Content Form:APRJA 13 Marie Dias - Revision history

http://cc.practices.tools/wiki/index.php?action=history&feed=atom&title=Content_Form%3AAPRJA_13_Marie_Dias Content Form:APRJA 13 Marie Dias - Revision history 2026-04-25T11:49:11Z Revision history for this page on the wiki MediaWiki 1.45.1 http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4519&oldid=prev Simoon at 15:41, 13 November 2024 2024-11-13T15:41:30Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:41, 13 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l124">Line 124:</td> <td colspan="2" class="diff-lineno">Line 124:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><br><br></del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Simoon http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4517&oldid=prev Simoon: /* Logics of War */ 2024-11-13T15:34:42Z

<p><span class="autocomment">Logics of War</span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:34, 13 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l124">Line 124:</td> <td colspan="2" class="diff-lineno">Line 124:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><br></ins><br></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Simoon http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4516&oldid=prev Simoon: /* Works cited */ 2024-11-13T15:33:28Z

<p><span class="autocomment">Works cited</span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:33, 13 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l124">Line 124:</td> <td colspan="2" class="diff-lineno">Line 124:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sjöholm, Cecilia. “Images Do Not Take Sides: The Forensic Turn of Images.” ''The Nordic Journal of Aesthetics,'' vol. 30, no. 61–62, 2021, pp. 166–170, https://doi.org/10.7146/nja.v30i61- 62.127896.</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><br></ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Steyerl, Hito. “Documentary Uncertainty”. ''The Long Distance Runner, The Production Unit Archive,'' No. 72, 2007. http://www.kajsadahlberg.com/files/No_72_Documentary_Uncertainty_v2.pdf</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Simoon http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4515&oldid=prev Simoon: /* Works cited */ 2024-11-13T15:28:24Z

<p><span class="autocomment">Works cited</span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:28, 13 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l111">Line 111:</td> <td colspan="2" class="diff-lineno">Line 111:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Fuller, Matthew, and Eyal Weizman. ''Investigative Aesthetics: Conflicts and Commons in the Politics of Truth.'' Verso Books, 2021.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Fuller, Matthew, and Eyal Weizman. ''Investigative Aesthetics: Conflicts and Commons in the Politics of Truth.'' Verso Books, 2021.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Ganguly, Manisha, Emma Graham-Harrison, Jason Burke, Elena Morresi, Ashley Kirk, and Lucy Swan. “Al-Ahli Arab Hospital: Piecing Together What Happened as Israel Insists Militant Rocket to Blame.” ''The Guardian,'' October 18, 2023, https://www.theguardian.com/world/2023/oct/18/al-ahli-arab-hospital-piecing-together-what- happened-as-israel-insists-militant-rocket-to-blame.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Ganguly, Manisha, Emma Graham-Harrison, Jason Burke, Elena Morresi, Ashley Kirk, and Lucy Swan. “Al-Ahli Arab Hospital: Piecing Together What Happened as Israel Insists Militant Rocket to Blame.” ''The Guardian,'' October 18, 2023, https://www.theguardian.com/world/2023/oct/18/al-ahli-arab-hospital-piecing-together-what-happened-as-israel-insists-militant-rocket-to-blame.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Hirschhorn, Thomas. ''Pixel-Collage.'' 2015, http://www.thomashirschhorn.com/pixel-collage/, 2024.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Hirschhorn, Thomas. ''Pixel-Collage.'' 2015, http://www.thomashirschhorn.com/pixel-collage/, 2024.</div></td></tr>  </table>

