Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013
The Egyptian revolution of 2011 has significantly changed the relationship between citizens, public space, and visual expression. »Cairo: Images of Transition« traces these developments and their effects on political communication, urban space, and cultural production.
The book is the first publication to offer a deep view on the relationship between aesthetics and politics in the wake of the Egyptian revolution 2011. Renowned Egyptian and international writers, artists and activists trace the shifting status of the image as a communicative tool, a witness to history, and an active agent for change.
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Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013
The Egyptian revolution of 2011 has significantly changed the relationship between citizens, public space, and visual expression. »Cairo: Images of Transition« traces these developments and their effects on political communication, urban space, and cultural production.
The book is the first publication to offer a deep view on the relationship between aesthetics and politics in the wake of the Egyptian revolution 2011. Renowned Egyptian and international writers, artists and activists trace the shifting status of the image as a communicative tool, a witness to history, and an active agent for change.
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Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013

Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013

by Mikala Hyldig Dal (Editor)
Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013

Cairo: Images of Transition: Perspectives on Visuality in Egypt, 2011-2013

by Mikala Hyldig Dal (Editor)

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Overview

The Egyptian revolution of 2011 has significantly changed the relationship between citizens, public space, and visual expression. »Cairo: Images of Transition« traces these developments and their effects on political communication, urban space, and cultural production.
The book is the first publication to offer a deep view on the relationship between aesthetics and politics in the wake of the Egyptian revolution 2011. Renowned Egyptian and international writers, artists and activists trace the shifting status of the image as a communicative tool, a witness to history, and an active agent for change.

Product Details

ISBN-13: 9783837626155
Publisher: Transcript Verlag, Roswitha Gost, Sigrid Nokel u. Dr. Karin Werner
Publication date: 03/01/2014
Series: Urban Studies
Pages: 274
Product dimensions: 9.40(w) x 10.90(h) x 0.70(d)
Age Range: 18 Years

About the Author

Mikala Hyldig Dal teaches at the American University of Cairo (AUC). In numerous artistic and research oriented projects she has examined the relationship between visual imagery, artistic practice and political processes, most recently in Germany, Iran, Syria and Egypt.

Table of Contents

1
Acknowledgements 3
Contents 4
editor's note 5
META IMAGE TAHRIR : introduction 9
Tahrir Square: Social Media, Public Space & Revolution in Egypt 12
THE TAIN OF TAHRIR 15
Blind spots 20
The Language of Tahrir 21
2011 is not 1968: 23
Friday Prayer and Demonstrations AT Tahrir 26
WHAT COMES AFTER THE FALL OF THE SYSTEM? 27
9th of March 2011- The End of tahrir? 42
THE BUILDING WAS ALLOWED TO BURN AND SMOLDER FOR DAYS , MANY WONDERED WHY 45
The promise of the Revolution is a long-term proposition 46
Shrouds II (Cairo) 47
Today we are all Egyptians 49
La vache qui rit 52
Visual Propaganda: Hazim Abu Isma'il and the Army 52
Crop 56
From Egyptian to Egyptian: Work Is Our Only Solution! 61
Politics of Representation: introduction 64
The Politics of Representation - Notes on an Exhibition at Townhouse Gallery 75
Visual Election Campaigning in Egypt 79
Old Eyes, Young Words 88
The experience of an implausible female candidate for presidency 96
Presenting khaled ali 98
Two ears, one mouth 100
Qomra - Digitizing Memory 101
Design education & Social progress 102
urban transformations: introduction 117
Notes on Optical Illusions around tahrir 122
Gender Representation in Graffiti Post-25 January 126
Graffiti as Stage - Performing Dissent 134
142
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