Aesthetics

What We Talked About At ISA: Rhythm, Time and History

/ Meera / 2 Comments

With thanks to Elisabetta Brighi and Xavier Guillaume for putting together the Rhythms of the International roundtable and their inspiring contributions, to Robbie Shilliam for his song, and Kyle Grayson for his spirited and thoughtful engagement. And by no means least, to the pleasingly sizeable and lively crowd who gave the last panel of the last day such a buzz.

Below is a write-up of my contribution to the roundtable, in which I reflected on the relationship of rhythm and history, and drew out some of the potential disruptions that a different rhythmic sensibility might have on our conception of history.

What is rhythm?

To my shame, colleagues, and partly out of curiosity, I looked it up in the dictionary. Shame, because if you are looking something up in a dictionary before giving a talk on it, you probably shouldn’t be giving a talk on it. Curiosity, because I wanted to know how they would define ‘rhythm’ in words rather than in noises.

The dictionary answers were not particularly edifying. One definition spoke of ‘repeated, regular beats’, another of a ‘regulated succession’ of beats. Thud, thud, thud. Boom, boom, boom. Boom, thud, boom, thud. These definitions felt flat, and rather forbidding. But I suppose this is because they were the generic definitions of all kinds of ‘rhythm’, and not just the samba playing in my head.

Using some thinking developed earlier in some work on music and politics, I started again, with a different question:

What is the relationship of rhythm and time?

This yielded a much more direct answer: it is the production of rhythm that makes time itself knowable. In the making of music, rhythm generates movement and flow, and makes it possible for sounds to synchronise and arrange themselves. Continue reading →

Bodies in Pain: Yasiin Bey and the Force-Feeding of Hunger Strikers at Guantanamo Bay

/ Guest Authors / 4 Comments

Lauren WilcoxA guest post from Lauren Wilcox, currently Charles and Amy Scharf Postdoctoral Fellow in the Department of Political Science at Johns Hopkins University. Lauren is starting a new job as a University Lecturer in Gender Studies at the University of Cambridge this fall. Her  work is located at the intersections of international relations, political theory, and feminist/queer theory in investigating the consequences of thinking about bodies and embodiment in the study of international practices of violence and security. She is the author of articles in Security Studies, Politics & Gender and, most recently, International Feminist Journal of Politics. Lauren’s current book manuscript is entitled Practices of Violence: Theorizing Embodied Subjects in International Relations.

Mos Def Nose Tube

Earlier this month, the UK human rights organization Reprieve released a video in which Yasiin Bey, formerly known as Mos Def, a well-known and critically acclaimed American hip-hop artist and actor, underwent (or attempted) the force-feeding procedure undergone by hunger strikers imprisoned at Guantánamo Bay. In this five minute video, Bey dresses in an orange jumpsuit like those worn by prisoners at Guantánamo Bay, and states simply that this is the ‘standard operating procedure’ for force-feeding hunger striking prisoners. He is then shackled to a chair resembling those used to force-feed prisoners (such as those pictured below). Bey is approached and held down by two people who attempt to insert a nasogastric tube down his nasal passage way. The video shows Bey struggling against the nasogastric tube, crying out, protesting, yelling for it to stop, and ultimately the force feeding is not carried out. The video is extremely emotional and difficult to watch. After the attempted force-feeding ends, Bey struggles to describe what it feels like, describing it as ‘unbearable’. It ends as it begins, with Bey stating ‘peace’ and ‘good morning’.

For some background context, 166 prisoners remain in Guantánamo Bay: of these, 126 have been cleared for release as not posing any threat to US national security, but are still being imprisoned. To protest their treatment and indefinite confinement prisoners have engaged in hunger strikes since the prison camp opened in July of 2002, the first wide scale hunger strike reached a peak in June 2005, when between 130-200 out of approximately 500 prisoners at Guantánamo Bay began refusing food. Hunger strikes again reached a peak in the spring and summer of 2013, and are ongoing with around 100 prisoners refusing food, and of those, between 44 and 46 are being force-fed (pictured above is an image of an inmate being hauled to the medical facilities to be force-fed), a number so high that the military had to send a back-up team of medical personnel to assist with the force-feeding of prisoners. While the force-feeding of hunger strikers when virtually unnoticed in the media in 2005/6, and again in 2009, the latest months have brought renewed attention to the plight of those who have been held at Guantánamo Bay, some for over a decade, with seemingly no progress made on holding tribunals or securing release of the remaining prisoners. Prisoners have spoken out, including an op-ed published in the NY Times by Samir Naji al Hasan Moqbel entitled “Gitmo is Killing Me”. While President Obama has recently renewed his pledge to close Guantánamo Bay, and a federal judge has even more recently stated that while she had no power to stop the force-feedings, Obama could himself order the force-feedings stopped.