Simoon http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4514&oldid=prev Geoffcox at 21:35, 12 November 2024 2024-11-12T21:35:18Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:35, 12 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l71">Line 71:</td> <td colspan="2" class="diff-lineno">Line 71:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The limited media exposure of the press conference stood in contrast to the abundance of other images that circulated in news and social media in the days and weeks following the explosion. Images of despairing women and wounded people hurried off to receive medical help, the chaos of the sites where the dead lay, and analysis of the crater and the missile were frantically shared in a quest for the ‘truth’. These images are pure snapshots of war, dominated by the immediacy and urgency of lifeless bodies shattered on the ground in pools of blood. The composition of the bodies echoes the explosion that forcefully left them motionless on the spot where they have been photographed. The chaos of the scene is palpable, it reverberates from their postures.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The limited media exposure of the press conference stood in contrast to the abundance of other images that circulated in news and social media in the days and weeks following the explosion. Images of despairing women and wounded people hurried off to receive medical help, the chaos of the sites where the dead lay, and analysis of the crater and the missile were frantically shared in a quest for the ‘truth’. These images are pure snapshots of war, dominated by the immediacy and urgency of lifeless bodies shattered on the ground in pools of blood. The composition of the bodies echoes the explosion that forcefully left them motionless on the spot where they have been photographed. The chaos of the scene is palpable, it reverberates from their postures.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>With this contrast as an argument, pro-Israeli voices attempted to disregard the press conference video as propaganda or “disaster pornography.” Its staging was said to explicitly counter the fetishizing of evidentiary war images in which, as Thomas Keenan observes, staging equals fake (438). This skepticism caused by judging the validity of the video by its form'' (how it visually communicates evidence of the events) creates a distance to its ''content'' (the casualties and horrors of the explosion), a process that somewhat distances its viewers from the horrors it depicts (Sjöholm 166).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>With this contrast as an argument, pro-Israeli voices attempted to disregard the press conference video as propaganda or “disaster pornography.” Its staging was said to explicitly counter the fetishizing of evidentiary war images in which, as Thomas Keenan observes, staging equals fake (438). This skepticism caused by judging the validity of the video by its <ins style="font-weight: bold; text-decoration: none;">''</ins>form'' (how it visually communicates evidence of the events) creates a distance to its ''content'' (the casualties and horrors of the explosion), a process that somewhat distances its viewers from the horrors it depicts (Sjöholm 166).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the video ''was'' staged and choreographed in a rarely seen manner, it fundamentally adheres to the snapshot aesthetics. The video, screenshots, and short clips that circulated on social media, with their poor resolution and unsharp focus testify to the aesthetics pertaining to the hurriedness of the snapshot. In some versions, the dead baby is even obfuscated by pixelation. Furthermore, the fact that it is shot at the actual crime scene of the explosion that happened only hours earlier certainly adds a sense of immediacy and spontaneity; that is, the forensic evidentiary value striven for to trust the images we see. At one point in the long version of the video, a white-gloved hand appears on the left side of the frame, signaling to move a girl’s body into his arms. They clumsily rearrange the small body in front of the livestreaming camera, her head dropping at one point, to be carefully picked up again. This emphasizes that while the scenography is staged, the very event of the press conference seems to be a spontaneous set-up, unpracticed, and put together in a hurry only hours after the tragedy at the very site where it took place. The shock that is still evident in the men’s faces demonstrates the chaos and desperation of the situation, opening for a less dichotomic reading of the video’s rather ambiguous relation between the logic of the snapshot and scenography.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the video ''was'' staged and choreographed in a rarely seen manner, it fundamentally adheres to the snapshot aesthetics. The video, screenshots, and short clips that circulated on social media, with their poor resolution and unsharp focus testify to the aesthetics pertaining to the hurriedness of the snapshot. In some versions, the dead baby is even obfuscated by pixelation. Furthermore, the fact that it is shot at the actual crime scene of the explosion that happened only hours earlier certainly adds a sense of immediacy and spontaneity; that is, the forensic evidentiary value striven for to trust the images we see. At one point in the long version of the video, a white-gloved hand appears on the left side of the frame, signaling to move a girl’s body into his arms. They clumsily rearrange the small body in front of the livestreaming camera, her head dropping at one point, to be carefully picked up again. This emphasizes that while the scenography is staged, the very event of the press conference seems to be a spontaneous set-up, unpracticed, and put together in a hurry only hours after the tragedy at the very site where it took place. The shock that is still evident in the men’s faces demonstrates the chaos and desperation of the situation, opening for a less dichotomic reading of the video’s rather ambiguous relation between the logic of the snapshot and scenography.</div></td></tr>  </table>

