Egypt

This digital artwork by Amira Hanafi was commissioned by the Centre for Applied Human Rights at the University of York, as part of the Navigating Risk, Managing Security, and Receiving Support research project.

It was made in response to research conducted in five countries (Colombia, Egypt, Indonesia, Kenya, and Mexico), where researchers spoke with human rights defenders around issues of security, wellbeing, and perceptions of ‘human rights defenders’ in their countries.

Reading through these transcribed and anonymized interviews, I was struck by the range and depth of emotions expressed. The speakers’ experiences resonated with me in their resemblance to the emotions I feel as a practicing artist in Egypt. This website translates my reading of these interviews into visual patterns, through a system of classifying sentences by emotions expressed and evoked.

The title of this work (we are fragmented) is taken from the words of one of the human rights defenders who participated in the research.

After reading through the interviews that were shared with me, I created a classification system to coincide with the range of emotions I read in the text. I based my classification system on a few popular classification systems. It contains a set of 6 parent emotions, each with 6 subcategories, for a total of 36 classifications.

Reading the interviews again, I recorded my emotional experience by classifying sentences to which I had an emotional reaction, or in which the speaker explicitly expressed an emotion. It was a highly subjective exercise. Ultimately, this website offers personal maps of my reading of the research material, processed through language and emotion.

Alongside my visual interpretation of the research, you can directly access the source material for each classification on this site. Click on any colored circle, and you will see the direct quote from the individual defender on which that classification is based. I hope for this work to give an alternate way of reading through the research shared with me by Juliana Mensah and Alice Nah.

(Source: http://wearefragmented.amiraha.com/about/)

A Dictionary of the Revolution documents the rapid amplification of public political speech following the uprising of 25 January 2011 in Egypt.

Material for the Dictionary was collected in conversations with around 200 individuals in Egypt from March to August 2014. Participants reacted to vocabulary cards containing 160 words that were frequently used in political conversation, talking about what the words meant to them, who they heard using them, and how their meanings had changed since the revolution.

The Arabic website contains 125 imagined dialogues woven from transcription of this speech.

Each word is accompanied by a diagram that shows its relationship to other words in the Dictionary. The thicker the line connecting two words, the closer their relationship is. The diagrams are the result of an analysis of the complete text of the Dictionary.

(Source: About-page website)

A Dictionary of the Revolution was the winner of the 2018 New Media Writing Prize

A Dictionary of the Revolution documents the rapid amplification of public political speech following the uprising of 25 January 2011 in Egypt.

Material for the Dictionary was collected in conversations with around 200 individuals in Egypt from March to August 2014. Participants reacted to vocabulary cards containing 160 words that were frequently used in political conversation, talking about what the words meant to them, who they heard using them, and how their meanings had changed since the revolution.

The Arabic website contains 125 imagined dialogues woven from transcription of this speech.

Each word is accompanied by a diagram that shows its relationship to other words in the Dictionary. The thicker the line connecting two words, the closer their relationship is. The diagrams are the result of an analysis of the complete text of the Dictionary.

(Source: About-page website)

Steeped in Egyptian history, mythology, religion and art, Coverley imagines a work in which words count as images and images as words, time has two complementary dimensions of linear progression and eternal return, inscriptions are not merely tokens for words but powerful sepells capable of deciding one's fate for eternity, and the individual subject merges into the archetypes of eternal gods and godesses.

(Source: N. Katherine Hayles, "Deeper into the Machine: The Future of Electronic Literature", State of the Arts)