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The Arab Archive Mediated Memories and Digital Flows Edited by Donatella Della Ratta Kay Dickinson & Sune Haugbolle THE ARAB ARCHIVE MEDIATED MEMORIES AND DIGITAL FLOWS EDITED BY DONATELLA DELLA RATTA KAY DICKINSON & SUNE HAUGBOLLE A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 35 THE ARAB ARCHIVE MEDIATED MEMORIES AND DIGITAL FLOWS EDITED BY DONATELLA DELLA RATTA KAY DICKINSON & SUNE HAUGBOLLE Theory on Demand #35 The Arab Archive Mediated Memories and Digital Flows Editors: Donatella Della Ratta, Kay Dickinson, and Sune Haugbolle Authors: Hadi Al Khatib, Mohammad Ali Atassi, Mitra Azar, Enrico De Angelis, Donatella Della Ratta, Kay Dickinson, Sune Haugbolle, Ulrike Lune Riboni, Soursar_mosireen, Mark R. Westmoreland Copy-editing: Meredith Slifkin Cover design: Katja van Stiphout Design and EPUB development: Tommaso Campagna Publisher: Institute of Network Cultures, Amsterdam, 2020 ISBN: 978-94-92302-56-4 ISBN epub: 978-94-92302-55-7 Contact Institute of Network Cultures Phone:+3120 5951865 Email:[email protected] Web:http://www.networkcultures.org Order a copy or download this publication freely at http://networkcultures.org/publications. This publication is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 International. THE ARAB ARCHIVE 3 CONTENTS 00. INTRODUCTION 6 Donatella Della Ratta, Kay Dickinson, Sune Haugbolle 01. ARCHIVAL ACTIVISTS AND THE HYBRID ARCHIVES OF THE ARAB LEFT 7 Sune Haugbolle 02. TIME CAPSULES OF CATASTROPHIC TIMES 20 Mark R. Westmoreland 03. 858: NO ARCHIVE IS INNOCENT. ON THE ATTEMPT OF ARCHIVING REVOLT 35 mosireen_soursar 04. THE VIRTUOUS CIRCUITS BETWEEN UPLOAD AND DOWNLOAD: DIGITAL AND ANALOG ARCHIVES AND THE CASE OF GRAFFITI ART IN REVOLUTIONARY EGYPT 41 Mitra Azar 05. THE DIGITAL SYRIAN ARCHIVE BETWEEN VIDEOS AND DOCUMENTARY CINEMA 60 Mohammad Ali Atassi 06. THE CONTROVERSIAL ARCHIVE: NEGOTIATING HORROR IMAGES IN SYRIA 69 Enrico De Angelis 07. CORPORATIONS ERASING HISTORY: THE CASE OF THE SYRIAN ARCHIVE 89 Hadi Al Khatib 4 THEORY ON DEMAND 08. WHY THE SYRIAN ARCHIVE IS NO LONGER (ONLY) ABOUT SYRIA 99 Donatella Della Ratta 09. THE ‘FLÂNEUR’, THE ARCHAEOLOGIST, AND THE MISSING IMAGES: DOING RESEARCH WITH/ON ONLINE VIDEOS 115 Ulrike Lune Riboni 10. THE VANISHED IMAGE 129 Lulu Shamiyya CONTRIBUTOR BIOGRAPHIES 134 THE ARAB ARCHIVE 5 6 THEORY ON DEMAND 00. INTRODUCTION DONATELLA DELLA RATTA, KAY DICKINSON, SUNE HAUGBOLLE What are the political and ethical economies of the Arab image – the principles of its production, its often-threatened and always fluctuating materiality, its circuits of distribution and re-use? As the revolutions across the Arab world that came to a head in 2011 devolved into civil war and military coup, representation and history acquired a renewed and contested urgency. The capacities of the internet have enabled sharing and archiving in an unprecedented fashion. Yet, at one and the same time, these facilities institute a globally dispersed reinforcement and recalibration of power, turning memory and knowledge into commodified and copyrighted goods. Which images of struggle have been created, bought, sold, repurposed, denounced, and expunged in these milieux? By whom and by what means? These are some of the crucial questions that encircle what our anthology identifies as ‘the Arab archive’. This archive comes into being in formats as diverse as digital repositories looked after by activists, found footage art documentaries, doctoral research projects, and ‘controversial’ or ‘violent’ protest videos that are abruptly removed from YouTube at the click of a mouse by sub-contracted employees thousands of kilometers from where they were uploaded. The Arab Archive examines which forces – local, regional and international, public, commercial and informal – determine the politics, economics, and aesthetics of what materials we can access and what gets erased. This anthology is also, itself, an archive. As is ever the case, it is an incomplete, expanded, and transmogrified compilation and a record of an event from the past; something that came together in one form and now re-establishes itself in another. In May 2018, the following people met at John Cabot University in Rome to share ideas and to try to address some of the questions proposed above. We thank each of them for their generous input: Basma Alsharif, Miriyam Aouragh, Mohammad Ali Atassi, Enrico De Angelis, Donatella Della Ratta, Kay Dickinson, Laure Guirguis, Sune Haugbolle, Philip Rizk, Abdel Razzaq Takriti, and Dork Zabunyan. Some have reshaped their presentations into the ensuing chapters; new colleagues have since joined us for this publication. Like the workshop, this volume purposefully congregates activists, artists, filmmakers, producers, and scholars. Their diversity of approaches stands collectively as commitment to the necessity for multivalence and creativity in revolutionary praxis. Our mutual conviction in accessibility and the commons inspires the partnership with the Institute of Network Cultures. We thank everyone at INC for their support of and hard work on this project, along with their radical stance on open source provision. Our