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"For years, we have been trying to understand the world and represent it again with computers' help. With the emergence/involvement of the computer in the sixties that corresponds to the first attempts of digital mapping processes, land census, and calibration systems, the world's first virtual images have been rendered. While the earth becomes an intangible object assembled from satellite images, GIS data, aerial photos, and a globe to spin by clicking on a mouse, the technological tools that make this possible leave actual, physical traces of earth. Sometimes a material change in the world or appear in archaeological sites or dissolves civilizations or protects us, sometimes from magic, sometimes from radioactive rays. Whereas the grounds are melting, our positions are getting lost day by day"

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Geographers say there are two kinds of islands. This is valuable information for the imagination
because it confirms what the imagination already knew. -Gilles Deleuze

"The Mediterranean lands are not an island, but a whale that needs to start moving and swim..swim..swim..

Islands have been crucial in the securitisation and control of the Mediterranean, an entire ecosystem defined by exile, detainment and violent processes of subjectification within which architecture plays a fundamental role. In the confluence of Africa, Europe and Asia, the Mediterranean is identified as the paradigmatic space for investigation and subversion of problematic histories. A highly contested site and area of conflict since antiquity, interweaved in the imaginary and the praxis of power and territorial domination, the Mediterranean Sea today has become possibly the most securitized and militarized zone on earth. Within this context, islands performed as agents of segregation and dominance, with their geographic specificities, natural characteristics and strategic location constructing the platform upon which architecture cannot be separated from geopolitical and biopolitical management. Isolari aims to investigate through felt and sonic memories, experiences and ideals such notions, celbrating instead all the unique qualities of the island. With the ever-evolving situation here on earth, there’s already an almost unrecognizable distance between last week and this week. Filled with colourful histories, philosophies and ideas the zine combines beautiful print with the warmth of familiar imagery, found histories and unconventional modes of thinking. Crafting concised articles/ columns, objects and ephemeral situations that reveal a playful wit and an eye for the sex appeal and abstract beauty of our everyday world, the journal is at once ironic yet tender, analytic but deeply felt. It is an acquired taste of a savvy cultural consumer who is not afraid every now and then to fall for the very romantic myths and pop productions one so deftly probes. Chock-full of essays, images and primary sources, Isolari is an allegorical love-child of an academic publication and a fun art zine. Aiming to revive and reboot the Renaissance genre of the same name, Isolari means island texts. It’s a periodical nature, being released whenever there’s material, reflects its fluid ideas. Each release is imagined as an island: a singular creative condition for readers to inhabit."

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via Lucinda Currell

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List Countries | Library of Exile | Edmund de Waal | BIBLIOWin

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www.behance.net/sedagecu6b62

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WALKING AS THE ARTIST’S MATERIALARTICLES,Rezzan GÜMGÜM

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WALKING AS THE ARTIST’S MATERIALARTICLES,Rezzan GÜMGÜM

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While the track of everyday life is being traced, walking as an ordinary action attracts philosophers, literati, clergy, politicians, and artists by drawing their attention to the streets of urban or rural areas. The unity of art and walking has been discussed in various ways and different periods, although walking has become an art form that has been actualized by the Dada movement, which directly implements the practices of action. This anti-art form began with Dada's actions has been gradually enriched through the impact of subsequent art movements. In this study, the practices of artists that used the act of walking as a material of art will be examined and the probability of changing the borders in art by the practice of walking without borders will be reviewed.

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Grup Braınstorming on "Ruins" - map by Rezzan Gümgüm

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Sebastia, a small archaeological town, sits on top of a hill Northwest of Nablus, Palestine surrounded by Shavei Shomron, an illegal Israeli settlement and confiscated agricultural fields of olive groves and apricot trees. This ancient site was excavated multiple times over the last century by colonial archaeologists funded by Zionist individuals and institutions. The first excavation of 1908 led by Harvard University took advantage of Sebastia locals including women, men, and children as cheap labor digging their own land for the sake of biblical archaeology. Each excavation extracted soil and artifacts from the ground, taking what they considered valuable to their home institutions and leaving pottery shards and rubble on the surface. Today, what's left of the archaeological monuments is contested by the nearby settlement as well as the Israeli military. The Roman Forum is a battlefield, but the locals are incredibly resilient.
Film by Dima Srouji Editor: Omar Jabareen Camera: Alaa Daraghmeh
Watch the full film

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Sebastia, a small archaeological town, sits on top of a hill Northwest of Nablus, Palestine surrounded by Shavei Shomron, an illegal Israeli settlement and confiscated agricultural fields of olive groves and apricot trees. This ancient site was excavated multiple times over the last century by colonial archaeologists funded by Zionist individuals and institutions.

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Prof.Zainab Bahrani seminar on phenomenologies of landscapes in Mesapotamia and border ecologies.

