https://areejhuniti.com areejhuniti Mon, 09 Mar 2020 19:12:08 +0000 https://areejhuniti.com en https://areejhuniti.com/Main Mon, 09 Mar 2020 19:12:08 +0000 areejhuniti https://areejhuniti.com/Main AREEJ HUNITI &nbsp; RESEARCH BIO MANGROVE INTELLIGENCE —- How might ecological intelligence open onto alternative modes of relations that are adaptive, reciprocal and regenerative, both interpersonally and within the self, in a time increasingly governed by algorithmic logics that mediate perception, emotion and social connection?Mangroves thrive through interdependence and resilience and deep-rooted connections filtering water, stabilising coastlines and sustaining a multitude of life forms. This audio-visual installation draws visitors into that organic intelligence. At its center is a circular pool, mirroring a screen suspended on the sode, projecting a 3D world of drifting mangrove roots and shifting tides. Root-shaped cushions invite visitors to rest, gather and connect.Strips of fabric inscribed with questions sourced from dialogues with AI chatbots about love, desire and relationships hang suspended in the air. As they absorb turmeric-coloured liquid, the words gradually fade. Around them, circular cut-out sheets referencing ancient maps cast shifting shadows that move like tides.A subliminal soundscape echoes water being pulled through roots, salt filtered, sediment stirred. Beneath it, affirmations whisper below the threshold of hearing, quietly reprogramming the subconscious around love and relations. The project invites reflection on intelligence as a shifting, interdependent ecology.Commissioned and produced by SONIC ACTS BIENNALE and with the support of Sharjah Art Foundation Residency and Studio Programme 2025/2026 —- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1340" height="1005" width_o="1340" height_o="1005" data-src="https://freight.cargo.site/t/original/i/e5d7c7da66e86161b04a404546cfb3e73f23846738e93d5509aa2d1c15011284/abu_dhabi_2_1340_c.jpg" data-mid="248167243" border="0" src="https://freight.cargo.site/w/1000/i/e5d7c7da66e86161b04a404546cfb3e73f23846738e93d5509aa2d1c15011284/abu_dhabi_2_1340_c.jpg" /> <img width="1340" height="1012" width_o="1340" height_o="1012" data-src="https://freight.cargo.site/t/original/i/949bb9287b6d91c49988873f1b742493001460736ec087b4cd9d1edf6d20fa17/abu_dhabi_5_1340_c.jpg" data-mid="248167242" border="0" src="https://freight.cargo.site/w/1000/i/949bb9287b6d91c49988873f1b742493001460736ec087b4cd9d1edf6d20fa17/abu_dhabi_5_1340_c.jpg" /> <img width="1340" height="1527" width_o="1340" height_o="1527" data-src="https://freight.cargo.site/t/original/i/b85d8f6e1c214dc74b374902e8f397fa451484d78cab16120b4d5ff512d4a74f/IMG_2288_1340_c.jpeg" data-mid="248167239" border="0" src="https://freight.cargo.site/w/1000/i/b85d8f6e1c214dc74b374902e8f397fa451484d78cab16120b4d5ff512d4a74f/IMG_2288_1340_c.jpeg" /> <img width="1340" height="1314" width_o="1340" height_o="1314" data-src="https://freight.cargo.site/t/original/i/0528a9585fe0c06c4c304324c73e876746e110318bd4ce17b2f634020359c36e/Bildschirmfoto-2026-03-28-um-10.54.56_1340_c.png" data-mid="248167234" border="0" src="https://freight.cargo.site/w/1000/i/0528a9585fe0c06c4c304324c73e876746e110318bd4ce17b2f634020359c36e/Bildschirmfoto-2026-03-28-um-10.54.56_1340_c.png" /> <img width="1340" height="1009" width_o="1340" height_o="1009" data-src="https://freight.cargo.site/t/original/i/1bdd09c28fdb3c22b09af2e0fccb0749b7aceaca3854b4b69ff8c16984e1ee47/IMG_2291_1340_c.jpeg" data-mid="248167237" border="0" src="https://freight.cargo.site/w/1000/i/1bdd09c28fdb3c22b09af2e0fccb0749b7aceaca3854b4b69ff8c16984e1ee47/IMG_2291_1340_c.jpeg" /> <img width="1340" height="753" width_o="1340" height_o="753" data-src="https://freight.cargo.site/t/original/i/e66c4709fdf9ec726749c6012cf951f037e4c174e7bbcbb94cb925655060d749/tree_system_underwater2159_1340_c.jpg" data-mid="248167240" border="0" src="https://freight.cargo.site/w/1000/i/e66c4709fdf9ec726749c6012cf951f037e4c174e7bbcbb94cb925655060d749/tree_system_underwater2159_1340_c.jpg" /> REVIVE GAZA’S FARMLAD&nbsp; —-Revive Gaza’s Farmland advocates for resistance against the multifaceted illegal confiscation of land, destruction of the agricultural sector, and the weaponisation of food by the Zionist Entity. By rehabilitating damaged farms, planting fruit trees, constructing farm ponds, and supplying essential materials, the initiative supports efforts toward a more sustainable and selfreliant agricultural system, free from foreign dependency. Golo Besmlah commissioned Seed Songs for Palestine, a film program co-curated with Waveform and Rassemblage Collective. Exploring food sovereignty as resistance, the films have been shared in over 20 cities worldwide including Cape Town, Chicago, Taipei, Oaxaca and Jakarta through self-organised screenings, A second chapter of the project was featured at Kunstenfestivaldesarts in Brussels as part of the School of Fireflies. Over two days, the program included lectures, curated film screenings, collective readings and a workshop, creating a space to reflect on cultivation as sovereignty and on the transnational solidarities shaping land-based resistance.—- A project led by Golo Besmlah in Collaboration with The Arab Group for The Protection of Nature.&nbsp; <img width="2048" height="1535" width_o="2048" height_o="1535" data-src="https://freight.cargo.site/t/original/i/82dae52cc1cc34813d3de2a1fdd8b743ef4f00f45bde2b707c37aba854390fcd/Gaza3.jpg" data-mid="237682845" border="0" src="https://freight.cargo.site/w/1000/i/82dae52cc1cc34813d3de2a1fdd8b743ef4f00f45bde2b707c37aba854390fcd/Gaza3.jpg" /> <img width="1422" height="1898" width_o="1422" height_o="1898" data-src="https://freight.cargo.site/t/original/i/d23dcc5b69c0fb42cbb2c01a01a2f924b6deb084ed7fa2e9c4bcb8ca00d3f80c/Gaza2.jpg" data-mid="237682848" border="0" src="https://freight.cargo.site/w/1000/i/d23dcc5b69c0fb42cbb2c01a01a2f924b6deb084ed7fa2e9c4bcb8ca00d3f80c/Gaza2.jpg" /> <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/53a2922d8ca982e3e2eec823757e798a118d2f142946fcfde6725f5404b3c396/Gaza1.jpg" data-mid="237682853" border="0" src="https://freight.cargo.site/w/1000/i/53a2922d8ca982e3e2eec823757e798a118d2f142946fcfde6725f5404b3c396/Gaza1.jpg" /> AL BUHTURI PARK —-As part of Khidr Collective, we transformed Al Buhturi Park in Jabal Amman into a vibrant urban green space using the Miyawaki method, planting over 20 