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<p>Excellent topic, and good to see colleagues nat and Beth, who I have seen here in my home of the last five years, the last one now with my wife, Negin Ehtesabian, who I met while working with her on Morehshin Allahyari's My Day Your Night project in 2012,
a collaboration between Iranian and American artists, when she was in Tehran and I was still in Chicago. We decided to meet in Azerbaijan two years ago, and from this we formed the best collaboration possible.<br>
<br>
Beth is absolutely right on all accounts in her assessment of the UAE, but my students here are engaged in critical discourses here in my university, as well as the various critical schools that are held around the region (Campus Art Dubai, the Tashkeel Critical
Studies school, etc). But yes, there is a realm of the liminal here, and this is part of my partial silence for a while, and I have learned a modulation of my voice within my context. Some useful matter might be the recent New York Times interview with Mohammed
bin Zayed. There are things that are said publicly, and those not, but the politics of visibility here are as complex as seeing a pride flag at Al Quoz art fest in Dubai. We do not live in a same history, and there are contexts here that aren't seen in the
West. My belief of having crept easterly through Turkey, into the UAE and spending significant time in Central Asia, is that I think it is both valid and problematic to place Western systems of criticism on the MENASA region, as the malign US International
policies in the region over the past 75 years illustrates (expecting rose petal parades when entering Baghdad). I don't think to merely say that to offhandedly dismiss the term Middle East works, as the name is fraught with problems, but I also see the plural
namings as opening of conversation as probably being the best way forward. I think the multiple discourses emerging here are the center of the cultural life here. People in the cultural sector here are making indispensable contributions to this conversation.
And myself, as a progressive academic working here is in a position of difficulty in speaking as a hegemonic white male, regardless of my positions in the West feel like I am in a very precarious place for feeling like I speak for any Others here or that I
am an other oddly speaking in a representational inversion that I have difficulty navigating. I might think of thinkers like Spivak and Babha as being useful.<br>
<br>
I do feel that there are excellent conversations here, but they may be operating more obliquely than the West might understand, and I claim only to speak as a guest of these regions with long contact with the local population.<br>
<br>
Shukran/Kheili Mamnoon, and forgive my brevity - i think Nat and Beth might hear me speaking as I might here of you would see me in the UAE. largely, it is wanting to speak from my experience, but wanting others to speak more than I do, as I don't think it
is my position to speak in their place. Maybe I can just give resources from which people can look.</p>
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----------empyre- soft-skinned space----------------------<br>
<br>
Today's Topics:<br>
<br>
1. Re: Welcome to February 2020 discussion: Why Are We Still<br>
Talking about the Middle East? (Dale Hudson)<br>
2. Re: Art and Saudi Arabia (Dale Hudson)<br>
3. Welcome to week 1 of February 2020 discussion: Circumventing<br>
Territorial Limitations (Dale Hudson)<br>
4. Re: Welcome to February 2020 discussion: Why Are We Still<br>
Talking about the Middle East? (Ana Vald?s)<br>
<br>
<br>
----------------------------------------------------------------------<br>
<br>
Message: 1<br>
Date: Tue, 4 Feb 2020 18:14:08 +0400<br>
From: Dale Hudson <dmh2018@nyu.edu><br>
To: empyre@lists.artdesign.unsw.edu.au<br>
Subject: Re: [-empyre-] Welcome to February 2020 discussion: Why Are<br>
We Still Talking about the Middle East?<br>
Message-ID: <FAED0036-59E7-4AA6-9D18-088E681D90ED@nyu.edu><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Thanks, Ana, for sharing the link to your work with Cecilia Parsberg.<br>
<br>
I?m wondering whether you might say something about it in relation to the month?s theme (basically, why do we still us the Middle East as a term) or the week?s theme on circumventing territorial limitations, which opens to very sidderent questions in Palestine
than in the Gulf states that Sean and Beth are discussing.<br>
<br>
<br>
> On Feb 2, 2020, at 11:28, Ana Vald?s <agora158@gmail.com> wrote:<br>
> <br>
> Dear Dale and -empire. I am very happy and grateful for the choice of topic. Middle East is a symbolic loaded place and a no place, using Marc Auges definition.
<br>
> I look forward to this month discussion. <br>
> As an intellectual and activist deep envolver with the struggles of the Palestinian I wish this discussion could enlighten us...<br>
> For many of you my work within Palestine is known not for others. I link here to my and my colleague the Swedish visual artist Cecilia Parsberg work,
<a href="https://protect2.fireeye.com/v1/url?k=4818cb39-143e232a-481cf836-000babd906fc-4acef8b4e2141096&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.ceciliaparsberg.se%2Fjenin" id="LPlnk876695" previewremoved="true">
https://protect2.fireeye.com/v1/url?k=4818cb39-143e232a-481cf836-000babd906fc-4acef8b4e2141096&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.ceciliaparsberg.se%2Fjenin</a> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ceciliaparsberg.se_jenin&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=KzAXNf4EQhzHR7QANaPk4lk0phW8quW7AlhlMJT4vUs&e=" id="LPlnk498405" previewremoved="true">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ceciliaparsberg.se_jenin&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=KzAXNf4EQhzHR7QANaPk4lk0phW8quW7AlhlMJT4vUs&e=</a>>
and Cecilia?s films on Vimeo To Rachel and I see the House.<br>
> We were in Gaza at the same time when Rachel Corrie was killed and Cecilia did a very moving film about her.<br>
> Ana <br>
> <br>
> El El dom, 2 de feb. de 2020 a la(s) 04:17, Dale Hudson <dmh2018@nyu.edu <<a href="mailto:dmh2018@nyu.edu">mailto:dmh2018@nyu.edu</a>>> escribi?:<br>
> ----------empyre- soft-skinned space----------------------<br>
> Hi all.<br>
> <br>
> Thanks, Renate for the generous introduction! Despite the different time zones, Ithaca seems nearby due to some many connections with amazing scholars and artists there.<br>
> <br>
> Thanks, also to the Joumana al Jabri, Sama Alshaibi, Beth Derderian, Kay Dickinson, Sean Foley, Nat Muller, Afrah Shafiq, Surabhi Shamra, and Parisa Vaziri for joining me in leading this discussion. I?ve pasted their bios below.<br>
> ,<br>
> I?m hoping that this month?s theme will generate an insightful discussion, particularly in thew wake of the ?peace? plan recently proposed by the United States.