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Prof.Zainab Bahrani seminar on phenomenologies of landscapes in Mesapotamia and border ecologies.

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Rituals of War: the Body and Violence in Mesopotamia

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artist, writer, curator, Elizabeth Shores

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artist, writer, curator, Elizabeth Shores

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www.elizabethshores.com
"I designed my limited liability corporation (LLC) My Presence is Productive as a conceptual strategy to eliminate the legal distinction between my research and myself. The goal of my LLC is to effectuate alternative methodological strategies to portray objective data with regard to the monetization of land. As part of this project, I used a focused ion beam to create a nano-scale sculpture on the surface of George Washington's nose in the depiction of Mount Rushmore on the back of a pre-2016 U.S. South Dakota quarter. To create this sculpture, I used a technique called 'ion milling' that employs a highly energetic beam of positively charged particles to vaporize sections of the quarter that are thinner than the width of a human hair. To make such a beam and the resulting images, I used a focused ion beam scanning electron microscope (FIB-SEM) at the University of New Mexico Center for Micro-Engineered Materials. The coin altered in this process was returned to circulation, with no way of ever being tracked or located

The following photograph was taken using the FIB-SEM microscope. It shows George Washington’s nose on the South Dakota quarter. The rectangular strip in the lower right-hand corner of the image is the section that I vaporized".

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www.noorabuarafeh.com
What artist can tell about history that historians can't?

In recent years, I became more aware that I am interested in history as a concept. What does history mean? And how is it shaped and constructed?  The construction of history - how is it made, perceived, visualized and understood?  This interest came from a growing consciousness that historical narratives are not given but rather something produced in part by an ongoing engagement with an institution like an archive.   My practice takes the museums, zoos, cemeteries, Monuments,  artifacts, archives and other lost objects as a central points to think of the materiality/ immateriality and visibility/ invisibility of the objects and how it effects on our memory,  using previous stories, rumors, gossips, dreams, imagined realities and other tellings in contrasting a narrative that use literature as a method through floating between fact and fiction.  I use Novels, lecture performances and video installations as a medium in my practice.

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www.ilariasperi.com

Ulysses Syndrome

"A soundscape of the Mediterranean basin, composed by retracing Ulysses’ journey from Troy to Ithaca. A vastness of fragments songs harmonies: a choir, an audible entropy. Sailing for over two months across the coasts of the Middle East, Italy, Northern Africa and Southern Europe, equipped with scanners, aerial antennae and recorders, Soundwalk Collective intercepted a technological, augmented hearing, accidental overlaps of noises, music and voices, private conversations and service communications, bouncing back and forth between boats, ships and the coast. They listened to these recordings again in their studio, in order to grasp the sense of each sound, of each trace, of each diaphony: hints of stories, slices of worlds, letting themselves be led to what turned out to be an état des lieux of the Mediterranean basin. The result is a musical map in continuous rearrangement, a polyphonic installation, the reflection of a sound archive."

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"My artistic project explores the fragility, vulnerability, and exploitation of natural landscapes, through the lens of ancient storytelling traditions, focusing particularly on the different representations of the cow/bull. My work engages research on imaginary and poetical landscapes depicted in Greek and Roman poetry (the Minotaur, pastoral scenes, Orpheus, possibly Europa and the Bull), Egyptian myth and ritual, and the Epic of Gilgamesh (with its significant connection to the cedars of Lebanon and link to ecological disasters with its flood narrative). These mythic roots inform (without necessarily constituting the surface of) works that address contemporary human-animal and human-environment relationships, exploring with ethical urgency the anthropocenic present ."

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www.mariakhatchadourian.com

Displacement, Loss, ruins and the spaces we inhabit (mental and physical) are central in her practice-based research. Rocks, glass, stone, foam and other reclaimed materials from construction sites, often overlap and overlay in a three – dimensional, spatial assemblage with images, moving and still, as she investigates the fragility of the beings and the times we live – in. Currently her work focuses on mapping the emotional and ecological wounds and how to translate them into site-responsive installations

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human rights activist, Marta Abrantes Mendes

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human rights activist, Marta Abrantes Mendes

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"My current project focuses on transitional justice and it entails working with vast amounts of information "about the past" - preserved mostly through memory (Yemen) or through audio-visual material (Syria). Memory work on Yemen mainly reflects relationships as articulated through certain social structures (i.e., the family). This can be problematic in that it may exclude other possibilities (non-family, non-biological).  . This assertion implies that there would be room for something akin to Povinelli's geontopower. In other words, substituting biopower dynamics by geontopower would allow for novel and non-filial ways to represent and to reclaim memory. I'm trying to go further and understand the implications of applying a geontological lens to buildings and cultural heritage in Yemen. This have traditionally been conceived as psycho-geographies of memory - however, this may entail a reductionist approach that limits buildings/places to mere appendages of our memories, some kind of prosthetic mnemonics. . (in sum, find that so much of the conservation and protection work around heritage sees it as something external and I am trying to understand how it is possible to put buildings at the center. Where i find I still have some difficulties is in transitioning from the argument where I am claiming that memory should be represented in non-filial ways but in the end, instead of coming up with relationship not based on blood, I am coming up with relationships that put objects as subjects - so quite a turn-around and difficult to articulate all intrinsicacies inherent to this). "

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Based on interviews with key Yemeni civil society organizations, the report finds that much more is needed to support a Yemeni-led vision of justice and accountability.

