Lynn Osman - Academia.edu (original) (raw)

Papers by Lynn Osman

Research paper thumbnail of Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of Beirut’s Urban Landscape

CIDADES, Comunidades e Territórios, Dec 1, 2015

The sphere of skateboarding, Metal, Thrash and Punk rock, interweaved into a self-differentiated,... more The sphere of skateboarding, Metal, Thrash and Punk rock, interweaved into a self-differentiated, around a decade-old music and DIY underground culture, unfolds into an urban experience and proposes another perspective on the limits of historically framing 'Punk subculture'. The lifestyle and variable factorial structure of the group defines the shifting identity boundaries of the sphere, where thrashing and music share rituals and practices, and redefine the urban experience on two levels: remapping the city's axis through thrashing the streets, and the underground and DIY music practices. From the urban fabric, layered and divided with sects, political affiliations, and socioeconomic classes, the group of a young and charged history sparks with an assault with a gesture, from the shapeless, as an autonomous act of a timespace capsule that escapes and disrupts preexisting social boundaries and patterns, through a 'poetic' relationship to space. From the sphere of voices, with an alternating rhythm of punctual cuts through the urban layers of identity, an unspoken narrative starts to form, where a new layer, with a mayhem resistance, breaches identity constructs and loaded places. But the rhythm lead the narrative to shape itself as a linear one. Therefore, questions about continuity have surfaced, due to the scene having a differentiated genesis and structure. The sphere has rooted geo-specific practices transmitting, appropriating and constructing a 'displaced' musical heritage anchored in its own history, becoming an auto-referential non-place. Permeable to global mainstream, while resisting the postmodern aesthetics' assimilation the ephemeral 'Other', the sphere resists sociological objectification and representation models, accepting no discourse, even that of a subculture, but, in spite, becomes a social agent. If the production of music and space has become a fulfilled or broken promise for itself and for its reception, although a viable and valuable mode to revitalize the study of sociological frameworks, how would sociological objectification then be escaped?

Research paper thumbnail of 'Lucifer left that rib, Do we keep on pushing?' (draft in progress)

"Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of ... more "Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of Beirut’s Urban Landscape

Research paper thumbnail of Lucifer Left my Rib

Research paper thumbnail of Wrestled by the sea: Surf Rock and the unrequited lament

Research paper thumbnail of From Subculture to Mainstream

Research paper thumbnail of ‘1.Outside’, intersection de l’histoire de l’art, fiction, narration et iconographie: peinture d’une image rémanente du corps, une vision non-enregistrée

Mémoire de Maitrise: Master II en Arts Visuels, 2013

Entre la violence invisible, et la certitude de meurtre, il y a des preuves latentes de rituels a... more Entre la violence invisible, et la certitude de meurtre, il y a des preuves latentes de rituels avec un potentiel de conduire au meurtre à travers le crime en art, encore présent, mais encore à être déchiffré, dans l’histoire du meurtre de Baby Grace Blue. Elles sont reconstruites par le détective à travers le journal, conduisant à une suspicion. L’enquête oscille entre le temps actuel de l’enquête, juste avant la fin du millénaire, et des faits historiques sur les pratiques del’art-rituel, des années 1950 aux années 2000, qui ont impliqué des mutilations, et flirté avec le meutre. Le journal laisse un espace flou entre-deux. Cet espace sature la vision, et contamine, par rémanence, la couche de la musique. Nous ne cherchons plus l’entre-deux gris à ce stage, et l’histoire ne disparait pas, ne s’efface pas; ses signes s’autodétruisent seulement. Ils saturent, parviennent à l’état dangereux de la proximité à la vérité, et à l’incertitude, mélangeant du sang à l’état dérangé, sans rien obtenir. De l’histoire, nous partons à la vision dystopique de la fin du XXème siècle. Une interprétation devient une mauvaise ombre. La représentation est en dehors de la narration. La musique est à l’extérieur. À la limite de la représentation, descendant à l’echelle de la peur.
Je voudrais laisser un espace pour une autre ombre. J’ai essayé de peindre des ombres qui me hantent de ‘1.Outside’. Quels fantômes fuient, et que je suis en état de retracer à nouveau. Ce que Bowie lui-même avait défiguré. Et ce que sa voix synthétisée pourrait avoir laissé brut au hasard. Et ce que la fragmentation aléatoire des paroles aurait pu dire, et ce qu’elle a encore mutilé. Et quel sens je pourrais vous arrêter de faire à partir des images. Ce que je désire de peindre du tout. Et quelles images vous mèneront à un endroit perdu de la réminiscence, et a une vision non-enregistrée.