What are the effects of Bey’s action? Continue reading →

The Office Of Blood; Or, ‘The Act Of Killing’ (2012)

/ Nivi Manchanda / 7 Comments

The images and scenes we discuss below are not those of a conventional film plot. Nevertheless, *spoiler warning*.

Act Of Killing Anwar Screen

It’s hard to know how to write about The Act Of Killing, the unsettling, surreal, humanising, nauseating portrait of an Indonesian death squad that is generating such interest. Joshua Oppenheimer, Christine Cynn and the mainly anonymous Indonesian crew (anonymous for fear of retribution) have conjured something quite extraordinary into the world. Laced with caustic insights into atrocity, empathy, memory, commodification, artifice, power, solidarity, fear, self-deception and play.

One million people were killed in Indonesia in the mid-60s following a military coup. The massacres which aimed at obliterating “communists” (along with ethnic Chinese and intellectuals) have been largely undocumented, with many of the perpetrators occupying prominent positions in the Indonesian government. Without wishing to give too much away or to channel and pre-empt the multiple, contradictory emotions that it is bound to elicit, the main conceit is a film within a film where the murderers re-enact their murders, all the while debating whether to recreate this method, or whether that victim would have cried out in that way, and sometimes whether they might just be showing us too much truth in their performances of the past. At one point there is the satisfied declaration that these scenes of re-articulated horror will be seen as far away as London! Part voyeurs, part students, we are thus implicated in their narratives, viscerally. Aghast, covering our eyes, retching when they retch, laughing guiltily at moments of shared humanity.

The Act Of Killing is a deliberate move from the ‘theatre of the oppressed’ to the ‘theatre of the oppressor’, a move that is challenging not simply because we – those ostensibly passive spectators – are made to face deeply uncomfortable ‘truths’ but also because it is above all a movie that painstakingly documents what Hannah Arendt, in a different context, called the ‘banality of evil’. Whilst there is nothing anodyne or sanitised about these gruesome renactments, they are almost flippantly juxtaposed with the mundane rituals, pedestrian encounters, and even moments of compassion and kindness that make these men all too human. The result is an audience suspended between empathy and disgust, between acceptance and incredulity, and between the absurd and the quotidian.

The Act Of Killing, for us at least, is a gut-twisting manifestation of sometimes nebulous socio-political insights. Insights such as Agamben’s ‘camp’ or Foucauldian ‘state racism’: concepts that suddenly unfold themselves before us on film, embedded as they are in a context otherwise deeply unfamiliar to us. But although seemingly focused, somewhat narrowly, on Medan, Indonesia the ambit of The Act is far greater: it offers a compelling commentary on the connate imbrication of capitalism, commodification, legality, sexual discrimination, racism, and their inescapably violent manifestations. It is less a document-ary about Indonesian history than a meditation on violence, memory and subjectivity themselves, a provocation made universal precisely because of its lingering gaze on these few aged torturers.

Continue reading →

Work and the Politics of Refusal

/ wandavra / 6 Comments

A World Beyond Work

At the heart of recent discussions on work lies an enduring tension. We can sense that modern work isn’t working anymore, but we don’t know how to let go of it. The disintegration and degradation of wage labor through technological “progress,” increasing commodification and devaluation of reproductive work, steadily rising unemployment and precarious employment, and sustained attacks on the last bastion of permanent employment (the public sector) together with our desperate attempts to resurrect a corporatist corpse that won’t return, all point to the fact that modern employment “exists less and less to provide a living, let alone a life.” Marxist outliers (Andre Gorz, Ivan Illich, Antonio Negri, Zerowork) have been announcing a crisis of work for some time now, remarking how automation both reduces necessary labor time and degrades work without, however, releasing us from the obligation to earn money for a living. Today work persists in a zombie state despite the disintegration of working class culture and organizations and a continuous process of proletarianization. These conversations have returned in full force in recent years with the publication of Kathi Weeks’ groundbreaking The Problem with Work: Marxism, Feminism, Antiwork Politics and Postwork Imaginaries and a sustained interest in these matters in the Jacobin and even mainstream media.

