and conquer as much of Rojava as they have done were it not for the material, financial and logistical support they have received from the Turkish state.

Turkey’s dirty tricks

In a village outside Suruç, the Turkish border town facing Kobanê, a few young men, all Syrian Kurds, tell me that they can’t sleep at night because of their fears and worries. Kobanê can be seen at the horizon, and columns of smoke rise above the town as a result of the coalition bombings whose planes are constantly hovering over our heads. The men are part of a group of six families that crossed the border into Turkey together and who have now found refuge in the house of a local farmer. They confirm to me that they have seen with their own eyes how a train entered Syria from Turkey, laden with tanks and ammunition, destined for an unknown location in ISIS-controlled area.

Abdurrahman Abdulkhadir, a Syrian Kurd in his fifties who left his home about twenty days ago, is more clear on this subject: In the village of Xerbisan, about 30 kilometers from Kobanê where he owned a coffeehouse he saw the YPG/YPJ (People’s Defense Forces/Women’s Defense Forces) destroy four ISIS tanks. According to Abdurrahman the Turkish army observed the battle between the YPG/YPJ and ISIS from afar, and it was not long after this that he saw a train crossing into Syria from Turkey, carrying exactly four tanks to make up for ISIS’ losses at the hands of the YPG/YPJ.

On another occasion he spotted a group of men with “big barreled guns, like that of a sniper” coming from Turkey. This was right after the YPG/YPJ had forced ISIS into a retreat, and this group of armed men changed the course of the battle, eventually killing over eighty YPG/YPJ fighters. Sure, we have to remember ourselves that these are not hard facts, but when one hears the same “stories” and “rumors” time and again, coming from dozens of different sources, one cannot help wondering whether there is any truth in them.

Support for Rojava’s revolution

Among all the different conversations I’ve had with Syrian refugees over the past few days, there is one recurring theme: Every single one of them expressed their full support for Rojava’s social revolution. A 42-year old father-of-two, who now lives with his family in the courtyard of a local mosque in Suruç, relying on the municipality’s generosity to feed them, makes it very clear that his life had never been better than when democratic autonomy was installed in Rojava. “It was beautiful. Everybody could enjoy his freedom, men and women were treated equal and there was no friction between the different religious and ethnic groups.”

He tells me that his beard has turned white in the past two weeks, “I never saw anything like this in my life.” He then continues to explain that he would rather life in a tent in Rojava than to stay here in Turkey, where he fears the government so much that he doesn’t even want to give me his name. “There are two certainties in the life of a Kurd: oppression and death.” Unfortunately, the one thing that could change this destiny, Rojava’s revolution, has now all but ceased to exist due to the continued attacks of ISIS and the efforts of the Turkish government.

Abdurrahman stresses that the canton system, a type of confederacy of local communities that administrate themselves by means of local councils and direct democracy, was not merely beneficial to the Kurds, but rather was a project of all the local ethnic groups like the Syriacs, the Yezidis, the Turkmens Arabs and others together.

Wahab and Serhat, two young activists with the DAF (Revolutionary Anarchist Action) who have been at the border for over two weeks to show solidarity with the Kurds from Kobanê, help refugees on both sides of the frontier and keeping guard in one of the villages to prevent aspiring jihadist to cross into Syria to join ISIS share this opinion: “The revolution in Rojava is against state formation and terrorist gangs, it is based on emancipation and direct democracy; it is about autonomy and self-administration and rejects any form hierarchy and authority.”

Unrest continues

As I write this in the city of Urfa, I can hear the police firing tear gas on the protestors a few blocks down. At the same time I can hear the fighter jets of the coalition forces passing over on their way to Kobane, which is about fifty kilometres south from here. The situation in north (Turkish) Kurdistan is escalating by the minute. Despite calls by the PKK-leader Öcalan and leader of the pro-Kurdish HDP (People’s Democratic Party) Demirtaş to cease the violence another ten deaths were reported today, on top of the more than twenty casualties in the past two days.

The victims not only include Kurdish protestors, but also police officers and ISIS-supporters, sparking fears of an escalating civil conflict in Turkey’s southern provinces. The prediction that a new generation of Kurds is radicalized to such an extent that even the PKK finds it hard to keep them in line seems to come true, and one can only guess what the streets, neighborhoods and cities of north Kurdistan will look like if/when Kobanê eventually falls into the hands of ISIS.

There are dozens of more stories I want to tell, but the days are long and the nights are short here in Kurdistan. Another update will follow soon.

Joris Leverink is an Istanbul-based freelance writer and an editor for ROAR Magazine. You can follow him on Twitter via @Jorislever.