The Big O

The Big O Senior Student Exhibition | May 2016 Department of the Arts | Visual Cultures Program Curator: Professor Shady El-Noshokaty

Suhayla Al-Sheikh Nada Ayoub Amina El Banna Reem El-Maghraby Mariam Fayek Mariam Ghanem Nahla Hambazaza Farah Hegazy Zeina Khalil Nathaly Loutfi Amal Saeed Ahmed Sourour

The Big O is the 2016 senior student exhibition of the Visual Art program at AUC. The exhibition presents twelve projects created through a year-long process that started last semester (Fall 2015, ARTV 4269). The initial research-based process is continued in the spring semester (Spring 2016, ARTV 4270). Here students primarily work toward finalizing their research outcomes into art works. This final production phase, along with the first semester of research, is an integral part of the educational process.

The Big O is climatic point – the end/beginning of a creative production – of stimulation, and the analogy to art seems evident: the transgressive process through which an ultimate level of conceptual and affective satisfaction is achieved.

What lies behind the formation of O? What are the interrelated yet differing components of its final becoming? George Bataille’s perspective on the ontological difference between “continuity” and “discontinuity” is established, for one, within the context of sexuality and death. In Erotism – Death and Sensuality (1957), the similarity between both formations is illuminated by the act of reproduction that creates the transitions from difference to sameness. Nevertheless, there seems to be an endless desire to transform two separate beings into one, a desire to strive from discontinuities to continuity. Orgasm as the sexual climax provides that instant of apparent unity and exaltation in which two separate beings try to become one. The idea of both, creativity and change, emerges temporally from that very moment, which is intensified by the vision of death as the peak of continuity. Creativity then resembles a spatiotemporal dissolution that resists interpretation in its powerful, transgressive nature, being atom-like in its energy and ability to transform matter and materialize transformation.

The Big O contemplates the alleged end of a long pleasurable process as a violation of the familiar by engaging the spectator/beholder to see beyond the visibility of art. The invisible surplus of art hence reveals a perpetual state of desiring the unknown and trying to understand the ambiguities of forms, which uphold, in Susan Sontag’s words, an “erotics of art”. The erratic nature of orgasms, its imaginative force, indicates the relevance of techniques, of the research and process of artistic creativity and productivity as much as the beginning of new experiences and their stimulation of new knowledge – and eventually of other ways of seeing and experiencing the world.

Our new Visual Arts program offers an integrated curriculum within a liberal arts context.

It combines an interdisciplinary approach to art in a larger cultural sphere, with tools and methods borrowed from other disciplines such as the sciences, sociology, anthropology and history. The program is oriented toward visual research and production grounded in an exploration of creativity and a critical approach toward art and culture. The current senior year exhibition showcases one of the first and early outcomes of the new curriculum.

Students have adopted a process-oriented conceptual approach and developed a variety of visual and performative languages in their multimedia work.

Shady El Noshokaty 2016

‫عرس طالباً و طالبة ‪9‬ىڡ قسم الفنون البرصية بالجامعة '‬ ‫‪9‬‬ ‫الثىى >‬ ‫االمريكية‬ ‫‪8‬‬ ‫معرض“ شبق ” هو معرض يقدم المشاريع النهائية ‪8‬‬ ‫‪9‬‬ ‫‪9‬‬ ‫عرس >‬ ‫اثىى >‬ ‫مرسوعاً فنياً ‪ ،‬تم انتاجها من خالل عملية استغرقت سنة كاملة‪ ،‬بدأت ‪8‬ىڡ الفصل‬ ‫بالقاهرة لعام ‪ . ٢٠١٦‬يقدم المعرض ‪8‬‬ ‫الدراىس ‪9‬‬ ‫الماىص )خريف عام ‪ .(٢٠١٥‬بتكوين الفكرة و البحث البرصي الخاص بكل تفاصيلها الفكرية و النظرية تتبعها مرحلة‬ ‫‪8‬‬ ‫‪8‬‬ ‫'‬ ‫االنتاج و التنفييذ و العرض و التقييم ‪8 9‬ىڡ فصل الربيع ) مايو ‪ ( ٢٠١٦‬مع انتاج كتاب >‬ ‫ينرس النتائج النهائية البحاثهم الفنية‪ .‬هذه‬ ‫خرىة العملية التعليمية للمنهج الجديد {لرىنامج الفنون البرصية ‪8 9‬ىڡ‬ ‫المرحلة من مراحل ‬ ‫تعترى جز ًء ال يتجزأ من {‬ ‫االنتاج النهائيه {‬ ‫‪ .‬الجامعة '‬ ‫االمريكية بالقاهرة‬ ‫‪98‬‬ ‫التحفرى التصاعدي ‪8 9‬ىڡ اتجاه واحد ‪ ،‬و ارتباطها‬ ‫االبداعي ‪ -‬من خالل‬ ‫الشبق هي لحظة مناخية ‪ -‬نهاية ‪ /‬بداية عملية لال نتاج ‬ ‫ ‬ ‫أخرىمن الرضا العاطفي‪ .‬فما يكمن وراء تشكيلها‬ ‫الىى يتم من خاللها تحقيق مستوى ‪8‬‬ ‫بالفن يبدو واضحاً فهي تلك الظاهرة الخفية ‪8‬‬ ‫‪9‬‬ ‫؟ ما هي اذن الجوانب الخفية لما يطلق عليه ابداع وما هي تلك المكونات ‬ ‫المرىابطة و ربما المنتاقضة ‪8‬ىڡ وصوله و تكوينه‬ ‫الكبيرى ؟‬ ‫المتناهي ‪8‬‬ ‫‪9‬‬ ‫‪9‬‬ ‫مابںى البناءات الجسدية‪ /‬الحسية و المفاهيم‬ ‫ما هي العالقة المحتملة ‪8‬بںى مفهوم لحظة الوصول ‪ /‬اللحظة القصوي لالنتاج ‪8‬‬ ‫التفسرىات ‬ ‫الىى‬ ‫تلك‬ ‫ماهي‬ ‫؟‬ ‫الجديدة‬ ‫االستثنائية‬ ‫تفسرى مفهوم الحدود واعادة تكوين النظم‬ ‫‪8‬‬ ‫الجغرافية للجسد من خالل اعادة ‪8‬‬ ‫‪8‬‬ ‫‪9‬‬ ‫‪9‬‬ ‫ ‬ ‫الىى ربما تظهر ‪8‬ىڡ لحظة‬ ‫تمكننا من فهم عمليات الفن؟ وما هي تصورات ذلك التداخل المستمر ‪8‬ىڡ منابعه و خطوط تكوينه ‪8‬‬ ‫‪9‬‬ ‫للتفسرى ؟‬ ‫‪/‬خياىل غامض ‪8‬غرى قابل‬ ‫ذهىى‪ /‬عاطفي‪ /‬فسيولوجي‬ ‫‪8‬‬ ‫‪8‬‬ ‫استثنائية قصوي كانتاج ‪8‬‬ ‫تأسس منظور الكاتب و الفيلسوف الفرنىس جورج باتاي عىل الفرق المفاهيمي الوجودي ‪9 8‬‬ ‫بںى مفهوم ”االستمرارية“ و‬ ‫‪8‬‬ ‫يشرى باتاي‬ ‫النشاط‬ ‫”الالستمرارية“‪ ،‬و ذلك ‪8 9‬ىڡ سياق ارتباط‬ ‫الجنىس بالموت‪ .‬ففي كتابه ” الجنس‪ -‬الموت والشهوانية )‪8 “(1957‬‬ ‫‪8‬‬ ‫‪98‬‬ ‫اىل التشابه ‪9 8‬‬ ‫المفهومںى بفعل االستنساخ أو التكرار الذي قد يساهم ‪8 9‬ىڡ تحويل مفهوم االختالف إىل مفهوم‬ ‫بںى كل من بناء‬ ‫‪8‬‬ ‫‪.‬التماثل‬ ‫‪98‬‬ ‫‪98‬‬ ‫منفصلںى ‪8‬اىل طاقة واحدة‪ ،‬والرغبة ‪8 9‬ىڡ السعي من تحويل تلك‬ ‫طاقتںى‬ ‫ومع ذلك‪ ،‬يبدو أن هناك رغبة ال نهائية تكمن ‪8 9‬ىڡ تحويل‬ ‫‪9‬‬ ‫‪9‬‬ ‫كماىڡ حالة الذروة الجنسية هي لحظة وحدة واضحة مجيدة و استثنائية النتاج‬ ‫االنقطاعات ‪8‬ىڡ المحاولة ‪8‬اىل االستمرارية‪ .‬فالنشوة ‪8‬‬ ‫‪9‬‬ ‫ ‬ ‫الىى كثفت من تصور“ الموت“ النهاية ‪ /‬كصورة لالنتاج‬ ‫واالبداع هوعملية استحداث‬ ‫فكرة ‪ ،‬‬ ‫يتكون مؤقتا ‪8‬ىڡ تلك اللحظة بالذات‪8 ،‬‬ ‫‪9‬‬ ‫ ‬ ‫التفسرى تحتفظ بطبيعتها ربما ”‬ ‫الىى تقاوم‬ ‫واعادة االنتاج من جديد ‪ .‬‬ ‫‪8‬‬ ‫االبداع يشبه ‪8‬ىڡ تصوره تلك اللحظة خارج الزمان ‪/‬المكان ‪8‬‬ ‫¡‬ ‫ ‬ ‫الىى قد تبدأ من النواه ‪8 9‬ىڡ الذرة ‪8‬اىل تكوين مجال الطاقة {عرى الفضاء‬ ‫االثمة ” ‪ ،‬فهي الرحلة ‪8‬‬ ‫الشبق هو تصور لنهاية ‪ /‬موت مؤقت لعملية ممتعة طويلة باعتباره انتهاكا للمألوف مثلها مثل قدرة الفن ‪8 9‬ىڡ >إرساك المشاهد‬ ‫الروحاىى أو الحىس ” أو ‪' 8‬‬ ‫‪9‬‬ ‫إىل ما وراء الرؤية الفنية‪ .‬و هو ربما ما قد ‬ ‫وبالتاىل يكشف عن‬ ‫مرىى ‪8 9‬ىڡ الفن ‪،‬‬ ‫يقرىب من قوة ”‬ ‫الغرى ‪8‬‬ ‫‪8‬‬ ‫‪8‬‬ ‫‪8‬‬ ‫ ‬ ‫الىى تظهر ‪8 9‬ىڡ‬ ‫حالة دائمة من رغبة استكشاف المجهول ومحاولة لفهم الغموض من {‬ ‫الخرىات المتداخلة ‪ ..‬ربما المتناقضة ‪8 ،‬‬ ‫ً‬ ‫تشرى إىل أهمية المحاولة و‬ ‫ا‬ ‫أيض‬ ‫فهي‬ ‫الخيال“‬ ‫قوتهاالستحداث‬ ‫كلمات سوزان سونتاج‪ ،‬عن الفن“ الطبيعة المتقلبة للهزات و‬ ‫‪8‬‬ ‫‪9‬‬ ‫وأخرىا‬ ‫تكرارها مدفوعة بطاقة مستمرة ‪ ،‬من عملية للبحث ‬ ‫لخرىات جديدة وتنبيهها للمعارف الجديدة ‪8 -‬‬ ‫الفىى وانتاجه {‬ ‫واالبداع ‪8‬‬ ‫‪.‬طرق أخرى السكشاف واعادة تكوين العالم‬ ‫'‬ ‫عىل نهج‬ ‫المعرض هذا العام ‪ ٢٠١٦‬يعرض مجموعة من النتائج االوىل والمبكرة من ذلك {‬ ‫الرىنامج الجديد‪ .‬وقد اعتمد الطالب ‪8‬‬ ‫عملية البحث وتطوير مجموعة متنوعة من اللغات البرصية '‬ ‫واالدائية ‪8 9‬ىڡ أعمال جديدة متعددة الوسائط خاصة بهم‬ ‫ ‬ ‫النشوقاىى ‪٢٠١٦‬‬ ‫شادي‬ ‫‪8‬‬

