Journal of Visual Culture, 2021
http://www.journalofvisualculture.org
The JVC Palestine Portfoli... more Journal of Visual Culture, 2021 http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
New forms of computational 3D imaging have given rise to a new photographic condition—one in whic... more New forms of computational 3D imaging have given rise to a new photographic condition—one in which the flat image is replaced by an omni-directional spatial data constellation, and in which viewing is defined by immersive navigation. The ‘spatial photograph’, as I term it, does not flatten reality onto a chemical grain emulsion surface or a plane of discrete pixels, rather, in this highly computational environment, physical surface is transcoded onto a mirrored digital terrain of spatially distributed, discrete coordinate points.
‘Spatial Photography’ comes to contest both the ocular perspectival gaze of onarchic land ownership and control as well as the Cartesian flat abstraction of the map with its view from nowhere (or from a satellite). Fusing survey and perspectival imaging, optical media has gradually technologically developed to incorporate a multiplicity of images and sources, that are both perspectival and projective, communal, situated and multiple. While primarily developed by states, military and industry, permeating and restructuring them from the inside, it simultaneously opens new spaces for civic-led counter practices.
Situated predominantly within the geo-political context of Israel, my homeland, I fol-
low the changing role of the photographic as it is implicated within the larger ethno-po-
litical conflict, manifesting through a spatial entanglement of volume, control, opacity and vision.
Constructed in an intertwined manner between a research project and an artists prac-
tice, through two dedicated projects, one in East Jerusalem (Silwan and City of David),
the other in the Naqab Desert (Unrecognised Bedouin village of al-Araqib), this thesis
offers a counter-dominant spatial photographic practice, reframed within new epistemology. ‘Spatial Photography’ is not simply a changed mode of mechanical production but rather, a vehicle for the creation of relation between different people and machinic systems, taking, analysing and producing spaces, that together add up to a socio-techno-political community of practice.
Journal of Visual Culture, 2021
http://www.journalofvisualculture.org
The JVC Palestine Portfoli... more Journal of Visual Culture, 2021 http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
New forms of computational 3D imaging have given rise to a new photographic condition—one in whic... more New forms of computational 3D imaging have given rise to a new photographic condition—one in which the flat image is replaced by an omni-directional spatial data constellation, and in which viewing is defined by immersive navigation. The ‘spatial photograph’, as I term it, does not flatten reality onto a chemical grain emulsion surface or a plane of discrete pixels, rather, in this highly computational environment, physical surface is transcoded onto a mirrored digital terrain of spatially distributed, discrete coordinate points.
‘Spatial Photography’ comes to contest both the ocular perspectival gaze of onarchic land ownership and control as well as the Cartesian flat abstraction of the map with its view from nowhere (or from a satellite). Fusing survey and perspectival imaging, optical media has gradually technologically developed to incorporate a multiplicity of images and sources, that are both perspectival and projective, communal, situated and multiple. While primarily developed by states, military and industry, permeating and restructuring them from the inside, it simultaneously opens new spaces for civic-led counter practices.
Situated predominantly within the geo-political context of Israel, my homeland, I fol-
low the changing role of the photographic as it is implicated within the larger ethno-po-
litical conflict, manifesting through a spatial entanglement of volume, control, opacity and vision.
Constructed in an intertwined manner between a research project and an artists prac-
tice, through two dedicated projects, one in East Jerusalem (Silwan and City of David),
the other in the Naqab Desert (Unrecognised Bedouin village of al-Araqib), this thesis
offers a counter-dominant spatial photographic practice, reframed within new epistemology. ‘Spatial Photography’ is not simply a changed mode of mechanical production but rather, a vehicle for the creation of relation between different people and machinic systems, taking, analysing and producing spaces, that together add up to a socio-techno-political community of practice.
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Books by Ariel Caine
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...
Papers by Ariel Caine
‘Spatial Photography’ comes to contest both the ocular perspectival gaze of onarchic land ownership and control as well as the Cartesian flat abstraction of the map with its view from nowhere (or from a satellite). Fusing survey and perspectival imaging, optical media has gradually technologically developed to incorporate a multiplicity of images and sources, that are both perspectival and projective, communal, situated and multiple. While primarily developed by states, military and industry, permeating and restructuring them from the inside, it simultaneously opens new spaces for civic-led counter practices.
Situated predominantly within the geo-political context of Israel, my homeland, I fol-
low the changing role of the photographic as it is implicated within the larger ethno-po-
litical conflict, manifesting through a spatial entanglement of volume, control, opacity and vision.
Constructed in an intertwined manner between a research project and an artists prac-
tice, through two dedicated projects, one in East Jerusalem (Silwan and City of David),
the other in the Naqab Desert (Unrecognised Bedouin village of al-Araqib), this thesis
offers a counter-dominant spatial photographic practice, reframed within new epistemology. ‘Spatial Photography’ is not simply a changed mode of mechanical production but rather, a vehicle for the creation of relation between different people and machinic systems, taking, analysing and producing spaces, that together add up to a socio-techno-political community of practice.
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...
‘Spatial Photography’ comes to contest both the ocular perspectival gaze of onarchic land ownership and control as well as the Cartesian flat abstraction of the map with its view from nowhere (or from a satellite). Fusing survey and perspectival imaging, optical media has gradually technologically developed to incorporate a multiplicity of images and sources, that are both perspectival and projective, communal, situated and multiple. While primarily developed by states, military and industry, permeating and restructuring them from the inside, it simultaneously opens new spaces for civic-led counter practices.
Situated predominantly within the geo-political context of Israel, my homeland, I fol-
low the changing role of the photographic as it is implicated within the larger ethno-po-
litical conflict, manifesting through a spatial entanglement of volume, control, opacity and vision.
Constructed in an intertwined manner between a research project and an artists prac-
tice, through two dedicated projects, one in East Jerusalem (Silwan and City of David),
the other in the Naqab Desert (Unrecognised Bedouin village of al-Araqib), this thesis
offers a counter-dominant spatial photographic practice, reframed within new epistemology. ‘Spatial Photography’ is not simply a changed mode of mechanical production but rather, a vehicle for the creation of relation between different people and machinic systems, taking, analysing and producing spaces, that together add up to a socio-techno-political community of practice.