The Most Important Thing

Since 2012 Brian Sokol has focused on telling the stories of refugees, Internally Displaced Persons (IDPs), and stateless people in Africa, Asia, the Middle East and Latin America. The Most Important Thing—his ongoing, long-term portraiture project—seeks to humanize and convey the dignity of individuals who have been dehumanized by conflict, government policies and the media.

A Pocket Full of Stones

...my home bordered the ‘other neighborhood,’ the one where the Fenians, the Papists, the Catholics lived. The ones I was afraid of. I had stones in my pocket to throw at them if ‘they’ came up ‘my’ street. So I sat on the curb with my friends, waiting for ‘them’ to come.

Caring for the Soul of Humanity

I was 25 years old when I witnessed human misery for the first time. It was 2008, and I had moved to a remote city in the underprivileged state of Maranhão, in Northeast Brazil. Despite moving with the illusion of building a new life, the harsh realities of extreme poverty and structural violence expanded my worldview in ways I couldn’t imagine.

Globalism-Nationalism, the New Left-Right

The Information Revolution is shifting the axis of our contemporary political system. While the old Left-Right divide will remain for the foreseeable future, a new schism is arising to form the crux of our political beliefs—the Globalism-Nationalism divide.

For Love of Place | Reflections of an Agrarian Sage

Conversation Values For Love of Place | Reflections of an Agrarian Sage By Allen White Published in Volume 18 Issue 3 | Comments 0    How do we cultivate a sense of place in an industrialized, globalizing world? Writer and farmer Wendell Berry discusses the role of agrarian values in nurturing communitarian consciousness…

FILM | LIFEBOAT, Refugees Adrift at Sea

Kosmos Journal | In 2015, your team produced 50 Feet from Syria, a film focused on the civilian impact of the Syrian conflict. Your new film, Lifeboat, bears witness to refugees desperate enough to risk their lives in rubber boats leaving Libya. What was different for you personally about making those two films?