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The Derivative is a bi-annual online publication launched in October 2020, in the midst of unprecedented political, social, economic, and environmental collapse in Lebanon. It is an attempt at building collective vocabularies, registers, and practices able to account for and run against the systemic onslaught we are faced with.

The Derivative is a student of the uprising of Oct 17, 2019; it is first and foremost a rhizomatic object around which to mobilize a diversity of praxes. Experimenting with collective editorial models, each issue is above all an excuse to think and make together and a way to expand and strengthen networks of friends and allies through divergent modes of address, thought, and action.

Every issue of The Derivative starts with three guest editors, each assigned a theme in the form of a three-letter root word (جذر) in Arabic. Each editor then collaborates with five contributors to help unfold the various facets of each theme, as well as an artist contribution responding to each text.

thederivative

What Remains is Constant

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1. John Hutchinson (1811–1861) grew up in the coal-mining region of Newcastle upon Tyne, in northeast England, and came from a middle-class family of parish clerks, farmers, and coal merchants. During his lifetime, he worked across the fields of physiology and mechanical engineering, by way of being an assistant physician at the Hospital for Consumption […]

Sonic debris : Rebuilding former spatialities through reverberations

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“Multiplicity and variety of inflections produce “events,” or vibrations, “with an infinity of harmonics or submultiples.” Movement of a concept that has bearing upon a subject’s impressions of the physical world does not elevate according to a spiral plan, which belongs to philosophy. but radiates or ramifies everywhere in the geography of experience. such that […]

Encountering “Allouchi”

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In Max Weiss’s In the Shadows of Sectarianism: Law, Shi’ism, and the Making of Modern Lebanon (2010), a scholarly exploration of the gradual “institutionalization of Shi’i difference” in Lebanon, Weiss quotes a passage from Lebanese film critic Mohammed Soueid’s interview with Omar Amiralay, in which the late Syrian filmmaker reflects on a childhood vision: ‘I […]

ر.ق.م (Number)

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“Arrival”, the first episode of British science-fiction television series The Prisoner, first aired in the UK, on ITV, in September 1967. The opening title sequence is a frenetic montage that starts with a shot of a cloudy sky and a thunderous boom, followed by a shot of a sports car zooming across a runway, manically heading […]

ص.د.ى (Reverberation)

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If they ask you, tell them we were flying. Knowledge of freedom is (in) the invention of escape, stealing away in the confines, in the form, of a break. This is held close in the open song of the ones who are supposed to be silent. From the Undercommons: Fugitive  Planning and Black Study — […]

ف.ر.د (Individual)

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By the time this introduction is published, the world will have rehearsed its own flight out of the window for the umpteenth time. Jokingly referring to the recursive extinction-events that unfolded and continue to be felt and experienced this past year alone, a tweet that has since gone viral stated that: “Future historians will be […]

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DISCLAIMER

The editors have made every effort to contact all copyright holders of the images used in this publication. If you claim copyright of any of the images presented here and have not been properly identified, please contact the editors with sufficient proof that you are the copyright holder. They will update the publication with a formal acknowledgment of your copyright.

MANAGING EDITOR

Haig Aivazian

Resident Editor

Lori Kharpoutlian

Arabic Editor

Rida Hariri

VISUAL CONCEPT AND DESIGN

Studio Zumra

WEB DEVELOPMENT

Jazilan

FONTS

29LT Azer by 29Letters and WorkSans by Wei Huang

Publisher

Beirut-Art-center_Logo_Final-white

beirutartcenter.org

© 2020–2023 The Derivative • المشتق. All Rights Reserved. Beirut Art Center Association.