<br>
> <br>
> Looking forward to hearing your perspectives!<br>
> Dale<br>
> <br>
> Dale Hudson | ???? ?????<br>
> New York University Abu Dhabi (NYUAD)<br>
> Finger Lakes Environmental Film Festival (FLEFF)<br>
> <br>
> <br>
> <br>
> MONTH?S THEME: Why Are We Still Talking about the Middle East?<br>
> <br>
> This month?s theme confronts the legacies of European colonialism and U.S. imperialism in the divisive segregation of cultures into geopolitical regions. We invite artists, curators, and scholars to consider whether the term remains useful, either as a term
of convenience or as a term of contention. <br>
> <br>
> The invention of a so-called Middle East mobilizes orientalist tropes that essentialize diverse cultures and histories while simultaneously categorizing them as too diverse to function as a unified civilization. The terms and its antecedents and counterparts
(Orient, Libya, Near East) facilitate political, economic, and cultural domination and inhibit social and psychological decolonization after independence.<br>
> <br>
> Britain partitioned India in 1947 and Palestine in 1948. The United States subsequently mobilized the term Middle East to undermine Arab nationalism and legitimize military interventions. Destructive myths of ?Jews versus Arabs? and ?Sunnis versus Shias?
continue to circulate. From the War on Terror into the Arab Spring, U.S. assumptions about a Middle East (which includes Muslim South Asia) have prioritized unruly violence.<br>
> <br>
> The term Middle East has been uncritically adopted within the region, often by neocolonial and neoliberal power holders. It has been tolerated by critical area studies at universities around the world. It has been diffused as an ME in less obviously problematic
terms such as MENA (ME + North Africa), MENASA (ME + NA + South Asia), and MENASASEA (ME + NA + SA + Southeast Asia). Still, it might be timely to think in other terms and rethink the consequences of continuing to imagine a Middle East exists.<br>
> <br>
> Are we complicit with violence when we use terms like the Middle East to designate cultures across North Africa, West Asia, and South Asia that have diverse and distinct cultures and histories yet also share common experiences and perspectives? They were
connected historically by pilgrimages, caravan routes, and maritime trade, but they are linguistically and culturally diverse. Can arts practice, curation, and scholarship help to recognize difference without amplifying division?<br>
> <br>
> Are academic disciplines like art history, film and media studies, digital and visual arts complicit in extending the politically exclusionary and intellectually limiting frameworks of nations and regions that often marginalize and minoritize different perspectives?
Can we work towards more equitable and just ways of framing our interventions?<br>
> <br>
> <br>
> MONTH?S GUESTS<br>
> <br>
> Joumana al Jabri?s work revolves around creative processes and outputs to address pressing social issues. She is a co-founder along with Ramzi Jaber and Ahmad Ghunaim of Visualizing Impact, winner of Prix Ars Electronica 2013, partnered with Polypod. Joumana
co-curated TEDxRamallah 2011 with Ramzi, organized between Ramallah-Bethlehem, Beirut and Amman and livestreamed to over twenty cities globally. She is a co-founder along with Reem Charif and Mohamad Hafeda of Febrik a collaborative platform for participatory
art and design research projects concerned with social practices in public spaces, with particular focus on Palestinian refugee camps.<br>
> <br>
> Sama Alshaibi?s practice examines the mechanisms displacement and fragmentation in the aftermath of war and exile. Her photographs, videos and immersive installations features the body, often her own, as either a gendered site or a geographic device resisting
oppressive political and social conditions. Alshaibi?s monograph Sama Alshaibi: Sand Rushes In (New York: Aperture, 2015) presents her Silsila series which probes the human dimensions of migration borders and environmental demise. Her work has been featured
in several prominent biennials and exhibited in over 20 national and international solo exhibitions. Born in Basra to an Iraqi father and Palestinian mother, Alshaibi is based in the United States where she is Professor of Photography, Video and Imaging at
the University of Arizona, Tucson. <br>
> <br>
> Beth Derderian is a Postdoctoral Associate at the Council on Middle East Studies at Yale University. She has a PhD in anthropology from Northwestern University, and a Master?s in Museum and Near Eastern Studies from NYU. Her research focuses on the politics
of art and cultural production in the Gulf. She was awarded a Fulbright IIE and a doctoral research grant from the Al Qasimi Foundation to conduct her field research. She also makes podcasts for AnthroPod, and co-edits the Middle East Section News on Anthropology
News.<br>
> <br>
> Kay Dickinson is Professor of Film Studies at Concordia University, Montreal. She is the author of Off Key: When Film and Music Won?t Work Together (Oxford University Press, 2008), Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond (bfi,
2016) and Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution (Palgrave, 2018).<br>
> <br>
> Sean Foley is a Professor of History at Middle Tennessee State University, who has published extensively on Middle East and Islamic history. He is the author of Changing Saudi Arabia: Art, Culture, and Society in the Kingdom (2019) and The Arab Gulf States:
Beyond Oil and Islam (2010)?both of which were published by Lynne Rienner Publishers. He has also done extensive research in Saudi Arabia and has held Fulbright grants in Syria, Turkey, and Malaysia. For more on his work, see his website,
<a href="https://protect2.fireeye.com/v1/url?k=d859804e-847f685d-d85db341-000babd906fc-5c61babfce0d4115&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.seanfoley.org%2F">
https://protect2.fireeye.com/v1/url?k=d859804e-847f685d-d85db341-000babd906fc-5c61babfce0d4115&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.seanfoley.org%2F</a> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.seanfoley.org&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=-jBBgRog8n_OrHYCsH0vrcyAfnhm84cvJdh8zzikbE0&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.seanfoley.org&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=-jBBgRog8n_OrHYCsH0vrcyAfnhm84cvJdh8zzikbE0&e=</a>>.