species of native trees and shrubs to create a dense, self-sustaining forest. The park provides room for walking, playing, and gathering, fostering soft encounters in everyday life. Through this project, Khidr Collective offers alternative, inclusive, and affordable rhythms while promoting environmental stewardship and community engagement. —- As part of&nbsp; Khidr Collective&nbsp; (in collaboration with Noura Al Khasawneh) <img width="1536" height="2049" width_o="1536" height_o="2049" data-src="https://freight.cargo.site/t/original/i/3cc862b1e5657c195d7bef638c2fdb6af2b3515a511551c8e7b298f71eaa7af5/buhturi3.jpg" data-mid="237682842" border="0" src="https://freight.cargo.site/w/1000/i/3cc862b1e5657c195d7bef638c2fdb6af2b3515a511551c8e7b298f71eaa7af5/buhturi3.jpg" /> <img width="2049" height="1536" width_o="2049" height_o="1536" data-src="https://freight.cargo.site/t/original/i/3ec150ba883c1c297a9f365f7861e5878cf90f043131d689f78e898100fe306a/Buhturi2.jpg" data-mid="237682843" border="0" src="https://freight.cargo.site/w/1000/i/3ec150ba883c1c297a9f365f7861e5878cf90f043131d689f78e898100fe306a/Buhturi2.jpg" /> <img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/f5be025798b4320647b20429372338cdefeef21e9be0081be69ad210955d8979/buhturi1.jpg" data-mid="237682844" border="0" src="https://freight.cargo.site/w/1000/i/f5be025798b4320647b20429372338cdefeef21e9be0081be69ad210955d8979/buhturi1.jpg" /> TOPO TERRA&nbsp; —- In response to a request of future inhabitants, a series of aquatic fossil records taking on the form of aluminum reliefs were created. Within them, traces of violence on land and water surfaces are exposed—like scars on Earth’s skin. These fossilized panels, sent to the future, reveal territorial histories and preserve environmental knowledge, bearing imprints of human interventions, contamination and manipulation. They convey more-than-human resistance against today’s extractive reality. What might the future feel like from the perspective of an algae in the depths of an artificial post-mining lake? Or for an aquatic worm, a relic from the Cambrian period, nestled within the stones of the red desert? Or for an E.coli on a contaminated riverbank?&nbsp;—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1126" height="1743" width_o="1126" height_o="1743" data-src="https://freight.cargo.site/t/original/i/232963c83d37bc87f125379b5ef72652a459c2a6b238ae012f02101ff2618f95/TOPO1.jpg" data-mid="237682758" border="0" src="https://freight.cargo.site/w/1000/i/232963c83d37bc87f125379b5ef72652a459c2a6b238ae012f02101ff2618f95/TOPO1.jpg" /> <img width="765" height="1044" width_o="765" height_o="1044" data-src="https://freight.cargo.site/t/original/i/b33c936cca99c470d0709a6d64689f3183fec3677fcd8c5f07d2b141ed835a91/TOPO4.jpg" data-mid="237682759" border="0" src="https://freight.cargo.site/w/765/i/b33c936cca99c470d0709a6d64689f3183fec3677fcd8c5f07d2b141ed835a91/TOPO4.jpg" /> <img width="1116" height="815" width_o="1116" height_o="815" data-src="https://freight.cargo.site/t/original/i/f2a3066a248ea9dff067de35a0b91d55b636719f98921d6e1cbab521b10dbcbc/TOPO3.jpg" data-mid="237682760" border="0" src="https://freight.cargo.site/w/1000/i/f2a3066a248ea9dff067de35a0b91d55b636719f98921d6e1cbab521b10dbcbc/TOPO3.jpg" /> <img width="764" height="1048" width_o="764" height_o="1048" data-src="https://freight.cargo.site/t/original/i/f8db45a0cf4e6efb689953dfd42e7739b352dcc8e11abdf08a03762577ca0425/TOPO2.jpg" data-mid="237682761" border="0" src="https://freight.cargo.site/w/764/i/f8db45a0cf4e6efb689953dfd42e7739b352dcc8e11abdf08a03762577ca0425/TOPO2.jpg" /> MEASURING TIME THROUGH THE FALL OF WATER&nbsp; —- Measuring Time through the Fall of Water by HUNITI GOLDOX was initiated during the Vessel Residency program by ArtWalkPorty UK and later realized as a sculptural and immersive installation at Vleeshal in Middelburg. The work contemplates the intersectionality of lines—human-made infrastructures that impose certain interpretations of the world while rendering others invisible. It features contemporary reenactments of a water clock inspired by Badi’ Al Zaman Al-Jazari, where time is measured by the fall and flow of water through vessels and siphons of glass and clay. Alongside the sculpture, the installation includes a video manual and a digital reenactment of the water clock. The project critically engages with colonial perspectives and scale, examining how territorial control is exerted through structures such as time zones, dammed rivers, and aridity lines. It provokes reflection on scientific and indigenous forms of knowledge, as well as the fates of unmeasurable objects, subjects, and relations within the natural world.—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1096" height="700" width_o="1096" height_o="700" data-src="https://freight.cargo.site/t/original/i/99df0c795cd767c6c8658a757a1ce37580e11ee85814155f19ff452edcfb5d9d/measuring-time3.jpg" data-mid="237682147" border="0" src="https://freight.cargo.site/w/1000/i/99df0c795cd767c6c8658a757a1ce37580e11ee85814155f19ff452edcfb5d9d/measuring-time3.jpg" /> <img width="703" height="1080" width_o="703" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c2fa9f280cee65ecdcad0224fdb40a491121e8d47f04d5b6a60981a587af4c36/measuring-time2.jpg" data-mid="237682148" border="0" src="https://freight.cargo.site/w/703/i/c2fa9f280cee65ecdcad0224fdb40a491121e8d47f04d5b6a60981a587af4c36/measuring-time2.jpg" /> <img width="382" height="857" width_o="382" height_o="857" data-src="https://freight.cargo.site/t/original/i/232799cdb23f2849f9382e095b1415c296410fc6a6fbb2fb8e503f2c43724289/measuring-time5.jpg" data-mid="237682296" border="0" src="https://freight.cargo.site/w/382/i/232799cdb23f2849f9382e095b1415c296410fc6a6fbb2fb8e503f2c43724289/measuring-time5.jpg" /> <img width="1224" height="720" width_o="1224" height_o="720" data-src="https://freight.cargo.site/t/original/i/665ed2470a28156a58b0404efdbe54a182abf5375affd48259b561da5048038b/measuring-time1.jpg" data-mid="237682146" border="0" src="https://freight.cargo.site/w/1000/i/665ed2470a28156a58b0404efdbe54a182abf5375affd48259b561da5048038b/measuring-time1.jpg" /> <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/6be6738d02a41632a86b7459e6474b2e6b39efaa18c288a58fbfb7b7bc78eb70/measuring-time6.jpg" data-mid="237682297" border="0" src="https://freight.cargo.site/w/1000/i/6be6738d02a41632a86b7459e6474b2e6b39efaa18c288a58fbfb7b7bc78eb70/measuring-time6.jpg" /> AS