Geoffcox http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4513&oldid=prev Geoffcox at 21:33, 12 November 2024 2024-11-12T21:33:30Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:33, 12 November 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l38">Line 38:</td> <td colspan="2" class="diff-lineno">Line 38:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Marie_Image_3 .png|thumb|480px|Figure 3: Examples of the Palestinian narrative on X.]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Marie_Image_3 .png|thumb|480px|Figure 3: Examples of the Palestinian narrative on X.]]</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>As an example of this one could argue that, on the one hand, the Israeli government actively restricts media coverage of their war in Gaza in the manner that Baudrillard described for the Gulf War. For instance, most recently, Israel issued a ban on Al Jazeera and is, as the writing collective The Editors state, “targeting and killing photojournalists; because Israel has denied foreign journalists access to Gaza, with the exception of a few IDF-guided tours.” On the other hand, while this is impactful, today, imagery of the effects of war is not only available but ''unavoidable''. As is demonstrated in The Editors’ article ''Who Sees Gaza?<del style="font-weight: bold; text-decoration: none;">'' </del>A Genocide in Images, the mediatization of the war has evolved into a collective process of “sense-making,” in Fuller and Weizman’s terms, as the production and dissemination of images no longer accrue to the news media, but increasingly to the victims themselves: “the people of Gaza showed the world what the mainstream media could not: wounded civilians, leveled buildings, long lines of dead bodies wrapped in white sheets, bombed-out universities, bombed-out mosques, toddlers trembling in shock and covered in the grey, ashy dust of debris” (The Editors). Regardless of Israel’s restriction of media and press, the war takes place virtually before our eyes. In the words of lawyer Blinne Ní Ghrálaigh, when presenting South Africa’s case against Israel at the International Court of Justice, it is “the first genocide in history where its victims are broadcasting their own destruction in real-time in the desperate, so far vain, hope that the world might do something” (The Editors).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>As an example of this one could argue that, on the one hand, the Israeli government actively restricts media coverage of their war in Gaza in the manner that Baudrillard described for the Gulf War. For instance, most recently, Israel issued a ban on Al Jazeera and is, as the writing collective The Editors state, “targeting and killing photojournalists; because Israel has denied foreign journalists access to Gaza, with the exception of a few IDF-guided tours.” On the other hand, while this is impactful, today, imagery of the effects of war is not only available but ''unavoidable''. As is demonstrated in The Editors’ article ''Who Sees Gaza? A Genocide in Images<ins style="font-weight: bold; text-decoration: none;">''</ins>, the mediatization of the war has evolved into a collective process of “sense-making,” in Fuller and Weizman’s terms, as the production and dissemination of images no longer accrue to the news media, but increasingly to the victims themselves: “the people of Gaza showed the world what the mainstream media could not: wounded civilians, leveled buildings, long lines of dead bodies wrapped in white sheets, bombed-out universities, bombed-out mosques, toddlers trembling in shock and covered in the grey, ashy dust of debris” (The Editors). Regardless of Israel’s restriction of media and press, the war takes place virtually before our eyes. In the words of lawyer Blinne Ní Ghrálaigh, when presenting South Africa’s case against Israel at the International Court of Justice, it is “the first genocide in history where its victims are broadcasting their own destruction in real-time in the desperate, so far vain, hope that the world might do something” (The Editors).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Gaza is thus an instance of overexposure to war today. In Baudrillard’s reading of the mediatization of the Gulf War, the focus was largely on what was ''not shown, not seen'' in a quest to maintain a certain level of support for the war. Today, the illusion linked to ''not seeing'' the horrors of the Gulf War has been replaced by a disillusionment caused by ''seeing too much'', eliciting a new type of skepticism towards the evidentiary value of images. While the political task then involved what could be called ''de-aestheticization'' by ''not showing'', the political task in warfare today is fundamentally a question of ''aestheticizing'', in the sense proposed by Fuller and Weizman; that is, making visible or “attuned to sensing” (33).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Gaza is thus an instance of overexposure to war today. In Baudrillard’s reading of the mediatization of the Gulf War, the focus was largely on what was ''not shown, not seen'' in a quest to maintain a certain level of support for the war. Today, the illusion linked to ''not seeing'' the horrors of the Gulf War has been replaced by a disillusionment caused by ''seeing too much'', eliciting a new type of skepticism towards the evidentiary value of images. While the political task then involved what could be called ''de-aestheticization'' by ''not showing'', the political task in warfare today is fundamentally a question of ''aestheticizing'', in the sense proposed by Fuller and Weizman; that is, making visible or “attuned to sensing” (33).