Follow him on twitter @foleyse.<br>
> <br>
> Nat Muller is an independent curator and writer based between Amsterdam and Birmingham. Her main interests are: image politics and contemporary art from the Middle East. Recent exhibitions include Spectral Imprints for the Abraaj Group Art Prize in Dubai
(2012); Adel Abidin?s solo exhibition I love to love? at Forum Box in Helsinki (2013); This is the Time. This is the Record of the Time at Stedelijk Museum/American University of Beirut Gallery (2014/15); the A.M. Qattan 2016 Young Artist of the Year Award
at Qalandiya International in Ramallah and The Mosaic Rooms in London; Neither on the Ground nor in the Sky at ifa Gallery Berlin (2019). In 2015 she was Associate Curator for the Delfina Foundation?s Politics of Food Program (London). She has curated film
programs for Rotterdam?s International Film Festival, Norwegian Short Film Festival, International Short Film Festival Oberhausen, and Video D.U.M.B.O New York. Her writing has been widely published and she edited Sadik<br>
Kwaish Alfraji?s monograph (Schilt Publishing, 2015), Nancy Atakan?s monograph Passing On (Kehrer Verlag, 2016), Walid Siti?s monograph (Kehrer Verlag, forthcoming 2020). Her AHRC-funded PhD project at Birmingham City University researches science fiction
in contemporary visual practices from the Middle East. She curated the Danish Pavilion with Palestinian artist Larissa Sansour for the 58th Venice Biennale in 2019.
<a href="https://protect2.fireeye.com/v1/url?k=d2ed18ff-8ecbf0ec-d2e92bf0-000babd906fc-3c181005deb748ec&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.natmuller.com%2F">
https://protect2.fireeye.com/v1/url?k=d2ed18ff-8ecbf0ec-d2e92bf0-000babd906fc-3c181005deb748ec&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.natmuller.com%2F</a> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.natmuller.com&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=XB2k4C2H-OZMy3goJb1YakLcRXWcG29c4N5H6qsbc3w&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.natmuller.com&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=XB2k4C2H-OZMy3goJb1YakLcRXWcG29c4N5H6qsbc3w&e=</a>>
<br>
> <br>
> Afrah Shafiq is a multi/new media artist based between Goa and Bangalore. Her art practice moves across various platforms and mediums, seeking a way to retain the tactile within the digital and the poetry within technology. Her work has been shown at the
Lahore Biennial 2020, testsite Austin, Kochi Muziris Biennale 2018/19, The Guild Art Gallery in Alibaug, Be.Fantastic in Bengaluru, What About Art in Mumbai, Digital Graffiti Festival in Florida, The Fusebox Festival in Texas and the Computer Space festival
in Bulgaria. She has been invited on research and residency programs with Fluent Collaborative Austin, the Liverpool Biennial of Contemporary Art, and the Institute of Advance Studies in Nantes, France. When she is not glued to her computer she also makes
glass mosaic.<br>
> <br>
> Surabhi Shamra has been an independent filmmaker making feature-length documentaries and short films since 2000. Her documentaries, fiction, and video installations engage with cities in transition using the lens of labor, music, and migration. Her films
have been screened and awarded at international film festivals and include: Returning to the First Beat (2017); Bidesia in Bambai (2013); Jahaji Music: India in the Caribbean (2007); Above the Din of Sewing Machines (2004); Aamakaar, The Turtle People (2002);
and Jari Mari: Of Cloth and Other Stories (2001). She is an assistant professor at New York University Abu Dhabi.<br>
> <br>
> Parisa Vaziri received her Ph.D. in Comparative Literature from U.C. Irvine in 2018. Her work engages legacies of Indian Ocean world slavery in the long dur?e through prisms of visual media. Her research overlaps interests in critical theory, black studies,
Middle Eastern cultural production, postcolonial critiques of history, film theory, new media, philosophy, anthropology, and histories of displinary formation more generally. Her current project recovers articulations of blackness in Iranian visual culture,
primarily through the media of experimental documentary and art cinema. She proposes film as a site of transmission that disrupts traditional periodization schemes and that elucidates problems of temporality and geography in orthdox narratives about the concept
of race. Two of her forthcoming publications position the history of experimental ethnographic documentary as supplement and stimulant to the Iranian New Wave film movement, while exploring how filmic blackness<br>
allegorizes modernity's spatial and temporal disjunctions.<br>
> <br>
> _______________________________________________<br>
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> <a href="http://www.scoop.it/t/food-history-and-trivia">http://www.scoop.it/t/food-history-and-trivia</a> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_food-2Dhistory-2Dand-2Dtrivia&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=7VkRSo7a77CKVV-W8Ia6bQgUSIP20yW2ri9yH1OXKHI&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_food-2Dhistory-2Dand-2Dtrivia&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=7VkRSo7a77CKVV-W8Ia6bQgUSIP20yW2ri9yH1OXKHI&e=</a>><br>
> <a href="http://www.scoop.it/t/urbanism-3-0">http://www.scoop.it/t/urbanism-3-0</a> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_urbanism-2D3-2D0&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=eiY9Og1geDxkfSt9HaZplrynPL5jE3et0NwdpUBo_IQ&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_urbanism-2D3-2D0&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=eiY9Og1geDxkfSt9HaZplrynPL5jE3et0NwdpUBo_IQ&e=</a>><br>
> <br>
> <br>
> <br>
> <br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_postcolonial-2Dmind_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZfUz2o_Mm9XHuyOzZdAabU6xMylWGIHMaFJ3N3N6giQ&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_postcolonial-2Dmind_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZfUz2o_Mm9XHuyOzZdAabU6xMylWGIHMaFJ3N3N6giQ&e=</a>><br>
> <br>
> cell Sweden +4670-3213370<br>
> cell Uruguay +598-99470758<br>
> <br>
> <br>
> "When once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been and there you will always long to return.