AMYGDALA SUHAYLA Al-SHEIKH Photography Installation

There is a heinously exotic lack. The pathos gone from her mind, the ethos gone from ours, and the logos gone from both

MODERAMELANIN Nada Ayoub Sculpture installation (stainless steel, glass, cement, sugar, tar, wood, plexi)

Instructions: Layer 1: Your skin.

You’re a certain shade of melanin.

This shade is your identity.

To make sure we are a breed of pure, intelligent and healthy people Layer 2: Caution: do not go in the sun.

We are machine and you are maniac.

We have the potential to be equal but God forbid that we become that.

Layer 3: Stay true to your shade.

Layer 4: Stay true to your race.

Warning: do not go to sculptures that fall out of your shade as they may infect you.

Enjoy your supremacy .

Fauke AMINA EL BANNA Video, video installation, Costume

You poop into my butt hole and I poop into your butt hole back and forth forever..

SALT REEM El-MAGHRABY Sound, Text, Glow in the Dark Paper, Graphic Posters

‫ﻣﻠﺢ‬ ‫ﺑﻌﺖ روﺣﻲ ﻟﺮوح روﺣﻲ ﺗﺠﻴﺐ روﺣﻲ‬ ‫ﻵ ﺟﺘﻨﻲ روﺣﻲ وﻵ إﻟﲇ ﺑﻌﺘﻠﻪ روﺣﻲ‬ SALT I sent my soul to my soul’s soul Neither to me, my soul returned, nor came whom I sent my soul

The In-between-ness MARIAM FAYEK Sculpture and Animation, Wood, Video Screens

It’s an indiscernible consequence of your knowledge.

It’s a wicked object of your tenderness.

It’s an expansive spectacle that you can never let go.

Just wait.

Half Alive, Partly Dead MARIAM GHANEM Acrylic Paint on Canvas

I am neither. My body, my soul is neither. We are born infinite, yet misunderstood. I hang between a line of infinite emptiness and a universal everything.

Alphecca NAHLA HAMBAZAZA Kinetic Sculpture and Drawing Project (plexi glass, polymers, bronze, steel, wood, and 22 pencil drawings with watercolor on cotton paper)

A lightening bolt. Dionysus becomes visible in emerald beauty.

Dionysus: Be clever, Ariadne!…

You have little ears; you have my ears: Put a clever word in them! — Must one not first hate oneself, in order to love oneself?…

I am your labyrinth

‘Klage der Ariadne’, Dithyrambs of Dionysus Friedrich Nietzsche Deus ex machina: 1. From the Greek Theos ek mēkhanēs, ‘god from the machinery’. In Greek theatre, actors representing gods were suspended above the stage, the denouement of the play being brought about by their intervention.

2. An unexpected power or event saving a seemingly hopeless situation, especially as a contrived plot device in a play or novel.

The Political State of Nature FARAH HEGAZY Ink and Watercolor on Paper

Politics ˈpɒlɪtɪks/ Noun 1. The activities associated with the governance of a country or area, especially the debate between parties having power.

Politics of body and mind Noun 1. The activities associated with the governance of the body and the mind, especially the debate between parties having power over the soul.

An Exploration of Possibilities ZEINA KHALIL Sculpture, Metal, Wood

One spot.

Four movements.

A hypnotic realm exploring the idea of infinity.

The Absolute Point NATHALY LOUTFI Interactive Installation, Aluminum, carton, plastic

The interior of our skulls contain a portal to infinity….of course it’s happening in your head but why on earth should that mean it’s not real? ― Grant Morrison

The Displacement of Lands and Memories AMAL SAEED ink and pen drawing on paper, 50 x 70 cm

My country is handed over from one tyrant to the next, a worse tyrant; from one prison to another, from one exile to another.

It is colonised by the observed invader and the hidden one; handed over by one beast to two like an emaciated camel.

In the caverns of its death my country neither dies nor recovers. It digs in the muted graves looking for its pure origins for its springtime promise that slept behind its eyes for the dream that will come for the phantom that hid.

It moves from one overwhelming night to a darker night.

My country grieves in its own boundaries and in other people’s land and even on its own soil suffers the alienation of exile.

- Abduallah Al-Baradouni

O-Possession AHMED SOUROUR 3D printed sculptures, plastic polymers, compacted powders

Maybe.

It’s... you, like, become this blank canvas and it gives you an opportunity to project onto that canvas who you want to be. That’s what’s interesting because everybody does that.

So do you think that I did it?

Of course you did. Well, what happens is while you’re projecting who you want to be... this gap opens up between who you want to be and who you really are. And in that gap, it shows you what’s stopping you becoming who you want to be and reaching what you want to reach.

Cycling in an infinite realm.

STUDENT RESEARCH

Suhayla Al-Sheikh Nada Ayoub Amina El Banna Reem El-Maghraby Mariam Fayek Mariam Ghanem Nahla Hambazaza Farah Hegazy Zeina Khalil Nathaly Loutfi Amal Saeed Ahmed Sourour

Amygdala Moderamelanin Fauke SALT The In-between-ness Half Alive, Partly Dead Alphecca The Political State of Nature An Exploration of Possibilities The Absolute Point The Displacement of Lands and Memories O-Possession

Criminals walk amongst people everyday at work, in the streets, and maybe even at home.

Many times these criminals are identifiable through their actions, words, and overall aura. However, other times they aren’t. These include psychopathic criminals.

SUHAYLA Al-SHEIKH

Amygdala

A psychopathic criminal has an abnormal brain activity formation that differs significantly from that of a non-psychopath, with significant lack of volume in the frontal cortex (where activities related to emotions takes place). This not only translates to abnormal repetitive acts of violence, but also leads the psychopath into viewing the world and humans in an abnormal way.

This photography project aims at exploring and envisioning the world through the eyes of a psychopathic criminal based on intensive research, movies and an interview. Images were staged, and photographed in an attempt to demonstrate daily life through the perception of a psychopathic criminal.

The photographic system/presentation used to present each photograph has two aims; first to envision the world and people through the eyes of the psychopathic criminal, and second to poses a greater question related to the fragility of a psychopathic criminal’s brain functions in relation to the way it is dealt with. This very form of presentation challenges the perception our social system has towards psychopathic criminals, which then further challenges the way we deal with and view serial killers, rapists and cannibals.

The latest neuroscience study and research on the minds of psychopathic criminals pose significant evidence that the brains of psychopathic criminals function differently than those of non-psychopaths. Psychopaths are people with severe antisocial personality disorder. Thus, in one recent study the brains of 21 people with antisocial personality disorder were scanned and compared to brain scans of individuals in a control group with no mental illnesses. The results showed that the brains of the people with the disorder lacked 18% volume in the brain’s middle front cortex, and lacked 9% volume in the brain’s orbital frontal cortex. In 2009, a brain study that focused on psychopaths was published in the September issue of Archives of General Psychiatry, showing the reduction of 18% volume in the brain’s frontal cortex. This time however, researchers also observed a deformation in a part of the brain called the

amygdala: the seat of emotions. As a result, psychopaths view humans as objects and as the means to ends for their own benefits/satisfaction.

These studies and researches show and explain how and why psychopaths lack emotions, sympathy, empathy, guilt, remorse and even the ability to comprehend punishment and benefit from it. A recent study on the brains of psychopaths, published in Lancet Psychiatry journal, has shown that the brains of psychopathic criminals respond differently to punishment in relation to the brains of non-psychopathic offenders. According to Doctor Nigel Blackwood, psychologist at Kings College London, “Regular criminals are hyper-responsive to threat, quick-tempered, and aggressive, while psychopaths have a very low response to threats, are cold, and their aggressiveness is premeditated.

When these violent offenders completed neuropsychological tasks, they failed to learn from punishment cues, to change their behavior in the face of changing contingencies, and made poorer quality decisions despite longer periods of deliberation.”

Further research conducted on movies on psychopaths, such as the award winning film A Clockwork Orange, and on psychopaths from history also showed that the way these criminals approach people is not only aggressive and violent and harmful, but very playful and obsessive as well.

As endnotes and thoughts evolving from the outcomes of the studies, researchers are suggesting that psychopathic tendencies can be identified based on specific symptoms, and dealt with starting from the age of 3 before evolving into dangerous behavior. Furthermore, researchers are also suggesting that these studies and scans and overall outcomes can aid in designing programs that deal with the brain deformities and reduce a psychopathic relapse into criminal behavior. This conclusion poses a question regarding how criminal justice systems deal with psychopathic criminals.