In these debates, however, there remains an unreconciled tension between the obligation (of any self-respecting socialist) to celebrate work as a source of collective power and personal pride and the more futuristic desire to overcome work and even our self-understanding as workers for a more multivalent understanding of life. This is effectively the tension between Marx and his son-in-law Lafargue, between laborists and anarchists, between a politics of equality and one of autonomy. Of course, there can never be a satisfying answer to this problem because the dichotomy itself is a sectarian caricature. Much more interesting would be to stick with this tension as a provocation for a politics whose form and direction has yet to be decided.

How do we, at once, celebrate the types of cooperation, organization, and identities born out of wage labor and recognize that these are inadequate and insufficient modern inventions that have run their course? How can we advance the cause of wage laborers and fight for people to one day stop functioning as workers? An impossible (and scandalous) proposition such as this is the “refusal of work,” the Italian autonomist theory/practice, which claims that workers are able to produce and sustain value independent of capitalist relations of production and centralized power.

Continue reading →

Gender Trouble, Racial Salvation and the Tragedy of Political Community in ‘Game Of Thrones’ (2012-2013)

/ Pablo K / 6 Comments

A shamefully-delayed commentary on Game Of Thrones, Seasons the Second and Third, since the first one went so well. As before, *great clunking mega spoiler alert*. You have been forewarned.

Recall three justifications for an analysis of pop culture politics. First, for all their superficial escapism, cultural products represent political ideas and ideologies, and do so in ways that may matter more than what we receive through the news. They are full of desires and fantasies that refract and reflect (and to some extent are themselves) real politics. Second, you can criticise the thematics of the show without hating the show. In fact you can do it while loving the show (and finding the fact of that love interesting in itself). In other words, look, I really like Game of Thrones. Moreover, that as great as comparisons with the source text can be, a TV series is a different kind of beast and is entitled to judgement on its own merits. Third, objections that “it’s just a show” don’t wash. If you’re reading this it’s because you have some sense that there are ways of understanding and being embodied in even the lowest of cultural objects (paging Dr Adorno!). That doesn’t mean that the substance of the relationship between media and politics is simple or settled, but it’s there.

Let’s start where we left off last time. It was claimed in some quarters that the plot subverts – even refutes – certain standard typical ideas about the feminine, and critiques feudal social relations along the way. So, rather than being a “racist rape-culture Disneyland with Dragons”, the many strong, complicated, agentic female roles in fact set Game of Thrones as a critique of patriarchy. But only the most one-dimensional of sexisms regards women as utterly abject. The mere presence of intelligent, or emotionally-rounded, or sympathetic female characters is not enough (and that it might be taken as inherently ‘progressive’ probably tells us a lot about contemporary gender politics). No, the issue is how a cultural product deploys some common tropes of masculinity and femininity and, with appropriate caveats about not reading every plot twist as an allegory, how those celebrate or reinforce certain orderings of gender. So a narrative which makes the family the primary unit, and which does so in a conventionally heteronormative register (twincest notwithstanding), is selling a particular idea of gender (and of community and nation and legitimate violence and…).

In Seasons 2 and 3, a few female figures threaten to upset the patriarchal framework. As before, there is Arya, astute, principled, fierce, and eager to promise death to her enemies. Brienne of Tarth, giant, loyal, lethal, dismissive. Ygritte, rugged, capable, sexually dominant, a hardened killer with no respect for rank (“If you ripped my silk dress, I’d blacken your eye”).[1] And yet in each case the threat is contained and wrapped in some familiar gender constraints.

Continue reading →

“Across Oceans To Hear”

/ Guest Authors / 2 Comments

Naeem InayatullahThe eighth post in our Methodology and Narrative mini-forum, this time from Naeem Inayatullah. Naeem teaches at Ithaca College. His research locates the Third World in international relations. He shows how the history and theory of international relations are formed against ideas about “Indians”. He demonstrates how classical theorists such as Smith, Hegel, and Marx construct their arguments via comparisons to non-European peoples. His conceptualization of political economy as a capitalist global division of labor aims to reveal how contemporary conditions of wealth and poverty emerge from historical capitalism. In addition, he works on the relationship between autobiography and theory construction as well as on how popular culture – especially music and television – expresses theoretical tensions. With David Blaney, he is the co-author of International Relations and the Problem of Difference (Routledge 2004), and Savage Economics: Wealth, Poverty, and the Temporal Walls of Capitalism (Routledge 2010). He is the editor of Autobiographical International Relations: I, IR (Routledge 2011). He is currently working on materials that consider the overlap between pedagogy, psychoanalysis, and writing.