gratitude extends also to Meredith Slifkin for copy editing this manuscript. THE ARAB ARCHIVE 7 01. ARCHIVAL ACTIVISTS AND THE HYBRID ARCHIVES OF THE ARAB LEFT SUNE HAUGBOLLE Archival activists retrieve and capture archives, while at the same time producing new collections of evidence. Most archival activists have their eyes firmly fixed on the recent past, but others go further back in time. In this essay, I focus on the hybrid archive of what is often termed the Arab Left, a somewhat obfuscating catch-all (which I nevertheless adopt) for radical, progressive, secular, and revolutionary states, movements, ideas, and people. Hybrid archives come into existence through the agency of activists and their networking practices. It is a dual process that includes both the retrieval of existing corpuses of texts and images, and the making of new collections mainly on the internet. Drawing on Ann Stoler’s ideas, I see archives not merely as a virtual or material storage place, but as a composite social phenomenon. The archive is both a corpus of writing and images, and a force field that animates political energies and expertise. Archives order the world by repelling and refusing certain ways of knowing. It is never just what is in an archive that matters, but rather the form it takes, the sensibilities it animates, and the imaginations it promotes.1 As I hope to show here, archiving the Left in the age of uprisings and revolutions animates sensibilities of hope and critique. Perhaps these archives can even play a role in the creation of a new episteme regarding not just the Left, but the history of the modern Middle East; a history where the Left is seen as a key actor rather than a marginal mid- century footnote. Reviving the Left The highest ranked journal in Middle East studies recently published a special section called Towards New Histories of the Left, an Arab Left Reader of key texts from the Arab Left tradition is under publication, based on a workshop at Cambridge University held in 2018, and a new book series focuses on radical and progressive histories of the Middle East.2 Overshadowed until a few years ago by nationalism, Islamism, terrorism, and modernity, the Left in the region (often referred to as the Arab Left, to the detriment of other language groups and transnational forms of leftism) is no longer seen as an outdated research topic that met its demise along with the Arab radical revolutionary project of the 1970s. Propelled by the uprisings, revolutions, and wars since 2010, the Left has come back into fashion, both as an object of study and as a (Marxian) paradigm. Since the 1970s, 1 Ann Laura Stoler, Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense, Princeton: Princeton University Press,2010, p. 22. 2 International Journal of Middle Eastern Studies 51.2 (2019);Towards an Arab Left Reader: Key Documents in Translation and Context, Conference, Cambridge, UK, 12-14 April 2018, http://www. crassh.cam.ac.uk/events/27446; Radical Histories of the Middle East book series, London: Oneworld, 2019, https://oneworld-publications.com/radical-histories.html. 8 THEORY ON DEMAND much of the discipline has adopted Saidian and post-colonial readings of politics and society that drew on, inter alia, ideological registers from political thought of the Arab Left tradition. However, a comprehensive new historiography of the Left has only emerged recently. Now, historians explore untapped archives of states, parties, newspapers, and other sources that shed new light on left-wing groups. Intellectual historians reexamine Arab Marxist thinkers. Anthropologists interview surviving members of leftist movements from the 1960s and 1970s, and media scholars peruse the journals, posters, and films of radical movements of that time. This academic trend overlaps with a new interest in Arab Left history in Arab societies. Across the Middle East and North Africa, revolutionary groups, as part of their online practices, investigate their own intellectual and political predecessors.3 Veterans of the struggle publish memoirs, help set up new journals, and engage in debates about their experiences. This process of retrieving, organizing, and reworking the past intersects with a general ‘archival fever’ in the region and in the world, which manifests itself in the arts, in academia, and across society. People attempt to create an archive because there is no archive. There is only a hybrid, fluid network of collections, interpretations, and representations of what the Left used to be, and perhaps what it ought to be today. In that sense, the people involved are also trying to organize political sentiments of loss, nostalgia, and anticipation related to re-readings of the past. Archive-making is both an archeology of knowledge and generative of political positions and hopes. Archival Activists As Leila Dakhlia points out, archive fever in the Arab Middle East today takes two forms.4 On the one hand, people seek to excavate and preserve existing archives, be they state archives, private collections, or the archives of institutions such as political parties and newspapers.
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