</div></td></tr> <tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l71">Line 71:</td> <td colspan="2" class="diff-lineno">Line 71:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The limited media exposure of the press conference stood in contrast to the abundance of other images that circulated in news and social media in the days and weeks following the explosion. Images of despairing women and wounded people hurried off to receive medical help, the chaos of the sites where the dead lay, and analysis of the crater and the missile were frantically shared in a quest for the ‘truth’. These images are pure snapshots of war, dominated by the immediacy and urgency of lifeless bodies shattered on the ground in pools of blood. The composition of the bodies echoes the explosion that forcefully left them motionless on the spot where they have been photographed. The chaos of the scene is palpable, it reverberates from their postures.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The limited media exposure of the press conference stood in contrast to the abundance of other images that circulated in news and social media in the days and weeks following the explosion. Images of despairing women and wounded people hurried off to receive medical help, the chaos of the sites where the dead lay, and analysis of the crater and the missile were frantically shared in a quest for the ‘truth’. These images are pure snapshots of war, dominated by the immediacy and urgency of lifeless bodies shattered on the ground in pools of blood. The composition of the bodies echoes the explosion that forcefully left them motionless on the spot where they have been photographed. The chaos of the scene is palpable, it reverberates from their postures.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>With this contrast as an argument, pro-Israeli voices attempted to disregard the press conference video as propaganda or “disaster pornography.” Its staging was said to explicitly counter the fetishizing of evidentiary war images in which, as Thomas Keenan observes, staging equals fake (438). This skepticism caused by judging the validity of the video by its <del style="font-weight: bold; text-decoration: none;">'</del>form'' (how it visually communicates evidence of the events) creates a distance to its ''content'' (the casualties and horrors of the explosion), a process that somewhat distances its viewers from the horrors it depicts (Sjöholm 166).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>With this contrast as an argument, pro-Israeli voices attempted to disregard the press conference video as propaganda or “disaster pornography.” Its staging was said to explicitly counter the fetishizing of evidentiary war images in which, as Thomas Keenan observes, staging equals fake (438). This skepticism caused by judging the validity of the video by its form'' (how it visually communicates evidence of the events) creates a distance to its ''content'' (the casualties and horrors of the explosion), a process that somewhat distances its viewers from the horrors it depicts (Sjöholm 166).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the video ''was'' staged and choreographed in a rarely seen manner, it fundamentally adheres to the snapshot aesthetics. The video, screenshots, and short clips that circulated on social media, with their poor resolution and unsharp focus testify to the aesthetics pertaining to the hurriedness of the snapshot. In some versions, the dead baby is even obfuscated by pixelation. Furthermore, the fact that it is shot at the actual crime scene of the explosion that happened only hours earlier certainly adds a sense of immediacy and spontaneity; that is, the forensic evidentiary value striven for to trust the images we see. At one point in the long version of the video, a white-gloved hand appears on the left side of the frame, signaling to move a girl’s body into his arms. They clumsily rearrange the small body in front of the livestreaming camera, her head dropping at one point, to be carefully picked up again. This emphasizes that while the scenography is staged, the very event of the press conference seems to be a spontaneous set-up, unpracticed, and put together in a hurry only hours after the tragedy at the very site where it took place. The shock that is still evident in the men’s faces demonstrates the chaos and desperation of the situation, opening for a less dichotomic reading of the video’s rather ambiguous relation between the logic of the snapshot and scenography.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the video ''was'' staged and choreographed in a rarely seen manner, it fundamentally adheres to the snapshot aesthetics. The video, screenshots, and short clips that circulated on social media, with their poor resolution and unsharp focus testify to the aesthetics pertaining to the hurriedness of the snapshot. In some versions, the dead baby is even obfuscated by pixelation. Furthermore, the fact that it is shot at the actual crime scene of the explosion that happened only hours earlier certainly adds a sense of immediacy and spontaneity; that is, the forensic evidentiary value striven for to trust the images we see. At one point in the long version of the video, a white-gloved hand appears on the left side of the frame, signaling to move a girl’s body into his arms. They clumsily rearrange the small body in front of the livestreaming camera, her head dropping at one point, to be carefully picked up again. This emphasizes that while the scenography is staged, the very event of the press conference seems to be a spontaneous set-up, unpracticed, and put together in a hurry only hours after the tragedy at the very site where it took place. The shock that is still evident in the men’s faces demonstrates the chaos and desperation of the situation, opening for a less dichotomic reading of the video’s rather ambiguous relation between the logic of the snapshot and scenography.</div></td></tr>  </table>

