The Aesthetics of Global Protest: Visual Culture and Communication

Cover
Table of Contents
	Acknowledgements
	Preface: Devisualize
		Nicholas Mirzoeff
	Introduction: The Aesthetics of Global Protest: Visual Culture and Communication
		Aidan McGarry, Itir Erhart, Hande Eslen-Ziya, Olu Jenzen, and Umut Korkut
	Part I. Performance, Art and Politics
		1. Queer Visual Activism in South Africa
			Tessa Lewin
		2. The Use of Visibility in Contentious Events in Northern Ireland
			Katy Hayward and Milena Komarova
		3. Maybe, We Will Benefit from Our Neighbour’s Good Fortune: An Exhibition on Collectivity, Community, and Dialogue in Turkey
			Işıl Eğrikavuk
		4. Political Street Art in Social Mobilization: A Tale of Two Protests in Argentina
			Holly Eva Ryan
		5. Archiving Dissent: (Im)material Trajectories of Political Street Art in Istanbul and Athens
			Julia Tulke
		6. The Introvert’s Protest: Handwriting the Constitution and the Performance of Politics
			Interview with Morgan O’Hara by Aidan McGarry
	Part II. Visual Activism and Digital Culture
		7. Photography and Protest in Israel/Palestine: The Activestills Online Archive
			Simon Faulkner
		8. Drones, Cinema, and Protest in Thailand
			Noah Viernes
		9. Bearing Witness to Authoritarianism and Commoning through Video Activism and Political Film-making after the Gezi Protests
			Özge Özdüzen
		10. Music Videos as Protest Communication: The Gezi Park Protest on YouTube
			Olu Jenzen, Itir Erhart, Hande Eslen-Ziya, Derya Güçdemir, Umut Korkut, and Aidan McGarry
		11. The Activist Chroniclers of Occupy Gezi: Counterposing Visibility to Injustice
			Dan Mercea and Helton Levy
		12. When Twitter Got #woke: Black Lives Matter, DeRay McKesson, Twitter, and the Appropriation of the Aesthetics of Protest
			Farida Vis, Simon Faulkner, Safiya Umoja Noble, and Hannah Guy
	Part III. Conclusion
		13 Conclusion: Reflections on Protest and Political Transformation since 1789
			Jim Aulich
	Index
List of Figures and Tables
	Figure 0.1. Whirling Devish with gas mask, Taksim Square, 2013. Photo by Seamus Travers.
	Figure 1.1. Sulaiga. From The Sistaaz Hood Gallery, 2016. Photo credit: Robert Hamblin.
	Figure 1.2. Stills from the video piece InterseXion, 2016. Photo credit: Robert Hamblin.
	Figure 1.3. FAKA, 2016. Photo credit: Nick Widmer.
	Figure 2.1. Map of Ardoyne from Google Maps. Map data ©2019 Google.
	Figure 2.2. The Orange parade through Ardoyne on 12 July 2012, including the marchers (A), their supporters at Twaddell/Woodvale (B), the protestors (C), the police (D) and journalists (E). Image © Katy Hayward.
	Figure 3.1. HAH, Without Encountering, site-specific installation.
	Figure 3.2. Dadans, Playing House, performance.
	Figure 4.1. First Siluetazo, 20-21 September 1983. Two silhouettes on an urban wall. The two silhouettes have identifying labels but the image is blurred and the names are hard to distinguish. Photograph courtesy of Edward Shaw.
	Figure 4.2. First Siluetazo, 20-21 September 1983. Silhouette of a baby/toddler on an urban wall. This silhouette represents a child born in captivity, Carranza-Goites, born on 19 August 1976. Photograph courtesy of Edward Shaw.
	Figure 5.1. Memorial for Alexandros Grigoropoulos and Berkin Elvan in Athens-Exarcheia, 2015. Photography by the author.
	Figure 5.2. Graffiti slogans on the floor of Taksim Square during the Gezi protests, 11 June 2013. Photograph by Eser Karadağ via https://flic.kr/p/eJQdsv.
	Figure 6.1. ‘We the People’.
	Figure 7.1. Oren Ziv, ‘Protest calling for the release of Israeli soldier Elor Azaria, Tel Aviv, Israel, 19.4.16’, 2016. Reproduced with permission of Oren Ziv/Activestills.
	Figure 8.1. Drone Space. Self-sketch of a drone capture.
	Figure 8.2. Throwing stones scene from The Asylum (dir. Prapat Jiwarangsan, 2015).
	Figure 8.3. The continuity of work during a military coup, from Night Watch (dir. Danaya Chulphuthipong, 2015).
	Figure 9.1. Özatalay’s drawing of Semih Özakça. This image became a touchstone of digitally shared posts on the hunger strike of Özakça and Gülmen.
	Figure 10.1. A çArşı supporters’ banner in Gezi Park with the slogan ‘Taksim is ours. çArşı is ours. The street is ours’. Licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.
	Figure 11.1. The time distribution of Occupy Gezi tweets for May-June 2013.
	Figure 12.1. The arrest of the African-American celebrity-activist DeRay McKesson during a Black Lives Matter event. Source: AP Photo/Max Becherer.
	Figure 13.1. Darko Vojinovic, Opposition Rally, Belgrade Yugoslavia, 14 April 2000. Members of Otpor (Resistance), a student organization, arrive in central Belgrade’s Republic Square during an antigovernment rally. In one of the biggest protests against