<div dir="ltr"><div><div><div>"Second, it's undoubtedly necessary to also insist that these migrations
are also entangled with the longer histories of capitalism and the
nation state. The histories of colonialism in North Africa and the
Middle East, the West's military and financial support of authoritarian
regimes in the <span tabindex="-1" id=":37s.1" style="" class="">MENA</span> region, the histories of resource extraction and
dispossession, all set the stage for and helped to precipitate these
crises that, when looked through these lenses, seem less like crises and
more like predictable consequences of these histories. In other words,
we can also frame these events as being intimately tied to more or less
continuous historical processes of exploitation that should push us to
consider them as expressions of much more spatially and temporally
diffuse and heterogeneous systems that manifest less as a surprise and
more as the status <span tabindex="-1" id=":37s.2" style="" class="">quo</span>."<br><br></div>Hi Ian, there is no doubt the artificial borders Western powers drew in the Middle East after World War I, placing opposing religious or ethnic groups within a border on the principle of "divide and conquer, have a lot to do with the present chaos, as suppressive governments one way or another lost their tyrannical controls. Western imperialism has a lot of responsibility up to this point. But there is nothing that says that Shiites and Sunni have to bomb each others' mosques, kill each others' civilians or economically suppress each other or Christians or Copts, etc. There, the responsibility is theirs. I think one should avoid merely applying all arguments to the present situation. More detailed analyses are necessary.<br><br></div>Ciao,<br></div>Murat<br></div><div class="gmail_extra"><br><div class="gmail_quote">On Mon, Feb 15, 2016 at 5:58 PM, Ian Paul <span dir="ltr"><<a href="mailto:ianalanpaul@gmail.com" target="_blank">ianalanpaul@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Hello everyone (and thank you Ricardo for the invitation!),<div><br></div><div>I'll begin by trying to introduce some focus for us specifically in relation to the migrant/refugee crises unfolding across the EU at the moment. Particularly, I was hoping to think through these "crises" as being in some way novel, while also being imbricated with much longer and more continuous historical processes.</div><div><br></div><div>First, I would like to suggest that we must in some way contend with the fact that the current increases in the flow of bodies leaving the Middle East and North Africa are caused at least in part by the extinguishment of the Arab Spring uprisings by various authoritarian regimes. While the global left payed a great deal of attention to the revolutions/uprisings during their romantic and spontaneous genesis, this attention largely receded as repression intensified or as the uprisings became more plural and complex and as the various contradictions of the different contexts intensified. The migrations that have followed, many of which are unquestionably undertaken out of necessity, take place against a global context that is decidedly absent of any kind of leftist internationalism that could have acted in potential solidarity with these uprisings or with the repression that ensued. How does thinking of these migrations as the dispersed kinetic fallout of the rupture opened by failed revolutions change our thinking about the dynamics of these diverse situations, and what are the stakes of framing the crises in this way? And what does the specificity of this current conjuncture potentially offer our movements and our ways of thinking/doing?</div><div><br></div><div>Second, it's undoubtedly necessary to also insist that these migrations are also entangled with the longer histories of capitalism and the nation state. The histories of colonialism in North Africa and the Middle East, the West's military and financial support of authoritarian regimes in the MENA region, the histories of resource extraction and dispossession, all set the stage for and helped to precipitate these crises that, when looked through these lenses, seem less like crises and more like predictable consequences of these histories. In other words, we can also frame these events as being intimately tied to more or less continuous historical processes of exploitation that should push us to consider them as expressions of much more spatially and temporally diffuse and heterogeneous systems that manifest less as a surprise and more as the status quo.