Displaced borders in Skopje and the Colorful Revolution
establishing of effective borders that gave the name conflict a tangible, material manifestation and also created depictions of its socialist past and the presence of Islam. In my earlier work I have pointed out that in its effort to create a visible demarcation, due to the conflict with Greece, and to build boundaries with the previous socialist regime, the VMRO-DPMNE regime used aesthetics as its main vehicle, especially with the “Skopje 2014” project (Dimova 2013, 2015b
I also emphasized that the “Skopje 2014” project should
The experience of creative encounter navigated through a migrant ethnography develops new perspectives applicable to the reinterpretation of the Western tradition. This is illustrated by my engagement with classical sites and their literature in Italy. A brief discussion of my creative encounter with the classical site of Paestum (southern Italy) leads to a ’migrant reading’ of Plato’s Symposium, where my role there is compared to that of Aristodemus, the ‘stranger at the feast’; this leads to a résumé of the migrant as human symbolon, a half person who lives metaphorically in search of the other. Because of this, it is suggested that, in the creative encounter, ethnography and aesthetics habitually fuse. Recalling the Prelude’s discussion of Oedipus, Translations makes the case for identifying migrant incompleteness (division as doubling) as a form of sovereignty that contains, rather than splits, others (voices, places, ghosts and hosts).
giving borders their “truth-spot” character. To appear as a threshold to a “serious” states, or, to use Gieryn's words, to become a truth-spot with its own agency, a border has to have a bare appearance. Gieryn examines a lab, a courthouse, a botanical garden, and the site at Delphi – the site of an ancient oracle – to show how certain places acquire a make-believe character over time and through their special appearance (Gieryn 2018 , 18).
I find that Gieryn's argument resonates at borders too. Any adornment or intentional (explicit) aesthetics at
A new faction of the transnational field of statistics
Francisca Grommé, Evelyn Ruppert, and Baki Cakici
preferences; as one NSI mentor stated:
‘It would be great if we had something like the [NGO] visualisations
on our website.’ The teams were also coached actively to produce
Appreciating the aesthetics of visualisation is relevant for two
reasons. First, attractive visualisations draw in audiences. Second, and
what we highlight here, they also serve as analytic tools. Visualisation
is not only an end-product but a method for the analyst to understand
large volumes of data that are not easily analysed using traditional
techniques such as graphs. Aesthetics
Live-in Romanian badanti caring for the elderly in southeast Italy
relational aesthetics, as defined by art theoretician Nicolas Bourriaud et al. ( 2002 ). Claire Bishop ( 2004 ) has criticised Bourriaud's idea of commonality and friendship in relational aesthetic practices for not engaging sufficiently with politics. According to Bishop ( 2004 ), relational art does not resolve the social inequalities and works with discrete events that are separated from the social texture.
Even so, events like the party I organised have an impact on both migrant domestic careworkers and the societies where they work. Olena Fedyuk
proper to them is, of course, merely a tribute to orthodox formal logic … [d]isplacing the expressiveness of archaic disproportion for regulated “stone tables” of officially decreed harmony’ (Eisenstein 1949 : 34–5).
By contrast, the cinema of montage implied an aesthetics where each juxtaposition of film shots constituted a qualitative leap out of the perceptual regimes that dominate human action and thought (see also Deleuze 2005a : 38). Instead of the correspondence model of observational cinema, the filmmaking pursued by early
Notes on developing a photo-ethnographic practice in Basilicata
metaphors and local aesthetic conceptions or how it can evoke feeling and sensation. A classic example is Feld’s discussion of two photographs he took during the research that led to the publication of Sound and Sentiment ( 2012: 233–38; see Cox and Wright 2012 : 120–22; Pinney 2011 : 112–15). The first portrays a dancer in his costume according to a realist aesthetics, and is rich in visual information – clear, sharp and detailed. The second, on the other hand, is an attempt to render the trope of the dancer becoming a bird in Kaluli culture through extreme
discussion with Said, a young Somali university student. In response to my regret about feeling unable to read the Quran, finding it too difficult and complex, Said referred me to a YouTube lecture about the ‘Literary Characteristics of the Quran’ by Nouman Ali Khan ( 2009 ). Here the divine speech was made sense of by attributing to it the aesthetics of the modern medium of film. Hirschkind ( 2006 : 155) performs a similar operation in an analysis of the cinematic qualities in Islamic cassette sermons in Cairo. One way of understanding this coupling between a modern
The bodyand counter-revolutionary warfare inapartheid South Africa
’ families and a
wider public. Perhaps this was valued not for its evidentiary value
but because it reasserted what was properly regarded as human and
This plays on Allen Feldman’s formulation of the ‘tactile invasion’ of
the body, in ‘Violence and vision: the aesthetics and prosthetics of
terror’, Public Culture, 10:1 (1997), 24–60, at p. 27.
Fernando Coronil & Julie Skurski, ‘Dismembering and remembering
the nation: the semantics of political violence in Venezuela’, Compara
tive Studies in History and Society, 33:2 (1991), 288–337, at p. 289.
overseas, felt compelled to return back to their
villages, with ‘missionary’ endeavours for changing and improving the world,
while eternally rethinking or reinventing their identity (Colonna 2004).
Alienating aesthetics or landscapes
Some of my acquaintances who, just like me, are caught in the dilemma of
escaping Cairo’s inferno, repeatedly tell me: ‘We all seem to be bound to
follow the urban exodus to the desert. It is the only portal for clean air; go
with the better-off to the newly built satellite cities.’ Head for New Cairo in
the Eastern Desert, Sheikh Zayed