Geoffcox http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4392&oldid=prev Geoffcox: /* Biography */ 2024-10-15T10:11:39Z

<p><span class="autocomment">Biography</span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 10:11, 15 October 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l132">Line 132:</td> <td colspan="2" class="diff-lineno">Line 132:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Marie Naja Lauritzen Dias is a Ph.D. Candidate at Aarhus University, School of Communication and Culture affiliated with the department for Art history, Aesthetics and Culture and Museology. Her research centers around war and digital images, the militarization of the everyday life as well as contemporary art and other aesthetic image practices.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Marie Naja Lauritzen Dias is a Ph.D. Candidate at Aarhus University, School of Communication and Culture affiliated with the department for Art history, Aesthetics and Culture and Museology. Her research centers around war and digital images, the militarization of the everyday life as well as contemporary art and other aesthetic image practices. ORCID iD: https://orcid.org/0009-0001-0217-1167</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>ORCID iD: https://orcid.org/0009-0001-0217-1167</div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Content Form]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Content Form]]</div></td></tr>  </table>

Geoffcox http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4391&oldid=prev Geoffcox at 10:10, 15 October 2024 2024-10-15T10:10:34Z

<p></p> <a href="http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4391&oldid=4336">Show changes</a>

Geoffcox http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4336&oldid=prev Geoffcox at 09:51, 26 September 2024 2024-09-26T09:51:04Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 09:51, 26 September 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l93">Line 93:</td> <td colspan="2" class="diff-lineno">Line 93:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Sumud'' has been defined by a practice of ‘remaining’ or ‘enduring’ Israel’s occupation. By broadcasting an act of remaining in the rubbles – staying and enduring – as a form of ''sumud'', the press conference connotes the historical emphasis on “remaining on Palestinian land or in the refugee camps despite hardship” (IEOTPQ). In this sense, the press conference ''as an act'' manifests the adapted gospel song “We shall not be moved”, originally used in the civil rights movement and recently chanted by student protesters against the genocide in Gaza all over the world. In this reading, the video can thus simultaneously be seen as a counterimage and an after- image: by striking back ''with'' and ''through'' after-images of ‘truth,’ it challenges the conventional approach to depicting images of war. The video shows the aftermath of the explosion after the screams for the lost children have died out, bodies gathered as evidence for the world to see the atrocities of Israel’s war in Gaza. Through this scenography of resistance, the video breaks with the established aestheticization of war and expands the axiomatic logic of today’s war images. The scenography of the video thus serves a similar purpose to that of Rosler’s: re-framing the narrative of the conflict by showing what Jacques Rancière (concerning Rosler’s photomontages) described as “the obvious reality that you do not want to see” (28). By displaying the casualties of the explosion, the video bears witness to the suffering and horrors of Israel’s war in Gaza. The staging thus becomes an evidentiary practice, inter-visually connected to historical practices of documenting the horrors of war, e.g. evident in the aftermath of WW2. In this way, the video contests the fetishizing of evidentiary images today, by revolting against the idea that images of war should be pixelated or spontaneous to support their credibility or authenticity. From the perspective of the repressed, this video can thus be read as resistance, or in Didi-Huberman’s words, “a gesture of despair before the atrocity that is unfolding below, a gesture calling for help in the direction of the eventual saviors outside of the frame and, above all, a gesture of tragic imprecation beyond—or through—every appeal to vengeance” (10–11).