DUST AS RAIN AS A LINE ON THE MAP AND A CRACK IN HISTORY_&nbsp;—- “As Dust, as Rain, as a Line on The Map and a Crack in History” is a contextual artistic research project, which comes in the form of a three-channel video installation or film that has a magical realism plot to it that reflects on the state of the present while unveiling vulnerable landscapes and societies and their entangled relationships. It poses questions about the lines of power affecting present capitalistic, social and ecological structures in Tirana and beyond. &nbsp;The project started in the frame of BEYOND Matter residency program at Tirana Art Lab together with Eliza Goldox curated by Adela Demetja in March/April 2022—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="3024" height="1700" width_o="3024" height_o="1700" data-src="https://freight.cargo.site/t/original/i/48e6f1ace543e06cc33699294cb189407032ec81744c07ba95135f41e73d0831/Screenshot-2022-06-03-at-12.46.36-PM_3024.png" data-mid="153416708" border="0" src="https://freight.cargo.site/w/1000/i/48e6f1ace543e06cc33699294cb189407032ec81744c07ba95135f41e73d0831/Screenshot-2022-06-03-at-12.46.36-PM_3024.png" /> <img width="500" height="792" width_o="500" height_o="792" data-src="https://freight.cargo.site/t/original/i/64ac627649bbc67f365c4d6da896114a36f789b81bef737dea6f3d167338c6c9/Screenshot-2022-09-20-at-1.01.17-PM.png" data-mid="153416736" border="0" src="https://freight.cargo.site/w/500/i/64ac627649bbc67f365c4d6da896114a36f789b81bef737dea6f3d167338c6c9/Screenshot-2022-09-20-at-1.01.17-PM.png" /> <img width="1340" height="753" width_o="1340" height_o="753" data-src="https://freight.cargo.site/t/original/i/08ad66f539e717dc13f9d43448c4507fc7dce74ddc50bb5dcd69ba7a74cdfd32/Screen-Shot-2022-07-08-at-18.39.28_1340_c.png" data-mid="153416932" border="0" src="https://freight.cargo.site/w/1000/i/08ad66f539e717dc13f9d43448c4507fc7dce74ddc50bb5dcd69ba7a74cdfd32/Screen-Shot-2022-07-08-at-18.39.28_1340_c.png" /> RISING UP FROM HALITE&nbsp;—-Rising Up From Halite is an on-going artistic research project that takes up different forms. It starts where THE DIDO PROBLEM ends, a fictional work jumping into the year 2250 where the Mediterranean has dried up due to anthropogenic climate change. Its water molecules have transformed into salty crystals erasing sharp border lines. Its underwater world and inhabitants, survivors of the european border genocide, surfaced to the light and went through radical mutation. In the online exhibition at Ex-Nunc (curated by Chiara Catuccia) the viewer can see a 360 image, where one can find themselves in that environment, as well as texts, videos and an audio work. The sonic piece participating in the online show was commissioned by Delfina Foundation, in the framework of Delfina Sessions, and first broadcasted on the frequencies of Radio Alhara in August 2021.—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1340" height="1786" width_o="1340" height_o="1786" data-src="https://freight.cargo.site/t/original/i/ece95e1894f00e7f68c372dee08121fe87bd85a96a51a4e33856c9b8ddb3d72f/IMG_0669_1340_c.jpeg" data-mid="153415818" border="0" src="https://freight.cargo.site/w/1000/i/ece95e1894f00e7f68c372dee08121fe87bd85a96a51a4e33856c9b8ddb3d72f/IMG_0669_1340_c.jpeg" /> <img width="1340" height="776" width_o="1340" height_o="776" data-src="https://freight.cargo.site/t/original/i/54d7b2c3c80b346a4d7c7bd7e5bc1a87e274c164d30af5c11360ce68f9bbb15e/Screen-Shot-2021-12-15-at-20.48.35_1340_c.png" data-mid="153415862" border="0" src="https://freight.cargo.site/w/1000/i/54d7b2c3c80b346a4d7c7bd7e5bc1a87e274c164d30af5c11360ce68f9bbb15e/Screen-Shot-2021-12-15-at-20.48.35_1340_c.png" /> EYTHRA, VR VIDEO AND LECTURE PERFORMANCE, 2021 SENTIENT MATTER | D21 LEIPZIG—-Under the water surface of the “Zwenkauer See” lake lies the ghost of “Eythra”, a village around Leipzig that got entirely erased during former GDR in 1987 for intensive brown coal mining. This landscape had transformed from a dense Riverside Forest (Auenwald), to villages, mining pits and a huge lake district. Since the fall of the Wall, the old open-cast mines have been filled with water, converting the area into “Neuseenland”, an artificial water land and a marketing concept. “Eythra” is a reminder of forgotten territories unveiling what lies behind the stage of the present. It is an opening to the “not yet and, at times, not anymore”. Thereby it accounts not only for the loss and despair, but the desire and knowledge of lived lives and communities. It is an attempt to think, sense and build worlds through the memory and archive of water and its interconnectedness throughout history with human and non-human bodies. The 360 environment experienced through VR headsets demonstrates an architecture and reenactment of entangled landscapes that reflect on the ongoing human desire to shape and re-make nature. By (re)articulating matter and material, the work reflects on violent ecological interventions and manipulations, while contemplating what nature was, is and can be.—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="2074" height="1268" width_o="2074" height_o="1268" data-src="https://freight.cargo.site/t/original/i/8eb56cb18284b659b352342f533a8610e05dcf7f3347d387c5f6fe0a4da96f52/Screen-Shot-2021-12-06-at-12.45.24-copy.png" data-mid="134193327" border="0" src="https://freight.cargo.site/w/1000/i/8eb56cb18284b659b352342f533a8610e05dcf7f3347d387c5f6fe0a4da96f52/Screen-Shot-2021-12-06-at-12.45.24-copy.png" /> FLÜSSIGE STADT UND TROCKENE GÄRTEN—- LIQUID CITY AND DRY GARDENS is a research and workshop project commisioned as part of Sentient Matter project at D21 in Leipzig. This will be followed by a new VR work dealing with a dispossed village in the lake area, that will be shown in November 2021. In 3 days a group of participants were invited&nbsp; into collective excursions and experiences by the waters of Leipzig. It included; reenacting the Pleiße march (1989); remembering dispossessed villages and destroyed forests; imagining new maps; tracing opened canals and rerouted rivers; visiting flooded mines that make up the Neuseenland (new lake land) project; and looking for the physical trace of interventions and violence that persists in present