<br>
> ? Leonardo da Vinci<br>
<br>
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Message: 2<br>
Date: Tue, 4 Feb 2020 18:23:59 +0400<br>
From: Dale Hudson <dmh2018@nyu.edu><br>
To: empyre@lists.artdesign.unsw.edu.au<br>
Subject: Re: [-empyre-] Art and Saudi Arabia<br>
Message-ID: <8ECB9583-B1D2-427B-A8F3-4C4FAFD15397@nyu.edu><br>
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<br>
Thanks, Sean, for this post. For anyone unfamiliar with Gharam?s practice, his website is
<a href="https://protect2.fireeye.com/v1/url?k=42d595e5-1ef37df6-42d1a6ea-000babd906fc-3172009043b8c66a&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fabdulnassergharem.com%2F">
https://protect2.fireeye.com/v1/url?k=42d595e5-1ef37df6-42d1a6ea-000babd906fc-3172009043b8c66a&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fabdulnassergharem.com%2F</a> <<a href="https://protect2.fireeye.com/v1/url?k=6c7ce9d9-305a01ca-6c78dad6-000babd906fc-619b1c238e238322&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fabdulnassergharem.com%2F">https://protect2.fireeye.com/v1/url?k=6c7ce9d9-305a01ca-6c78dad6-000babd906fc-619b1c238e238322&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fabdulnassergharem.com%2F</a>>.<br>
<br>
Sean, could you tell us more about how artists like Gharam navigate various state and social restrictions to play a role in defining and redefining Saudi Arabia? I was struck by the use of stamps and concrete blocks.<br>
<br>
Is the work received as Saudi, Arab, or Middle Eastern?<br>
<br>
It would also be great to hear about telfaz11, which uses YouTube to circumvent restrictions placed on television.<br>
<br>
<br>
<br>
> On Feb 3, 2020, at 19:55, Sean Foley <foleymtsu@gmail.com <<a href="mailto:foleymtsu@gmail.com">mailto:foleymtsu@gmail.com</a>>> wrote:<br>
> <br>
> ----------empyre- soft-skinned space----------------------<br>
>> Over the last two decades, Saudi Arabia has witnessed a cultural renaissance in film, literature, online media, stand-up comedy, and the visual arts. On multiple occasions, Abdulnasser Gharem, one of the country?s foremost artists, has argued that he and
his colleagues fill a critical social role, telling the New York Times in 2016: ?That is your role as an artist, to bring out the option that the politician can?t say and that the religious man can?t say? You bring out the solutions that people can?t say.?
Three years later in an interview with Spain?s El Pais, he stressed that art is ?a form of soft power? through which you ?can change people?s behavior.? ?People,? he added ?need to listen to the artist.? Is Gharem right? What role could he and other artists
like him play in a country in which an absolute monarchy and clerics have long wielded enormous power? What could Gharem and artists tell us about the Kingdom in 2020?
<br>
> _______________________________________________<br>
> empyre forum<br>
> empyre@lists.artdesign.unsw.edu.au <<a href="mailto:empyre@lists.artdesign.unsw.edu.au">mailto:empyre@lists.artdesign.unsw.edu.au</a>><br>
> <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=DwICAg&c=slrrB7dE8n7gBJbeO0g-IQ&r=qcTmJUObF8XYm8yI7VhbJrDrNIg8UQyscq1gBMIIbxk&m=zbsP4PC7przlC4gX2qNJDW4FORebB5tm43XL0M5P1wY&s=gG6uKPlUobeOHB9z4L_qX7g8QkLnx6udZUaOI4OzTkA&e=">
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Message: 3<br>
Date: Tue, 4 Feb 2020 18:32:38 +0400<br>
From: Dale Hudson <dmh2018@nyu.edu><br>
To: empyre@lists.artdesign.unsw.edu.au<br>
Subject: [-empyre-] Welcome to week 1 of February 2020 discussion:<br>
Circumventing Territorial Limitations<br>
Message-ID: <6272808B-D15D-45DA-A535-F20639571CAD@nyu.edu><br>
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<br>
Thanks, Beth, for sharing with us some of your research on ways that Emirati artists circumvent some of the limitations on site by going partly online.
<br>
<br>
Could you share with us some of the themes or types of themes that their work addresses? I?m curious whether they fall into what might be considered typically Middle Eastern, Arab, or Gulf themes or ones that move partly around these conventional labels.<br>
<br>
----------empyre- soft-skinned space----------------------<br>
Hi empyre ? thanks for reading, and to Dale for the invitation to engage with these important questions.<br>
<br>
<br>
<br>
Many of the artists I work with are based in the UAE, which restricts expression ? particularly criticism of the state, royal families, and Islam. Artists have used the [ostensibly] deterritorialized site of the internet to skirt some of these restrictions
? engaging in limited-circuit digital performances, online exhibitions, or withholding information about the target of the work?s critique or exhibition?s location in order to protect the artist from potential retribution. The resulting work is simultaneously
of the UAE, and yet not. Paradoxically then, the internet as deterritorialized platform reveals the very contours of the political in a particular place.<br>
<br>
-Beth<br>
----------empyre- soft-skinned space----------------------<br>
I am thrilled that Elizabeth (Beth) Derderian and Sean Foley have agreed to help me launch month's discussion on Why Are We Still Talking about the Middle East?<br>
<br>
They both have done extensive research into ways that artists work around territorial limitations whilst still remaining grounded in particular cultural contexts of Saudi Arabia, UAE, and elsewhere. I?ve included their bios below the theme.<br>
<br>
I?ve learned so much from their work, so I am excited to learn more from them and for others through comments on their posts or sharing their own research or practice.<br>
<br>
<br>
<br>
WEEK?S TOPIC: Circumventing Territorial Limitations<br>
<br>
While some states in North Africa, West Asia, and South Asia are savvy in shutting down the internet to subdue protests, notably Egypt and India, others have been unable to keep pace with how citizens and non-citizens mobilize digital spaces make statements
that are riskier to make in physical space.<br>
<br>