These studies have shown that ironically, psychopathic criminals – which are composed of serial killers, rapists, and/or cannibals – should not be sentenced and punished like a non-psychopathic criminal or fully held accountable for their actions.

Their brain deformities are genetic problems they have no role in which eventually caused tendencies to act violently. Drawing from 20th century arrests from different countries all over the world, it is evident - metaphorically speaking – that the same way the psychopathic criminal lacks in the brain, the system lacks in the way it deals with this kind of criminal.

In Iran in 2004, serial killer and rapist way Mohamed the psycho- Bijeh was senpathictenced criminal to 100 lashes and the lacks in the brain, thepenalty. sysdeath In South Korea tem lacks in the way it deals in 2005, serial killer and self-conwith this kind of criminal. In Iran fessed in 2004, serial killer and rapist cannibal Yoo-Young – Chul was sentenced to death. In South Mohamed Bijeh was sentenced to 100 Africa in 2005, serial killer and rapist lashes and the death penalty. In South KoJimmy Maketta was sentenced to life in rea in 2005, serial killer and self-confessed In England in 2006, serial killer cannibal Yoo-Young – Chul wasprison. sentenced to death. In South Africa in 2005,Steven serial killer Gerald James Wright was senand rapist Jimmy Maketta was sentenced to tenced to life in prison. Where is it here life in prison. In England in 2006, serial killer the system dealt with these offenders Steven Gerald James Wright wasthat sentenced to life in prison. Where is it here thatas the mentally system ill humans acting based off of dealt with these offenders as mentally ill humans brain deformities they cannot control? acting based off of brain deformities they cannot control?

Getting a closer look into the functioning

Getting a closer look into the functioning mind mind of a of psychopath, an interview was a psychopath, an interview was conducted with conducted with Alaa, a victim of a psychoAlaa, a victim of a psychopath. At the age of 18 AtCairo, the age of 18 Alaa started going to Alaa started going to a Sheikh inpath. a Dar in Egypt regarding family issues. purpose a His Sheikh in a Dar in Cairo, Egypt regarding was to guide Alaa, along with many other family issues. His purpose was to guide girls, through their daily life and through Alaa, began alongtowith many other girls, through their problems. The Sheikh their daily life and through their probemotionally abuse her by constantly getting her against her parents lems.

The Sheikh began to emotionaland showing possessive tendenly abuse her by constantly getting her cies upon finding out that against Alaa has spoken about her parents and showing possessive tendencies upon her

finding out that Alaa has spoken about her problems to someone else.

Little by little he began touching her probto someand physically lems abusing one else. her under the pretext of Little by little he began touching her a “fatherly figure that cares and physically abusing her under the pretext of a “fatherly figure that cares for for her well-being”. her He would well-being”. He would constantly emphasizeshe that she constantly emphasize that isis the most important aspect of his life and that their relationship must remain the most important aspect of his private. life and that their relationshipOnemust day one of the girls that this Sheikh guided opened up about the abuse he was inflicting upon her. remain private. One day one of the From there a chain of confessions followed, exposing the abuse of 14 different girls that this Sheikh guided opened up girls. Here is the interesting part: it was discovered when arrested that he had established the Dar about the abuse he was inflictingintentionally upon her. without a meeting space in order to prevent combetween the girls he was abusing. Moreover, when From there a chain of confessionsmunication followed, he was confronted by the girls and then arrested he showed no remorse or guilt or shame, and on the contrary, he was exposing the abuse of 14 different girls. extremely cold, indifferent and acting as though nothing had happened.

According to Alaa, “When we confronted him, it was Here is the interesting part: it was discovas though we were not there, as though he was speaking to objects, and all of a sudden all these people that he had ered when arrested that he had established made feel so special, where absolutely nothing to him.”probthe Dar intentionally without a meeting lems to someone else. space in order to prevent communication Little by little he began touching her and physically abusing her Moreunder the pretext of a “fatherly figure that cares for her between the girls he was abusing. well-being”. He would constantly emphasize that she is the most aspect of his life and that their relationship must remain over, when he was confronted byimportant the girls private. and then arrested he showed no remorse One day one of the girls that this Sheikh guided opened up about or guilt or shame, and on the contrary, the abuse hehe was inflicting upon her. From there a chain of confollowed, exposing the abuse of 14 different girls. Here was extremely cold, indifferent and fessions acting as is the interesting part: it was discovered when arrested that he had established the Dar intentionally without a meeting though nothing had happened. space in order to prevent communication between the girls he was abusing. Moreover, when he was confronted by the girls and then arrested he showed no remorse or guilt or shame, and on the contrary, he was extremely cold, indifferent and acting as though nothing had happened. According to Alaa, “When we confronted him, it was as though we were not there, as though he was speaking to objects, and all of a sudden all these people that he had made feel so special, where absolutely nothing to him.”

According to Alaa, “When we confronted him, it was as though we were not there, as though he was speaking to objects, and all of a sudden all these people that he had made feel so special, where absolutely nothing to him.”

NADA AYOUB

Moderamelanin Human beings always know better than nature. They are natural beings yet consider themselves to be more superior than the external nature around them.

They attempt to rein it in, giving themselves the right to manipulate and restructure natural forms with the goal of creating races without imperfections, diseases, or traces of impurities. A fetish for supremacy fuels all this. Humans do not look beyond the surface. The surface, topography and gradients present in front of us are all we see; when underneath a multiplicity of metamorphic layers could alter our exteriors. We are ever-changing interpretations of the self, buying into the constructs of ego to shape our identity. If we don’t follow our own egos, we comply to the egos that structure and bind us through their systems, altering ourselves to fit in by hiding, exposing or altering our identity. We use our bodies as transmitters of identity but allow them to be exploited by absurd systems.

Moderamelanin aims to exploit pseudoscientific narratives, practices and aesthetics related to racial profiling systems.

The work critiques the logic behind controlling identity when it is in a constant state of fluctuation, and explores the irony in how that fluctuating element can define the history of societies’ interactions.

Throughout history, genetic engineering strategies by White and Black supremacists attempted to filter, control and overpower bloodlines of different races based on the presence of melanin in skin. Melanin, a color pigment responsible for the variations of skin tones in living organisms, turned into a marker of identity, or in the case of some races, the absence of it. It is a controversial form of human identification exploited by supremacists, backed up with pseudoscience to create power struggles between the races.

Melanin is never fixed and manifests itself into a plethora of forms based on exposure to external factors and the internal biological constructs of the organisms that it inhabits. It is a fluctuating marker of identity, presenting itself to mean different things and be moved by different things.

Melanin has a major role in our bodies that goes beyond just coloration.

Biologically, melanin protects the DNA in cells by preventing the direct absorption of the sunlight’s UV radiation. Melanin protects our identity that it defines, yet exposes it on the most outer layer of our skin. This grey area highlights the absurdity of utilizing it for a fixed truth about each race. Like identity, melanin cannot be studied, as it is amorphous, insoluble whether in a solution or in crystal form. Melanocytes are more

or less equal in all individuals, but the potentiality of producing melanin in them is what differs. In essence, all races have the potential to be equal but ranging factors make that consensus challenging.

The presence of melanin in human beings and animals, the study of color theory, mimicry, camouflage, dyes and pigmentation all lead to a general consensus: the concept of permanence in color identity does not exist. Color does not appear in a static nature but rather manifests into a multiplicity of variations granted that a catalyst changes it, whether it be an external or internal one. Colors themselves are made up of various elements and can look different from varying perspectives or lighting exposure. This is no different in animals. A chameleon’s skin is made up of several layers of color that present themselves in a multiplicity of patterns based on external influences, mating seasons, temperatures, and its psychological state.

The same applies to many cephalopods and even butterflies. Color and identity are made up of not only internal and external factors, but also layers of these factors put together.

Color can only be thought of as a hybrid of hues, layers, all affected by internal and external catalysts.

So how would this make us look at identity’s dependency on something that isn’t fixed?

The internal biological constructs of these animals shape their colors, but their external exposure and environments are a major factor in their changing skin. The same applies for the color of skin on human beings. The external layer that defines the race of an individual, his or her coating of identity, could be thought of in the same fashion. Humans are made up of their geographical locations, their exposure to materials, the foods they take in; all conscious and unconscious decisions that they make individually and ones that society inflicts upon them.

If we consider melanin to be identity, and color to be melanin, then color in a sense shapes identities of certain races. The White, Black and Albino races are made up of various biological, chemical and physical factors that make up their distinctions. Their intriguing presence in history, mythology, culture, politics and psychology sparks several questions of how these races are judged and structured based on a pigment, or the color of their skin. Melanin has altered the treatment in which these races are dealt with and how they themselves deal with their own skin.

Through medications, creams, home made remedies, individuals attempt to lighten or darken their skin.

Whitening creams used to attain a societal standard of beauty, lists of prohibited foods to eat to maintain a dark complexion and coloration through the consumption of carrots, certain food dyes and colloidal silver to turn blue, orange or red are just a few examples.

Some even attempt to camouflage their skin, using professional make up techniques to hide skin diseases

like Vitiligo, or make albinism less apparent. Just like animals camouflage by creating different patterns on their skin, humans found ways to mediate and control the aesthetic appearance of their identity on their skin through consumption, camouflage and coloration. What does that say about identity? In abstraction, is it something we attempt to hide, protect, morph, or expose?

If identity really is static, and not fluctuating, then why do human and eugenic systems try to reign it in to one state? If it is constant, then why do we need breeding systems to create new races that are only Caucasian, why do we need melanin propagandists to make sure interbreeding only occurs between blacks?

Individuals attempt to change their external identities and historical systems of eugenics have done the same throughout the course of history. Adolf Hitler, attempting to create an Aryan race by interbreeding white Caucasians with pure bloodlines (pure in this case being free of Jewish or African descent). The algorithm of eugenics set forth to cultivate a race of Lebensborn children included measuring the shade of their skin, hair and eyes to be a certain shade of white, blue and blonde. Based on their characteristics, they are chosen to be a part of the Aryan race, segregated in a secluded area while the German armies fought the war. Only “racially pure� women and men were granted entry into the program. This form of eugenics focused on segregation, genetic manipulation with no mercy involved in an extremely mechanical and calculated form; an absurd structure that is self destructive in itself.