Research paper thumbnail of (Alter)ing Self-Representation: Alternating between the Global and the Local, Arabic Calligraphy as case study

Wonderground International Design Research Society Conference, Lisboa, 2006

The paper addresses the role of visual representation in confining Arab cultural identity, by stu... more The paper addresses the role of visual representation in confining Arab cultural identity, by studying the use of Arabic calligraphy today in graphic design products.
In vernacular, institutional products, calligraphy is often used externally and locally as an exoticizing medium to portray heritage. The lack of Arabic typefaces, and the Western postmodernist dissatisfaction with modern mechanical aesthetics were but to facilitate this construct.
This local fascination of contemporary designers in the vernacular, and the cult of nostalgia affiliate them to the international postmodernist discourse of the design fetish, which contributes to the act of mimicry of the Western manufactured representations.
Calligraphy as a form of heritage is then a shared code to define “Arab identity”. It is an exoticized “other” past locally, but that also conforms to external representation of the other as Arab and traditional. It is an intersection point, a reference where identity starts to construct in defining a “self” and “other”.
The research method includes analysis of collections of calligraphic material from vernacular or institutionalized, internal and external resources (posters, stamps, book covers, cd labels, shop signs, etc). The material is analyzed in light of postcolonial literature, and writings on postmodernism, heritage and tradition, drawn from different fields. The paper unfolds then to suggest a repositioning of the use of Arabic calligraphy as cultural heritage.

Research paper thumbnail of Affiliation and Affinity : Appropriation between Byzantine and Ottoman iconography and architecture

Research paper thumbnail of Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of Beirut’s Urban Landscape

CIDADES, Comunidades e Territórios, Dec 1, 2015

The sphere of skateboarding, Metal, Thrash and Punk rock, interweaved into a self-differentiated,... more The sphere of skateboarding, Metal, Thrash and Punk rock, interweaved into a self-differentiated, around a decade-old music and DIY underground culture, unfolds into an urban experience and proposes another perspective on the limits of historically framing 'Punk subculture'. The lifestyle and variable factorial structure of the group defines the shifting identity boundaries of the sphere, where thrashing and music share rituals and practices, and redefine the urban experience on two levels: remapping the city's axis through thrashing the streets, and the underground and DIY music practices. From the urban fabric, layered and divided with sects, political affiliations, and socioeconomic classes, the group of a young and charged history sparks with an assault with a gesture, from the shapeless, as an autonomous act of a timespace capsule that escapes and disrupts preexisting social boundaries and patterns, through a 'poetic' relationship to space. From the sphere of voices, with an alternating rhythm of punctual cuts through the urban layers of identity, an unspoken narrative starts to form, where a new layer, with a mayhem resistance, breaches identity constructs and loaded places. But the rhythm lead the narrative to shape itself as a linear one. Therefore, questions about continuity have surfaced, due to the scene having a differentiated genesis and structure. The sphere has rooted geo-specific practices transmitting, appropriating and constructing a 'displaced' musical heritage anchored in its own history, becoming an auto-referential non-place. Permeable to global mainstream, while resisting the postmodern aesthetics' assimilation the ephemeral 'Other', the sphere resists sociological objectification and representation models, accepting no discourse, even that of a subculture, but, in spite, becomes a social agent. If the production of music and space has become a fulfilled or broken promise for itself and for its reception, although a viable and valuable mode to revitalize the study of sociological frameworks, how would sociological objectification then be escaped?