While official state censorship garners headlines, unofficial forms self-censorship often pass unnoticed to the outside world. Various other pressures come into play such a social stigma and family status.<br>
<br>
Social media platforms that operate online and on mobiles provide a structure for networking across territorial boundaries. Despite the built-in risk of surveillance by transnational corporations, people often use Facebook or WhatsApp to communicate across
distances and divisions.<br>
<br>
This week focuses on how to artists circumnavigate censorship, often based on laws or rules concerning broadcast and on-site performance or exhibition, by mobilizing virtual space, considering which artists feel empowered to speak directly and which artists
prefer to speak indirectly or not at all.<br>
<br>
<br>
GUEST BIOS<br>
<br>
Beth Derderian is a Postdoctoral Associate at the Council on Middle East Studies at Yale University. She has a PhD in anthropology from Northwestern University, and a Master?s in Museum and Near Eastern Studies from NYU. Her research focuses on the politics
of art and cultural production in the Gulf. She was awarded a Fulbright IIE and a doctoral research grant from the Al Qasimi Foundation to conduct her field research. She also makes podcasts for AnthroPod, and co-edits the Middle East Section News on Anthropology
News.<br>
<br>
Sean Foley is a Professor of History at Middle Tennessee State University, who has published extensively on Middle East and Islamic history. He is the author of Changing Saudi Arabia: Art, Culture, and Society in the Kingdom (2019) and The Arab Gulf States:
Beyond Oil and Islam (2010)?both of which were published by Lynne Rienner Publishers. He has also done extensive research in Saudi Arabia and has held Fulbright grants in Syria, Turkey, and Malaysia. For more on his work, see his website,
<a href="https://protect2.fireeye.com/v1/url?k=7e3a3cf2-221cd4e1-7e3e0ffd-000babd906fc-50f681ad2161ebf6&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fnam05.safelinks.protection.outlook.com%2F%3Furl%3Dwww.seanfoley.org%26amp%3Bdata%3D02%257C01%257Celizabeth.derderian%2540yale.edu%257C3d7e7816370f40fecf6608d7a7b0c225%257Cdd8cbebb21394df8b4114e3e87abeb5c%257C0%257C0%257C637162249926510932%26amp%3Bsdata%3Dh5GfSJqUn3dRib%252BLTMGPnajEXUt%252FISUDP5Yq7lmHCmA%253D%26amp%3Breserved%3D0">
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<<a href=""></a>https://prot<br>
ect2.fireeye.com/v1/url?k=a5a06929-f986813a-a5a45a26-000babd906fc-0ce065710bf9b67b&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=https%3A%2F%2Fnam05.safelinks.protection.outlook.com%2F%3Furl%3Dwww.seanfoley.org%26amp%3Bdata%3D02%257C01%257Celizabeth.derderian%2540yale.edu%257C3d7e7816370f40fecf6608d7a7b0c225%257Cdd8cbebb21394df8b4114e3e87abeb5c%257C0%257C<br>
0%7C637162249926510932&amp;sdata=h5GfSJqUn3dRib%2BLTMGPnajEXUt%2FISUDP5Yq7lmHCmA%3D&amp;reserved=0.> Follow him on twitter @foleyse.<br>
_____________________________________<br>
<br>
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Message: 4<br>
Date: Tue, 4 Feb 2020 11:40:43 -0300<br>
From: Ana Vald?s <agora158@gmail.com><br>
To: Dale Hudson <dmh2018@nyu.edu><br>
Cc: empyre@lists.artdesign.unsw.edu.au<br>
Subject: Re: [-empyre-] Welcome to February 2020 discussion: Why Are<br>
We Still Talking about the Middle East?<br>
Message-ID:<br>
<CAFbYiEKe2EPfbojpxspO4sTv96QgV=tX-KOwAz_56ZqRdFFN=g@mail.gmail.com><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Thank you Dale for your kind words! I remember I was appalled when I read<br>
about how England and France shared the crumbles of the Ottoman Empire and<br>
built colonial empires upon it. Gertrude Bell traced the borders and<br>
created Iran Irak and Saudi Arabia. Lawrence became their protector.<br>
Allenby was the maker of today?s Palestine. Many streets in Jerusalem and<br>
Tel Aviv carry his name.<br>
I am a scholar on the Crusades topic and liked very much Amin Malouf book<br>
The Crusades from the Arabic eyes.<br>
He quotes there sources unknown for us in the West and writes about things<br>
as the Crusades being cannibals eating small Arabian children.<br>
I reacted against this narrative and rejected it as biased and false.<br>
But my curiosity was awake and I read again the tales or documentary<br>
written by that times writers, William of Tyres and many French writers.<br>
Nobody of them wrote something about the cannibalism.<br>
But I travelled to Paris and checked the 1800-century of the same books,<br>
published by la Pleiade as facs?mil editions.<br>
And it was there!<br>
?We didn?t have enough food to feed our enormous army and the locals were<br>
hostile. There was not enough meat for us. We used then raid the small<br>
Muslim villages and take the small children. We cooked or broiled or<br>
grilled them and has them as salty proviants. They were not baptised and<br>
they were as animals to us.?<br>
I read them Edward Saids book ?Orientalism? how the Western created a<br>
fictional Orient as contrast and opposite to us.<br>
I still think our obsession with the Middle East is about narrative how we<br>
define the ?Other?.<br>
Ana<br>
<br>
El El mar, 4 de feb. de 2020 a la(s) 11:14, Dale Hudson <dmh2018@nyu.edu><br>
escribi?:<br>
<br>
> Thanks, Ana, for sharing the link to your work with Cecilia Parsberg.<br>
><br>
> I?m wondering whether you might say something about it in relation to the<br>
> month?s theme (basically, why do we still us the Middle East as a term) or<br>
> the week?s theme on circumventing territorial limitations, which opens to<br>
> very sidderent questions in Palestine than in the Gulf states that Sean and<br>
> Beth are discussing.<br>
><br>
><br>
> On Feb 2, 2020, at 11:28, Ana Vald?s <agora158@gmail.com> wrote:<br>
><br>
> Dear Dale and -empire. I am very happy and grateful for the choice of<br>
> topic. Middle East is a symbolic loaded place and a no place, using Marc<br>
> Auges definition.<br>
> I look forward to this month discussion.<br>
> As an intellectual and activist deep envolver with the struggles of the<br>