During the 20th century in America, social institutions used the Brown Paper Bag Test to determine certain privileges for Black American slaves. If the slave was closer to the shade of a paper bag, they were granted the luxury of working inside the house due to their “good looks�. If they were darker, they would work out in sugar cane fields. In our modern day and time, melanin propagandists created [2] Black supremacy theories heavily rooted in pseudoscience. The theories claim that melanin provides Blacks with superiority, the ability to feel, energy and the key to greatness, making them a superior organism. It is a civilizing chemical that allows emotions to flow through bodies, protecting a superior race. YouTube discussions and large talks are held, motivating Black people to acknowledge and understand that all biology and physics books do not fully represent the truth and are filled with Western ideologies. They propagate that Western armies and governments create genetically distinctive diseases to kill out Black populations.

Albinos have a genetic inability to produce melanin. With the same amount of melanocytes as other races, they lose identity and are banished from social spheres only because they lack an enzyme that produces color.

Their identity is vague and is therefore defined by external catalysts, who are in this case, the Black African tribes around them. Albinos, cursed by witchcraft and mythology, are hunted down for their bones, which are sold in Black markets for good luck in hunting seasons in Africa. Biologically, albinos are more vulnerable physically due to their lack of melanin, and this manifested through absurd supremacy techniques, unfolding in a hunter and prey game system.

In more ways than one, these different systems deconstructed a natural organic state, categorizing it based on their own algorithm, making of it what

they please to suit their own race. This raises several questions: who set the algorithms and eugenic plots to control these races? Who made up the pseudoscientific theories that give more power to those with more melanin?

How are albinos dealt with in a society that shuns them?

The sculptures in moderamelanin unite natural materials, bio art and geographical elements in an industrial fashion to create juxtaposition between the uncontrollable state of nature with a fixated system that attempts to bind it. The work attempts to question the absurd, eerie and disturbing techniques of categorization instigated from the need for control. Utilizing medical and everyday equipment configured to create unorthodox social sculptures, the pieces critique the manifestation of systems and structures.

Image References 1. Octopus Changing Skin Color. Digital image. Introduction to Cephalopods. The Cephalopod Page, 23 Mar. 2013. Web. <http://www.thecephalopodpage.org/cephschool/ howcephalopodschangecolor.pdf>.

2. Nada Ayoub. Melanin Map (mind map of written and visual research) 3. Nehr, Eric. Albino Portrait Photography. Digital image. The Red List. The Red List, n.d. Web. <http://theredlist.com/wiki-2-16-860-898-34-521-view-real-profile-nehr-eric. html#photo>.

4. Morris, Ric. Bones from Stokesay Castle Moat. Digital image. Bones from Stokesay Castle Moat. Flickr.com, 4 Apr. 2013. Web. <https://www.flickr.com/photos/smg_skullboy/8619783024>.

AMINA El BANNA

FAUKE Detachment is becoming a popular philosophy that people adopt to find enlightenment and peace within themselves. Detachment however is also recognized as a psychological disorder, more specifically, depersonalization/disassociation. In both cases, people become detached in order to find solace and protection from the world, to reach virtue and to grasp the absolute truth about the smallest to the largest topics.

What is it then, this fine line that differentiates and makes detachment either manifest into a source of happiness or become a psychological strain? It is drawn from what we attach ourselves to and detach from, out of the realities we conceive. This means that our conceptions are our own individual reality. Reality in this sense does not become real, and cannot be considered to be a universal truth. Reality is a concept that is subjective and based on the systems that people use to attach and detach themselves from certain aspects of life.

The concept of the work deals with the fascinating ways in which reality is being conceived, if its conception is based on the absolute truth we attempt to reach. It aims to question reality, the standards of success, express the overwhelming confusion of being alive, let out and connect.

Taking in the complexity of the universe becomes a very hard task, especially when one reaches this point of understanding that the reality and concepts differ depending on perception. Reality becomes deformed because it gets slightly shifted based on what suits the cooping mechanism of the individual in a specific moment in time.

Reality is constructed based on an ideological spiral we are put through that is never ending, which influences itself and reconstructs itself on a continuous basis. Our preconceptions feed our conception, our reality feeds our imagination, and our imagination creates a fictional narrative that turns into the script of our lives. It is all intertwined and interrelated to each other.

Our conception is constructed through the fusion of the following layers: preconceptions, encounters (reality), our rendition of those encounters (fictional reality) and imagination (fiction). These layers create the reality of the individual that has no truth to it whatsoever, making the truth unreachable and reality not real.

Reality is confusing and overwhelming because in our minds it is constructed from all these layers. The way we process this reality is intangible and it creates images and builds shields within ourselves to protect us from the world, our own conception of it, and ourselves. It influences one way or another the way we deal with the world, because it shapes the reality within and the reality outside.

If reality is not real, then conceptions are not reality, the absolute is not achievable, and the void will never be filled, the project suggests to rest and have fun. All belief systems about what’s real and true will always be flawed, limiting oneself to what’s reel is stupid because first of all it could be written reel or real and second of all what’s real is not really reel and at the end of the day we can either say that all is reel or all is not and it wouldn’t matter. I just want to play and experiment until the end of time.

The concept was realized through the medium of video. The layers that comprise reality are appropriated into aesthetic layers in the video itself, and through the physical presentation of the project in the gallery space. The content of the project deals with personal reality, and only personal mediums are used to capture the sequence.

REEM EL-MAGHRABY

SALT

The perpetual cyclic renewal of life and infinity, the concept of eternity and the eternal return, and the cycle of life, death and rebirth, leading to immortality, as in the Phoenix (a person or thing regarded as uniquely remarkable in some respect.) are all represented in the attempts created by several kinds of rituals to reach the highest level of spirituality possible.

This level is described throughout history as the void between heaven and earth, an empty space in which one gets rid of oneâ&#x20AC;&#x2122;s self and become pure spirit. This place had several gods in history, four of them are: Kali, Pele, Oya, Sekhmet. They are described as the goddess of Darkness, Transformation and Nothing. Nothing is considered as the ultimate power in this universe.

The rituals that are used in such process are quite exaggerated and man made, not mentioned in scripture. Examples for such rituals are: drinking menstrual blood and beating oneâ&#x20AC;&#x2122;s self like the sheiaa rituals.

This project focuses specifically on the rituals that include crystals and chakras. This level of spirituality is portrayed in the crown chakra and the gemstone equivalent to it is the Diamond (with all due respect).

White is the color for this chakra, as it includes all other colors. This level is number seven in the order of chakras. This seventh level of spirituality is briefly described as the level of â&#x20AC;&#x2DC;understandingâ&#x20AC;&#x2122;. It is the point where one reaches ultimate knowledge and at the same time gets rid of all knowledge and becomes pure spirit. So in the pursuit of reaching knowledge, nothingness is the goal.

In the studies made on philosophy of religion, knowledge is a godly quality that is not even possible for mankind to try and reach it. While other philosophers say that knowledge exists within us but it starts from the senses. Connecting to the core of our senses could be the key. So it is a process of having godly features while still the one going through this process is human.

Working with this concept on an art project could have taken the path of trying to reach this state using the self as the medium instead of the crystal, or simply suggesting the information.

While the objective of this entire process is to put the audience and the artist in the experience itself, living the attempt with its frustration and details, like what god made. Everything could make sense to god but still no one can figure out why is he doing what he is doing. If god is what is written in scripture, he keeps repeating, for example in the Quran â&#x20AC;&#x153;They shall knowâ&#x20AC;?. Maybe hoping that one day humans will understand his process, that of course makes perfect sense for him, and those

who truly believe and sense his knowledge.

Communicating using metaphors is also one of the ways used in scripture. Ibn Rushd and Averroes explain this way of communication, used by God, as a rhetorical method that is used to reach the masses. So transforming the concept into an art form is a metaphor on itself, and it was taken further by transforming the project to become the concept itself by dealing with the gallery itself as the universe, and the artist as God (or the one who claims to be god) as in ancient Egyptian history becoming a Goddess only needed the person to claim it, write it down, and people to approve of it.

So in this case the artist, claimed to be the goddess of this exhibition and the artists approved and became part of the process, they were all dealt with as one soul (sharing the seven chakras and relating it to the work exhibited) the highest level here was the artist who was in the crown (white chakra) in the state of nothingness and absolute understanding, so the work of this artist only existed in a certain amount of time in the darkness while all the other works were shut down. In this state living in the moment is crucial, the moment before is gone and the coming does not exist. So having the work for only once, which was, still nothing that is tangible for the audience was an important aspect to have the whole godly process complete.

All souls were inflated from Godâ&#x20AC;&#x2122;s soul, distributed on different selves.

You are made of God.

Yet SALT is still used for all the infinite attempts of purification

MARIAM FAYEK

The In-between-ness Among all the creations in the world, something exists in-between each and every one. Something in-between a memory and reality and time and no time at all rises in question of its own presence. What lies amid the smallest measurement of a second, an ‘instant’ of zero time, and endless time? What exists between one’s memory and the process of making that memory itself?

This project demonstrates such in-between-ness, halfway through two different worlds, the split moment in-between eternal time and no time at all. It is the balance in-between two contradicting elements, which makes it the harmonizing point between them. This space exists between no time and endless time, and it is based on the existence of time in relation to the human memory. It is about a place in-between two different worlds, concerning the mind and what lies in the space around it.

Time in relation to existence comes up as it demonstrates the existence of a moment in time, versus the existence of no time at all, in time itself.

The thin line in between endless time and no time is shown through time and its relationship with one’s memory. That thin line could be created out of a glimpse, a moment in time part of a timeless second, but existing in one’s memory forever.

A glimpse creates space for a new image in one’s head by deleting a

previous image and replacing it. This process portrays how a viewer’s glimpse will most likely be perceived in a measure shorter than the actual second, but then turned into a long-lasting memory in the viewer’s head. In this case, this will not be a normal memory. This will be a worthless glimpse, which has touched something inside the viewer that has made it worth so much more. Thus, this project portrays the idea of the in-between-ness, in between something of no time, and its effect of endless time.

This project’s research stemmed from a single point concerning vision; how we see. When the anatomy of the eye is discussed, one must pass by the idea of perception. Is what we see real, or is the reality of an object or an action dependent on our will?

