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Thematische Bibliographien / Lawrence Abu Hamdan

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Auswahl der wissenschaftlichen Literatur zum Thema „Lawrence Abu Hamdan“

Autor: Grafiati

Veröffentlicht am 29. Juni 2021

Zuletzt aktualisiert am 5. Februar 2022

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Zeitschriftenartikel zum Thema "Lawrence Abu Hamdan"

1

Leckie, Robert. „Equivocally Yours: A Conversation with Lawrence Abu Hamdan“. Afterall: A Journal of Art, Context and Enquiry 39 (Juni 2015): 74–87. http://dx.doi.org/10.1086/682838.

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Apter, Emily. „Shibboleth: Policing by Ear and Forensic Listening in Projects by Lawrence Abu Hamdan“. October 156 (Mai 2016): 100–115. http://dx.doi.org/10.1162/octo_a_00253.

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Drawing on the work of Lawrence Abu Hamdan, a British-Lebanese artist and researcher currently based in Beirut, this essay examines the juridical and conceptual field of critical forensis which is situated at the juncture of security studies, art, and architecture. Abu Hamdan extends forensics to the area of “new audibilities,” with a focus on the politics of juridical hearing in situations of legal-identity profiling and voice authentication (the “shibboleth test”). Abu Hamdan's projects investigate how accent monitoring and audio surveillance, voice recognition, translation technologies, sovereign acts of listening, and court determinations of linguistic norms emerge as so many technical constraints on “freedom of speech,” itself a malleable term ascribed to discrepant claims and principles, yet taking on performative force in site-specific situations.

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Cahill, Zachary. „Tracing the Sonic Image: Lawrence Abu Hamdan, Hannah B Higgins and W.J.T. Mitchell“. Portable Gray 2, Nr. 1 (März 2019): 89–97. http://dx.doi.org/10.1086/704270.

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4

Gade, Solveig. „THE PROMISE OF THE INDEX IN CONTEMPORARY DOCUMENTARY PERFORMANCE“. Nordic Journal of Aesthetics 27, Nr. 55-56 (07.11.2018): 41–64. http://dx.doi.org/10.7146/nja.v27i55-56.110753.

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This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents, which in each their way index back to conflictual events, the crucial point is not so much the status of the evidentiary material per se. Instead, enabled by fictitious strategies, the artists invite us to pay attention to the differing statuses and meanings assigned to documents depending on the particular knowledge systems and spaces of appearance within which they are perceived. In this way, the essay argues, the works of Mroué and Hamdan help us move beyond the discourses within documentary theory, which tend to conform to either a postmodernist relativist position or a realist epistemology.

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Elmer, Greg, und Stephen J. Neville. „The Resonate Prison: Earwitnessing the Panacoustic Affect“. Surveillance & Society 19, Nr. 1 (05.03.2021): 11–21. http://dx.doi.org/10.24908/ss.v19i1.13923.

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Panacoustic surveillance can be low-intensity and mundane, but when taken to its extreme, it is coordinated with physical violence to create an atmosphere of hallucinatory fear. Our entry point into this problem is through a case study of the Saydnaya torture prison in Syria, a terrifying and opaque architecture of power. This short paper draws from the earwitness art and human rights activism of Lawrence Abu Hamdan concerning Saydnaya in collaboration with Amnesty International: from our analysis of the prison, we extrapolate lessons of panacoustic technologies more broadly, which are not necessarily or immediately violent but nonetheless disempower subjects by constraining their behaviors and rendering walls indefensibly porous. In developing a nascent theory of panacoustic surveillance, this paper makes two distinct contributions to surveillance studies. First, it puts sound and surveillance studies scholars into dialogue to echo Hamdam’s argument that walls do not represent an absolute barrier but a corporeal medium by which power and knowledge can permeate and reflect as vibration. Second, our discussion articulates a politics of transparency and accountability that helps rethink notions of actuarial surveillance as not only a form of top-down statistical and biopolitical monitoring and governance but also as a means of developing panacoustic audits that seek to hold governments and other human rights abusers to account.

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Bernard, Catherine. „Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art“. Synthesis: an Anglophone Journal of Comparative Literary Studies, Nr. 13 (19.07.2021): 52. http://dx.doi.org/10.12681/syn.27561.

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Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

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Dissertationen zum Thema "Lawrence Abu Hamdan"

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Tawaifi, Anjel. „Ljud som konstnärlig metod : En analys av sonisk estetik och politik i Lawrence Abu Hamdans ljudverk Saydnaya (the missing 19db)“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445288.

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The aim of this essay is to study the political and aesthetical qualities in Lawrence Abu Hamdans sound piece. In Saydnaya (the missing 19db) former detainees from the infamous Syrian prison Saydnaya are interviewed about the many sounds, silences and emotions that circulated in the prison. Since they were kept in total darkness during their stay in Saydnaya, their memories and impressions are sonic. The piece can therefore be called a sonic testimony and the detainees are referred to as earwitnesses. The methodological framework of this study is outlined by Salomé Voegelin in her book Listening to Noise and Silence. In the core of this method lies the notion of deep listening (also called sonic sensibility). From listening noise and silence naturally unfold. In order to define and discover the affects of the artwork and its sonic material, the theoretical work of Gilles Deleuze, Brian Massumi and Sara Ahmed is applied. More specifically the concepts of lines of flight and affect. Emotions and sound seem to blend in the most peculiar ways. This essay is just a suggestion of how that blend might look... or should I say sound? And most importantly this essay will investigate how these non-visual forces work, stick and flow. How they can be used and what they produce. Some of the questions that this essay will touch upon are: what are the sonic affects that this artwork produces? And how does the artist use noise and silence in the construction of Saydnaya?

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Bücher zum Thema "Lawrence Abu Hamdan"

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Rascaroli, Laura. Sound. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0006.

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In embracing an understanding of essay film’s soundscape that does not stop at voiceover, but extends to all the elements of a complex environment made up of speech, music, sounds, noise, and silence, this chapter moves beyond traditional logocentric and vococentric approaches to the essay film to explore the disjunctive interstice of Deleuze’s sound image. The complexly imbricated auditory space of Language Gulf in the Shouting Valley (2013) by Lawrence Abu Hamdan is considered in light of an essayistic use of voice and sound as political agents. Hypothesizing a genre of musical essay films, the chapter also examines sound in Pier Paolo Pasolini’s La rabbia (Rage, 1963), seen in comparison with Santiago Álvarez’s Now! (1964) and Erik Gandini’s Surplus: Terrorized into Being Consumers (2003). The Barthesian Neutral and ideas of dissonance form the basis of a discussion of musical queering as a form of protestation.

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Buchteile zum Thema "Lawrence Abu Hamdan"

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„Lawrence Abu Hamdan“. In Making Another World Possible, herausgegeben von Corina L. Apostol und Nato Thompson, 168–69. Routledge, 2019. http://dx.doi.org/10.4324/9780429468988-21.

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2

„Lawrence Abu Hamdan“. In Dissonant Archives. I.B.Tauris, 2015. http://dx.doi.org/10.5040/9780755607419.0014.

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3

„Excursus 2: Lawrence Abu Hamdan’s Phonetic Border- Crossings“. In Shattering Biopolitics, 91–99. Fordham University Press, 2021. http://dx.doi.org/10.1515/9780823294893-006.

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4

„Cosmopolitan Hospitality and Accented Crossing: Forging an Ethics of Listening with Lawrence Abu Hamdan’s Artworks“. In New Cosmopolitanisms, Race, and Ethnicity, 328–43. De Gruyter Open Poland, 2019. http://dx.doi.org/10.1515/9783110626209-019.

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