</div><div><br></div><div>And so this is where in some way I would like to bring us ~ inhabiting at once the ruptures and breakages fissured open by the uprisings as well as the continuity of global capital and colonialism. </div><div><br></div><div>Cheers,</div><div> ~i</div><div><br></div><div class="gmail_extra"><div><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div><div style="text-align:-webkit-auto"><div style="text-align:-webkit-auto"><div style="font-family:arial,sans-serif;font-size:12.8px">__________________________________________</div><div style="font-family:arial,sans-serif;font-size:12.8px"><i style="font-size:12.8px;text-align:-webkit-auto"><span style="color:rgb(0,0,0);font-family:Cambria;font-size:14.6667px;text-align:-webkit-auto;white-space:pre-wrap;background-color:transparent"><br></span></i></div><div style="font-family:arial,sans-serif;font-size:12.8px"><i style="font-size:12.8px;text-align:-webkit-auto"><span style="color:rgb(0,0,0);font-family:Cambria;font-size:14.6667px;text-align:-webkit-auto;white-space:pre-wrap;background-color:transparent">Ian Alan Paul // Artist, Curator, Theorist</span></i><br></div><div style="font-family:arial,sans-serif;font-size:12.8px"><span style="font-size:14.6667px;font-family:Cambria;color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent"><i>PhD Candidate, UCSC Film and Digital Media Studies</i></span></div><div style="font-family:arial,sans-serif;font-size:12.8px"><span style="font-size:14.6667px;font-family:Cambria;vertical-align:baseline;white-space:pre-wrap;background-color:transparent"><i><a href="http://www.ianalanpaul.com" target="_blank"><font color="#ff0000">www.ianalanpaul.com</font></a><font color="#000000"> ~ </font><a href="http://www.twitter.com/IanAlanPaul" target="_blank"><font color="#ff0000">www.twitter.com/ianalanpaul</font></a></i></span></div><div style="font-family:arial,sans-serif;font-size:12.8px"><span style="font-size:14.6667px;font-family:Cambria;color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent"><i><br></i></span></div><div><span style="font-family:Cambria;font-size:14.6667px;color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent"><i>"</i></span><font color="#000000" face="Cambria"><span style="font-size:14.6667px;white-space:pre-wrap"><i>Time forks perpetually toward innumerable futures.</i></span></font></div><div><font color="#000000" face="Cambria"><span style="font-size:14.6667px;white-space:pre-wrap"><i>In one of them I am your enemy.</i></span></font><i style="font-family:arial,sans-serif;font-size:12.8px"><span style="font-size:14.6667px;font-family:Cambria;color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent">" (Borges)</span></i></div></div></div></div></div><div><br></div><div><div style="text-align:-webkit-auto"><div style="font-size:13px;margin-bottom:0px;margin-left:0px;padding-bottom:5px"><div><div></div></div></div><div style="font-size:13px"></div></div></div></div></div></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Mon, Feb 15, 2016 at 11:46 AM, Renate Terese Ferro <span dir="ltr"><<a href="mailto:rferro@cornell.edu" target="_blank">rferro@cornell.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
<br>
>Thanks especially to our Week I and Week 2 special guests: Irina Contreras, Babak Fakhamzadeh, Huub Dijstelbloem and Christina McPhee who have joined guest moderators Ana Valdes and Ricardo Dominguez. It has been a lively discussion on a compelling topic. Also thanks to our subscribers who have also been joining in. We invite you all to continue with Ana and Ricardo as we introduce our Week 3 guests: Ian Alan Paul, Robert McKee Irwin, Paula Delgado, Alba Moses and Grupo. Their biographies are listed below.<br>
><br>
>For those of you who want to see the archive of our discussion thus far you can go to <a href="http://lists.artdesign.unsw.edu.au/pipermail/empyre/" rel="noreferrer" target="_blank">http://lists.artdesign.unsw.edu.au/pipermail/empyre/</a><br>
>Where you can sort through by date, author, or thread.<br>
><br>
>Looking forward to more.<br>
>Best,<br>
>Renate<br>
