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DTSTART;TZID=America/New_York:20190403T170000
DTEND;TZID=America/New_York:20190403T183000
DTSTAMP:20260419T230141
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SUMMARY:The Battle of Algiers as Ghost Archive: Specters of a Muslim International
DESCRIPTION:The Battle of Algiers\, a 1966 film that poetically captures Algerian resistance to French colonial occupation\, is widely considered one of the greatest films of all time\, having influenced leftist and anti-colonial struggles from the Palestine Liberation Organization\, to the Black Panther Party and the Irish Republican Army amongst others. But the film is more relevant and urgent than ever in the current “War on Terror” – having been screened by the Pentagon in 2003 and taught in Army war colleges as a blueprint for U.S. counterinsurgency doctrine. This talk will examine the film as a “ghost archive” of competing narratives\, a battleground over the meaning and memory of decolonization and Western power\, and a site for challenging the current imperial consensus. As the “War on Terror” expands and the threat of the Muslim looms\, the films’ afterlives reveal it to be more than an artifact of the past but rather a prophetic testament to the present and a cautionary tale of an imperial future\, as perpetual war has been declared on permanent unrest. \nCo-Sponsored by Global Studies & Languages’ French Program. \nAbout Sohail Daulatzai\nSohail Daulatzai\, author and founder of Razor Step\nSohail Daulatzai’s is the founder of Razor Step\, an L.A. based media lab. His work includes scholarship\, essay\, short film/video/installation and the curatorial. He is the author and co/editor of several books\, including of Fifty Years of “The Battle of Algiers”: Past as Prologue; Black Star\, Crescent Moon: The Muslim International and Black Freedom beyond America; With Stones in Our Hands: Writings on Muslims\, Racism and Empire; Return of the Mecca: The Art of Islam and Hip-Hop; and Born to Use Mics: Reading Nas’s Illmatic.  He is the curator of the celebrated exhibit Return of the Mecca: The Art of Islam and Hip-Hop and Histories Absolved: Revolutionary Cuban Poster Art and the Muslim International. His video/installation work includes short film essay pieces with Yasiin Bey\, a ciné-geography with Zack de la Rocha\, as well as an installation piece entitled cas·bah /ˈkazˌbä/noun\, 1. A place of confinement for the natives\, yet reclaimed. He wrote liner notes for the Sony Legacy Recordings Release of the 20th Anniversary Deluxe Box Set of Rage Against the Machine’s self titled debut album\, the liner notes for the DVD release of Freestyle: The Art of Rhyme\, the centerpiece in the museum catalog Movement: Hip-Hop in L.A.\, 1980’s – Now\, as well as an essay in iconic photographer Jamel Shabazz’s retrospective Pieces of a Man.  His other writings have appeared in Artbound\, The Nation\, Counterpunch\, Al Jazeera\, Souls\, and Wax Poetics\, amongst others. He teaches in Film and Media Studies\, African American Studies\, and Global Middle East Studies at the University of California\, Irvine. More of his work can be found at openedveins.com.
URL:https://cms.mit.edu/event/sohail-daulatzai-battle-of-algiers-ghost-archive/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2019/03/Sohail-Daulatzai.jpeg
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DTSTART;TZID=America/New_York:20190410T170000
DTEND;TZID=America/New_York:20190410T183000
DTSTAMP:20260419T230141
CREATED:20190301T141437Z
LAST-MODIFIED:20200518T195152Z
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SUMMARY:Civic Arts Series: “Thumbs Type and Swipe” featuring DIS's Lauren Boyle
DESCRIPTION:Lauren Boyle – Illustration by Mauricio Cordero\nIntroduction by Amy Rosenblum Martín\, Independent Curator and Educator\, Guggenheim \n\nDIS (est. 2010)  is a New York-based collective composed of Lauren Boyle\, Solomon Chase\, Marco Roso\, and David Toro. Its cultural interventions are manifest across a range of media and platforms\, from site-specific museum and gallery exhibitions to ongoing online projects. \nIn 2018 the collective transitioned platforms from an online magazine\, dismagazine.com\, to a video streaming edutainment platform\, dis.art\, narrowing in on the future of education and entertainment. \nDIS Magazine (2010-2017); DISimages (2013)\, DISown (2014)\, Curators of the 9th Berlin Biennale for Contemporary Art\, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum\, San Francisco; La Casa Encendida\, Madrid; Plug In Institute of Contemporary Art\, Winnipeg; Baltimore Museum of Art; and Project Native Informant\, London. DIS has also been included in group exhibitions at MoMA PS1\, Museum