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Xaime Aguiar
Arab - Islamic policy and culture. Postcolonialism.
Arab - Islamic policy and culture. Postcolonialism.
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Detroit moves quickly; issues of scale and pace in a city of this size pose major challenge to contemporary archaeological practice. I’m not sure what a decolonizing archaeology should look like here, but it’s happening nonetheless. It is grassroots. It connects with communities. It shares the skills we have as social scientists with people, places, and collections. The goals are simple – to tell stories that matter, to empower memory, to increase participation, and, hopefully, to spur action against destructive forces of erasure and exclusion. We don’t have the luxury of time and protracted theoretical deliberation on our side; this work is done in a climate of rapid late capitalist development and privatization, where most of places we encounter are at the mercy of irreversible decay from ruination or demolition by developers.



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Kiarostami’s rise to the status of one of the world’s foremost auteurs started from relatively humble beginnings. He was born in 1940 in Tehran, and originally studied painting at the University of Tehran; Kiarostami began working as a graphic designer and went on to shoot dozens of commercials for Iranian TV. In 1969 he joined Kanun (the Centre for the Intellectual Development of Children and Young Adults), where he ran the film department, and was able to make his own films.



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Istanbul: On a warm May evening, the loneliest man in Istanbul sat by himself on a bench in a park in Fatih, a neighbourhood of long avenues sloping past arrangements of parks, children’s playgrounds, concrete tracks and restaurants.

In the past two years, the neighbourhood had become home to many of the estimated 3 million Syrians who, having fled their war-stricken home, were settled in Turkey. The local markets had re-oriented themselves around their newer, transient, itinerant patrons: some Turkish restaurants had made way for Syrian ones, some shopkeepers now spelled out their wares in Arabic scripted in brightly lit LEDs.



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“The master’s tools,” Audre Lorde (1984) famously said, “will never dismantle the master’s house.” Her statement was a provocation to Western feminists to question their own racism and homophobia, to examine the “terror and loathing of any difference that lives” inside each of us. “What does it mean,” she asked, “when the tools of a racist patriarchy are used to examine the fruits of that same patriarchy? It means that only the most narrow parameters of change are possible and allowable.”



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The run up to the EU referendum has shown Britain for what it is. Woodwork: the washed-up bracken of the British Empire, and the ugly flotsam of its legacy of racism. From this woodwork the Brexiters have emerged. They have long romanticised the days of Empire when Britannia ruled the waves and was defined by its racial and cultural superiority. It is no coincidence that Farage has a preference for migrants from India and Australia as compared with East Europeans, and has advocated stronger ties with the Commonwealth. This referendum has not been about Europe, but about Britain and its imperial legacy.



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On Sunday, June 5, we lost an intellectual giant. Cedric Robinson was a wholly original thinker whose five books and dozens of essays challenged liberal and Marxist theories of political change, exposed the racial character of capitalism, unearthed a Black Radical Tradition and examined its social, political, cultural, and intellectual bases, interrogated the role of theater and film in forming ideologies of race and class, and overturned standard historical interpretations of the last millennia.



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British MP Jo Cox gunned down by man who reportedly shouted "Britain First." Don't worry, he's no terrorist


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Now Karachi’s savior saint is himself in trouble. Ghazi has a new upstart neighbor: the Bahria Icon Towers, a pair of buildings including one 62 stories high that will be Pakistan’s highest building and the country’s first proper skyscraper. The project, though unfinished, doesn’t just dwarf the saint’s shrine; it has surrounded it with ugly prison-like walls, making the shrine invisible and very, very difficult to access.



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What any process of beautification does is that it makes the city available for use for only one kind of people. It segregates the space and in Mumbai, where land is a contentious issue, any time one section of the population begins accessing, using or enjoying a particular space, it infringes on the rights of another section that was using it earlier.


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The conditions of possibility for queer life and queer cities are never singular. Instead, these conditions of possibility are radically different for gender conforming and gender nonconforming people, and for cis men and women. They are also different for racialized displaced persons and refugees, and for racialized migrant labor forces. Moreover, as cities are historically specific and situated sites that are irreducible to each other.


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