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Umut Yıldırım's introduction combines the genres of literature review and commentary. It re-examines contemporary works on posthuman life to articulate ecological life-and-death politics within the context of colonial, imperial, and genocidal mass violence, and their entangled environmental legacies and actualities. A dissident repertoire of anthropological and artistic research is offered, which examines the ecological impact of war through the perspectives of human and more-than-human actors whose racialized and geographically regimented lives endure and counter ongoing environmental destruction.
How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the more-than-human flora and fauna indigenous to the banks of the Tigris river in Upper Mesopotamia - in particular, centenarian mulberry trees - as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state's denialist present and its ongoing war against the Kurds.
"War-torn Ecologies, An-Archic Fragments: Reflections from the Middle East" identifies a conceptual intersection between war, affect, and ecology from the Middle East. It creates a counter archive of texts by ethnographers and artists, and enables divergent worlds to share a conversation through the crevices of mass violence across species. Delving into vital encounters with mulberry trees, wild medicinal plants, jinns, and goats, as well as bleaker experiences with toxic war materials like landmines, this volume expands an ecological sensorium that works through displacement, memory, endurance, and praxis.
Self Study is a genre-bending work of autophilosophy. It opens a rare, rear window into the schizoid position of self-sufficient withdrawal and impassive indifference. This inability to be enriched by outer experiences feeds the relentless suspicion that hell is other people. Laying bare his life and work, Kishik engages with psychoanalysis, philosophy, and cultural inquiry to trace loneliness across the history of thought, leading to today's shut-in society and the autonomous subject of liberal capitalism.
Goats remain the most viable livestock in the warzone of South Lebanon because of their compatibility with wartime environments and ordnance. They can survive periods of scarcity during active war, occupations, or invasions by foraging for food and eating almost anything. Most crucially, goats are small and light and can graze in the borderland's many minefields without setting off the hidden explosives designed to kill humans, who are not as light-footed. In this essay, Munira Khayyat explores how an enduring, explosive military technology is both domesticated and resisted by a homegrown, anti-mine survival assemblage.
Who's afraid of ideology?
(2023)
Artist Marwa Arsanios shares textual fragments from research she conducted for the first and second parts of a video trilogy titled "Who's Afraid of Ideology?" Meditating on the voiding effects of war, and the ecological and affective texture of communal resistance and eco-feminist praxis as they emerge in Iraqi Kurdistan, Lebanon, and northern Syria, the text takes us to ecological milieux made of wild medicinal plants, fig trees, Kurdish guerrillas, and farmers in a women-only commune.
A series of creative non-fiction short stories based on ethnographic interviews and participant observation in Iraq from 2014–2022, Kali Rubaii's reflection asks: what is a toxic affect? In these stories, war-torn ecologies are packed with living and non-living beings that emerge in the floor of a mosque, in a graveyard, from a pillow, a toilet, and construction sites in Iraq.
This essay is an excerpt from Jumana Emil Abboud's ongoing journal, which she started keeping in 2010. With the help of photographer Issa Freij, the artist identified spirited water spots in the topography of Palestine, based on her childhood memories and a 1922 study on "Haunted Springs and Water Demons in Palestine". The text was written as part of a performance by Abboud at the Khalil Sakakini Cultural Center in 2016.
Havana's apartment-galleries have been vital venues for the city's art scene since the 1990s, hosting art exhibitions, workshops, and conferences. In the context of Cuba's limited art market and dearth of cultural institutions with international reach, these residential spaces have offered artists a unique opportunity to display their work and to connect with international art circuits. Focusing on the histories of three specific apartment-galleries - El Apartamento, Estudio Figueroa-Vives, and Avecez Art Space - this chapbook reflects on the complex interplay of the local and the global in the 'worlding' of cultural institutions.
The introduction informs about Black literary imaginations of Europe that reverse or complicate the (neo-)colonialist European gaze at the "African Other". It reviews the state of research and provides an overview of the aims and sources of the special issue, whose individual contributions take into account both national specificities and transnational contexts. Sandra Folie and Gianna Zocco emphasise the important role of comparative literature for the field of African European studies (and vice-versa).