> Palestinian I wish this discussion could enlighten us...<br>
> For many of you my work within Palestine is known not for others. I link<br>
> here to my and my colleague the Swedish visual artist Cecilia Parsberg<br>
> work, <a href="https://protect2.fireeye.com/v1/url?k=e825259b-b403cd88-e8211694-000babd906fc-52abb0657b6a3d2f&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.ceciliaparsberg.se%2Fjenin">
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> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ceciliaparsberg.se_jenin&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=KzAXNf4EQhzHR7QANaPk4lk0phW8quW7AlhlMJT4vUs&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ceciliaparsberg.se_jenin&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=KzAXNf4EQhzHR7QANaPk4lk0phW8quW7AlhlMJT4vUs&e=</a>><br>
> and Cecilia?s films on Vimeo To Rachel and I see the House.<br>
> We were in Gaza at the same time when Rachel Corrie was killed and Cecilia<br>
> did a very moving film about her.<br>
> Ana<br>
><br>
> El El dom, 2 de feb. de 2020 a la(s) 04:17, Dale Hudson <dmh2018@nyu.edu><br>
> escribi?:<br>
><br>
>> ----------empyre- soft-skinned space----------------------<br>
>> Hi all.<br>
>><br>
>> Thanks, Renate for the generous introduction! Despite the different time<br>
>> zones, Ithaca seems nearby due to some many connections with amazing<br>
>> scholars and artists there.<br>
>><br>
>> Thanks, also to the Joumana al Jabri, Sama Alshaibi, Beth Derderian, Kay<br>
>> Dickinson, Sean Foley, Nat Muller, Afrah Shafiq, Surabhi Shamra, and Parisa<br>
>> Vaziri for joining me in leading this discussion. I?ve pasted their bios<br>
>> below.<br>
>> ,<br>
>> I?m hoping that this month?s theme will generate an insightful<br>
>> discussion, particularly in thew wake of the ?peace? plan recently proposed<br>
>> by the United States.<br>
>><br>
>> Looking forward to hearing your perspectives!<br>
>> Dale<br>
>><br>
>> Dale Hudson | ???? ?????<br>
>> New York University Abu Dhabi (NYUAD)<br>
>> Finger Lakes Environmental Film Festival (FLEFF)<br>
>><br>
>><br>
>><br>
>> MONTH?S THEME: Why Are We Still Talking about the Middle East?<br>
>><br>
>> This month?s theme confronts the legacies of European colonialism and<br>
>> U.S. imperialism in the divisive segregation of cultures into geopolitical<br>
>> regions. We invite artists, curators, and scholars to consider whether the<br>
>> term remains useful, either as a term of convenience or as a term of<br>
>> contention.<br>
>><br>
>> The invention of a so-called Middle East mobilizes orientalist tropes<br>
>> that essentialize diverse cultures and histories while simultaneously<br>
>> categorizing them as too diverse to function as a unified civilization. The<br>
>> terms and its antecedents and counterparts (Orient, Libya, Near East)<br>
>> facilitate political, economic, and cultural domination and inhibit social<br>
>> and psychological decolonization after independence.<br>
>><br>
>> Britain partitioned India in 1947 and Palestine in 1948. The United<br>
>> States subsequently mobilized the term Middle East to undermine Arab<br>
>> nationalism and legitimize military interventions. Destructive myths of<br>
>> ?Jews versus Arabs? and ?Sunnis versus Shias? continue to circulate. From<br>
>> the War on Terror into the Arab Spring, U.S. assumptions about a Middle<br>
>> East (which includes Muslim South Asia) have prioritized unruly violence.<br>
>><br>
>> The term Middle East has been uncritically adopted within the region,<br>
>> often by neocolonial and neoliberal power holders. It has been tolerated by<br>
>> critical area studies at universities around the world. It has been<br>
>> diffused as an ME in less obviously problematic terms such as MENA (ME +<br>
>> North Africa), MENASA (ME + NA + South Asia), and MENASASEA (ME + NA + SA +<br>
>> Southeast Asia). Still, it might be timely to think in other terms and<br>
>> rethink the consequences of continuing to imagine a Middle East exists.<br>
>><br>
>> Are we complicit with violence when we use terms like the Middle East to<br>
>> designate cultures across North Africa, West Asia, and South Asia that have<br>
>> diverse and distinct cultures and histories yet also share common<br>
>> experiences and perspectives? They were connected historically by<br>
>> pilgrimages, caravan routes, and maritime trade, but they are<br>
>> linguistically and culturally diverse. Can arts practice, curation, and<br>
>> scholarship help to recognize difference without amplifying division?<br>
>><br>
>> Are academic disciplines like art history, film and media studies,<br>
>> digital and visual arts complicit in extending the politically exclusionary<br>
>> and intellectually limiting frameworks of nations and regions that often<br>
>> marginalize and minoritize different perspectives? Can we work towards more<br>
>> equitable and just ways of framing our interventions?<br>
>><br>
>><br>
>> MONTH?S GUESTS<br>
>><br>
>> Joumana al Jabri?s work revolves around creative processes and outputs to<br>
>> address pressing social issues. She is a co-founder along with Ramzi Jaber<br>
>> and Ahmad Ghunaim of Visualizing Impact, winner of Prix Ars Electronica<br>
>> 2013, partnered with Polypod. Joumana co-curated TEDxRamallah 2011 with<br>
>> Ramzi, organized between Ramallah-Bethlehem, Beirut and Amman and<br>
>> livestreamed to over twenty cities globally. She is a co-founder along with<br>
>> Reem Charif and Mohamad Hafeda of Febrik a collaborative platform for<br>
>> participatory art and design research projects concerned with social<br>
>> practices in public spaces, with particular focus on Palestinian refugee<br>
>> camps.<br>
>><br>
>> Sama Alshaibi?s practice examines the mechanisms displacement and<br>
>> fragmentation in the aftermath of war and exile. Her photographs, videos<br>
>> and immersive installations features the body, often her own, as either a<br>
>> gendered site or a geographic device resisting oppressive political and<br>
>> social conditions. Alshaibi?s monograph Sama Alshaibi: Sand Rushes In (New<br>