><br>
>Biographies:<br>
><br>
>Paula Delgado I was born and lived<br>
>most of my life in Montevideo, Uruguay, now a 'mature student' doing an MA in<br>
>London since last September. I am a bit of a weirdo: a visual artist and a<br>
>feminist, with a Bachelor’s degree in Economics and a Diploma in Gender and<br>
>public policies. I got a Chevening scholarship to do an MA Culture Industry<br>
>in Goldsmiths University.<br>
><br>
><br>
>Robert McKee Irwin is Chair of the Graduate Group in Cultural Studies and Professor in the<br>
>Department of Spanish and Portuguese at the University of California, Davis. He<br>
>is also co-Principal Investigator, with Sunaina Maira, of the UC Davis's Mellon<br>
>Initiative in Comparative Border Studies: Rights, Containment, Protest (<a href="http://borderstudies.ucdavis.edu/" rel="noreferrer" target="_blank">http://borderstudies.ucdavis.edu/</a>). His current work focuses on<br>
>migration as a long process characterized by confrontations with many diverse<br>
>borders, some of which can be crossed and others of which cannot; it focuses on<br>
>the particular context of migration from Mexico to the United States, and cases<br>
>of migrants who do not, as George Sánchez articulates it, "become<br>
>Mexican American"; more specifically, he is currently working on an<br>
>article that draws from this project titled "Undocumented<br>
>Literature.”<br>
><br>
>Alva Mooses and Grupo <><br>
>is a multidisciplinary artist and currently a Visiting Lecturer in the<br>
>Department of Art at Cornell University. My studio practice is informed by nearly a decade of organizing informal<br>
>artist residencies and community art projects in Chicago; Guerrero, Mexico; El<br>
>Polvo, El Salvador; Buratovich, Argentina among others. I worked in villages or<br>
>neighborhoods dealing with large migrations of people moving in or out that<br>
>dramatically affected the social dynamics in each context.<br>
><br>
>In 2015, I<br>
>was working in the Dominican Republic and Haiti making drawings by directly<br>
>tracing fences throughout the island including the national border fence at the<br>
>Jimani/Malpasse crossing. I am currently working on a collaborative publication<br>
>project titled Correspondence from NYC to PAP connecting artists whose<br>
>work is based in and around Port-au-Prince and New York City. I am also a<br>
>founding member of a new NYC based collective Grupo < > .<br>
><br>
><br>
>Grupo < > creates spaces where different voices, bound together under a broad<br>
>geopolitical classification, meet to explore questions of identity through art.<br>
>Our collective efforts include talks, exhibitions, publications, performances<br>
>and gatherings.<br>
><br>
>The questions we ask are informed by our liminal condition and the consciousness of<br>
>cultural and geographic migration. What brings us together is the need to open<br>
>a context that while defined < > is undefinable and irreducible. Grupo<br>
>< > generates dialogue and community, grounded by but not limited to the<br>
>concerns and needs of artists whose practices are interwoven with the history<br>
>of Latin America and the Caribbean.<br>
><br>
><br>
>Ian Alan Paul is a transdisciplinary artist, curator and<br>
>theorist living between Oakland, Barcelona, and Cairo. His projects and writing<br>
>have approached a large variety of topics including the Guantanamo Bay Prison,<br>
>Fortress Europe, the Zapatista communities, Drone Warfare, and most recently<br>
>with the military regime in post-coup Egypt. Using diverse media to produce<br>
>documentary, critical fiction, hacktivism, performance, and simulation, Ian’s<br>
>work aims to both complicate and defamiliarize our shared sense of politics,<br>
>ethics, and aesthetics. Ian has lectured, taught, and exhibited<br>
>internationally, and has had his work featured in The Atlantic, Al Jazeera, Le<br>
>Monde, Art Threat, Mada Masr, Jadaliyya, Art Info, and C Magazine. He received<br>
>his MFA and MA at the San Francisco Art Institute in 2011 and is currently<br>
>finishing his PhD in UC Santa Cruz.<br>
><br>
><br>
><br>
><br>
><br>
><br>
><br>
><br>
><br>
><br>
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<br>_______________________________________________<br>
empyre forum<br>
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