systems. —- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1236" height="820" width_o="1236" height_o="820" data-src="https://freight.cargo.site/t/original/i/0f86931c4376f18200221e0b62930fab9ae1a9b22fe7f169d3860c0a0617d485/Screenshot-2021-08-02-at-8.53.52-am.png" data-mid="115179157" border="0" src="https://freight.cargo.site/w/1000/i/0f86931c4376f18200221e0b62930fab9ae1a9b22fe7f169d3860c0a0617d485/Screenshot-2021-08-02-at-8.53.52-am.png" /> <img width="1226" height="924" width_o="1226" height_o="924" data-src="https://freight.cargo.site/t/original/i/138b5ddc2b002a814b21175737797e7cee7c912ee02b48eb88251ca94be879a4/Screenshot-2021-08-02-at-8.54.21-am.png" data-mid="115179154" border="0" src="https://freight.cargo.site/w/1000/i/138b5ddc2b002a814b21175737797e7cee7c912ee02b48eb88251ca94be879a4/Screenshot-2021-08-02-at-8.54.21-am.png" /> <img width="1232" height="924" width_o="1232" height_o="924" data-src="https://freight.cargo.site/t/original/i/67b1442a8ef73c31f6192ba897142d9259d2dfcea124ac11958cdfa758d5a858/Screenshot-2021-08-02-at-8.53.36-am.png" data-mid="115179151" border="0" src="https://freight.cargo.site/w/1000/i/67b1442a8ef73c31f6192ba897142d9259d2dfcea124ac11958cdfa758d5a858/Screenshot-2021-08-02-at-8.53.36-am.png" /> <img width="568" height="752" width_o="568" height_o="752" data-src="https://freight.cargo.site/t/original/i/54296187ee54ea38cc942ccb16ac5eb4bea235068ceb4dbac413a4e57350920d/Screenshot-2021-08-02-at-8.54.02-am.png" data-mid="115179156" border="0" src="https://freight.cargo.site/w/568/i/54296187ee54ea38cc942ccb16ac5eb4bea235068ceb4dbac413a4e57350920d/Screenshot-2021-08-02-at-8.54.02-am.png" /> THE DIDO PROBLEM —-THE DIDO PROBLEM is a film and public intervention project that will be presented in a lecture performance.The work engages with water politics and the reenactment of mythology. The starting point is re-imagining the myth of Dido and her resistance towards oppression &amp; territory. Through digital and material speculations, the film touches on the notion of enforced mutation and historical fabrication within ecological and social spheres. By following water histories &amp; cycles “The Dido Problem” attends to the complex circulation of matter and desire and how it gets mutated by exploitation.—- As part of Huniti Goldox (in collaboration with Eliza Goldox)&nbsp; Supported by L’art Rue, Dream City <img width="1180" height="664" width_o="1180" height_o="664" data-src="https://freight.cargo.site/t/original/i/b78511019d9653e52861a247f2f183b9cc9158eee81085da7e08f2c51c33fbf3/Screenshot-2021-08-02-at-9.01.28-am.png" data-mid="115179401" border="0" src="https://freight.cargo.site/w/1000/i/b78511019d9653e52861a247f2f183b9cc9158eee81085da7e08f2c51c33fbf3/Screenshot-2021-08-02-at-9.01.28-am.png" /> <img width="1094" height="614" width_o="1094" height_o="614" data-src="https://freight.cargo.site/t/original/i/f6ecb78d705648bdf9cd6258f738ab2c88d22dc3efa2bda50f4bd5254ad73ffe/Screenshot-2021-08-02-at-8.58.15-am.png" data-mid="115179244" border="0" src="https://freight.cargo.site/w/1000/i/f6ecb78d705648bdf9cd6258f738ab2c88d22dc3efa2bda50f4bd5254ad73ffe/Screenshot-2021-08-02-at-8.58.15-am.png" /> TAWAFOON&nbsp;—- TAWAFOON is an open online publication that experiments with different modes of ‘learning’&nbsp; and encountering knowledge of the everyday. It tries to find new ways of attending to ourselves, to one another and to the world around us. It rejects all forms of alienation, exploitation, oppression and injustice performed invisibly under various forms of ‘learning’. The seed of the project stems from seeing the body simply as the maker of history and as one made by history. Through conversation, speculative exercises and observational research, the publication hosts tools, questions and methodologies, for individuals and collectives, on ways to work together and to encounter and exchange knowledge in everyday life.—- In collaboration with Noor Abed&nbsp; Supported by Mophradata ⥁ TREES TURNED TO STONES, ZONA D,&nbsp;DIE VERTRAUTE WELT, CHEMNITZ —- ⥁ TREES TURNED TO STONES is a virtual forest intervention. A group of people listened and followed my voice and left a letter to a stranger around Teufelsbrücken / Devil’s Bridge in Zeisgwald (Siskin) forest between stones and trees. <img width="1500" height="842" width_o="1500" height_o="842" data-src="https://freight.cargo.site/t/original/i/8e1ac5c6f85fdae1d9355307606a1a0a590df016dbbcfbe768a044d878fe04e8/IMG_1729.jpeg" data-mid="85202572" border="0" src="https://freight.cargo.site/w/1000/i/8e1ac5c6f85fdae1d9355307606a1a0a590df016dbbcfbe768a044d878fe04e8/IMG_1729.jpeg" /> <img width="700" height="932" width_o="700" height_o="932" data-src="https://freight.cargo.site/t/original/i/75d6d96212994ad3bd29aa13f22036bc004625263108328733ad7d027c520efb/trees-to-stones.png" data-mid="85202573" border="0" src="https://freight.cargo.site/w/700/i/75d6d96212994ad3bd29aa13f22036bc004625263108328733ad7d027c520efb/trees-to-stones.png" /> <img width="500" height="667" width_o="500" height_o="667" data-src="https://freight.cargo.site/t/original/i/8405da014c06ec036a5a886a023e495acf098b8ca748a7d349045f4deedeb161/IMG_7577.jpg" data-mid="85202574" border="0" src="https://freight.cargo.site/w/500/i/8405da014c06ec036a5a886a023e495acf098b8ca748a7d349045f4deedeb161/IMG_7577.jpg" /> PARA GARDENS —- PARA GARDENS is a digital durface that visualises the erotic aspect of our ecological existence. Being alive is an erotic process that requires transforming the self through contact with other organisms. There is the desire to be touched, to be connected, to be alive within the natural system. The disregard of those needs lies at the core of the global crisis and the belief that the world is a dead mechanism controlled by economic effciency.