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PRIVACY POLICY

 

 

1 INTRODUCTION

 

We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.

 

This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 9th June 2019

 

 

2. OUR LEGAL OBLIGATIONS REGARDING YOUR PERSONAL DATA

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law’).

 

 

3. WHAT PERSONAL DATA DO WE COLLECT AND USE?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our products in our shop or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

4. HOW YOUR PERSONAL DATA IS COLLECTED

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

5. INFORMATION ABOUT THIRD PARTIES

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

6. HOW AND WHY WE USE YOUR PERSONAL DATA

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at [email protected];

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

7. DISCLOSING YOUR PERSONAL DATA TO THIRD PARTIES

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

8. COOKIES AND SIMILAR TECHNOLOGIES

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

9. HOW LONG WE RETAIN YOUR PERSONAL DATA FOR

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

10. SECURITY THAT WE USE TO PROTECT PERSONAL DATA

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

11. YOUR PERSONAL DATA RIGHTS

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

12. COMPLAINTS

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

13. CHANGES TO THIS PRIVACY POLICY

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

14. CONTACT

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at [email protected].

How Female Middle Eastern Sci-Fi Is Predicting Our Climate Crisis.

In our contemporary political climate, art-making can be used as an alternative approach to stagnant environmental policies, in order to advocate more sustainable environmental outlooks. This is a call for creative intervention: creation in an artificial landscape that can be used to platform inclusivity and care, propagating alternative realities with more sustainable futures.

 

Spearheaded by Palestinian visual artist Larissa Sansour, sci-fi film in the Arab region is being utilised as a way to address environmental urgency. This has primarily been adopted by independent female filmmakers, such as Basma Alsharif, Shahad Ameen and Mounia Akl. Art has long been used as a non-violent form of protest, and once again female art-making has embodied nature in order to oppose patriarchal, urban and political warfare. Through rethinking environmental art-making, alternative realities can be virtualised, which can be used to draw attention to those who are geographically, economically and socially feeling the inactivity of environmental policy.

In the Arab region, the union of information technology and art beams far back, arguably to the first draft of the Sumerian fantastical text ‘Epic of Gilgamesh’ in c. 2150-2000 BC. Beyond the text and before it migrated West, Islamic mystics and physicians started practising the art of alchemy, with its ancient prototype of Takwin emerging in the seventh century, due to the work of chemistry’s founding father Jabir ibn Hayyan. Takwin tapped into both the physical and spiritual forces of nature, where an empathetic approach was taken to the production of non-organic matter. For example, Abu al-Qasim’s twelfth century Takwin text ‘The Sources of Truth and the Explication of Paths’ (Uyun al-haqa’iq wa idah al-tara’iq) addressed how alchemy could artificially produce sustainable life on our planet. The text shows how non-human life was accepted with a similar consciousness to our own human life, with the environment and artificial life as equally valued.

 

Fast forward: in 2016, an Egyptian woman named Rana el Kaliouby co-developed the first AI that could recognise human emotions. The software company Affectiva tested their AI on over six million faces from over eight-seven countries, and has the computerised capacity to feel emotion undiscriminated by ethnicity, gender or race. El Kaliouby harkens back to ancient Arabic practises by showing the importance of care towards artificial matter. In 2019, Affectiva is still the world leader in emotion recognition, bringing us closer to a more heartfelt and human understanding of artificial intelligence and information technology.

By creating artificial intelligence that is attentive to its surroundings, it shows promise for a technological future attuned to its environment. This aligns with recent research into how AI can tackle our climate crisis, with machine learning currently being developed to monitor solar geoengineering, energy production and carbon emissions. El Kaliouby’s AI reminds us that there is an empathetic approach needed towards our planet too, and that creating AI with scientific superpowers simply isn’t enough. The female Middle Eastern researcher suggests that we need to program AI to be emotionally receptive to our environment and those within it – that perhaps empathy and care in a dystopian future can be of equal salvation to our planet.

 

In female Middle Eastern film, there is an attempted subversion of the sci-fi genre’s master narratives. Without undermining popular value, these films contrast the un-empathetic attention to artificial life as popularised by the codes of the mainstream Western sci-fi genre. With its apocalyptic, clinical and people-crushing narratives highly-grossing in cinemas, we are sold a heartless future of ‘pure’ science and artificial intelligence, led by stereotypically dissociative characters such as ‘Star Trek’s’ Spock. What we are being sold is a clean, cold and white-washed aesthetic that can never exist in our times of climate crisis. By writing empathy as protest against such narratives, alternative and feminist art-practise can be used to emotionally map the realities of our changing environment.

