BEGIN:VCALENDAR VERSION:2.0 PRODID:-//events.la.psu.edu//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/New_York BEGIN:STANDARD DTSTART:20201101T020000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD BEGIN:DAYLIGHT DTSTART:20200308T020000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:13198-70657a30f950e5352f0f1834d993ccb8@events.la.psu.edu DTSTAMP:20260514T213404Z DTSTART;TZID=America/New_York:20241104T121500 DTEND;TZID=America/New_York:20241104T133000 SUMMARY:The Comparative Literature Luncheon Series: Najat Rahman DESCRIPTION:\nIs sound henceforth inseparable from our sense of home? In a shifting field of aesthetics and affect\, sound has impact on subject ivity\, consciousness\, relationality\, attentiveness\, and therefore it has ramifications for ethics and politics.\n\nThis proposed project is a critical intervention in the fields of comparative literature\, aesthe tics\, and postcolonialism. While sound has been long studied in relatio n to music\, cinema\, whether for strategy or benefit\, its emotional\, ethical\, and political impact is less attended to in contexts which sta ge shifting power.\n\nFor the future to be our “home\,” it would require fundamental capacities\, “the individual’s ability to imagine\, intend\ , promise\, and construct a future\,” writes Shoshana Zuboff. (Zuboff\, 4\, 20) Sound\, in its force and intensity has impact on those very capa cities\, on the individual and collective possibilities. The possibility of a future cannot be imagined without that of home. Evoking fundamenta ls necessary to human emancipation\, artworks preoccupied with a sense o f “future” and “home” interrogate its possibility as “mastery\, voice\, relationship\, and sanctuary: part freedom\, part flourishing...part ref uge\, part prospect.” (Zuboff\, 5)\n\nConsidering the poetry of Mahmoud Darwish and Assia Djebar as well as the videography of Larissa Sansour\, I ask the following questions: What are the present conditions of sound in relation to how a place is lived? How does sound\, when it issues fr om conditions of violence\, become a mode of control\, depersonalization ? Will a regime of soundscape in global sites of conflict supersede a “p olitics of listening” or “the permission to narrate”? How does sound the n is marshaled in these artworks to address and withstand a regime of th e carceral?\n\nFor more details: https://events.la.psu.edu/event/cmlit-l uncheon-series-najat-rahman/ X-ALT-DESC;FMTTYPE=text/html:

Is sound hencef orth inseparable from our sense of home? In a shifting field of aestheti cs and affect, sound has impact on subjectivity, consciousness, relation ality, attentiveness, and therefore it has ramifications for ethics and politics.
This proposed project is a critical intervention in the f ields of comparative literature, aesthetics, and postcolonialism. While sound has been long studied in relation to music, cinema, whether for st rategy or benefit, its emotional, ethical, and political impact is less attended to in contexts which stage shifting power.

For the future to be our “home,” it would require fundamental capacities, “the individ ual’s ability to imagine, intend, promise, and construct a future,” writ es Shoshana Zuboff. (Zuboff, 4, 20) Sound, in its force and intensity ha s impact on those very capacities, on the individual and collective poss ibilities. The possibility of a future cannot be imagined without that o f home. Evoking fundamentals necessary to human emancipation, artworks p reoccupied with a sense of “future” and “home” interrogate its possibili ty as “mastery, voice, relationship, and sanctuary: part freedom, part f lourishing...part refuge, part prospect.” (Zuboff, 5)

Considering the poetry of Mahmoud Darwish and Assia Djebar as well as the videograph y of Larissa Sansour, I ask the following questions: What are the presen t conditions of sound in relation to how a place is lived? How does soun d, when it issues from conditions of violence, become a mode of control, depersonalization? Will a regime of soundscape in global sites of confl ict supersede a “politics of listening” or “the permission to narrate”? How does sound then is marshaled in these artworks to address and withst and a regime of the carceral?

For more details: https://even ts.la.psu.edu/event/cmlit-luncheon-series-najat-rahman/

URL:https://complit.la.psu.edu LOCATION:124 Sparks Building END:VEVENT END:VCALENDAR