>> York: Aperture, 2015) presents her Silsila series which probes the human<br>
>> dimensions of migration borders and environmental demise. Her work has been<br>
>> featured in several prominent biennials and exhibited in over 20 national<br>
>> and international solo exhibitions. Born in Basra to an Iraqi father and<br>
>> Palestinian mother, Alshaibi is based in the United States where she is<br>
>> Professor of Photography, Video and Imaging at the University of Arizona,<br>
>> Tucson.<br>
>><br>
>> Beth Derderian is a Postdoctoral Associate at the Council on Middle East<br>
>> Studies at Yale University. She has a PhD in anthropology from Northwestern<br>
>> University, and a Master?s in Museum and Near Eastern Studies from NYU. Her<br>
>> research focuses on the politics of art and cultural production in the<br>
>> Gulf. She was awarded a Fulbright IIE and a doctoral research grant from<br>
>> the Al Qasimi Foundation to conduct her field research. She also makes<br>
>> podcasts for AnthroPod, and co-edits the Middle East Section News on<br>
>> Anthropology News.<br>
>><br>
>> Kay Dickinson is Professor of Film Studies at Concordia University,<br>
>> Montreal. She is the author of Off Key: When Film and Music Won?t Work<br>
>> Together (Oxford University Press, 2008), Arab Cinema Travels:<br>
>> Transnational Syria, Palestine, Dubai and Beyond (bfi, 2016) and Arab Film<br>
>> and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution<br>
>> (Palgrave, 2018).<br>
>><br>
>> Sean Foley is a Professor of History at Middle Tennessee State<br>
>> University, who has published extensively on Middle East and Islamic<br>
>> history. He is the author of Changing Saudi Arabia: Art, Culture, and<br>
>> Society in the Kingdom (2019) and The Arab Gulf States: Beyond Oil and<br>
>> Islam (2010)?both of which were published by Lynne Rienner Publishers. He<br>
>> has also done extensive research in Saudi Arabia and has held Fulbright<br>
>> grants in Syria, Turkey, and Malaysia. For more on his work, see his<br>
>> website, <a href="https://protect2.fireeye.com/v1/url?k=5f3f2f8c-0319c79f-5f3b1c83-000babd906fc-7e37ba6b823b3b2a&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.seanfoley.org%2F">
https://protect2.fireeye.com/v1/url?k=5f3f2f8c-0319c79f-5f3b1c83-000babd906fc-7e37ba6b823b3b2a&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.seanfoley.org%2F</a><br>
>> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.seanfoley.org&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=-jBBgRog8n_OrHYCsH0vrcyAfnhm84cvJdh8zzikbE0&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.seanfoley.org&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=-jBBgRog8n_OrHYCsH0vrcyAfnhm84cvJdh8zzikbE0&e=</a>>.<br>
>> Follow him on twitter @foleyse.<br>
>><br>
>> Nat Muller is an independent curator and writer based between Amsterdam<br>
>> and Birmingham. Her main interests are: image politics and contemporary art<br>
>> from the Middle East. Recent exhibitions include Spectral Imprints for the<br>
>> Abraaj Group Art Prize in Dubai (2012); Adel Abidin?s solo exhibition I<br>
>> love to love? at Forum Box in Helsinki (2013); This is the Time. This is<br>
>> the Record of the Time at Stedelijk Museum/American University of Beirut<br>
>> Gallery (2014/15); the A.M. Qattan 2016 Young Artist of the Year Award at<br>
>> Qalandiya International in Ramallah and The Mosaic Rooms in London; Neither<br>
>> on the Ground nor in the Sky at ifa Gallery Berlin (2019). In 2015 she was<br>
>> Associate Curator for the Delfina Foundation?s Politics of Food Program<br>
>> (London). She has curated film programs for Rotterdam?s International Film<br>
>> Festival, Norwegian Short Film Festival, International Short Film Festival<br>
>> Oberhausen, and Video D.U.M.B.O New York. Her writing has been widely<br>
>> published and she edited Sadik Kwaish Alfraji?s monograph (Schilt<br>
>> Publishing, 2015), Nancy Atakan?s monograph Passing On (Kehrer Verlag,<br>
>> 2016), Walid Siti?s monograph (Kehrer Verlag, forthcoming 2020). Her<br>
>> AHRC-funded PhD project at Birmingham City University researches science<br>
>> fiction in contemporary visual practices from the Middle East. She curated<br>
>> the Danish Pavilion with Palestinian artist Larissa Sansour for the 58th<br>
>> Venice Biennale in 2019. <a href="https://protect2.fireeye.com/v1/url?k=81e5f93c-ddc3112f-81e1ca33-000babd906fc-c0926e247294c298&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.natmuller.com%2F">
https://protect2.fireeye.com/v1/url?k=81e5f93c-ddc3112f-81e1ca33-000babd906fc-c0926e247294c298&q=1&e=8bfc91a7-0fec-46bd-88ca-b53336fbee8f&u=http%3A%2F%2Fwww.natmuller.com%2F</a><br>
>> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.natmuller.com&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=XB2k4C2H-OZMy3goJb1YakLcRXWcG29c4N5H6qsbc3w&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.natmuller.com&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=XB2k4C2H-OZMy3goJb1YakLcRXWcG29c4N5H6qsbc3w&e=</a>><br>
>><br>
>> Afrah Shafiq is a multi/new media artist based between Goa and Bangalore.<br>
>> Her art practice moves across various platforms and mediums, seeking a way<br>
>> to retain the tactile within the digital and the poetry within technology.<br>
>> Her work has been shown at the Lahore Biennial 2020, testsite Austin, Kochi<br>
>> Muziris Biennale 2018/19, The Guild Art Gallery in Alibaug, Be.Fantastic in<br>
>> Bengaluru, What About Art in Mumbai, Digital Graffiti Festival in Florida,<br>
>> The Fusebox Festival in Texas and the Computer Space festival in Bulgaria.<br>
>> She has been invited on research and residency programs with Fluent<br>
>> Collaborative Austin, the Liverpool Biennial of Contemporary Art, and the<br>
>> Institute of Advance Studies in Nantes, France. When she is not glued to<br>
>> her computer she also makes glass mosaic.<br>
>><br>
>> Surabhi Shamra has been an independent filmmaker making feature-length<br>
>> documentaries and short films since 2000. Her documentaries, fiction, and<br>