Pablo adds: He is also an incisive and funny responder to student criticism.

Too often my eyes glaze over when I am reading the theory section of our professional papers. At conferences and workshops, my ears search for other frequencies when I hear theory speak. But not always. When “my theorists” are engaged, I can filter out and hone in. Otherwise, though, I glide away. When I do so, I discipline myself into attention by mocking my hubris. I don’t wish to take that posture here. Instead, I want to use this space to defend and substantiate my drift. I am not sure I will do so, however, with an explicit argument.

Our discipline is faddish, no? Product differentiation requires graduate students and established scholars to move from theorist to theorist – searching for profit from all the pores of the earth.[1] And yet, new debates seem like old debates. Things, times, and theorists change but our foundational questions probably remain less than a dozen. My favorite theorists – dead and alive – negotiate these questions. As do yours. I no longer have it in me to sift through the jargon and make the translations.

And yet, there is always something to be had in these workshops and conference papers. Something buried in the theory speak but which the author/speaker hides in plain view. She/he is speaking now. A mind/body configured uniquely by the particular path of this particular life. But structured by forces mundane, ubiquitous, and universal. Such bodies speak and write. They hide what they try to learn. But they also reveal bits of the real. I am trying to pay attention.

—–

Claire Turenne-Sjolander relates her husband’s sudden death. She conveys what forced her to write her grief and to rage against the medical profession. She describes her negotiation with the editor of a journal over what needs to be added. She marvels at the outpouring of responses she receives from readers. Her story contains a universal equivalent. It presses others to reveal their own particular grief and anger. She sketches the stakes in all this. Writing is grief work, a kind of mourning — I take her to imply.

Jennifer Riggan says, “I fell in love with a man from Eritrea.” My mind races. Continue reading →

American Vignettes (II): The Spirit’s Agenda

/ Joe / Leave a comment

Most of our day we are unaware of what we are thinking, but it is not our thoughtlessness that is disconcerting, it is our lack of awareness of our thoughtlessness.

It is rare to be in a space uncluttered by social messages, but you suddenly find even your modern sensibilities assaulted as you make your way through contemporary America. There are the expected advertisements, but they cover more of the physical surface of the world than you remember. There are the expected automated announcements, but they pierce the air and reverberate more loudly than you remember. You watch as everyone else moves through this cloud of demands, warnings, enticements, and you wonder: “does their head spin as mine does?”

IMG_0135

Advertisement on escalator railing.

The cab you take across Manhattan has a television screen constantly playing commercials – you can silence it but you cannot turn off the scrolling images. The roads you drive down in New York, Chicago and Denver have their negative space filled by an uncountable number of signs, billboards, words – every surface a text. Even tucked away from the public stream of communication, in your home or in your car, the words and pictures crash over you: television is ubiquitous and its light flashes on you wherever you go, the radio blares at you in the coffee shop and the eye doctor’s waiting room, the ads flash on your computer screen as you write emails to friends, and the messages and updates ding and chime on your phone as you sit down to eat a family meal.

The frenetic quality of the day only appears once you are lying in an unfamiliar bed, in a quiet dark room, when you can hear your parents breathing as they sleep down the hall from you, when you can hear the geese who have come south from Canada honking in the distance, when your mind stops receiving, blocking, dodging, collecting words and is able to put its own thoughts together. Being out of place and out of rhythm, you feel the importance of this moment. Slowness. Quiet. Rest. Continue reading →

Narrative, Politics and Fictocriticism: Hopes and Dangers

/ Guest Authors / 1 Comment

Anthony Burke

The third post in our mini-forum on critical methodologies and narrative in IR, now from Anthony Burke. Anthony is Associate Professor of International Politics at the University of New South Wales, Canberra, Australia. His works include Beyond Security, Ethics and Violence: War Against the Other (Routledge 2007), a recent essay in Angelaki, ‘Humanity After Biopolitics’ (December 2011), and the narrative essay ‘Life in the Hall of Smashed Mirrrors’, in Borderlands and Meanjin.

I

I have long been concerned by the way that language has two potentials with relevance to the study and practice of politics. On one hand, when combined with systems of logic and categorisation, language can construct, imagine, and fix powerful images of the real, and enable their deployment into material formations of industry, political organisation and human action. Language does not translate directly into power or constitute successful actions; it may indeed find contest and frustration. But we should hold this power in awe and watch it carefully, much as we may watch a dangerous animal that comes into our presence — after all, what more dangerous animal is there than the human, given its collective social powers of organisation and rationalisation, powers deployed through and within language?