It is all based on perspectives and how a person sees him/herself without regarding the world outside. It’s not about the action of seeing, but about how much we get out of that action of looking. But then as we look deeper into the anatomy of the eye itself, how much does that one organ see? The human eye’s field of vision is the extent of the observable world that is seen at any given moment. In the context of human vision, the term “field of vision” is typically used in the sense of a constraint to what is visible by external devices e.g. glasses or virtual reality spectacles. The human visual field is defined as “the number of degrees of visual angle during stable fixation of the eyes” (1) Time in relation to existence, creates a path in between memory and reality. The difference in time, in between the moment, which is automatically stored in the brain and between the

actual moment itself. The brain creates an image that gets built in one’s memory, by replacing another, which was once also a part of time. The smallest time unit brings up the thin line in between time and memory and the real and surreal which represent no time and endless time. These two contradictory portrayals are divided by that split part of a second in which we get a thought. Their separation doesn’t include objects, it only includes moments and psychological matters that affect the brain though its emotional receptors. Moreover, memory and its relationship with time, cause eternal effects on their holder, as they are analyzed in relation to existence. Whether a memory from the past is ten years old, or two seconds old, it is a piece of the past, which has somehow managed to remain existent in a certain human brain, through the long-term memory organization in the brain.

Time is an occasion, a space in which so much happens with no regard of the measurement of time itself. Before time and memory meet in a space in-between both of their existences, each of them is a matter of its own.

Time, is the indefinite continued progress of existence and events in the past, present, and future regarded as a whole. Moreover, it is a point of time as measured in hours and minutes past midnight or noon.

The measures of time begin at no time, known as an ‘instant’ or ‘zero time,’ and go on endlessly when the state of something becomes ‘infinite.’ Classified into hours, minutes, seconds, measurements of time keep on decreasing until the smallest duration of time that will ever be possible (Figure 1), which is the split moment in which the in-betweenness occurs. The smallest split moment in time, therefore becomes the holder of the in-between-ness, which is created within the second

itself through one glimpse. The almost worthless moment of time becomes worth so much more. As we look past the field of perception, and come across the two fields that exist around it: time and memory. Memory is a faculty by which the brain stores and remembers information. The human’s memory represents endless time. Through the smallest time duration measurement that will ever be possible, two contradicting worlds are split by a thin line (Figure 3). The line that separates these two worlds is the holder of the in-between-ness that represents that timeless moment, which is a split of the second, that has inflicted a contradictory effect of timelessness on this world; a memory of endless time.

Through studying perception and human vision, influential experiences and a memory’s journey from one’s reality to their imagination, time became the focus. Time lies beneath every connection or transformation between two worlds. Time is the instance in which a thought or action occurs. It is the basis of what lies in-between our memories and us.

Time is seen on pendulum clocks, in which a pendulum is a time tracking element that is in charge of the second and what lies around it.

The pendulum, defined as a weight hung from a fixed point so that it can swing freely backward and forward, its movement becomes hypnotic.

Going back and forth in between two extremes, fixed by one harmoniz-

References 1: (Ernst, 2002).

ing point; it becomes a seesaw for man, his reality and his memories.

Through rapid, changing and stimulating thoughts, it is a state of the in-between-ness. Characterized by repeated changes from one state or condition to another, it takes a man from one position to the other, with a speed so fast that the during the smallest measurement of time one will not be able to fully grasp his/her reality. It gives a sensation of not being able to grasp an object or a feeling, while it is being recorded in one’s memory in such a mysterious way that the human cannot grasp.

MARIAM GHANEM

Half Alive, Partly Dead As the famous philosopher Aristotle said, “A living creature is a substance composed of both body-matter, and soul-form. The soul (psyche) is the structure of the body, its function and organization.” This was the word Greeks gave to the animator, the living force in a living being. For Aristotle the psyche controlled reproduction, movement and perception. There lies an intimate and sacred connection between a human body, flesh, and spirit.

The concept of a body having a strong and vital relationship with its spirit is important because neither can function without the other. In accordance to Islamic theories, the soul uses the body as a garment. The

soul may take different forms; it may transform from one stage to another while using the body, waiting for it’s shedding the time of death.

There are several other concepts that emphasize how the body and the soul each function individually in a completely different manner, experiencing different physical or non-physical causes. In each case, at several points, interaction can be found when a body is alive, but the spirit wanders off for a temporary

time. In some cases, it is believed that the mind feels things that are not physically there. The idea of one’s spirit experiencing unseen things while the body is functioning but at some sort of rest, is quite incredible. It is possible for the soul to wander through different realms in a metaphysical world that the physical body cannot experience. This emphasizes how the body or spirit cannot control what is being experienced; this is left up to fate.

This research began with several ideas that were linked together, yet did not separately culminate to proper conclusion. The first idea was that of death, which led to exploring Ancient Egyptian afterlife, dreams, spirituality (ex. seeing dead loved ones and communicating through dreams or visions) and causes of death. Since these ideas could not fit into one conclusion therefore the concept shifted to the physical body in a state of being not fully alive, but not dead either. This shaped the title of this work: Half Alive, Partly Dead.

The state of being in a coma has its surrounding debates between belief that the person experiencing it is not responsive to any elements in their surroundings, versus the argument that the body can in fact feel and hear everything. Their bodily functions are unable to respond to physical stimuli, but their spirit is actually very much alive, and can possibly interact with what is going on in that environment. A person in a coma is held on a very thin line between life and death, but the only thing keeping the body alive is the vegetative

part of the soul (1).

The rational and spiritual side is what temporarily leaves the body while in a state of coma or even sleep, and then returns back to the body whenever it is ready to be awoken. In some coma cases the body may never wake up, it is left for death to take its natural course.

Ancient civilizations in Egypt had a strong belief in life after death. It was believed that when a person dies their personal belongings and bodies are preserved in a segregated site, found in pyramids and other tombs. The body is also preserved with the Book of the Dead that is used as a guide to the afterlife. The process of the spirit entering 12 gateways to finally reach the afterlife is mostly tricky and devious. The spirit must undergo several steps and obstacles in order to finally be at peace and unite with Ra, the sun God. This belief relates to the constant individual struggle the spirit goes through, away from the external and physical form, in order to battle reaching serenity.

Buddhists and Hindus also believe that the spirit never dies. There is a karmic cycle that is constantly occurring, causing a person’s soul to be continuously reborn into other physical forms. It is a Buddhist or Hindu’s life to free their soul from this never ending cycle so they can reach Nirvana, where the soul and body never feel any pain. This cycle however depends on how good a person was in the past life. If the person had performed badly, then as a punishment in the next life the soul is reborn into a worse body than the previous one.

The body and soul act individually in cases that include psychological theories such as sleep paralysis, out of body experiences such as meditation, astral projection and sleep walking. These ideologies consist of the principle of the unconsciousness being channeled; the body and soul

may or may not react together, but not correspondently. In relevance to being in a mindless state where the body is being driven by the unconsciousness, is depression. No matter the stage of depression or severity, the human brain is not functioning in its rightful form due to the negativity and loathe that is being inflicted on a person, which leads to changes within the body’s hormones and chemicals that can influence brain activity. This causes the person to act in a different and more isolating manner, behaving oddly than a regular person would. Basically in this circumstance, the body is not fully alive since the brain and body have been manipulated negatively, which resulted in detachment of forms of spirituality, personal relations with one’s inner self, or even close ties such as friends and family; life isn’t being lived to its full potential or to its fullest at all (2).

physical or external damage to its surroundings.

Not being able to have control of a personâ&#x20AC;&#x2122;s own body is practically the same as being dead. A live person is fully in touch with their physical body and soul, maintaining control over both, making decisions and judgments, etc. However, when someone or something such as possession for instance has damaged that part of a personâ&#x20AC;&#x2122;s spirit that caused a permanent or temporary detachment, that same person is no longer alive as that original identity, spiritually. In terms of possession, when a person is being possessed by something inhumane such as evil entities, these opposing spirits have full control over that personâ&#x20AC;&#x2122;s mind and body, trapping their soul in that body, and taking over the whole body matter entirely. The person is not there anymore unless someone rids that evil spirit.

The form of possession can make a person do unnecessary and unwilling acts that can lead to severe

In conclusion, every mentioned concept relates to the fact that whether or not we are in control of our body and soul, there will always be a struggle or fight to reach a point of serenity where we do not have to worry about our actions and decisions that could determine our final fate. Body and soul could work far from together, but in that case, there is no control over what each does separately since as mentioned in the introduction above, being just a body alone without a spirit, or being just a wandering spirit without belonging to a physical body, there is no whole component; there is nothing, therefore we cannot exist. This is why we need both to co-depend on each other to live. Other wise we are neither alive, nor dead. We are non-understandable matter.

References 1. Lucacao 2. Brodaarg

NAHLA HAMBAZAZA

Alphecca

An automaton, acting as a literal Deus ex Machina, or â&#x20AC;&#x2DC;God from the machineryâ&#x20AC;&#x2122; can serve to simultaneously represent facets of the self, and act as an alternative to the self and other, while also engaging with dichotomies of alterity and negation. The artwork aims to explore cyclic frameworks of the self as a space that lies in between transcendence and negation through systematic algorithms.

An automaton can represent Deus ex Machina through its ability to transcend its role as an object. It acts as an immortal being whose nature is both infinite, and limited to a certain set of actions following an algorithmic schema. These actions are repeated to the point of effectively becoming imaginary. An unconventional, nonmusical music box acts as a language system for the automaton, thereby allowing for alterity through the use of semiotics. The automaton’s face is made to be ageless, and genderless, it’s arms uncannily disproportionate, as a means by which to further distance the automaton from reality. These factors tie in to the concept of reaching transcendence through machines, and Deus ex Machina in turn.

The literary aspect of Deus ex Machina is also significant, as an engineered plot device that intervenes to save the hero and deconstruct the plot. Theos ek mēkhanēs, or God from the machinery originated from a standard convention of Greek theatre, in which actors representing gods were suspended above the stage, with the conclusion of the play being brought about by their intervention.

The heroes were thus saved by the gods, rather than by their own actions. It can be argued however, that the characters actions do in fact play a role in saving them, as it is these actions that cause the gods to help them. In Pygmalion, it is the eponymous character’s love for his sculpture that drives Venus, goddess of love, to help him by breathing life into his creation. The gods are often times depictions of facets of the characters’ own selves. This draws Deus ex Machina into a far greyer area as both; a means of resolving issues on another plane, and one used to manage/resolve the complications of the plot, thereby acting as a coping mechanism for plots with no resolution.

