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| Srl | Item |
| 1 |
ID:
155084
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| Summary/Abstract |
This paper focuses on various aspects of Alireza Espahbod’s style of painting that encrypt his work. The period considered is from the just after the Iranian revolution until the artist’s death in 2007: in these years censorship had become severe, resulting in banning prohibition on his work being exhibited. Apart from the striking symbols that recur throughout his work, it is noticeable that he favors certain visual metaphors for encryption of humanitarian and satirical meanings. The discussion also focuses on the ways in which sequences of his individual paintings create narratives, like scenes in a play or a film. Unlike some preceding modernists, Espahbod is firmly rooted in his Iranian cultural milieu, and is in a line of artists who have used surrealism, beginning with Sadegh Hedayat in the modern literary world. He also follows a much older tradition that goes back to classical poetry and miniature art, in which image and word coalesce and are interchangeable, and where literature and visual art reflect one another. He uses these older techniques to comment allusively on the dramatic events and conditions of his own time. It is argued that his work amounts to more than that of an artist who merely fought against censorship, as his art rises above it and responds to it with a positive message for his audience.
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| 2 |
ID:
150490
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| Summary/Abstract |
The “Snowden leaks” and censorship methods used during the Arab Spring have brought warranted attention to technologically supported censorship and surveillance (Bauman et al. 2014; Deibert and Crete-Nishihata 2012, 344). The public is now aware how digital tools and information are prone to tracing, interception, and suppression. Processes of eavesdropping and information collection (i.e., surveillance) are often interrelated with processes of removal, displacement, and restriction of material or speech (i.e., censorship). Both are often enshrouded in secrecy, leaving censorship and surveillance techniques open to abuses (Setty 2015).
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| 3 |
ID:
046097
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| Publication |
Boston, Artech House Inc., 2001.
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| Standard Number |
1580531768
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 046754 | 005.8/CAN 046754 | Main | On Shelf | General | |
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| 4 |
ID:
072590
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| 5 |
ID:
171772
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| Summary/Abstract |
The Internet and digital technologies have become indispensable in academia. A world without email, search engines, and online databases is practically unthinkable. Yet, in this time of digital dependence, the academy barely demonstrates an appetite to reflect upon the new challenges that digital technologies have brought to the scholarly profession. This forum's inspiration was a roundtable discussion at the 2017 International Studies Association Annual Convention, where many of the forum authors agreed on the need for critical debate about the effects of online surveillance and censorship techniques on scholarship. This forum contains five critiques regarding our digitized infrastructures, datafied institutions, mercenary corporations, exploitative academic platforms, and insecure online practices. Together, this unique collection of articles contributes to the research on academic freedom and helps to frame the analysis of the neoliberal higher education sector, the surveillance practices that students and staff encounter, and the growing necessity to improve our “digital hygiene.”
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