Group items matching

in title, tags, annotations or url

In his book, al-Jazari explained the construction of his devices and automatons, from water-raising machines to fountains, complete with illustrations and instructions that gave engineers the opportunity to reuse them. 

his masterwork, The Book of Knowledge of Ingenious Mechanical Devices,

The Book of Knowledge of Ingenious Mechanical Devices,  was the most important work of engineering written before the Renaissance centuries later. 

“The idea of having robots to do humans work - or simply automation - was developed by al-Jazari 250 years before Leonardo Da Vinci, with some excellent examples."

in the 21st century Muslim countries see relatively less scientific activity. According to the World Bank, in 2016 the United States and the European Union respectively published 426,165 and 613,774 articles in scientific and technical journals. That compares to 40,974 in Iran and 33,902 in Turkey, although the number of articles is rising.

Mukalla’s residents accepted WaxOn and would offer them money to perform, allowing them sometimes to make as much as 40,000 Yemen rials ($160) for a 10-minute performance.He said the security forces had not moved against other bands performing traditional Yemeni dances on the square

a long tradition of exploiting the most painful, brutal moments of those in geopolitical locations that the West continues to regard in a condescending, paternalistic manner - particularly those in Africa, the Middle East and Asia. Others  shared examples of The New York Times' past reports on atrocities and terror attacks in the West, which did not include any gruesome images, to disprove the editors' claim that they would "show reality…wherever in the world" in a similar fashion.

Kenyans compared The New York Times' coverage of this story - without photos of dead, white, American bodies - to its coverage of the attack in Nairobi and pointed out the newspaper's hypocrisy

In response to the charges that Kenyans are engaging in "anti-democratic" behaviour, many pointed out that such lectures on media freedom smack of a smug, "First World" brand of racist superiority. It is a defensive reaction that also allows powerful, privileged news organisations and their foreign correspondents to deflect attention from legitimate criticism of their practices by focusing on "irrational" "mob reactions"

"freedom of the press really needs to be distinguished from the foreign press…do[ing] whatever they like. One is about critiquing state excesses and advancing democracy. The other is not necessarily that." 

there is ample evidence showing that mainstream media in the US routinely treats black victims of violence differently, that "black people's lives are valued less than whites' in the US". Given that context, she argued, "#RiversideAttack photos are not an isolated incidence. They continue a long tradition of presenting white grief as important and black grief as irrelevant." 

Sentilles argued that this discrepancy - and "the very fact of visual access to the dead" from regions that we have historically positioned as "other" - creates and maintains a hierarchy. It encourages those in the geopolitical West to objectify the victims of terror and disaster in "other" lands as lesser beings who do not require the same level of dignity with which we would approach our own. Those others' lives in those far-away locations are less valued, their deaths less impactful, and thus less respect needs to be shown around their deaths. Moreover, "publishing some images while suppressing others sends the message that the visible bodies are somehow less consequential than the bodies granted the privilege of privacy."

it remains important that foreign journalists operating in Africa remember to examine and critique their positionality as they report on events in countries into which they have just "parachuted". Members of the foreign press should know that, as representatives of powerful news organisations, they have enormous power to influence the ways in which those in the "West" view "Africa" and "Africans". However, their reports often lack this necessary self-awareness and critique. Instead, their work reflects the lineages of power that come with Western news institutions and the fact of being in a "Western" body (which, no doubt, also depends on how a particular reporter is read as a "racialised" and gendered body) in a particular setting and context.

Most Western media outlets' reports on Africa continue to offer their readers predictable, contemporary versions of deeply problematic colonial images of "Africa" that allows them to safely imagine themselves as "civilised", and "Africans" as…well, you know the rest

Africans are no longer staying silent

Mashrou’ Leila was later banned by the Syndicate of Musical Professions from performing in Egypt for performing “abnormal art”.

police have often relied on anti-debauchery laws to arrest and detain both homosexuals and supporters of homosexuality on charges of debauchery, blasphemy and others. Similarly, private citizens have also raised lawsuits against a number of figures for promoting the rights of the LGBTIQ+ community.

The UAE, while liberal in many regards compared to its Middle Eastern neighbors, has strict laws governing expression. Journalists working in the country require government-issued press cards. People also have been jailed for their comments online.