of Modern Art\, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg\, Copenhagen\, among others. \nThe material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social\, political\, and economic complexity at eye level. \n\nIntroducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art\, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum\, she has also organized exhibitions\, written and/or lectured independently for la Colección Patricia Phelps de Cisneros\, MoMA\, The Metropolitan\, MACBA in Barcelona\, the Reina Sofía\, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America\, focusing on transhistorical connections among Buenos Aires\, Montevideo\, Rio de Janeiro\, São Paulo\, Caracas\, Havana\, Miami\, and New York. \nShe has worked with Janine Antoni\, Lothar Baumgarten\, Guy Ben-Ner\, Janet Cardiff\, Eloísa Cartonera\, Consuelo Castañeda\, Lygia Clark\, Willie Cole\, Jeannette Ehlers\, Teresita Fernández\, Naomi Fisher\, Marlon Griffith\, Lucio Fontana\, Dara Friedman\, Luis Gispert\, Felix Gonzalez-Torres\, Adler Guerrier\, Ann Hamilton\, Quisqueya Henríquez\, Leslie Hewitt\, Nadia Huggins\, Deborah Jack\, Seydou Keita\, Gyula Kosice\, Matthieu Laurette\, Miguel Luciano\, Gordon Matta-Clark\, Ana Mendieta\, Antoni Miralda\, Marisa Morán Jahn\, Glexis Novoa\, Hélio Oiticica\, Dennis Oppenheim\, Nam June Paik\, Manuel Piña\, Miguel Angel Ríos\, Bert Rodriguez\, Marco Roso\, Nancy Rubins\, George Sánchez-Calderón\, Beatriz Santiago Muñoz\, Tomás Saraceno\, Karin Schneider\, Regina Silveira\, Lorna Simpson\, Valeska Soares\, Javier Tellez\, Joaquín Torres García\, and Fred Wilson\, among many other remarkable artists.
URL:https://cms.mit.edu/event/lauren-boyle-dis-thumbs-type-and-swipe/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts,Colloquium
ATTACH;FMTTYPE=image/png:https://cms.mit.edu/wp/wp-content/uploads/2019/03/Lauren-Boyle-DIS-Collective.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190417T170000
DTEND;TZID=America/New_York:20190417T183000
DTSTAMP:20260419T230141
CREATED:20190402T155553Z
LAST-MODIFIED:20201019T134243Z
UID:33464-1555520400-1555525800@cms.mit.edu
SUMMARY:Civic Arts Series\, "Do-it Yourself Cinema: Portable Film Projectors as Media History"
DESCRIPTION:Haidee WassonIllustration by Mauricio Cordero\nHosted with MIT Arts\, Culture\, and Technology and The Boston Cinema/Media Seminar. \nIntroduction by Lisa Parks\, Professor\, CMS/W \nHaidee Wasson’s talk will explore the long and vibrant place of portable film devices in the history of small media\, repositioning the ‘movie theatre’ as the singular or even central figuration of film presentation and viewing. From its earliest days\, film was – in a sense – born portable. Yet\, our attention to and affection for the movie theater has obscured our view to the parallel and paradigmatic development of a far more numerous and arguably more significant development: the international\, post-war proliferation of portable projectors. These small devices were used widely and for a sizable range of purposes: political\, industrial\, artistic\, cultural. They fundamentally changed the conditions in which films could be seen — and ultimately imagined — as complex projected\, often interactive and highly applied\, forms. Drawn from a book-length study\, this paper will highlight the productivity of “portability” as a concept and practice for opening up our understanding of film history as media history\, identifying key insights that expand our understanding of what cinema has long been\, a highly iterative media form. \nHaidee Wasson is Professor of Film and Media in the School of Cinema\, Concordia University\, Montreal.  She is author or editor of four books\, including the award-winning Museum Movies\, Inventing Film Studies (with Lee Grieveson) Useful Cinema  (with Charles Acland) and Cinema’s Military Industrial Complex (with Lee Grieveson). She is the founder of Fieldnotes\, an oral history project on the history of film and media studies\, and the recent recipient of the Distinguished Service Award\, Society for Cinema and Media Studies.  Her current research investigates the design and expansive use of film projectors by industrial\, military and government sectors\, exploring the transformation of cinema from an entertainment machine into a highly diversified display and performance device.
URL:https://cms.mit.edu/event/civic-arts-series-do-it-yourself-cinema-portable-film-projectors-as-media-history/
LOCATION:MIT Building 4\, Room 270\, 182 Memorial Drive (Rear)\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Civic Arts
ATTACH;FMTTYPE=image/png:https://cms.mit.edu/wp/wp-content/uploads/2019/04/Haidee-Wasson.png
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