With Jonna starting a new job and myself doing actual PhD and teaching work rather than watching cat videos all day, we’ve been a bit slow getting Friday links together so here’s a few things that have caught my eye today:
Vice have an interesting piece on Jihadist culture in Syria. Parts of it seem to just echo a lot of the typical ‘Syrain rebels = Jihadist’ angle, but it has some interesting stuff on the role music is playing in Syria. Apparently “Al Qaeda is the Simon Cowell of the war zone, churning out hits the war-weary public wants and in doing so, providing itself with the perfect promotional gimmick.”
Meanwhile everyone’s favourite right-wing-fictional-daily-sewerage-spout has a piece with the headline “Tunisia’s ‘sex jihadis’ who were sent to Syria to have sex with 100 rebels EACH are coming home pregnant with their children”. You stay classy Daily Mail.
On another note, Politics has a virtual issue out which is all about teaching and learning in IR and politics, it’s an interesting read having just started teaching myself and worth checking out if you’re a student, researcher or teacher of global politics.
In response to the recent al-Shabaab attack on the Westgate shopping centre in Nairobi, COBRA, the UK’s Cabinet Office briefing room A, met for the third time this year. At the same time an alternative COBRA met in a small pub in Whitehall.
This political performance plays out through press conferences, news interviews and increasingly through social media outlets such as Twitter and Facebook. The state use of media and information is not a new thing, but contemporary technologies are enabling actors to utilise aesthetic mediums at an unprecedented level. Through the use of social media, organisations and individuals need not rely on the media to get across their message, they simply become the media themselves.
As David Cameron tweets, the British Army posts on Facebook and the Home Office drives around in a ‘racist’ van with a big ‘go home’ advertisement on it, it becomes increasingly clear that “this image-based politics is a politics of presentation, of appearance and constructed images that tell a certain story, often a moral story of good v evil, of citizen v terrorist”. A story of false dichotomies and difference.
This use of images and digital mediums by state actors shows a realisation that aesthetics are important. Unfortunately the discipline of International Relations is seemingly struggling to keep on top of these technological and aesthetic developments that the state is embracing and utilising with success. This is worrying when one takes into account how these aesthetic and technological practices are tied in to the state of exception that has arguably become the paradigm through which governments operate in light of the ‘War on Terror’.
It is in this state of exception where exceptional means such as extraordinary rendition, torture, indefinite detention, foreign invasions and increasingly pervasive domestic laws become the norm: legitimised as normal ways to deal with an exceptional threat such as terrorism.
As COBRA: A Critical Response highlight themselves, one of the ways to engage and challenge this state of affairs is to use art and aesthetics to open up a space for discussion, create different interpretations and new imaginations of global politics. Art can exist as a medium to challenge the orthodoxies of politics that lead to violence. This is something that IR and security scholars from critical approaches have recognised for several years.
However, as politicians and state actors draw ever more on aesthetic mediums to promote their message it is important that aesthetic approaches to IR and security keep up with these fast paced developments, not only to understand and explain them but to also provide an academic platform upon which they can be challenged, critiqued and changed.
Perhaps as scholars we need to eschew the values of science and draw upon the critical insights of artists. Maybe we need to stop doing ‘social science’ and do art. Could alternative forms of scholarship such as blogs, videos, social networks and even more radical aesthetic forms have more impact on the ‘real world’? Wouldn’t these aesthetic mediums engage more people than monographs and articles written in outdated journals that sit behind paywalls and gather dust on the shelves of stuffy libraries in ivory towers?
The debates posed by these question are of too much depth to engage with in this short blog post, but it is worth considering that as states and other actors in the realm of global politics utilise aesthetic mediums to a great extent, maybe we should too.