“People are feeling helpless, they are feeling [that] it is not that we don’t care — it’s that we just can’t do anything.”

“We have hit a ceiling in shocking people,” El-Katatney said. “From [a] pool of blood, or a dying child, and now people have come across severed limbs, decapitation. I don’t think there is anything that I can show that will shock anyone, no matter what it is.

In the final two months of 2016, as the four-year siege of the rebel-held city of Aleppo ended in brutal fashion, the four more-shared stories were all shared more than 300,000 times. The best performing story (about how people could help civilians trapped in Aleppo) was shared more than half a million times, almost entirely on Facebook.However, in January and February this year, as the Syrian regime and Russian forces bombarded the enclave of Eastern Ghouta, the most viral piece across all publishers (a BBC News article about children struggling to survive) was shared just 42,000 times.

human brains are incapable of coping with prolonged catastrophes, a phenomenon called “psychic numbing.”

the more death and destruction you see, on social media for example, the more your feelings of empathy actually decreases. “One plus one is less than two,” in this situation, he said.“We do numb to repeated photographs, just like we numb to increasing numbers of individuals,”

almost half a million people have been killed, 5 million more have fled the country, and 6 million have been displaced internally

Decisions made by US President Donald Trump’s administration have contributed to keeping the conflict from the international community’s attention. Despite bombing Syria, Trump’s only focus in the country has been ISIS, leaving a vacuum that has been occupied fully by Vladimir Putin’s Russian forces, who have worked together with the regime of Bashar al-Assad to bombard the remaining rebels, like those in besieged Eastern Ghouta.

"I think the world is frustrated by the actions of the major powers," said Salwa Aksoy, vice president of the National Coalition of Syrian Revolution and Opposition Forces. "The struggle has lasted so long, and the scale of the war crimes has reached a level where there is just too much pain for the international community to look at it,”

“All of our calls to protect children inside Syria have gone unheeded,” she said.“People are genuinely upset, if not angry or outraged, about what is happening now in Syria. For that I have no doubt about,’ she said. “There is, however, a certain element of fatigue among people about the suffering and the continuous horror stories. I think a lot of people feel helpless over what is happening and not being able to stop the bloodshed in Syria.”

“What kind of ways can we cover Syria that we haven’t done a thousand times before, whether it is with footage or with the scripting? And sometimes we fail. Sometimes there just really is nothing.”For Adam, messaging from a rooftop elsewhere in Ghouta, he could see the people not retweeting his stories, but he could also hear the shelling continue. “Today, like always bombing, airstrikes, and people killed. Like every day,” he said.“But no one cares.”

With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia

For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris

in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”

Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”

Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”

one must go back to the outset of the crisis, nearly three years ago. Back then, there were over 30 series released every season, produced under a diverse range of production houses and addressing a wide array of subjects. The industry cycle was more or less stable, starting with producers in competition with each other, to satellite channels racing to purchase the best series’ screening rights and advertising revenues being the central source of profit. The main issues concerned increasing production budgets and the skyrocketing salaries of certain stars.

the state was preparing a plan to exert control over the entire market. The first signs of this plan emerged in June 2017, with statements by the president and a number of government officials voicing their displeasure with the content offered on Ramadan TV series, and their desire to remedy the situation. This remedy manifested in the form of extreme censorship measures, including the establishment of the Drama Committee within the Supreme Meda Regulatory Council, designed to monitor the TV drama industry.

The effects of these directives became apparent last year in the striking similarity of the content of the series released, as well as the ubiquity of police and army officers as characters in most of them

satellite channels, many of which — including ONtv and Al Hayah — are currently controlled by EMG, owned by Eagle Capital for Financial Investment, a private equity fund founded by Egypt’s General Intelligence Services (GIS)

Television channels, sources say, will fill up the remaining airtime — previously overflowing with series — with variety television shows, including talk and game shows, instead. Tawfiq Okasha, the controversial media personality who made his comeback in March — courtesy of  Synergy Productions and EMG — recently dedicated a segment on his show (which airs on Al Hayah) to criticizing actors and “the obscene sums of money they demand.” Okasha then proceeded to discuss a plan to bring down the number of series airing this Ramadan to 18, with each television channel airing only three.