On the other hand, particular forms and strategies of language have the power to undo and challenge this ontologizing potential: to see meaning defer and slip away, to see truths appear and shimmer into mist, to see its own strategies revealed even as it pursues them, to find itself haunted by thoughts and signs it did not intend. As Michel Foucault describes it in The Thought From Outside, this is language arriving ‘at its own edge…toward an outer bound where it must continually contest itself’. When this takes on the form of fiction, he argues, language is “no longer a power that tirelessly produces images and makes them shine, but rather a power that undoes them, that lessens their overload, that infuses them with an inner transparency that illuminates them little by little until they burst and scatter in the lightness of the unimaginable”.

This points to two strategies: one taking the form of social science, the other, the form of fiction.

I have pursed this project of deconstruction and unmasking in the form of social science, in way that both affirms and challenges its rules: to question ontologies of war and national security, the rationalist pretentions of nuclear strategy, the narrative confidence of American exceptionalism or the ‘good state’. To explore the dangers of all these things, of narrations and categories taken as truth, of choice masquerading as truth.

Yet I was also driven to literature as a possibility…of what, exactly? Continue reading →

Sour Lips: A Review

/ Rahul Rao / 3 Comments

Anyone who followed the controversy over the fictitious Gay Girl in Damascus blog, created by Edinburgh-based US graduate student Tom MacMaster writing as Amina Arraf, might have despaired of the prospects of subalterns speaking for themselves. Female, lesbian, Arab, and an anti-Assad protester, MacMaster’s Amina quickly became a posterchild of the Arab Spring for a wide swath of the liberal media and activist blogosphere. For those cognizant of contemporary critiques of homonationalism against the backdrop of pervasive homophobia, Amina’s dispatches from the frontline seemed a perfect embodiment of left liberal fantasies about the possibilities for progressive sexual politics in a time of revolution. Yet if critics such as Joseph Massad have been accused of dismissing subjects who don’t conform to their theoretical predilections, the Amina hoax gestured at an opposite, if no less insidious, temptation: that of desperately seeking subjects who confirmed theoretical utopia.

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Something in the Way of Things

/ Joe / Leave a comment

Hip-Hop Head

When you look at it head on, from just the right distance, the world seems solid. The order of things presents itself as impenetrable. Yet a change in the angle of vision reveals fissures, fusions, flukes – a world of pieces shifting ceaselessly. One vision of the world promises stability and order, the other freedom and creativity. Which of these is more attractive depends on where one finds oneself: pressed upon by the weight of the world, or abraded by the shifting fragments.

Which of these worlds is real? This is the metaphysician’s diagnosis: “If you want to calm your nerves, then find the arrangement of the world as it really is.” But the physician can only prescribe convalescence or catharsis: “Accept the reality of the given world or realise the subliminal essence of the immanent world.” This regiment exhausts us rather than making us well. It lacks the vigour of creative activity. We don’t need to know; we need to make.

William Connolly suggests that the political condition of late-modernity is to experience this impasse without means to bridge the gap.

In our times we can neither endure our thoughts nor the task of rethinking them. We think restlessly within familiar frameworks to avoid thought about how our thinking is framed. Perhaps that is the ground of modern thoughtlessness.

Creativity requires us to leave the metaphysician behind – the making of the world requires dreams, contradictions, promises, lies, empty space, messy abundance. Turning away from knowing does not force us to apologise for the durable architecture of the world – this is the vice of Richard Rorty’s ironic liberalism. He calls on poets of the self to write their lines on the walls of the world as if they were solid, so not to upset things too much – a consolation of the comfortable, irony in the face of human disaster.

The condition of the world impels those caught between the monuments of the given to return to the fissures, fusions and flukes, in hopes of exercising our creativity on the social architecture. We need world makers. We need lovers.

It is with these thoughts in mind that I return to The Roots. Phrenology, the follow-up to Things Fall Apart, explores the creative challenge the band faced after producing an album that reconstructed hip-hop – trying to avoid becoming a parody of themselves or reducing their message to braying didactic verses. The difficulty of achieving real creativity is political as well as artistic and it demands not knowledge but love, desire and risk; it is the Roots’ exploration of how to make worlds anew that offers up lessons of wider import.

Continue reading →