Research paper thumbnail of 'Lucifer left that rib, Do we keep on pushing?' (draft in progress)

"Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of ... more "Are the Streets Still for Dreaming? Punk Rock, Thrash, and Heavy Metal: Unrecorded Blueprint of Beirut’s Urban Landscape

Research paper thumbnail of Lucifer Left my Rib

Research paper thumbnail of Wrestled by the sea: Surf Rock and the unrequited lament

Research paper thumbnail of From Subculture to Mainstream

Research paper thumbnail of ‘1.Outside’, intersection de l’histoire de l’art, fiction, narration et iconographie: peinture d’une image rémanente du corps, une vision non-enregistrée

Mémoire de Maitrise: Master II en Arts Visuels, 2013

Entre la violence invisible, et la certitude de meurtre, il y a des preuves latentes de rituels a... more Entre la violence invisible, et la certitude de meurtre, il y a des preuves latentes de rituels avec un potentiel de conduire au meurtre à travers le crime en art, encore présent, mais encore à être déchiffré, dans l’histoire du meurtre de Baby Grace Blue. Elles sont reconstruites par le détective à travers le journal, conduisant à une suspicion. L’enquête oscille entre le temps actuel de l’enquête, juste avant la fin du millénaire, et des faits historiques sur les pratiques del’art-rituel, des années 1950 aux années 2000, qui ont impliqué des mutilations, et flirté avec le meutre. Le journal laisse un espace flou entre-deux. Cet espace sature la vision, et contamine, par rémanence, la couche de la musique. Nous ne cherchons plus l’entre-deux gris à ce stage, et l’histoire ne disparait pas, ne s’efface pas; ses signes s’autodétruisent seulement. Ils saturent, parviennent à l’état dangereux de la proximité à la vérité, et à l’incertitude, mélangeant du sang à l’état dérangé, sans rien obtenir. De l’histoire, nous partons à la vision dystopique de la fin du XXème siècle. Une interprétation devient une mauvaise ombre. La représentation est en dehors de la narration. La musique est à l’extérieur. À la limite de la représentation, descendant à l’echelle de la peur.
Je voudrais laisser un espace pour une autre ombre. J’ai essayé de peindre des ombres qui me hantent de ‘1.Outside’. Quels fantômes fuient, et que je suis en état de retracer à nouveau. Ce que Bowie lui-même avait défiguré. Et ce que sa voix synthétisée pourrait avoir laissé brut au hasard. Et ce que la fragmentation aléatoire des paroles aurait pu dire, et ce qu’elle a encore mutilé. Et quel sens je pourrais vous arrêter de faire à partir des images. Ce que je désire de peindre du tout. Et quelles images vous mèneront à un endroit perdu de la réminiscence, et a une vision non-enregistrée.

Research paper thumbnail of (Alter)ing Self-Representation: Alternating between the Global and the Local, Arabic Calligraphy as case study

Wonderground International Design Research Society Conference, Lisboa, 2006

The paper addresses the role of visual representation in confining Arab cultural identity, by stu... more The paper addresses the role of visual representation in confining Arab cultural identity, by studying the use of Arabic calligraphy today in graphic design products.
In vernacular, institutional products, calligraphy is often used externally and locally as an exoticizing medium to portray heritage. The lack of Arabic typefaces, and the Western postmodernist dissatisfaction with modern mechanical aesthetics were but to facilitate this construct.
This local fascination of contemporary designers in the vernacular, and the cult of nostalgia affiliate them to the international postmodernist discourse of the design fetish, which contributes to the act of mimicry of the Western manufactured representations.
Calligraphy as a form of heritage is then a shared code to define “Arab identity”. It is an exoticized “other” past locally, but that also conforms to external representation of the other as Arab and traditional. It is an intersection point, a reference where identity starts to construct in defining a “self” and “other”.
The research method includes analysis of collections of calligraphic material from vernacular or institutionalized, internal and external resources (posters, stamps, book covers, cd labels, shop signs, etc). The material is analyzed in light of postcolonial literature, and writings on postmodernism, heritage and tradition, drawn from different fields. The paper unfolds then to suggest a repositioning of the use of Arabic calligraphy as cultural heritage.

Research paper thumbnail of Affiliation and Affinity : Appropriation between Byzantine and Ottoman iconography and architecture