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the literalism’. This is migrant humour, it integrates ‘mere contingence’ and ‘necessity’. No shared normative horizon of historical irony exists that can be invoked; it has to be produced, improvised, from mere coincidences that are meaningful because they are meaningless. The image of solidarity is the telling, the making, of a joke. The genre is Parallels Antithetic. The symbolon , sentient and semiotic, displays a disposition to relate: like Aristophanes's lover looking for their other half, the migrant, constituted by the host–guest contingency of his
Imperial court to popular tanka magazines and newspaper columns to which anybody can submit their poems. Though they have existed in writing for centuries, the oral aspect of waka/tanka is still strong, both with regard to how they are conceived and how they are orally presented. Ryūka is known from the seventeenth century onwards. It originated in the higher strata of society as poems with separate melodies that were accompanied on the three-stringed long-necked lute, sanshin . The genre spread to
and brown peoples as subject (Ruby 1996 ). It makes more sense, then, to consider what constitutes photographing as an anthropologist rather than an anthropological photograph. A focus on the approach also has the benefit of avoiding scholasticism and keeping open a multitude of genres and styles that each situation and research question might call for, including those outside of realism and even outside documentary photography. Patrick Sutherland expresses himself along similar lines when considering the key aspect of photo-ethnography to be the
actually emanates from the United States, an American invention that dates back as early as 1928. According to Stephen Graham, the music was meant to appease fears of delays and breakdowns (Graham 2014: 244). Elevator phobia seems to be widespread amongst Cairenes, but it is not necessarily culturally specific, since American history displays identical fears related to this installation. Scores of Cairene elevators are ideal spaces for staging claustrophobic horror films, which is of course a well-established genre in the American film industry. Still, almost all my
Nawara (2015), directed by Hala Khalil, starring Menna Shalabi and Mahmud Hemmeida. 8 ‘Fawq mustawa al-shubuhaat’, 2016. 9 I will focus here on Ahmad Naaji’s Istikhdaam al-Hayaat (The Use of Life, 2014), Basma ‘Abd al-‘Aziz’s al-Taabuur (The Queue, 2013), and Muhamad Rabii‘’s ‘Utaarid (Mercury, 2014), which is the name of the policeman and protagonist of the novel. 10 I am aware that these three novels are not the first in the Arabic dystopian genre. 11 Masked snipers evoke, in the collective memory, the early days of January 2011, when they killed a large
household chores’ (See www.robertburns.org/encyclopedia/DavidsonBetty.274.shtml ) and ‘the faithful servant’ of Major Lowsley (See https://limerickslife.com/military-cemetery/ ). 28 White Ladies were a staple of Victorian folklore and I suspect Dawson's name referred to a human genre not a physical appearance. 29
forms of relationship between text and image, and to explore their distinctive possibilities. The formats that we have employed are essentially of three different kinds, though all of them could be considered different interpretations of the photo essay genre (Sutherland 2016b ). The first format is used in chapters 1 and 2 , in relation respectively to the Maggio festival in Accettura and the carnival bells of San Mauro Forte. Here, the essays and the photographic sequences are developed as separate narratives that maximise the distinctive characteristics of
recommendation engines (Seaver 2015), and Eitan Wilf ’s (2013) work on the creation of a Jazzcomposing robot, likewise explore the principles at play in the development of such data-driven devices. In both these cases the principle that lies at the heart of these technological artefacts is the promise of being able to build meaning out of the relationship that exists between discrete data streams. In both cases, categories or genres (of music) are replaced by patterns or clusterings that derive from principles of association. Whilst these ethnographic studies unravel some of
that some of our data had numerical qualities (nonnormal distribution) that Data Sense was not optimised to handle. It took the intervention of someone more fluent in statistics to spot it, and figure out a workaround. While we put ourselves in a position to be able to defy genres of big data calculation and expose the limitations of epidemiology – to get it ‘wrong’ for the right reasons – we also risked stumbling into problems that others have indeed thought more deeply about, like non-normal distribution, that, if not caught, could be used by others to undermine
beyond the conventional approaches in the border genre. Porosity in action If we could identify one common feature of this border in the 100-plus years since its establishment, it is its porosity. Regardless of the regimes on both sides of the border and the historical and political events taking place in the region, this border has been porous, allowing a continuous “leakage” of people, goods, ideas, or capital. Deriving from the Greek word pore , meaning “passage,” porosity is the