—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/12fb9537a8f3646bdbb75763f25c11dd8f7ad350bc16c65e428c3ae5c68a1200/0.jpg" data-mid="78446319" border="0" src="https://freight.cargo.site/w/1000/i/12fb9537a8f3646bdbb75763f25c11dd8f7ad350bc16c65e428c3ae5c68a1200/0.jpg" />VIDEO LINK &gt;&nbsp;https://youtu.be/ycVGO7aPGYQ &gt; https://youtu.be/yFVT62dsZe0SILENT SPRING, RESIDENCY AT INTERNET OF THINGS, DARAT Al FUNUN —-During my residency at «The Internet of Things (IOT): another world is possible», curated by Joud Al Tamimi, Feras Shehadeh and Reem Marji, I started the «SILENT SPRING» project which looks at life within screens and absent algorithms. Reflecting on our current state of suspension, immobility and information overload. The project experiments with online generative tools to see what a rearrangement of what is already there can say? when existence is constant labor, can technological tools do the 'work' for us? You can learn more about it here. Moonsighting video stills. <img width="2850" height="1582" width_o="2850" height_o="1582" data-src="https://freight.cargo.site/t/original/i/3f7cbb6c97e0d51a523a5b4e36a856a9b149d13719a472bcd0ff18d6305f7e77/moonsighting1.png" data-mid="72856948" border="0" alt="moonsighting, video still, 2020" data-caption="moonsighting, video still, 2020" src="https://freight.cargo.site/w/1000/i/3f7cbb6c97e0d51a523a5b4e36a856a9b149d13719a472bcd0ff18d6305f7e77/moonsighting1.png" /><img width="1420" height="782" width_o="1420" height_o="782" data-src="https://freight.cargo.site/t/original/i/d2d9c4dbdbb45a2444fd559c36f8fd109e2189973ddf309333597ccac79fab6d/moonsighting2.png" data-mid="72856949" border="0" src="https://freight.cargo.site/w/1000/i/d2d9c4dbdbb45a2444fd559c36f8fd109e2189973ddf309333597ccac79fab6d/moonsighting2.png" /><img width="1439" height="766" width_o="1439" height_o="766" data-src="https://freight.cargo.site/t/original/i/4cd8cde584d16db84e3c65fa8bdd60aa84beffad9a098956c3dea5b243db4843/moonsighting3.png" data-mid="72856956" border="0" src="https://freight.cargo.site/w/1000/i/4cd8cde584d16db84e3c65fa8bdd60aa84beffad9a098956c3dea5b243db4843/moonsighting3.png" /> Moonsighting was delivered as a live youtube performance during the residency at IOT.&nbsp; It reflects on the role of the body in seeing and making sense of the world. It uses online generative tools and 3D models to question structures of transparency. It is an invitaion to peel back layers of sense and comprehensibility to see what remains.&nbsp; IOT Project Zine: «TEMPORAL SLIPS, EXTENDED THRESHOLDS | انزلاقات زمنية، عتبات ممتدة» REESH HANEM: AN AI MIMICKING HUMANS/A HUMAN MIMICKING AI,&nbsp;EXPERIMENT —-Reesh Hanem is an ongoing experiment started during «Qayyem», a 6 month program in Curatorial studies. It began through an engagement with a chatbot trained to mimic my writing behaviour, before evolving into a live interactive performance.&nbsp; The project explores the human desire to encounter consciousness within language and the ease with which people anthropomorphise systems that simulate dialogue. Inspired in part by Joseph Weizenbaum’s ELIZA, a chatbot developed to reveal the conceit of machine intelligence, the work examines how contemporary AI systems operate not simply as technical infrastructures, but as psychological and cultural mirrors that exploit familiarity, projection and emotional attachment. Through performance and interaction, Reesh Hanem interrogates authorship, immaterial labour, deception and the politics of synthetic intimacy, while questioning what is lost when computational systems begin to mediate human perception, communication and social relations. Workshop: &nbsp; &nbsp; &nbsp;&nbsp; (May, 2020) Internet of Things / Darat Al Funun, Amman.&nbsp; <img width="2000" height="1472" width_o="2000" height_o="1472" data-src="https://freight.cargo.site/t/original/i/38ea1a6ac26cfa2dff297d0b8ab8cfd3cb49f1f32794332586df041bcf55570d/Screenshot-2020-05-26-at-14.33.54.png" data-mid="72857218" border="0" src="https://freight.cargo.site/w/1000/i/38ea1a6ac26cfa2dff297d0b8ab8cfd3cb49f1f32794332586df041bcf55570d/Screenshot-2020-05-26-at-14.33.54.png" />Performance:&nbsp; &nbsp; (Jan, 2020) participative online performance at SHARED VOID &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; by&nbsp;Zona D, Vorspiel / Transmediale, Berlin.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; (Feb, 2020) HYBRID Art Fair, Madrid. &nbsp; <img width="2672" height="1570" width_o="2672" height_o="1570" data-src="https://freight.cargo.site/t/original/i/6a486b9624b7d29e9faffbce7e19aded2e31698fc0a08947dd95e6ba5b9338d5/Screenshot-2020-02-23-at-18.28.49.png" data-mid="63110441" border="0" src="https://freight.cargo.site/w/1000/i/6a486b9624b7d29e9faffbce7e19aded2e31698fc0a08947dd95e6ba5b9338d5/Screenshot-2020-02-23-at-18.28.49.png" /> <img width="788" height="1526" width_o="788" height_o="1526" data-src="https://freight.cargo.site/t/original/i/de454230d678b4aca8fb347402eba85840b96a58a58f22b1d452c5eaee020f7a/Screenshot-2020-02-23-at-18.21.08.png" data-mid="63110439" border="0" src="https://freight.cargo.site/w/788/i/de454230d678b4aca8fb347402eba85840b96a58a58f22b1d452c5eaee020f7a/Screenshot-2020-02-23-at-18.21.08.png" /> <img width="820" height="1006" width_o="820" height_o="1006" data-src="https://freight.cargo.site/t/original/i/a26b22e7d78c82074d848589357f5b40bb3418bc1b0672cf92d909fcd4916b3c/Screenshot-2020-02-23-at-18.21.25.png" data-mid="63110440" border="0" src="https://freight.cargo.site/w/820/i/a26b22e7d78c82074d848589357f5b40bb3418bc1b0672cf92d909fcd4916b3c/Screenshot-2020-02-23-at-18.21.25.png" /> (2019) LIQUID ENTITIES , EXHIBITION | DARAT AL FUNUN, AMMAN—-«Liquid Entities» traces the life of a stream of water that once existed in Amman. Through video, text, sound and found material the work simulates the life of a buried stream of water (al-Seil), the womb of a fish and imaginations for the future. The starting point of the exhibition was the stream that used to pass by the city of Amman and was later covered according to a government decision. In a way it tries to imagine an alternative future for the city through the lens of different women living in it.During the research phase, we organised a workshop aimed at creating a space for multiple narratives. Participants were taken on a trip to trace the life of (al-seil) and to engage with mythology and fiction to imagine different past, present and future possibilies. We were thinking of how we can experience ourselves less as isolated entities and more as fluid bodies that dissolve in complex circulation. The same way our bodies record and get affected by what they swallow, water retains our most anthropomorphic secrets, even those that we would rather keep hidden. —- As part of Huniti Goldox (in collaboration with Eliza Goldox) &nbsp;&nbsp; <img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/812074655937b7d928cb5ab8a5963596c3d1fc3ae1a61fe29b54269f5127f0ec/LE1.jpg" data-mid="63110442" border="0" src="https://freight.cargo.site/w/1000/i/812074655937b7d928cb5ab8a5963596c3d1fc3ae1a61fe29b54269f5127f0ec/LE1.jpg" /> <img