as a result of this monopoly, many producers are out of work this year, including Beelink’s Mohamed Mashish, El Adl Group’s Maha Selim, and producer Ahmed Al Sobky, when the three of them combined had eight series screening last Ramadan

The initial outcome of Morsy’s monopoly over the Egyptian drama market became clear last year with the elimination of certain series from Egypt’s Ramadan season, including El Adl Group’s We Have Other Statements (starring Youssra) and Land of Hypocrisy (starring Mohamed Heneidy), which were only aired on non-Egyptian channels, as well as Beelink Productions’ What Came to Pass (starring Ruby), which was not broadcast at all. Now, with Morsy’s newly acquired control over more channels, in addition to EMG’s acquisition of shares in the CBC television network and Morsy’s partnership with D Media, it appears that other producers will no longer have access to air their series in Egypt. Both D Media and DMC, another prominent television network, are owned by the GIS.

difficulties the company faced when filming last year’s Eagle of the South, as a result of excessive military intervention in the series’ content and production process. Members of the Armed Forces were often present on set and would interfere in most details during the shoot, not to mention that the show’s star, Mohamed Ramadan, would often miss shoots because his military conscription service overlapped with shooting times. Sometimes, he would arrive to the shooting location in a military vehicle

Shaaban believes that the current setback in television production has been primarily brought on by declining economic conditions, which have led to a decrease in advertising budgets. The industry, he says, is built on the flow of money from advertising agencies to satellite channels to production companies. If channels were reaping advertising revenues, they would be able to buy series from producers, who in turn would be able to produce more series, and so on. However, given the current economic climate, corporations haven’t been spending as much on advertising as they used to, and this has definitely affected the production cycle.

prominent actor Adel Imam, who could potentially miss his first Ramadan season in seven years, due to alleged censorial objections to the subject matter of his new series, in which he was reportedly set to play the president’s physician

most seem to attribute it to the president, who appears to be irked by the scale the industry had come to operate on and the high salaries paid to TV stars

It is possible that, for the first time in history, the Egyptian drama sector will produce less work than its counterparts in Lebanon, Syria and Kuwait, who produce 10 to 20 works on average each Ramadan season.

2 million Egyptian workers of all stripes who contribute to and depend upon this industry, patiently waiting for the Ramadan season from year to year

Medhat estimates that the industry spends about LE2 billion annually and brings in about LE4 billion in revenue — all of which, in the 2019 season, will go almost entirely to one entity

One interpretation of these recent developments is that the Egyptian state — nostalgic for the heyday of state television, when the state alone was in control of all television productions — is planning a comeback under new terms, tailored to fit the demands of the current moment. After exerting its control over satellite TV channels, it now seeks to control production as well, in order to keep the media and entertainment sectors securely under its wing, only for the state to emerge once again as the only player on the local scene.

In the last decade, he has garnered the dubious honour of being jailed under Mubarak, his Islamist successor Mohamed Morsi and current President Abdel Fattah al-Sisi.

These outlets offer their content for free and generate money from grants or by providing research and translation services. Mada Masr depends on the latter two streams. The business model is precarious, but so far it’s working. The outlet has gradually expanded to 32 employees.

7iber now has 14 staffers and has built a credible reputation for providing in-depth reporting and nuanced analysis. In September 2017, it published an in-depth piece about the fate of 70 Sudanese refugees who were swiftly deported from Jordan in December 2015. The piece won an award for the best multimedia investigation at the Arab Investigative Journalism Awards in 2017.

On Dec. 10, 2018 — ironically, Human Rights Day — Lebanon’s Internal Security Forces entered the office of Daraj and detained editor-in-chief Hazem el-Amin, based on a complaint regarding a story they had published some months earlier, even though the plaintiff had already withdrawn the complaint. The editor was released within hours, but the incident was “reflective of the ways of a typical police state,” wrote el-Amin on Twitter.

In May 2017, Egyptian authorities blocked access to Mada Masr and 20 other websites. That makes it difficult for Mada Masr to measure its audience, but its followers still access the site through a VPN. Despite the risk of being shut down, Attalah says that Mada Masr concentrates on reporting fairly and accurately. One of Mada Masr’s articles this May, for instance, revealed how a majority of new television shows launched in Egypt during Ramadan have links to an intelligence agency.

