The 2002 government restoration of Suq al- Hamidiyya in Damascus led to disagreements between officials and merchants over acceptable spatial practice in the marketplace. Though both were vested in the Suq’s introduction to the historic Old City, they had different interpretations of this role. Officials emphasized a sanitized and ordered space whereas merchants focused on the commercial activities necessary in the marketplace over discipline. Eventually both interpretations, though at times contradictory, were included in the project. This article illustrates how the replication of modernity in a public space with inherent contradictions is a result of negotiations between formal and informal modernitites [sic].
This article interrogates the emerging modes of civic engagement connected to the mobile camera-phone, and the ways in which they require us to rethink what it is to bear witness to brutality in the age of fundamentally camera-mediated mass self-publication. I argue that the camera-phone permits entirely new performative rituals of bearing witness, such as dissenting bodies en masse recording their own repression and, via wireless global communication networks, effectively mobilizing this footage as graphic testimony in a bid to produce feelings of political solidarity. Critically, the performance of what I elect to call ‘citizen camera-witnessing’, as exemplified by contemporary street opposition movements including those in Burma, Iran, Egypt, Libya and Syria, derives its potency from the ways it reactivates the idea of martyrdom: that is, from its distinct claim to truth in the name of afflicted people who put their bodies on the line to record the injustice of oppression.