width="500" height="667" width_o="500" height_o="667" data-src="https://freight.cargo.site/t/original/i/d90d98d69dda9712f2dc39aa2fb7fbc41e50264c4309d5377fb3ac36ab8a03b7/LI2.jpg" data-mid="63110443" border="0" src="https://freight.cargo.site/w/500/i/d90d98d69dda9712f2dc39aa2fb7fbc41e50264c4309d5377fb3ac36ab8a03b7/LI2.jpg" /> <img width="500" height="369" width_o="500" height_o="369" data-src="https://freight.cargo.site/t/original/i/bf7f72566e6bc83e89db591616677ef852cf8f4405f71bac89c1a3385f37f087/LI4.jpg" data-mid="63110444" border="0" src="https://freight.cargo.site/w/500/i/bf7f72566e6bc83e89db591616677ef852cf8f4405f71bac89c1a3385f37f087/LI4.jpg" /> <img width="1000" height="602" width_o="1000" height_o="602" data-src="https://freight.cargo.site/t/original/i/815a1673719c9d201a6bfe1bddf4cc0570ac70ad88ddba711ad110269ecca9de/LI5.png" data-mid="63110446" border="0" src="https://freight.cargo.site/w/1000/i/815a1673719c9d201a6bfe1bddf4cc0570ac70ad88ddba711ad110269ecca9de/LI5.png" /> <img width="891" height="535" width_o="891" height_o="535" data-src="https://freight.cargo.site/t/original/i/badab5c47b23834e26e2354d4ba4b1e543370463863ca1f4ba6093d5945dcc52/LISC.png" data-mid="63111097" border="0" src="https://freight.cargo.site/w/891/i/badab5c47b23834e26e2354d4ba4b1e543370463863ca1f4ba6093d5945dcc52/LISC.png" /> <img width="500" height="667" width_o="500" height_o="667" data-src="https://freight.cargo.site/t/original/i/82a651efee19e388e69423d8afb2d2895809e91acdd9e7cafcabcd778297269e/LI3.jpg" data-mid="63110445" border="0" src="https://freight.cargo.site/w/500/i/82a651efee19e388e69423d8afb2d2895809e91acdd9e7cafcabcd778297269e/LI3.jpg" /> (2019) THEY DON’T SPEAK OF THE FISH BUT OF THE TIGER IN THE MIRROR—- A 3-day workshop that enages with the theme of myth and collective imagining. It raises the questions of how can we connect with the rivers we once knew? What can the river of stone tell us about its life or about the bodies of water that remember it?«Liquid Entities» exhibition was proceded by this workshop during which participants were invited to rethink the city of Amman by engaging with myth and fiction. Some of the activities that were done during the workshop include tracing the buried stream of water, film screenings, readings and writings.—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="500" height="375" width_o="500" height_o="375" data-src="https://freight.cargo.site/t/original/i/ab11c293b743c56a28d12c23e546084a7347209691f8c3a2bcaa96b589ced070/W2.jpg" data-mid="63110449" border="0" src="https://freight.cargo.site/w/500/i/ab11c293b743c56a28d12c23e546084a7347209691f8c3a2bcaa96b589ced070/W2.jpg" /> <img width="500" height="458" width_o="500" height_o="458" data-src="https://freight.cargo.site/t/original/i/d08650e0f36eee017969d1fc083ca7c859d2976e4e91bea1ee5353d1d90ed9dd/W1.jpg" data-mid="63110448" border="0" src="https://freight.cargo.site/w/500/i/d08650e0f36eee017969d1fc083ca7c859d2976e4e91bea1ee5353d1d90ed9dd/W1.jpg" /> (2019) UMMEZEIN, LECTURE PERFORMANCE | DARAT AL FUNUN, AMMAN —- A lecture-performance that draws on sonic heritage and rituals from the Tunisian coast (Sahel), to summon the myth of “Um Ezzein”- connecting female voices from the past, present and future. <img width="1000" height="562" width_o="1000" height_o="562" data-src="https://freight.cargo.site/t/original/i/1ca9d5e62d4fcb5c20d64a01ea3f039128e5b04a7568f1bd3a9989e1c8a718a0/U1.png" data-mid="63110450" border="0" src="https://freight.cargo.site/w/1000/i/1ca9d5e62d4fcb5c20d64a01ea3f039128e5b04a7568f1bd3a9989e1c8a718a0/U1.png" /> <img width="500" height="279" width_o="500" height_o="279" data-src="https://freight.cargo.site/t/original/i/781ec068ce7d1495866f3c7fb2fdb5b1f0cee0c5d78042d80b0eb8f781953986/U2.png" data-mid="63110451" border="0" src="https://freight.cargo.site/w/500/i/781ec068ce7d1495866f3c7fb2fdb5b1f0cee0c5d78042d80b0eb8f781953986/U2.png" /> <img width="500" height="269" width_o="500" height_o="269" data-src="https://freight.cargo.site/t/original/i/58c828abd51426cfc2f43c5678e68742888fec03c53217202fa6dab39566e8c5/U3.jpg" data-mid="63110452" border="0" src="https://freight.cargo.site/w/500/i/58c828abd51426cfc2f43c5678e68742888fec03c53217202fa6dab39566e8c5/U3.jpg" /> (2019) VOICES FROM THE INTERIOR, 360° VIDEO—-Is a mixed reality intervention with VR glasses. It uses the park of the national gallery in Amman as its main ground.&nbsp; The concrete structure of the park appears in the 360° video as a bridge or a plateau that floats on water. It represents the back of a fish named Bahamut, which is described in Arabic cosmography as the fish that carries the world on her back.&nbsp; We imagine the forgotten and buried river of Amman reappear in the site and flow from the past to the future. Bahamut represents femininity and worldliness and connects the female voices, who were&nbsp; interviewed about their future and that of the city.The work was experienced through a series of public intervention. When the work is explored it will offer the viewer the chance to imagine a different reality and future for the city that goes beyond its socially constructed inhabitations. —- As part of Huniti Goldox (in collaboration with Eliza Goldox)<img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/834a7052aa3b9085c65b78ce1ca8596a6a9d13d45eb875dc6fefbbbe283cf283/V.png" data-mid="63110481" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/834a7052aa3b9085c65b78ce1ca8596a6a9d13d45eb875dc6fefbbbe283cf283/V.png" /> (2019) RE-IMAGINIG LUNA, 360° VIDEO —-«Re-imagining Luna»&nbsp;is a social virtual project that attempts to re-imagine King Abdullah Gardens – an abandoned entertainment and amusement theme park in Amman. The 360° work consists of 3 digital stages which reconstruct the park based on street interviews with participants on their imaginations of the virtual future of the site. It raises the question of how one can see the future in the form of a community without abandoning difference? The work attempts to suggest a new form of social order that relies on listening as a way of participating in changing the narrative of an abandoned site. LUNA is an autonomous “nervous system” that embraces and comments on the conditions of the current day social body. A social body observed to be disconnected from its desire. Reimagining Luna was tested in downtown Amman as part of a community and public intervention program «AMMA FI AMMAN». The VR experience immersed the participant into an atmospheric reality which gave a space for sensation and reflection. The viewers were invited to be activated in stillness and observation.