>> video installations engage with cities in transition using the lens of<br>
>> labor, music, and migration. Her films have been screened and awarded at<br>
>> international film festivals and include: Returning to the First Beat<br>
>> (2017); Bidesia in Bambai (2013); Jahaji Music: India in the Caribbean<br>
>> (2007); Above the Din of Sewing Machines (2004); Aamakaar, The Turtle<br>
>> People (2002); and Jari Mari: Of Cloth and Other Stories (2001). She is an<br>
>> assistant professor at New York University Abu Dhabi.<br>
>><br>
>> Parisa Vaziri received her Ph.D. in Comparative Literature from U.C.<br>
>> Irvine in 2018. Her work engages legacies of Indian Ocean world slavery in<br>
>> the long dur?e through prisms of visual media. Her research overlaps<br>
>> interests in critical theory, black studies, Middle Eastern cultural<br>
>> production, postcolonial critiques of history, film theory, new media,<br>
>> philosophy, anthropology, and histories of displinary formation more<br>
>> generally. Her current project recovers articulations of blackness in<br>
>> Iranian visual culture, primarily through the media of experimental<br>
>> documentary and art cinema. She proposes film as a site of transmission<br>
>> that disrupts traditional periodization schemes and that elucidates<br>
>> problems of temporality and geography in orthdox narratives about the<br>
>> concept of race. Two of her forthcoming publications position the history<br>
>> of experimental ethnographic documentary as supplement and stimulant to the<br>
>> Iranian New Wave film movement, while exploring how filmic blackness<br>
>> allegorizes modernity's spatial and temporal disjunctions.<br>
>><br>
>> _______________________________________________<br>
>> empyre forum<br>
>> empyre@lists.artdesign.unsw.edu.au<br>
>> <a href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a><br>
>> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=i3LT7j5FSykPk4QprrG14dM02SAGNEBq83sZKrnooZA&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=i3LT7j5FSykPk4QprrG14dM02SAGNEBq83sZKrnooZA&e=</a>><br>
><br>
> --<br>
> <a href="https://anavaldes.wordpress.com/">https://anavaldes.wordpress.com/</a><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__anavaldes.wordpress.com_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=K8iypGKBQMwuIF8DhvOQjI6_n2MXiaIrBiF7TQ-i3BE&e=">https://urldefense.proofpoint.com/v2/url?u=https-3A__anavaldes.wordpress.com_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=K8iypGKBQMwuIF8DhvOQjI6_n2MXiaIrBiF7TQ-i3BE&e=</a>><br>
> <a href="http://www.twitter.com/caravia158">www.twitter.com/caravia158</a><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.twitter.com_caravia158&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=pyMG7cHntzT10Lhx77fMG03HvQVyOFuVUAnC6JfYiIk&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.twitter.com_caravia158&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=pyMG7cHntzT10Lhx77fMG03HvQVyOFuVUAnC6JfYiIk&e=</a>><br>
> <a href="http://www.scoop.it/t/art-and-activism/">http://www.scoop.it/t/art-and-activism/</a><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_art-2Dand-2Dactivism_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZNRNG58r04udTsgil6j3nSsS2X33K0-3OTMyPaVDz54&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_art-2Dand-2Dactivism_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZNRNG58r04udTsgil6j3nSsS2X33K0-3OTMyPaVDz54&e=</a>><br>
> <a href="http://www.scoop.it/t/food-history-and-trivia">http://www.scoop.it/t/food-history-and-trivia</a><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_food-2Dhistory-2Dand-2Dtrivia&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=7VkRSo7a77CKVV-W8Ia6bQgUSIP20yW2ri9yH1OXKHI&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_food-2Dhistory-2Dand-2Dtrivia&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=7VkRSo7a77CKVV-W8Ia6bQgUSIP20yW2ri9yH1OXKHI&e=</a>><br>
> <a href="http://www.scoop.it/t/urbanism-3-0">http://www.scoop.it/t/urbanism-3-0</a><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_urbanism-2D3-2D0&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=eiY9Og1geDxkfSt9HaZplrynPL5jE3et0NwdpUBo_IQ&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_urbanism-2D3-2D0&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=eiY9Og1geDxkfSt9HaZplrynPL5jE3et0NwdpUBo_IQ&e=</a>><br>
><br>
><br>
><br>
><br>
><br>
> <<a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_postcolonial-2Dmind_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZfUz2o_Mm9XHuyOzZdAabU6xMylWGIHMaFJ3N3N6giQ&e=">https://urldefense.proofpoint.com/v2/url?u=http-3A__www.scoop.it_t_postcolonial-2Dmind_&d=DwMFaQ&c=slrrB7dE8n7gBJbeO0g-IQ&r=Hafd2vsMnrn24xKURxheOA&m=WPXSpufZ6h0pwIEh1Oik6OXDXCLV61nkmf72hYJZjx8&s=ZfUz2o_Mm9XHuyOzZdAabU6xMylWGIHMaFJ3N3N6giQ&e=</a>><br>
><br>
> cell Sweden +4670-3213370<br>
> cell Uruguay +598-99470758<br>
><br>
><br>
> "When once you have tasted flight, you will forever walk the earth with<br>
> your eyes turned skyward, for there you have been and there you will always<br>
> long to return.<br>
> ? Leonardo da Vinci<br>
><br>
><br>
> --<br>
<a href="https://anavaldes.wordpress.com/">https://anavaldes.wordpress.com/</a><br>
<a href="http://www.twitter.com/caravia158">www.twitter.com/caravia158</a><br>
<a href="http://www.scoop.it/t/art-and-activism/">http://www.scoop.it/t/art-and-activism/</a><br>
<a href="http://www.scoop.it/t/food-history-and-trivia">http://www.scoop.it/t/food-history-and-trivia</a><br>
<a href="http://www.scoop.it/t/urbanism-3-0">http://www.scoop.it/t/urbanism-3-0</a><br>
<br>
<br>
<br>
<br>
<<a href="http://www.scoop.it/t/postcolonial-mind/">http://www.scoop.it/t/postcolonial-mind/</a>><br>
<br>
cell Sweden +4670-3213370<br>
cell Uruguay +598-99470758<br>
<br>
<br>
"When once you have tasted flight, you will forever walk the earth with<br>
your eyes turned skyward, for there you have been and there you will always<br>
long to return.<br>
? Leonardo da Vinci<br>
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