After registering a diversity of views amongst Yemeni civil society-from a need to address the economic and social costs of the conflict to the role of civil society in any future transitional justice processes-this report also highlights the obstacles facing Yemeni civil society. Additionally, the report proposes more tactics and strategies for supporting Yemeni civil society and victims' groups, and to ensure they have an influence over the contours of an eventual peace.

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Based on interviews with key Yemeni civil society organizations, the report finds that much more is needed to support a Yemeni-led vision of justice and accountability. After registering a diversity of views amongst Yemeni civil society-from a need to address the economic and social costs of the conflict to the role of civil society in any future transitional justice processes-this report also highlights the obstacles facing Yemeni civil society.

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13.May.2021 seminar

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artist, Hera Büyüktaşçıyan (Guest Professor at Tigris Pheomenologies Workshop)

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artist, Hera Büyüktaşçıyan (Guest Professor at Tigris Pheomenologies Workshop)

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https://www.gagallery.com/artists/hera-buyuktasciyan

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https://www.behance.net/StudioArtAnkur

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Rethinking centrality

Extended urbanization in Istanbul
https://www.youtube.com/watch?v=oAEVnKhHJ04

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artist, Rojda Tuğrul (Guest Professor at Tigris Phenomenology Workshop)

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artist, Rojda Tuğrul (Guest Professor at Tigris Phenomenology Workshop)

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Work by: https://vimeo.com/167819912

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https://www.walidsiti.com/videos-installations
"My work increasingly considers the precarious relations between collective identity, interdependence and its constraints on the individual through considerations of heritage, tradition, homes, borders, mobility and migration. These themes have had an imprint on my outlook​ and contributed to shaping my art and life. My work draws on the formal elements of architecture inspired by the cultural heritage and current rush to “reconstruct” in the Middle East region. It aims to draw a perturbed image of an unsettled landscape that has witnessed violent changes and transformations."

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Artist Walk as a phenomenological  methods

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ARTUN, A. (2013). Sanat Manifestoları,Avangard Sanat ve Direniş,(U. Kılıç. Çev.) İstanbul: İletişim Yayınları.

BACCA, P. (2008). Bride on Tour. https://www.pippabacca.it/ (Erişim tarihi: 22.05.2020)

BAUDELAİRE, C. (2013). Modern Hayatın Ressamı (A. Berktay, Çev.), İstanbul: İletişim Yayınları.

BENJAMİN, W. (2002). Pasajlar. (A. Cemal, Çev.), İstanbul: YKY.

BERGER, J. (2014). Sanatla Direniş, (A. Biçen, Çev.), İstanbul: Metis Yayınları.

CANNETTI, E. (2010). Kitle ve İktidar, (G. Aygen. Çev.), İstanbul:Ayrıntı Yayınları.

COVERLEY, M. (2011). Psikocoğrafya Londra Yazıları, (S.Serezli,Çev.),İstanbul: Kalkedon Yayınları.

DE CERTEAU, M. (2008). Gündelik Hayatın Keşfi I,(L. A. Özcan,Çev.),Ankara: Dost Kitabevi.

DEBORD, G. (2018). Gösteri Toplumu, (A. Emekçi, O. Taşkent, Çev.), İstanbul: Ayrıntı Yayınları.

DONOVAN, J. (2010). Feminist Teori, (A.Bora,M.A.Gevrek,F.Sayılan,Çev.), İstanbul:İletişim Yayınları.

FAUCOULT, M. (2013). Cinselliğin Tarihi, (H.U.Tanrıöver, Çev.), İstanbul: Ayrıntı Yayınları.

JOYCE, J. (2014). Ulysses. (N. Erkmen. Çev.), İstanbul: Yapı Kredi Yayınları.

SENNETT, R. (2014). Ten ve Taş, (T.Birkan, Çev.), İstanbul: Metis Yayınları.

SOLNIT, R. (2016). Yol Aşkı: Yürümenin Tarihi, (E. Kıvılcım.Çev.), İstanbul: Encore Yayınları.