Given the work’s close ties to literature and storytelling, a book as an accompaniment to the automaton works to add another layer to the work by presenting alternatives in the form of fictional narratives. This book makes use of tarot cards, as the systemization of life also presents itself in their form. The cards are also representative of character archetypes, with the Major Arcana additionally being representative of the hero’s journey. Tarot cards are thus made into an alphabet of sorts that can be used to tell any and all stories, whilst also being representative of any and all characters. They can also act as a systematic algorithm through which the book is constructed.

A multiplicity of fictional narratives can be created that vary based on decisions made by audience members. Plot variables will be based on how each card is expanded on, in terms of character. These characters and plot points can be linked together through the hero’s journey, where The Fool goes on a journey in which it alternately encounters/becomes the other cards. Tarot cards thus represent a journey to reach The World card, through a return to one’s original starting point, having reached a higher state of being.

This relates to transcendence through cyclic systems, facets of the self, and negation, thereby tying in to the automaton in the form of Deus ex Machina.

Image References 1. A promotional photo of Boris Karloff as Frankenstein’s monster, using Jack Pierce’s makeup design 2. Tarot card from the Rider-Waite tarot, also known as the Rider-Waite-Smith deck.

Illustrated by Pamela Coleman Smith - a 1909 card scanned by Holly Voley (http://home. comcast.net/~vilex/) for the public domain, and retrieved from http://www.sacred-texts. com/tarot (see note on that page regarding source of images).

3. Advertisement of the display of “Ajeeb,” a chess automaton. As the machine was destroyed before 1920, this would be in the public domain.

4. An Illustration depicting the usage of a primitive crane(mechane) for the sake of Deus ex Machina. Image retrieved from http://www.financialsense.com/contributors/grant-williams/deus-ex-machina

FARAH HEGAZY

The Political State of Nature

On the off chance that one can consider it, the body and the mind and the war that wages between both is, truth be told, politics. The way the body and the brain cooperate with each other is parallel to the way states collaborate together internationally, as well as locally inside the state itself. This work aims to depict how the legislative issues between the body and mind work, showing that politics is inspired by the human body because it is the only entity that includes billions of other entities with three main ones: the body, the mind and the soul.

The brain might influence the body to do things it wouldnâ&#x20AC;&#x2122;t like to do by giving it messages and persuading it, which is precisely what happens in the United States while developing Foreign policies: The president needs to persuade congress before completing any activity. Nothing happens without the knowledge of the rest of the state, which is quite the same with the body. Subliminally, everything the body does the brain knows, and everything the mind does the body knows of: both cooperate like a team.

As it were, the psyche and the body are on two restricting sides of the

spectrum, yet somehow they are one and on the same side of the same spectrum. Strangely, the political procedures that happen between states internationally are the same as those between the body and the mind. The brain might need to take after, say, the principles of beauty for instance, however the body may have wishes the mind would not like to satisfy. The mind will then utilize political procedures appropriately, doing whatever it takes for the body to yield and turn into the standard of beauty the brain needs it to be. The brainâ&#x20AC;&#x2122;s control over the body is both mental and organic, on the grounds that humans were made from everything compiled in one element, and that is why the mind actually acknowledges the body and vice versa. What are the governmental issues of body and brain? As a matter of first importance, what is politics?

Politics ˈpɒlɪtɪks/ Noun 1.The activities associated with the governance of a country or area, especially the debate between parties having power.

Individuals for the most part utilize this term in relation to states, nations, wars, etc. What artists arrive to do is realize new possibilities and utilize this term in a totally distinctive manner than it’s original specific usage. In a way, politics might allude to how a body functions. This term’s definition might apply to any setting if utilized effectively. Saying it once more, in connection to that particular idea, this definition makes complete and utter sense.

Politics of body and mind Noun 1. The activities associated with the governance of the body and the mind, especially the debate between parties having power over the soul.

It is also extremely important to note that a state cannot function without its three main branches: the legislative, the judiciary and the executive, just like the body cannot function without its three main branches: the mind, the body and the soul. Each of those branches has a function that serves a purpose, and all three work together in order to have peace within the state, or in this parallel case within the body. The most important duty of the legislative branch is to make laws, just like the mind makes decisions. Laws are written, discussed and voted on in Congress. The executive branch makes laws official, and this is the case with the human body.

Finally, through court cases the judicial branch explains the meaning of the Constitution and laws passed by Congress and resolves conflict, which is the same function the soul, has over the body.

As part of the work’s research, the Zodiac and how the states identified with the Zodiac were investigated.

The Zodiac is a circle that maps out the Sun’s position throughout the year. The year has 365 days, the ecliptic has 360 degrees, a number attributed to the circle by the ancient Babylonians to facilitate correspondence of the solar cycle with the calendar: 365 is not easily divisible, 360 is the closest number to it that is divisible, giving it easy correlation with many astronomical cycles (1). What a sign in general does is communicate information. Zodiac signs, sometimes popularly called “star signs”, are determined by astronomical principles. The astronomers who originated the Zodiac system also worked as astrologers and sought to attach and extract from them more than just purely astronomical information. However, zodiac signs never have, and never will be visible, nor are they expected to make a close astronomical alignment with the constellations whose names they share. This is not possible because constellations vary greatly in size whereas zodiac signs do not. The reason there are 4 elements in the Zodiac is because those 4 elements (fire, water, air and earth) are the 4 elements this world cannot live without (2). Politics also has 4 elements it cannot live without: power, territory, sovereignty and money.

The initial thought was to match the Zodiac signs to states. Despite it being fascinating, it would only be a representation; it was only a minor coordination between a couple of states and a couple of Zodiac signs.

From that point, it was chosen to create new Zodiac signs that don’t even exist, with designed logos and identity qualities, and match them to states. However, this was likewise a negligible and uninteresting allocation of the designed Zodiac. It was then chosen to leave the Zodiac out and to think profoundly with the political viewpoint.

The final resort was to take a look at the philosophical and otherworldly side of politics. There are courses dedicated only to this subject and it is greatly intriguing to assemble information for that; however what can one do with this information? All through the historical backdrop of time, numerous political rationalists have left a profound impact on the political world with their reflective thought and fascinating theories that are still valid and are still being studied up until today. Two philosophers really assume a huge part in the conclusion of this work, since their theories are really what roused the theme “politics of the body and mind.” Both philosophers have come up with two completely diverse philosophies that both have to do with the state of nature of the human being, and how the human being in general may think regarding certain issues.

Thomas Hobbes is one philosopher that discussed the state of nature in an extremely realistic way, saying that a human is naturally evil and that without rules and/or regulations the world will be chaotic. Hobbes argued that all humans are by nature equal in faculties of body and mind (i.e., no natural inequalities are so great as to give anyone a “claim” to an exclusive “benefit”). From this equality and other causes in human nature, everyone is naturally willing to fight one another, so that “during the time men live without a common power to keep them all in awe, they are in that condition which is called war; and such a war as is of every man against

every man”. In this state, every person has a natural right or liberty to do anything one thinks necessary for preserving one’s own life; and life is “solitary, poor, nasty, brutish, and short.” (3).

John Locke, on the other hand, argued that in the state of nature all men are free “to order their actions, and dispose of their possessions and persons, as they think fit, within the bounds of the law of nature. The state of Nature has a law of Nature to govern it,” and that law is reason. Locke believes that reason demonstrates how “no one ought to harm another in his life, liberty, and or property,” and that transgressions of this may be punished. This view of the state of nature is partly deduced from Christian belief, unlike Hobbes, whose philosophy is not dependent upon any prior theology. (4) Politics can be defined in many different ways and can be used to define many other different things irrelevant to politics. Since Hobbes and Locke’s theories deal with the state of humans, nature and politics, this work combines all three of those. As a way to target all three together comes the title “the political state of nature,” which combines the body, the soul, the mind and the political strategies that occur between both in every minute of every day. The mind’s control over the body is both psychological and biological because humans were created with everything built in one entity and that is why the mind naturally accepts the body and the body naturally accepts the mind, just like the three branches of government are all based in one entity and all three work together in order to live in peace domestically.

References 1. Zodiac Signs and Meanings 2. (Houlding) 3. (Hobbes) 4. (Locke)

ZEINA KHALIL

An Exploration of Possibilities Being in the wrong place at the wrong time could cause confusion. Being at the right place at the right time could save lives.

Unless you stand at my angle, you will always be seeing yours.

Unless I stand at your angle, I will always be seeing mine.

Without the ability to actualize an idea, art would not exist. Knowledge changes. Information changes. Facts change.

This space is used as a tool to create imagery that is both real and surreal through perceptual adjustment.

The project began developing from a paragraph that was discussed with a fellow student: Summarize the chapter or movie of your life in one word. What is the constant recurring theme in your mind that haunts it, stimulates it, destroys it, builds it or expands it? What moves you? Why are you here? What through your life have you learnt?

What is God trying to tell you?

py, typically to recover suppressed memories or to allow modification of behavior.

In the process of hypnosis, the brain waves alter from quite a chaotic form into an aligned and organized way.

They shift from being, put simply, all over the place, to a very structured and color-oriented form.

The word that rose was CONQUER. From this point, it advanced into two different directions. One of which referred to the literal action of conquering something physical, like a mountain; and the other being conquering something internal, such as an addiction or fear.

Because hypnosis is a state of focused awareness, at no point will you be asleep, unconscious, or unaware of what’s going on around you. On the contrary, you might even feel more alert and ‘present’ than you are in your normal everyday state.

You’ll be aware of any other sounds or activity around you the entire time, confirming that you are alert and in control.

There are thirty-three ways to conquer fear. Some include awareness, journaling, art therapy, neuro-linguistic programming, etc. The one that stood out the most was the hypnosis method.

Hypnosis is the stimulation of a state of consciousness in which a person loses the power of voluntary action and is highly responsive to suggestion or direction. It is used in thera-

There is a natural relationship between hypnosis and philosophy. After all, both are concerned with the nature of belief. It is imperative in both hypnotherapy and in philosophy to identify and discard false or dysfunctional beliefs and to replace them with beliefs that are consistent with our understanding of reality.

Philosophical disciplines ranging from Taoism to existentialism to

pragmatism are used with the goal or achieving mental clarity and harmony between the conscious and the subconscious aspects of the mind.

