3 page research
$30-250 USD
Paid on delivery
1) Engaging with Alfred McCoy’s book (chapter Introduction, Chapters 1 & 4), Bayoumi’s “Disco Inferno,” and the UN
Convention Against Torture, please engage with the following questions:
• Give a brief overview of the history and use of torture from the Cold War to the present.
• As part of this historical overview, please focus in particular on the use of torture in the aftermath of 9/11 and in the
context of the War on Terror.
• Describe the development of torture techniques by the CIA.
• How did US military strategy and policy change after 9/11 and how was torture redefined?
• How have sound, noise, and music been deployed as part of the “enhanced” torture techniques?
• Discuss this the role that music plays as an instrument of torture.
• What are some of the historical examples McCoy includes regarding the use of sound and music as torture.
2- Drawing on J. Martin Daughtry’s book Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq please do the following:
• What is the argument that Daughtry is making with his book? What is his point about the relationship between sound and
war?
• Discuss three different examples of the soundscape of the Iraq war.
• Additionally, as part of this answer, please draw on some of Daughtry’s ideas to frame you listening and exploration of 1-2
examples from artist Sundus Abdul Hadi’s multimedia work Warchestra (files are available on Bright Space Announcement
for this coming week).
• Who is Sundus Abdul Hadi and what is her project all about?
• What soundscape and painting did choose to listen to and write about and what connections do see between music/sound
and canvas?
3) What are the basic tenets of the UN Convention Against Torture?
•Address 7 of the articles and discuss the violation of human rights in holding centers from Abu Ghraib to Guantanamo
with reference to examples.
Project ID: #32187306
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