&nbsp;—- As part of Huniti Goldox (in collaboration with Eliza Goldox) <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/a0fd269c632810abba85e552e8a821964b06cf53971af798f4fbf9b1501c2f01/L2.png" data-mid="63110455" border="0" src="https://freight.cargo.site/w/1000/i/a0fd269c632810abba85e552e8a821964b06cf53971af798f4fbf9b1501c2f01/L2.png" /> <img width="500" height="333" width_o="500" height_o="333" data-src="https://freight.cargo.site/t/original/i/92a938829c0d05fd6f7ef07195988eee01627c1ee6188be4dbd736072e3ee7e6/L1.jpeg" data-mid="63110454" border="0" src="https://freight.cargo.site/w/500/i/92a938829c0d05fd6f7ef07195988eee01627c1ee6188be4dbd736072e3ee7e6/L1.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/555a4608a89e62ba286537cfe67ae4a71e2aaa177c24ac098e200217647b2fce/IMG_1205.JPG" data-mid="63112091" border="0" src="https://freight.cargo.site/w/1000/i/555a4608a89e62ba286537cfe67ae4a71e2aaa177c24ac098e200217647b2fce/IMG_1205.JPG" /> MORE⌄ (2019) WALKING ON DRY GROUND, VIDEO A COLLABORATION WITH SYLBEE KIM, SANDY BECKER &amp; ELIZA GOLDOX, ‘AMMA FI AMMAN’, ZONA D <img width="500" height="267" width_o="500" height_o="267" data-src="https://freight.cargo.site/t/original/i/6a9bf1e1d829a7a0ae56bb88b4c3f784da6db06bf811ce3ab9673c26c14d38f1/g1.png" data-mid="63110458" border="0" src="https://freight.cargo.site/w/500/i/6a9bf1e1d829a7a0ae56bb88b4c3f784da6db06bf811ce3ab9673c26c14d38f1/g1.png" />A video collage produced to be placed inside and outside «Re-imagining Luna» - a 360 work expereinced through VR glasses. The work added complexity and acted a bridge between the virtual and real worlds. The video collage is made to connect to&nbsp; the physical and psychological sense of joy and relief. This element has double function: projected in the real world, it invites the viewers to experience ‘Re-imagining Luna’. Within the VR world, it is inserted to the final stage of ‘Re-imagining Luna’ as a rewarding experience after the journey and reestablish the connection to the real world. (2019) IF DAYS WERE PAGE, MOVING STRIP A COLLABORATION WITH SYLBEE KIM, SANDY BECKER &amp; ELIZA GOLDOX, ‘AMMA FI AMMAN’, ZONA D <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/bc989c5e5e32068e4e4f21af05a71575298009acb16bff9b22980c568dc43dc5/days2.jpeg" data-mid="63110457" border="0" src="https://freight.cargo.site/w/1000/i/bc989c5e5e32068e4e4f21af05a71575298009acb16bff9b22980c568dc43dc5/days2.jpeg" /> «If Days were Pages» took graffiti found at an abandoned fun park in Amman as its source. The line which reads “If days were pages we co-write, why can’t we understand just one line?” was transformed into a moving strip reviving its message of commoning from the abandoned park to downtown Amman. (2019) A/DELAYED LETTER/S, PERFORMANCE, ALEXANDRIAA COLLABORATION WITH NOOR ABED &amp; LILA NAZEMIAN —- A performance that narrates the story of three different characters who are in constant struggle of identifying themselves. The audience get to experience the characters internal monologue and how it relates to the way they are perceived by a lover. The latter is revealed through written letter(s). The performance&nbsp; attempts to dismantle the urge to control agency when it comes to dealing with digital technologies. This is shown though a dialogue that is created based on a machine algorithmic logic leaving the audience on the line between reality and fiction. <img width="500" height="750" width_o="500" height_o="750" data-src="https://freight.cargo.site/t/original/i/877c0fc43787e9caf3be66dd79f156513c443c678f60d7e2b138a8867ce0e06b/DL1.jpg" data-mid="63110460" border="0" src="https://freight.cargo.site/w/500/i/877c0fc43787e9caf3be66dd79f156513c443c678f60d7e2b138a8867ce0e06b/DL1.jpg" /> <img width="500" height="278" width_o="500" height_o="278" data-src="https://freight.cargo.site/t/original/i/0b570a00adbb23e4c06174191d5cdf881ed6eff1bb5f346917b3c4fc46fc77b2/DL2.png" data-mid="63110461" border="0" src="https://freight.cargo.site/w/500/i/0b570a00adbb23e4c06174191d5cdf881ed6eff1bb5f346917b3c4fc46fc77b2/DL2.png" /> (2019) UNCHARTED STAGE, VIDEOA COLLABORATION WITH FELLIPE VERGANI, ELIZA GOLDOX, NICOLA KOTTERL &amp; ABDULLAH SHARW —-A video installation that reflects on privileged identity, border politics and the basic psychological urge to move. It asks: how we can leave without leaving and how can we arrive without arriving? How can we create a space, that is challenging the concept of time and geography and still be in an on-going dialogue? &gt; (2019) MACAM Biennale: Universal Data, Lebanon <img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/2dda5f13ece07ed3a84e40120f8073ff542f6f06732e035508086cac698547ee/U.jpg" data-mid="63110482" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/2dda5f13ece07ed3a84e40120f8073ff542f6f06732e035508086cac698547ee/U.jpg" /> https://areejhuniti.com/Bio Mon, 09 Mar 2020 15:57:00 +0000 areejhuniti https://areejhuniti.com/Bio AREEJ HUNITI BIOGRAPHY —-Areej Huniti is an artist and researcher based in Amman, Jordan. Her interest lies in exploring the interrelation between individuals and technologies within cultural, societal and political context. Her current work explores the magic and seduction of reality. By weaving real elements with fiction she wishes to complexify reality, collapse geographies while imagining different future possibilities.Since 2019 Areej been working in the artist duo HUNITI GOLDOX with Eliza Goldox. In their joint practice they use new media technologies as VR, video art and writing to develop spaces and tools for collective imagining. The work is shaped by an engagement with speculative futures and fictions. This stems from the desire to understand and unpack the depths to which human emotions and realities are embedded in social and ecological systems.Their thematic focus is water and mythology and the engagement with other natural elements, as a way to tell stories over liquid, dry and non-material matter. When attending to the matter of water they think of how we can experience ourselves less as isolated entities and more as fluid bodies that dissolve in complex circulation. Areej received an MA in Global Digital Cultures from SOAS University of London, where her research focused on the ways technologies mediate reality, perception and the body. Her writing explored immersive virtuality, surveillance cultures, digital labour and media spectacle as systems that shape contemporary political and emotional life. Through engaging with artistic practices working across virtual reality, medical imaging and spatial media, she examined how technological infrastructures produce ways of seeing, sensing and inhabiting the world.CONTACT —-areejhuniti@gmail.com Instagram: areejhuniti https://areejhuniti.com/Research Sun, 08 Mar 2020 15:00:45 +0000 areejhuniti https://areejhuniti.com/Research AREEJ HUNITI &gt; RESEARCH (2017) HOW DO IMAGING TECHNOLOGIES SIMULATE NEW AESTHETIC PERCEPTIONS OF THE BODY?