Using literal space, Larissa Sansour provides a necessary remapping of our environment, showing how feminist and decolonial configuration can shape a new future. She depicts this as a place and space where poor environmental policy is not a danger to those situated on a sociopolitical and geographic border. In ‘A Space Exodus’ (2009), Sansour appropriates Strauss’s famous track “Also Sprach Zarathustra”, made famous by Kubrick’s 2001: ‘A Space Odyssey’ (1968), as an astronaut can be seen planting a Palestinian flag on the moon. Sansour re-writes a dominant artistic and political narrative in order to protect her own reality. She positions her female subjectivity in the film (by embodying the astronaut) as an alternative to the genre’s predominantly masculine figuration in space travel.

 

Sansour also shows that whilst Palestine cannot be put on (Google) Earth’s map, it is present in her artistic (outer) space. Political stagnancy isn’t the only factor rupturing our space — our geographical borders are also changing due to climate crisis. We should be reacting to this fluxus by productively creating localised, community-focused, safe sites, with the aim to decolonise physical space beyond the theoretical text. As Sansour’s film shows through the case of Palestine and virtual feminisms, politics can be used with empathy to create safer spaces, working with the change that our planet is experiencing rather than disrupting our planet further.

This productive redevelopment of social and artistic sites through the medium of sci-fi is also practised by experimental Kuwati visual artist Basma Al-Sharif. Like Sansour, Alsharif does not use sci-fi to show us an unfamiliar future. Rather, she uses art-making to map a cartography increasingly difficult to navigate, presenting her future as existing on virtual plains that are only accessible to those travelling privileged trade routes. One of her most popular films ‘Ouroboros’ (2017) follows a figure through the landscape of the Gaza Strip, a sweltering journey that rests upon mass-mediated images of environmental trauma. This journey bears similarity to our current crisis of desertification, the process of human intervention causing semiarid regions to morph into deserts, with now 90% of the Arabian Peninsula under threat. To put this into perspective, the Arab world contains one third of the world’s deserts. Alsharif’s film draws attention to this shifting landscape not only threatened by degradation of arable land, but how this is often the cause of economic warfare. She marks political redevelopment as the main trauma of our climate crisis, with her cyclical film predicting that our harmful future is not far off.

Mounia Akl’s work firmly desecrates this safe gap between our present and the future, with her short film ‘Submarine’ (2016) reconstructing a real-life event that started affecting Lebanon parallel to her production. The film predicts the problem with the Lebanese garbage crisis, as we now know it today — the denial that local disaster is not of national (and global) environmental concern. The film looks at the Lebanese garbage crisis at its point of evacuation, with the main character, Hala, unrecognisable amidst the waste, and the only person in the small village who protests against leaving her changing home-scape. Lebanon’s waste crisis began in 2015, with the closure of a landfill site in Naameh that had reached capacity. As a result, Sukleen, the waste-collection company, had nowhere to dispose garbage and had to halt operations, leaving waste to pile up on the streets of Beirut. New political parties (such as Beirut Madinati and the Waste Management Coalition) were formed to tackle the enviro-political odour, but to this day this government has not taken action, and the situation has become detrimental. With over half of the country’s landfill sites now shut, over 200 landfill sites have taken to openly burning their garbage.

This not only hurts the environment further, but poses a huge health risk to residents near the burning landfills — which have been built in poorer neighbourhoods where people already have limited access to healthcare. By virtualising only one character in the village who recognises the crime inflicted upon them, the film mirrors the demographic that is denying the crisis. Influenced by party politics and preoccupied by urban warfare, the government fails to amend the crisis in poor areas, which are far removed from their own homes. The other characters in the film fail to recognise their garbage-drenched village as their own home anymore, an attitude adopted by the government’s current inactive policy as the crisis becomes worse and intervention becomes more removed from political concern.

 

Environmental matter is intrinsically political, as the organs of our global landscape cough under political pressure. Female Arab sci-fi art is the alternative reality being used to raise awareness of our climate crisis and xenophobic reality. The movement sheds light on current political issues by projecting apocalyptic images of an imagined future society where present attitudes and actions continue without heart. As shown by works from the movement and various other splinters of regional sci-fi, all draw attention to the importance of carving new socio-political landscapes, using new technologies in order to craft new artistic horizons. Female Middle Eastern sci-fi film is taking our planet to heart, reconciling the spiritual with a genre that, in popular cinema, has become clinical and scientific. An ode to the ancient (he)art and a safer future for all.

27.01.2020

Words by Roisin Tapponi

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