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ARTUN, A. (2013). Sanat Manifestoları,Avangard Sanat ve Direniş,(U. Kılıç. Çev.) İstanbul: İletişim Yayınları. BACCA, P. (2008). Bride on Tour. https://www.pippabacca.it/ (Erişim tarihi: 22.05.2020) BAUDELAİRE, C. (2013). Modern Hayatın Ressamı (A. Berktay, Çev.), İstanbul: İletişim Yayınları. BENJAMİN, W. (2002). Pasajlar. (A. Cemal, Çev.), İstanbul: YKY. BERGER, J. (2014). Sanatla Direniş, (A.

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Keywords: Embankment (Povinelli), Apocalyptic (Etel Adnan), Exile (Mehmed Uzun/Edward Said), Extraction (Macarena Barris - Gomez), Disaster/Catastrophe/Apocalypse (Sabu Kohso), Mnemosyne, (Aby Warburg)

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Keywords: Embankment (Povinelli), Apocalyptic (Etel Adnan), Exile (Mehmed Uzun/Edward Said), Extraction (Macarena Barris - Gomez), Disaster/Catastrophe/Apocalypse (Sabu Kohso), Mnemosyne, (Aby Warburg)

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Hasankeyf, waterdam that led the historical heritage and many villages destroyed.

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“At that time there was a solitary tree, a solitary willow, a solitary tree, 70
growing on the bank of the holy Euphrates,
drinking water from the river Euphrates.
The might of the south wind tore it out at the roots and snapped off its branches,
the water of the Euphrates washed over it.
I, the woman who respects the word of An,
I who respect the word of Enlil,
I picked up the tree in my hand and took it into Uruk,
took it into the pure garden of Inanna.
I, the woman, did not plant the tree with my hand, I planted it with my foot,
I, Inanna, did not water the tree with my hand, I watered it with my foot.”

The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian (Penguin Classics). p.180-181

Bilgames and the Netherworld: 'ln those days, in those far-off days'

"The poem known to the ancients as 'In those days, in those far-off days' was also a favourite in the scribal schools of Old Babylonian Nippur and Ur. Unlike the other Sumerian tales of Bilgames, this composition begins with a mythological prologue: a long time ago, shortly after the gods had divided the universe between them, there was a huge storm."

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The chapter is structured around conversations with practitioners whose projects are or have engaged with these questions at different levels: Dima Srouji (architect/artist, Palestine), Rojda Tuğrul (artist, Diyarbakir), Hera Buyuktasciyan (artist, Istanbul), Zainab Bahrani (art historian, New York)

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The chapter is structured around conversations with practitioners whose projects are or have engaged with these questions at different levels: Dima Srouji (architect/artist, Palestine), Rojda Tuğrul (artist, Diyarbakir), Hera Buyuktasciyan (artist, Istanbul), Zainab Bahrani (art historian, New York)

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Kurdish author Mehmed Uzun, in his Dicle’nin Yakarisi/ Hawara Dicleye, verbalizes the Tigris (Dicle) river as a testimonial element that witnessed violent disasters and catastrophes among various ethno-religious communities. The narrator conjures a literal landscape which, in turn, becomes the conveyer of epochs of resistance, engrams of violence, and cycles of oblivion.

"I'm the Tigris, the thousands of years of scream,

today's crying.

I am the witness of time, cycle, epoch,

dream, illusion, hope;

the echo of the scream, the groaning of the cry;

Night, day, semester, month, year,

Sun, moon, star, all with me,

it all passed through my doors.

I am the hand of the doors of the cycles and epochs.

The doors open one after another,

Voices creep out one by one.

my way from above to below

through all the beauty of the world,

through the black soil, scarlet soil, calcareous soil.

I am soil, the soil is my power.

Green, loam, beautiful...

Fertility, crop, granted by the earth,

All are me, all is Tigris, all from me."

p.259, Mehmet Uzun, Dicle’nin Yakarışı, SEL, Istanbul, 2020. (trans. From Turkish/Kurdish to English, Pelin Tan)

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The chapter will take as its site of inquiry the zone of extraction along the Tigris river and its bordering land. It aims to offer workshops, collective readings, and lectures that focus on entanglements unfolding in the larger region of the so-called fertile crescent. The Tigris in itself probes questions that build towards broader problematics, inviting participants to engage with artefacts as traces of an apocalyptic era; lands as layers of violence; cycles as Earth’s navigation; and exile as voluntary collectivity.

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What can artistic and architectural experiences reveal about and how can they embody the voice of apocalyptic landscapes? How can the effects of surpassing disasters be dug out and memorized through artistic and architectural methodologies? The aim of this chapter is to create room for and bring forward collective critical thinking by focusing on memorizing lands, de/archiving artefacts, enacting non-human cycles, and engaging with poetics of exile.