With 2022 just behind us, we look back at all the pieces published during the past year in ascending chronological order on an animated timeline. Here are all the pieces published by our contributors and from Creative Commons sources that shaped Inverse Journal’s 2022. You can click on any piece that you may have missed or that you may want to revisit and it will open in a new browser tab. With this timeline, we say hello to a new year.
With 2021 just behind us, we look back at all the pieces published during the past year in ascending chronological order on an animated timeline. Here are all the pieces published by our contributors and from Creative Commons sources that shaped Inverse Journal’s 2021. You can click on any piece that you may have missed or that you may want to revisit and it will open in a new browser tab. With this timeline, we say hello to a new year.
With 2G internet restrictions in place during a global Coronavirus crisis, this article discusses the greater value of independent collaborative initiatives like the COVID-19 Kashmir Tracker developed by young Kashmiri IT professionals Haider Ali, Mudasir Ali and Vikas Bukhari.
Inverse Journal just completed a year of exploration this month after its already troubled launch on February 1, 2019. As such, we are proud to present (in a scrollable timeline) the writings, ideas and work by our many contributors from Kashmir and across the globe who shaped our 2019 in this small but persistent community of readers, writers, artists, poets, filmmakers, scholars, journalists and creatives from multiple fields. 2019 has been the year when—struggling (while still struggling)—the journal took off from South Kashmir and into uncharted territory—risking the attempt to connect diverse peoples from different backgrounds, all sharing in common the features of contemporary culture that make us one: our verses, our stories, our songs, our films, our incisive critical thinking, our contemporary ideas, our research, our scholarship and above all, our voices.
Inverse Journal invites photographers of all backgrounds to participate in a running series entitled “Kashmir: Paint the Day as Night” to present their black and white photography in a photo story format, with a maximum of 15 black and white photographs accompanied by descriptive captions contextualizing each photograph (maximum caption size should be one short paragraph or 100 words). The selected and published photo stories will be featured under the title “Kashmir: Paint the Day as Night [series number] – by [photographer name]” and will include an editorial introduction, with the photographer being credited as contributor on Inverse Journal’s platform.
In an attempt to develop conversations, dialogues, discussions and exchanges of ideas about contemporary culture from Kashmir to the world beyond the Himalayas, Inverse Journal has arrived to establish a space and a platform for a wide array of culture producers and an interested readership. The journal primarily focuses on contemporary art forms, from fiction, poetry, art, photography, music to scholarly essays and articles, but also intends to create global and multicultural intersections through this common space. We are expecting half of our submissions to come from Kashmiri culture producers and the remaining half will depend on a variety of contributions to the journal made from a diverse group of international contributors.
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