&nbsp; Submitted to the Deparment of Media Studies at SOAS University for the MA degree of Global Digital Cultures.&nbsp; —- There has been a long interest in using digital imaging technologies to see, illustrate and imagine the body and understand how it is experienced by the human subject. Many artists have foun inspiration in the practices of visualising the body through medical technology as a tool for an intimate exploitation of the body’s interior landscape. The incorporation of images produced by these technologies, such as X-rays and endoscopes, into artworks raises the question of the role the medical gaze plays in our culture and challenges the ways in which it constructs and deconstructs our relationship to our body and its representations.This research looks at the way in which artistic practices challenge the assumption that digital technologies are purely instrumental. This is done through analysing Mona Hatoum’s artistic installation Corps Étrange and considering how the artist challenges the colonisation of the body’s interior by the medical gaze. I argue that the artist questions the gaze through allowing the viewer not to see it but to experience it and feel it. Drawing on theories of embodiment and the history of imaging technologies, the paper suggests that an interaction between a body and an immersive medium remains meaningless until it is accessed through one’s physiological sensory organs. It suggests that the human body is a critical component of the operational logic of technology. Therefore, the role of the body as an assemblage of flesh, practices, material objects and spatial location open to constant reconfiguration is vividly played out. (2017) ARE DIGITAL TECHNOLOGIES MAKING POLITICS IMPOSSIBLE? —- This research&nbsp; examines the political and ideological dimensions embedded within digital technologies and participatory media culture. Moving beyond techno-utopian narratives of openness and connectivity, it explores how networked infrastructures increasingly operate through surveillance, behavioural prediction, platform monopolies and the commodification of participation. Drawing on media theory and critical cultural studies, the paper questions whether digital convergence has expanded democratic agency or contributed to the erosion of collective political life itself.&nbsp; (2017) WHAT ARE THE PRINCIPLES OF EFFECTIVE IMMERSIVE VIRTUAL EXPERIENCES?—-There is an increase in the number and variety of advanced forms of immersive virtual technology that can create the illusion for the participant that she is not only experiencing an event in a digitally constructed environment, but also have the sensation of being physically there. Examples include Oculus, CAVE and VIRTSIM. In response, a number of artists and academics became interested in the potential of immersive virtual reality technology (IVR) of engulfing users in experiences that engage their senses and thoughts while influencing their perceptions and actions. In this paper, I try to identity the main principles of immersive virtual experiences that have the ability to make users feel immaterial and embodied at once through analysing Char Davis’ virtual art installation Osmose. Osmose, is an example of an immersive virtual environment that provides the participant with an experience unbound by her earthy references or cultural boundaries. The paper attempts to understand the effective principles of immersive virtual experiences through two main angles. The first demonstrates some examples that show that there has been a long interest in experimenting with visual mediums to engage the observer with the medium. The second describes Osmose and its main features. Emphasis is placed on the digital project’s interface, visual representation and the interaction mechanism. (2017) WHAT IS THE ROLE OF MEDIA AND ARCHITECTURE IN DUBAI’S IMAGE-MAKING?&nbsp; —- This paper attempts to explore the role of media and architecture in positioning Dubai as a global city while catalysing social, economic and cultural change. It draws on the work of Guy Debord and his concept of the “society of the spectacle” to examine; a) the city’s consumer culture presented in the development of shopping malls and shopping festivals; b) the developing and staging of the Dubai Expo 2020: a global media event aimed at harnessing the power of connection for collective progress; c) the government’s effort in transforming the city from a fishing village into a metropolis. The paper discusses a number of key themes. The first briefly demonstrates how Dubai’s urban development and image construction emerged. This section highlights that Dubai’s image-making was centralised on its landscape and architecture in the aim of attracting global flows and gaining global recognition. Consequently, Dubai’s rapid urbanisation and identity building efforts attracted criticism by scholars, such as Ali (2010) and Davis (2007) who perceive the city as an overnight sensation rather than an urban reality, and Botz-Bornstein (2012) who describes Dubai’s identity as “not yet there”. Some of the consequences of the high reliance on iconic architecture and visual stimulation for constructing the urban landscape of the city of Dubai is preventing people from differentiating the real from the imagined. One can say that this creates an anaesthetic effect that tricks the mind and the body.&nbsp; The second, reads Dubai Expo 2020 as a performance and argues that the aesthetics, design and naming of the different pavilions is an attempt to dispel the stereotype of Dubai’s “newness” and “lack of significant history”. I argue that the phantasmagoric collective experience that will fuse the expo’s spectacle at night, through the photovoltaic structure overlaying the site, is seen as an effort of making spectators experience Dubai’s future fantasies.&nbsp;*Full papers are available upon request.