The next challenge for outlets like 7iber and Mada Masr is to expand beyond their core followers of young progressive millennials and activists, says Ayman Mhanna, executive director of the Lebanese Samir Kassir Foundation, which defends press freedom across the Middle East. “When you ask most people on the streets of Egypt, Jordan or Lebanon about these platforms, they don’t even know they exist,”

Mada Masr, 7iber, Sowt and Al Jumhuriya have banded together to provide a one-year fellowship called the Alternative Academy for Arab Journalism. The fellowship begins in September and aims to train 25 young journalists each year in critical thinking and in-depth storytelling.

The plan, to be funded by private Saudi and Emirati investors and executed by Egyptian firms that helped broaden the Suez Canal, also envisions the construction of five hotels, two ports and a free trade zone.

The $750 million project would have the dump ready for when Saudi Arabia inaugurates the first two of its 16 planned nuclear reactors in 2027. Saudi Arabia is reviewing proposals to build the reactors from US, Chinese, French, South Korean contractors and expects to award the projects in December.

Qatar’s more liberal Wahhabism of the sea contrasts starkly with the Wahhabism of the land that Prince Mohammed is seeking to reform. The crown prince made waves last year by lifting a ban on women’s driving, granting women the right to attend male sporting events in stadiums, and introducing modern forms of entertainment like, music, cinema and theatre – all long-standing fixtures of Qatari social life and of the ability to reform while maintaining autocratic rule.

A traditional Gulf state and a Wahhabi state to boot, Qatari conservatism was everything but a mirror image of Saudi Arabia’s long-standing puritan way of life. Qatar did not have a powerful religious establishment like the one in Saudi Arabia that Prince Mohammed has recently whipped into subservience, nor did it implement absolute gender segregation. Non-Muslims can practice their faith in their own houses of worship and were exempted from bans on alcohol and pork. Qatar became a sponsor of the arts and hosted the controversial state-owned Al Jazeera television network that revolutionized the region’s controlled media landscape and became one of the world’s foremost global English-language broadcasters.

Qatari conservatism is likely what Prince Mohammed would like to achieve even if that is something he is unlikely to acknowledge

“I consider myself a good Wahhabi and can still be modern, understanding Islam in an open way. We take into account the changes in the world,” Abdelhameed Al Ansari, the then dean of Qatar University’s College of Sharia, a leader of the paradigm shift, told The Wall Street Journal in 2002.

if built, the channel would suggest that geopolitical supremacy has replaced ultra-conservative, supremacist religious doctrine as a driver of the king-in-waiting’s policy

Israeli drones are unmarked, and the Israeli jets and helicopters cover up their markings. Some fly circuitous routes to create the impression that they are based in the Egyptian mainland

In Israel, military censors restrict public reports of the airstrikes

They moved into hitting softer targets like Christians in Sinai, churches in the Nile Valley or other Muslims they view as heretics. In November 2017, the militants killed 311 worshipers at a Sufi mosque in the North Sinai.

Mr. Sisi, then the defense minister, ousted Mr. Morsi in a military takeover. Israel welcomed the change in government, and urged Washington to accept it. That solidified the partnership between the generals on both sides of the border

In November, 2014, Ansar Beit al Maqdis formally declared itself the Sinai Province branch of the Islamic State. On July 1, 2015, the militants briefly captured control of a North Sinai town, Sheikh Zuwaid, and retreated only after Egyptian jets and helicopters struck the town, state news agencies said. Then, at the end of October, the militants brought down the Russian charter jet, killing all 224 people on board. Advertisement Continue reading the main story It was around the time of those ominous milestones, in late 2015, that Israel began its wave of airstrikes, the American officials said, which they credit with killing a long roster of militant leaders.

The Egyptian government has declared the North Sinai a closed military zone, barring journalists from gathering information there

Zack Gold, a researcher specializing in the North Sinai who has worked in Israel, compared the airstrikes to Israel’s nuclear weapons program — also an open secret.“The Israeli strikes inside of Egypt are almost at the same level, he said. “Every time anyone says anything about the nuclear program, they have to jokingly add ‘according to the foreign press.’ Israel’s main strategic interest in Egypt is stability, and they believe that open disclosure would threaten that stability.”