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Sumud'' has been defined by a practice of ‘remaining’ or ‘enduring’ Israel’s occupation. By broadcasting an act of remaining in the rubbles – staying and enduring – as a form of ''sumud'', the press conference connotes the historical emphasis on “remaining on Palestinian land or in the refugee camps despite hardship” (IEOTPQ). In this sense, the press conference ''as an act'' manifests the adapted gospel song “We shall not be moved”, originally used in the civil rights movement and recently chanted by student protesters against the genocide in Gaza all over the world. In this reading, the video can thus simultaneously be seen as a counterimage and an after- image: by striking back ''with'' and ''through'' after-images of ‘truth,’ it challenges the conventional approach to depicting images of war. The video shows the aftermath of the explosion after the screams for the lost children have died out, bodies gathered as evidence for the world to see the atrocities of Israel’s war in Gaza. Through this scenography of resistance, the video breaks with the established aestheticization of war and expands the axiomatic logic of today’s war images. The scenography of the video thus serves a similar purpose to that of Rosler’s: re-framing the narrative of the conflict by showing what Jacques Rancière (concerning Rosler’s photomontages) described as “the obvious reality that you do not want to see” (28). By displaying the casualties of the explosion, the video bears witness to the suffering and horrors of Israel’s war in Gaza. The staging thus becomes an evidentiary practice, inter-visually connected to historical practices of documenting the horrors of war, e.g. evident in the aftermath of WW2. In this way, the video contests the fetishizing of evidentiary images today, by revolting against the idea that images of war should be pixelated or spontaneous to support their credibility or authenticity. From the perspective of the repressed, this video can thus be read as resistance, or in Didi-Huberman’s words, “a gesture of despair before the atrocity that is unfolding below, a gesture calling for help in the direction of the eventual saviors outside of the frame and, above all, a gesture of tragic imprecation beyond—or through—every appeal to vengeance” (10–11).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The press conference video was staged, meant to be seen. The bodies lying still in the frame do not reverberate the immediacy of the explosion, but rather the desperate conditions of war that disrupt the everyday life of the Palestinian citizens. By not instantly disregarding the staging as propaganda or disaster pornography, within a consensus of the mediatization of war images that hinges on a dichotomy between the evidentiary and staging, but rather viewing it as an expansion of the snapshot logic, it becomes possible to interpret the video as an act of everyday resistance. The men sitting in the front are not in official clothes or scrubs and their primary role is to literally ''bear'' witness to the violence by physically holding the lifeless bodies of (their own?) children. Taking Donna <del style="font-weight: bold; text-decoration: none;">Harraway’s </del>“staying with the trouble” phrase to its extreme, the civilians in this video are ‘staying in the rubbles’ to bear witness in front of the world and express the conditions of despair and desperation in Gaza.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The press conference video was staged, meant to be seen. The bodies lying still in the frame do not reverberate the immediacy of the explosion, but rather the desperate conditions of war that disrupt the everyday life of the Palestinian citizens. By not instantly disregarding the staging as propaganda or disaster pornography, within a consensus of the mediatization of war images that hinges on a dichotomy between the evidentiary and staging, but rather viewing it as an expansion of the snapshot logic, it becomes possible to interpret the video as an act of everyday resistance. The men sitting in the front are not in official clothes or scrubs and their primary role is to literally ''bear'' witness to the violence by physically holding the lifeless bodies of (their own?) children. Taking Donna <ins style="font-weight: bold; text-decoration: none;">Haraway’s </ins>“staying with the trouble” phrase to its extreme, the civilians in this video are ‘staying in the rubbles’ to bear witness in front of the world and express the conditions of despair and desperation in Gaza.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Works cited ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Works cited ==</div></td></tr>  </table>

Geoffcox http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Marie_Dias&diff=4278&oldid=prev Simoon at 12:24, 19 September 2024 2024-09-19T12:24:20Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:24, 19 September 2024</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Marie Naja Lauritzen Dias '''</ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>__NOTOC__</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>__NOTOC__</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">'''Marie Naja Lauritzen Dias '''</del></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Logics of War</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Logics of War</span></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Simoon