From this, the concept of structured chaos revealed itself. How does one create the structure of his life? Is it something preplanned, or something that happens day by day?

Chaos is my mind. Chaos is my heart. Chaos is the emotions. Chaos is the hormones. Chaos is the senses. Structured is the body.

An artist that expressed this concept through his work is Ursus Wehrli. He manages to organize and assemble different artworks to fit his liking. As he likes to call it, he is ‘Tidying Up Art.’ His example was the gateway that took the project in the Obsessive-compulsive personality disorder (OCPD) direction.

Why did he organize the boxes in that order of color? Is there a reason he organized the boxes in that specific order? Why do people feel the need to organize their surroundings in such a way? Is there a certain satisfaction to it? Or is it simply a disorder that one must live with? Is it curable?

OCPD is a state of mind where there

is an obsessive need for cleanliness.

This, and an obsessive preoccupation with tidiness, may instead make daily living difficult. Though this kind of obsessive behavior may contribute to a sense of controlling personal anxiety, tension may continue.

One can never understand what is in the mind of an OCPD patient. One can never grasp the pain the patient feels. One can never understand if this is pain, or anxiety. One can’t understand unless s/he stands in the patients’ shoes, and sees their perspective.

Then again, does this theory not apply to everything around us? Doesn’t this theory apply to our art?

If an artist creates an atmosphere through his/her work and then refrains from explaining it, the spectator will create his own personalized message. Through this art piece, the spectator is FORCED to stand at the x-es marked on the ground to be able to decipher the message in the piece.

When they are given the freedom to roam around inside the actual installation, they will realize that in order for the piece to make sense, they must see it through the artists’ eyes.

NATHALY LOUTFI

The Absolute Point

Time and memory throughout history have been a constant debate. We are born to be dependant on time, and forget that due to the physical reactions that show the forward passing of time, there are ways and even universes where the dimension of time is infinite, unbound to any arrow striking forward.

The idea was to realise and visualise the infinity of time that exists within our memory. Seeing the black hole as part of the creatorâ&#x20AC;&#x2122;s brain, and ourselves as memories within the creatorâ&#x20AC;&#x2122;s mind.

The work explores concepts such as memory, time,

looping memory , death and after life eternity, nostalgia, and transfer of the soul.

If we were to imagine the black hole as a creator of the universe, which keeps on looping the memory of our lives within a singular point, it recreates universes with extreme density. We live in this constant loop, our memories are infinite, and we are singularities within a bigger singularity.

A machine was created to activate the singularity (our brain) that generates the chemical activity, or the universes (glass balls) that will show different universes within our reach and yet so far.

But does the black hole symbolise death, or on a grander scale some awe inspiring metaphor. A devouring of a human through one single infinite moment, to be stuck infinitely in a sequence of actions due to reliving a certain moment, the creation of certain worlds in one we live in. Can it be possible that we ourselves are different universes? That we are time within time itself, and are infinity within a scale of infinite moments?

The moment we connect with time in an infinite sense, we are caught up in an endless loop of memories. Time is but another dimension, physically manifested into memories of infinite moments that exist in another universe

as the past, present and future.

Is it possible that our dreams are visual manifestations of other memories within other universes? Or are memories transferred from one generation to another? So the universes created are within our memories, they exist even within the memories that the black hole has devoured. We live within a dimension we canâ&#x20AC;&#x2122;t fathom yet, and yet the concept of infinity exists within our minds.

This project started by questioning and researching the 5th dimension, singularities, and black holes, concepts that appeared in the movie Interstellar by Christopher Nolan.

Black Holes Stellar black holes form when the center of a massive star collapses in upon itself. This collapse also causes a supernova, or an exploding star, that blasts part of the star into space. The black hole is a geometrically defined region of spacetime exhibiting such strong gravitational effects that not even light can escape it.

Aft black hole has been formed it can continue to grow by absorbing other stars and merging with other black holes.

Singularity (n.), unusual behavior, from Old French: singularitĂŠ, peculiarity, point at which a function takes an infinite value.

At the center of a black hole lies a general singularity, a region where the space-time curvature becomes infinite, according to the theory of general relativity.

The singular region has zero volume. It also appears that the singular region contains all the mass of the black hole solution.

When observers falling into a Schwarzschild black hole reach the singularity, they will be torn apart by the growing tidal forces in a process called spaghettification, then crushed to infinite density, and their mass added to the total of the black hole.

Trinity The Christian doctrine of the trinity defines God as ‘One god in three persons’. The three persons are distinct, yet are of one substance or essence.

The idea was to get the concept of singularity from a purely scientific background, then connect it to the concept of singularity to a purely religious background.

Singularity exists from different perspectives, and all them consist of this idea of absolute time and space.

Whether its the trinity of god which shows god as absolute and infinite, to the black hole which contains time from the beginning to end, where you can live past, present and future all at once. Thus, the third singularity was the soul, and the concept of preserving the soul in a physical manifestation that leads to immortality.

Soul The soul is the immortal part of a being, not only in the religious belief systems, but in fantasy worlds such as Harry Potter. It is supposed to remain intact and unharmed as ripping it is considered a violation of the laws of nature.

A horcrux is an object in which a person has preserved a part of their soul outside their body. Then, even if one’s body is attacked or destroyed one cannot die, as part of the soul remains earthbound and undamaged.

To split one’s soul one must commit the supreme act of evil - Murder.

Dementor’s Kiss When something ceases to exist like the body after a dementor’s kiss, they are partially dead, just like in the black hole, you cease to exist within a time frame and just exist within this fifth dimension of time. The soul that left the body contains the memory of one’s life. The body then ceases to exist as man, and lives as an outer shell that fulfills ones basic desires as thirst, hunger and sexual desires.

The black hole is an extreme opposite, as memory will never stop existing within the black hole unless it is completely destroyed.

Time Absolute time exists independently of any perceiver and progresses at a constant pace throughout the universe

Déjà vu Déjà vu means ‘already seen’ in French. Several unproved theories revolve around the concept of déjà vu, ranging from spiritual to scientific.

One theory is that this phenomenon is a message from your higher self.

Another says that déjà vu happens when two universes normally separate are temporarily in sync.

dimension, we would see a world slightly different from our own that would give us a means of measuring the similarity and differences between our world and other possible ones.

Micho Kaku explains the idea that multiple universes coexisting and briefly coming together to create the feeling of déjà vu is complicated, highly unproven, but per-haps, occasionally, possible but doubtful.

Playing with the concept of warping a dimension in relation to time, and analogous to the same concept of the star that dies, dying stars are basically unwanted memories by the universe creating more memories.

Therefore, inserting these memories into this infinite dimension of a black hole, these memories dies inside the black hole - gravity distorts memories (stars) therefore it memory loops since creator is transcendent of time it doesn’t experience that loop.

The noted psychiatrist Carl Jung speculated that déjà vu is the product of “collective consciousness”, drawing on the fragments of the body of human experience that survive from generation to generation, yet never breaching conscious memory.

According to Superstring Theory, the fifth and sixth dimensions are where the notion of possible worlds arises.

If we could see on through to the fifth

The theory is still being formed, and can still take other turns but if we were to connect the concept of looping time and memory to déjà vu it would be through the use of part of

us that can transcend through time through dimensions that are beyond our capabilities of understanding.

The theory of the 5th dimensional world being gravity and through gravity it has compressed time (4th dimensional being into spaced, cube like images) where time is a 3 dimensional world we see, a space in which we can pass through.

What if our memories our déjà vu moments are signals transcending from our souls/spirits as you could say from another dimension.

The concept before that was something fictional, while understanding the soul and time and memory and intertwining them required going beyond what was logical.

To think that the universe is the mind of the creator, and our souls are memories within that mind, each indi-

vidual exists as a memory since time is not linear, the black hole then exists to be the part of the mind where memories are forgotten, looping continuously yet ceasing to exist.

The black hole is a looping element of creation and destruction, memory loops within time, and time is infinite and absolute.

Yet people seem to think the theory is to big to grasp although our minds are singular points, and each singular point contains time which is absolute, memory which is destructed and reconstructed according to how the individual wants to see the memory. Such is the process of the black hole where dimensions and space differ and although it might seem unbelievable, its insane to lack belief in so if such is the case in 7 billion singular points existing in one single planet..

(Fig.1 Map of earliest migration recorded)

AMAL SAEED

The Displacement of Lands and Memories The concept of Diaspora was recorded to have begun in Africa 600 and 200 thousand years ago by a species known as the Homo heidelbergensis. The group had a first wave migration into Europe and West Asia and over the years evolved into what is known as Neanderthals. The Homo heidelbergensis that remained in Africa eventually evolved into Homo sapiens roughly 130,000 years ago, which then had the second wave of migration into Europe and Asia.

The history of slavery has been in every nationality and culture dating back to one of the earliest civilizations of Sumer (located in South of Iraq). Slavery can also

be another form of Diaspora; to be forced out of oneâ&#x20AC;&#x2122;s land to a different one. An example would be the African Americans, who were forced out of their lands by the colonizers and shipped to a new land. The image below shows the main trade routes within Africa.

The Westâ&#x20AC;&#x2122;s perception of Arab Art usually revolves around the notion of Orientalism, which Edward Said brought into the field of anthropology

when explaining how the depiction of the writers, designers and artists from the West perceived the Arab World.

Until quite recently, the political issues in the Arab region have brought out a different kind of Art that many artists have expressed. Many contemporary artists that have either fled the country or have political interests would express these ideas in a form of contemporary art.

The Arabic term for Diaspora is “Shatat” which has the meaning of ‘scattering’ or ‘dispersal’. Many artists that were involved in the Arab Diaspora, whether it was voluntary or involuntary exile, have relocated to Europe or the U.S. between the late 70’s till today with the constant issues that have been going on before and after the Arab Spring. Other ‘displaced’ groups would include the children of the immigrant parents or parents that have mixed marriages. As a Yemeni born who has lived out of Yemen, the question of belonging and culture identity is something that is lingers

in the back of any Arab who has not lived in the Arab region’s mind. This work is inspired from the concept of diversity among Arab identities, and how they are expressed with the contemporary Arab artist in the concept of Diaspora. It was also inspired by the recent unfortunate events in Yemen and the experiences of refugees and relatives. Although the main concept of this project is ‘Diaspora’ the chosen subtitle of is “ The displacement of lands and memories”.

