This is the Time. This is the Record of the Time

This unique photographic compilation, taken from long-forgotten glass plates, was published in commemoration of AUB's 140th anniversary, and depicts scenes from Lebanon, Syria, and AUB in the late nineteenth and very early twentieth centuries, when Dr. Franklin T. Moore taught at the Syrian Protestant College (now the American University of Beirut). Moore's camera captured the seemingly vast size of the new campus, the undeveloped northeastern mountains, and an unpaved Bliss Street, in sharp contrast to the growth and changes that have taken place since then. The volume includes an introduction by former AUB president John Waterbury, a socio-historical account of Ras Beirut and AUB by Professor Samir Khalaf, a history of the Moore Collection by the artist Helen Khal, a description of the restoration process along with comments on Moore's photographic techniques by Professor Marwan El-Sabban, and a brief history of the AUB Medical Photography Department by Professor Emeritus Raif Nassif.

The first book of its kind in Lebanon, Mute Movements, documents the emergence of a performance art scene in Lebanon. The book illustrates the collective work of students and artists under the direction of Cornelia Krafft, former assistant professor at AUB. Captured in high-quality photographs and narrated through the performers' own words, Mute Movements invites the reader to embark on an inspirational journey through modern-day Lebanon as seen through the eyes of these young artists striving to confront their internal and external challenges on the personal, national, and regional levels. Their “mute" performances, situated in provocative locations, demanded attention and triggered debate. Played out in unorthodox settings – abandoned buildings, war ruins, along the sea-shore, in city streets and run-down cinemas – these performances required almost as much of the spectators as of the players with their fundamental questioning of issues of collective relevance: social responsibility, personal and regional identity, cultural heritage, censorship, conflict, freedom, and repression. Across the pages of the book, each performance unfolds in documentary-like fashion. The underlying theme, the evolution of performance art in Lebanon across five fertile years of artistic endeavor, lays the groundwork for years to come. While the focus is Lebanon and its youth, the bigger picture is a work in progress which is applicable far beyond the borders of one small country, making Mute Movements a valuable as well as highly enjoyable reference work. ​The overall minimalistic aesthetic and design of the book envelopes an extraordinary sample of strong artistic encouragement through contemporary education in the fields of performance, set design, and visual arts; the result is a document of international importance.

This book showcases the work of twenty featured artists from the first group exhibition of contemporary ceramists in Lebanon, and thus is the first of its kind. Innovation in fine arts at AUB goes back at least to 1929, when the University hosted first solo exhibition in Lebanon with the work of Lebanese artist Mustafa Farroukh. ​This is a publication of the Project Steering Committee for an Arts Center at AUB.