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Photography as Archive

The Self and Other in Isolation: An Interview with Saiful Huq Omi, followed by The Human that Is Lacking: A response to Saiful Huq Omi's photograph

Yousif M. Qasmiyeh and Saiful Huq Omi


In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.

In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi's photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh's interview with the award-winning photographer and film-maker himself (also in this issue).

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Paisley Livingston, Douglas Pye, Robert Stecker, and George M. Wilson


Paisley Livingston


Douglas Pye


Paisley Livingston


Robert Stecker


George M. Wilson

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Margaret Cohen

At the beginning of the twentieth century, due to the spread of helmet diving beyond engineering communities, people started to attend to the remarkable qualities of underwater optics, differing radically from seeing through air. With the revelation of this unfamiliar planetary environment to a broader public, creators across the arts took inspiration from underwater optics to structure fantasy spaces of dream, hallucination, and marvel. To show the properties of underwater optics inspiring these fantasy spaces, this article analyzes undersea paintings by Walter “Zarh” Pritchard, reputedly the first artist to have painted en pleine mer. It then turns to aquatically-inspired works of surrealism, the movement offering the most famous appropriation of underwater optics for the arts, focusing notably on André Breton's L'Amour fou and Jean Vigo's L'Atalante.

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(Un)seen Seas

Technological Mediation, Oceanic Imaginaries, and Future Depths

Stephanie Ratté


Remote technologies and digitally mediated representations now serve as a central mode of interaction with hard-to-reach sea spaces and places. This article reviews the literature on varied scholarly engagements with the sea and on the oceanic application of technologies—among them geographic information systems, remotely operated vehicles, and autonomous underwater vehicles—that allow people to envision and engage with deep and distant oceanic spaces. I focus on the extension of a digital and disembodied human presence in the oceans and the persistence of frontier fictions, in which the sea figures as a site of future-oriented possibilities. Finally, I ask what the emphasis on “seeing” through technological mediation means for how we imagine vast spaces, and consider how these elements of the oceanic imaginary can be productively complicated by drawing attention to the materiality of the oceans and the scalar politics of dynamic spaces.

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The iAnimal Film Series

Activating Empathy Through Virtual Reality

Holly Cecil

film, assuming the embodied position of subjects within that environment. As a result, viewers describe “being there with the animals,” and seeing through their eyes. Figure 2. Screenshot from iAnimal—Reactions . The split-screen format

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Corps et blanchité au prisme de la Blackness

Body and Whiteness Through the Lens of Blackness

Sarah Fila-Bakabadio

Man's World (Oxford : Oxford University Press, 2011). 11 Vron Ware, “ Seeing through Skin/ Seeing through Epidermilization,” in Out of Whiteness : Color, Politics, and Culture , ed. Vron Ware et Les Back (Chicago : The University of Chicago Press

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The South Side of Heaven

A Journey along the Iranian Collective Memory in Iran-Iraq War Memorial Sites

Younes Saramifar

); instead, it is seeing through an opacity that some strands of anthropology drenched in epistemological thinking and social constructionism have long avoided. My photo essay narrates how the Iran-Iraq War (1980–1988) is commemorated every year in the

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Situating Screen Bodies

Brian Bergen-Aurand

interdisciplinary study of affect, images, and belonging, Kesting argues for an intervisual methodology of seeing through embodied experience that intersects with feminist and queer studies, the history of photography, media theory, and cultural studies. In the end

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Who (the) Girls and Boys Are

Gender Nonconformity in Middle-Grade Fiction

Michele Byers

life as the selves they know themselves to be. The Transgender Gaze According to Halberstam, “the dilemma for the transgender character … is to create an alternate future while rewriting history … a transgender gaze capable of seeing through the present

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Sine Dolore

Relative Painlessness in Shakespeare’s Laughter at War

Daniel Derrin

seeingthrough his laughter at Paroles’ distasteful ignorance and military infidelity – his own infidelity in love and his own ignorance of the possibilities created by familial and social bonds. The semantic duality of ‘honour’ in reference to sex and