Looking into the rich Yemeni culture, the object that is very strongly related to Yemen is the Jambiya.

The Jambiya is a traditional Arabian dagger that is still worn in Yemen to symbolize the manhood of a Yemeni and show his social status (Al-Zain). It is usually given as a gift from a father to a son after Ramadan to signify the transition from childhood to adulthood (Al-Zain).

The focus of this project is this dagger, because when relating it to the Diaspora this is one of the main objects that Yemenis will have to leave back at their land.

What would it mean to them to leave something that holds a great deal of importance to their statues and masculinity behind? The Jambiya is the soul of every Yemeni man, to leave it behind is a hard step for any man to take, and it is similar to a sign of defeat.

The methodology used in this project was inspired by the artists Virgilio Neto, Charles Dellschau, Trosten Slama, Lebbeus Woods, Joscelyn Gardner, Perry Kulper and Luigi Serafini. Their methodologies of using their research process in their final drawings inspired this project.

The methodology of Neto gives an interesting visual appeal, with his strokes and fine lines. His work looks at visual facts, which is of importance in our time.

However his work does not only show components, but a relationship between each drawing. His use of the negative space against black spaces reveals a rigorous procedure.

â&#x20AC;&#x153;What would it mean to them to leave something that holdsa great deal of importance to their statues and masculinity behind?â&#x20AC;?

The project presents a journey showing the relationship between the object of the dagger and the people of Yemen. The work presents the research as the final project with drawings of stories, theories, and myths.

The audience may be overwhelmed with the amount of information in front of them, but from any starting point the project will take you through a journey of a beginning and end.

References A Map of Early Human Migrations. Digital image. Wikipedia. N.p., n.d. Web. 26 Mar. 2016. <https://en.wikipedia.org/wiki/Early_human_migrations>.

Al-Zain, Ezzadin. â&#x20AC;&#x153;The Jambiya: Yemeni Icon and Status Symbol.â&#x20AC;? Yemen Times. 24 June 2014. Web. 23 Mar. 2016. <http://www.yementimes.com/en/1792/photoessay/4017/ The-Jambiya-Yemeni-icon-and-status-symbol.htm>.

Authentic 19 C Yemen Jambiya Dagger with Belt. Digital image. Oriental Arms. Web. 20 Mar. 2016. <http://www.oriental-arms.co.il/item.php?id=1400>.

Ezrakoenig. Arabic Singing Diaspora. Digital image. Internet Vibes. N.p., 18 Oct. 2005.

Web. 26 Mar. 2016. <http://internetvibes.blogspot.com.eg/2005/10/late-breaking-news. html>.

Neto, Virgilio. Untitled. Digital image. Artesur. 2012. Web. 23 Mar. 2016. <http://www. arte-sur.org/artists/virgilio-neto/>.

AHMED SOUROUR

O-Possession â&#x20AC;&#x153;OPossessionâ&#x20AC;? is an art project produced in May 2016, as a graduation project at the American university in Cairo, Visual Arts program. It is composed of 3d printed sculptures along with a mural.

“OPossession” as a concept aims to question the infinite cycle between obsession and possession, and the position of each person facing this dilemma: questioning sensuality, whether it is something that can be reached, grasped, or something beautifully mysterious captured in people’s inner sublime. Whether it is a choice or not, obsession is an important part of testing and exploring one’s limits, trying to reach something which one can’t realize, grasp or hold physically. And how the act of possessing, in order to feed our obsession, is something sensual beyond conscious levels. Being obsessively captured within the moment of possessing, is in itself a unique type of obsession. Therefore, whether

possessing to stimulate ones desires, fulfilling obsessive needs or just feeding upon each other, a stimulator, designed pieces displayed, fig1 always plays a great role in getting the whole cycle together, while pushing the boundaries of aimless wandering outside one’s realm.

Therefore, questioning a classical philosophical term such as sublime from three different perspectives according to Hegel, Nietzsche, and Freud was really important not only to strengthen the concept “OPossession”, but also to try to understand this indescribable subliminal moment of possession. According to Hegel sublime is something spiritual.1 It is somehow an attempt to fuse with the absolute 2, to dive in it, feel it or at least to be unconsciously captured in the realm of this sensual bond, bond with unknown, bond with absolute. However, Nietzsche’s approach was a little bit different experiencing Dionysus with all kinds of drugs and extreme experiences; it was about the sublime as this idea of experiencing extremes, climax, pain, suffering.3 It is about feeling, living and tasting yet testing ones limits to whether fully grasp that grey area, in which one would be captured in through experiencing the moment of possession, or not.4 And finally Freud’s Psychoanalysis, the idea of “Sublimation” is somehow the uncanny feeling one get towards something that he can relate to however, he can’t fully grasp or comprehend.5 This idea of Sublime as something uncontrollable 6, which is related to the infinite cycle of “OPossession” and this possessive moment that one can’t really neither control or at least control himself within .

Moreover, regarding, an established art historian Susan Sontag’s “Against Interpretation”, she discusses how art should be left irrational, and how artists and art critics should show what it is not what it means. 7 They should “write and do art in order to reach the senses of the mind”. 8 therefore, the audience need to be overwhelmed with the art itself with its aura in order “to recover their senses”. 9 They should

learn to hear more, see more and feel more. She mentioned that artists and critics’ “task is to cut back content so that we can see the thing at all”10. Art should be kept mysterious, and indescribable, in order to push the spectator to have an erotic or sensual relationship with an artwork. 11 then she concludes with this meaningful yet indefinite sentence; “We need an Erotics of Art”. 12 Therefore playing with this

concept regarding the display of the artwork itself, whether through presenting some kind of designed accessories that the spectators can relate that they are somehow wearable or usable but they can’t really tell what they are, was aiming to eroticize the spectator or the viewer, in order to question their use, meaning and their existence in relation to his. Also presenting some molds for butt plugs that the

spectators can relate to their silhouettes and shapes and they can already see them but they aren’t really there.is also playing on this idea of capturing them in this grey area where the have these kinds of mixed feeing towards these pieces, bonding with them, thinking, having this relation with the art work itself without even touching it.

Furthermore, Laurel Marks, a contemporary art theorist, discusses how the idea of “enfolding, and unfolding”13 is trying to open up the area of experiencing the multi levels of reaching the final projected image in cinema and film which really applies for all different kinds of art and concepts. Which is really how I dealt with the project as an artist trying to present it in a very subliminal yet easy image that relate visually and sensually to spectators’ memories and thoughts. In her “ experience-information-image”, she presents the three stages one must go through in order to build an image or understand how images are being built.

Stage one which is experiencing reality, trying to understand and comprehend life or a specific concept, or something that is really uncomprihendable.14 Then, stage two is all about filtering what one already grasped and translating it into information, trying to find several presentable alternatives.15 Finally, stage three is taking this information and translating it into a definable image 16which everyone can relate to and understand, whether it is a real representation of the real experience or a made up product that has no relation with the whole idea, however people needs representations to feel in order to not think to much and feel safer.

People are always unfolding their own memories of experience trying to produce a certain kind of image through which they start cycling into an infinite loop of projecting image back onto reality leading them to question what is reality at the end.

Therefore using this concept as a methodology while trying to represent â&#x20AC;&#x153;OPossessionâ&#x20AC;? as an artwork projecting a certain image not only represents a certain experience but also has a big role in capturing the audience into that moment of experiencing what is ungraspable. Moreover, trying to experience, filter, and produce an image that represents something un-representable is all about experiencing this subliminal concept, cycling in an infinite realm where one can be able to project images, memories, and experience back onto himself, questing his own image.

Finally, these three theories kept folding and unfolding while shaping the whole concept, artwork, and me as an artist in order to experience and question something banal, something one can really relate to but at the same time canâ&#x20AC;&#x2122;t fully comprehend, or understand. A grey area of sensuality where people being captured in it, looping in a dilemma of self-projection while seeking the ultimate concur, which will always keep floating in the realm of the sublime, easy to feel hard to grasp.

REFERENCES 1 Morley, Simon. The Sublime. London: Whitechapel Gallery, 2010. Print. 16 2 Morley, 16.

3 Morley, 17.

4 Morley, 17.

5 Morley, 17.

6 Morley17.

7 Sontag, Susan. Against Interpretation, and Other Essays. New York: Farrar, Straus & Giroux, 1966. Web, 9.

8 Sontag, 10.

9 Sontag, 10.

10 Sontag, 10.

11 Sontag, 10.

12 Sontag, 10.

13 Marks, Laura U. "Experience – Information – Image: A Historiography of Unfolding.

Arab Cinema as Example." CSR Cultural Studies Review 14.1 (2011): 85. Web, 86.

14 Marks, 90.

15 Marks, 92.

16 Marks, 94.

Bibliography Marks, Laura U. "Experience – Information – Image: A Historiography of Unfolding. Arab Cinema as Example." CSR Cultural Studies Review 14.1 (2011): 85. Web. Morley, Simon. The Sublime. London: Whitechapel Gallery, 2010. Print.

Sontag, Susan. Against Interpretation, and Other Essays. New York: Farrar, Straus & Giroux, 1966. Web.

PENING

Š The American University in Cairo, Department of the Arts | Visual Cultures Program | Visual Arts Major Published in conjunction with The Big O Senior Student Exhibition, May 2016 Curated and supervised by Shady Elnoshokaty Visual Cultures Program Director: Bahia Shehab Visual Arts Major Director : Shady Elnoshokaty Publication Editor: Soha El Sergany Publication Design: Noor Ibrahim Photography by: Shady Elnoshokaty

The Visual Cultures Program provides the home for interdisciplinary study in theory and practice across the three individual majors of visual arts, graphic design and film. Established within the Department of the Arts in 2011 in response to the increasingly interdisciplinary character of visual creative practice in the 21st century, it offers courses that facilitate research-driven creative practice and the critical study and conscious use of diverse visual media in cultural context. www.aucegypt.edu/huss/arts/visualcultures/

Visual Cultures Program | Sharjah Art Gallery | AUC Center for the Arts Department of the Arts | The American University in Cairo AUC Avenue, P.O. Box 74 | New Cairo 11835, Egypt Email: arts@aucegypt.edu | Phone: 20.2.2615.1281