but we are actually all winds
ever more than before
even ever more than before 
gaining 
speeding 
booming
towards future 
speeding
and redeeming laughters
and happiest laughters
Start page JUMO | Code for America | good.is |
“If you want to free a society, just give them internet access. Because people, the young guys, you know, are all going to go out and see biased media, see the truth about other nations and their own nation and they’re going to be able to contribute and collaborate together.”

The walls along the American University of Cairo (AUC) and the adjoining Tahrir Square narrate a compelling story of the Egyptian uprising. Stirring images depict the lofty and idealistic aspirations of the Egyptian youth and mourn the loss of those who fell during the course of the revolution. Street art has become a means to voice aspirations for a new era of freedom.
An image of Mubarak as both politician and general by noted painter, Omar Fahmi, has already acquired iconic stature. Situated at the corner of the Mohamed Mahmood Street that leads towards the AUC, the image rejects both Mubarak the dictator and the military clique that anchored his dictatorship. The role of women in the revolution’s success is recognised by a mural showing them in Pharaohnic attire with arms raised. But the one that catches the eye is the tribute to those killed; a painting of young men with angel’s wings. Khalid Said, whose custodial death in Alexandria sparked the uprising, is portrayed as is Ramy Sharkawi, the 28-year old graphic designer who was shot dead at Tahrir Square. (June 16 2012, Atul Aneja, The Hindu) 

The walls along the American University of Cairo (AUC) and the adjoining Tahrir Square narrate a compelling story of the Egyptian uprising. Stirring images depict the lofty and idealistic aspirations of the Egyptian youth and mourn the loss of those who fell during the course of the revolution. Street art has become a means to voice aspirations for a new era of freedom.

An image of Mubarak as both politician and general by noted painter, Omar Fahmi, has already acquired iconic stature. Situated at the corner of the Mohamed Mahmood Street that leads towards the AUC, the image rejects both Mubarak the dictator and the military clique that anchored his dictatorship. The role of women in the revolution’s success is recognised by a mural showing them in Pharaohnic attire with arms raised. But the one that catches the eye is the tribute to those killed; a painting of young men with angel’s wings. Khalid Said, whose custodial death in Alexandria sparked the uprising, is portrayed as is Ramy Sharkawi, the 28-year old graphic designer who was shot dead at Tahrir Square. (June 16 2012, Atul Aneja, The Hindu)