“What I fear is that this pool of currently unemployed talent will switch careers, which will come at the longtime expense of the industry since these are trained professionals. I do not believe that the military [Synergy] sees this; they simply have one clear goal: to control the industry. The government has effectively, through the institutions it runs, carried out the first monopolization process in the history of neoliberalism.”

In June 2018, the authorities banned a film examining a love affair between a Muslim man and a Christian woman before it hit the cinemas, although director Khaled Youssef said he obtained the necessary licenses. The decision was later revoked, but was alarming to many given rising censorship levels

While over fifty shows typically aired during the peak Ramadan season, even during economically turbulent years as in 2017 and 2018, only twenty-four shows aired last Ramadan, and over two-thirds of them are produced by Synergy. Production powerhouses like El Adl Group and Beelink Productions were notably absent this season from their regular Ramadan run, while regionally acclaimed megastars like Yossra, Adel Imam and Laila Elwy uncharacteristically did not star in any shows during the peak season either, likely due to the dramatic, forced budget cuts which make casting an A-lister virtually impossible. Compensation levels for many of these lead faces could often be as high as EGP 50 million (~USD 3 million), the currently imposed budget cap for aggregate production costs of a Ramadan soap opera’s full season

“For a producer, the direct client of drama series is television channels, and several factors have negatively impacted their purchasing power. The GCC-owned channels are struggling in light of the economic difficulties there, primarily due to the war in Yemen, so the main overseas market for selling television series is not that great. Add to this that privately owned channels in Egypt were never highly profitable, and media budgets generally were slashed with Egypt’s high inflation levels [during the past couple of years], and you have a situation where many production companies are struggling to stay afloat.”

Over the course of the past year, EMC CEO Tamer Morsy also gradually gained majority ownership of key television networks such as CBC, ONTV, DMC and Al-Hayat, a move facilitated through the recent launch of EMC affiliate United Group for Media Services. Moreover, state-owned entities effectively gained control of both the production and purchasing sides of the business as these unprecedented levels of regulation and government ownership were put in place.

in early May United Group for Media Services launched paid streaming app WatchiT and prohibited the longtime convention of shows airing online on YouTube for those who couldn’t catch them on satellite television channels. Widely accessed streaming app EgyBest, among other free online streaming services, were also blocked to allegedly mitigate “piracy”, granting government intelligence-affiliated WatchiT a monopoly over streaming services. Since digital finance and financial inclusion levels are low in the most populous Arab country, the decision came to the dismay of throes of viewers regardless of political affiliations or regulation concerns. For those following television series on satellite channels, short broadcast announcements interrupt episodes to denounce a May 28 Human Rights Watch report on enforced disappearances, killings and torture in North Sinai. Other broadcasts order audiences to pay heed to “threats to terrorism and national security.”

“Because these people [Synergy and EMC] are military men, their mentality is to cut off what doesn’t work, with little concern for the consequences. The military don’t understand or love the arts; they see it as just another industry they can profit off by minimizing losses.”

“It’s understandable that they [the military] would be more concerned with penetrating television production as opposed to the cinema industry, because viewership numbers are higher for television series in comparison to films. Not everyone can afford a cinema ticket, but most Egyptians, be they rich or poor, have access to a television set. There’s nothing to stop them from gaining as much control of the film industry as they have with television, but I believe they’re not investing in it [as much] because it isn’t as lucrative,”

Saudi Arabia is once again opening cinema theaters following a 35-year ban, creating a significant potential box office market for Egyptian films, particularly since plans for the inauguration of 2,000 theatres in the kingdom before 2020 are in the works

our country was once the Hollywood of the Middle East,”

There was a time when everyone in the Arab world recognized Umm Kalthoum and Ismail Yassin, even more so than [our own president] Nasser. We need to work towards reestablishing that, and understanding how entertainment can be used as a tool for soft power

IranDisinfo has repeatedly posted and retweeted attacks on Washington Post columnist Jason Rezaian, who had been imprisoned by the Iranian government for more than a year, simply for condemning Trump's "Muslim ban".