This essay traces the recent history of 3D satellite animation from its military origins to its visibility in the civic sphere. Specifically, technologies unveiled in 2004 as Google Earth first received widespread public visibility in the television coverage of the 2003 U.S. invasion of Iraq. The essay first maps the political economy of the “military-media-geotech” complex, focusing mainly on the coverage of the Iraq War as an nexus of interests. Second, the essay analyzes the aesthetic uses of (...) 3D satellite animation on the news during this period, including how these imaging practices meshed with existing discourses such as the clean war, the weaponization of the civic gaze, and others. The essay concludes with thoughts regarding what these practices mean for the efficacy of the deliberative citizen, public life, and the meaning of war. (shrink)

At the focal point of contemporary biopolitical knowledge and power is human life in its contingent, evolutionary and emergent properties: the living as adaptive and affective beings, characterized in particular by their capacity to experience stress and fear that works together with vital survival mechanisms. This article addresses new techniques of psychiatric power and therapeutic epistemologies that have emerged in present-day military-scientific as well as media technological assemblages to define and capture the human in its psychobiological states of emergency. Specifically, (...) the focus of this article is on one special kind of screen medium, called Virtual Iraq, a virtual reality device designed to treat post-traumatic stress disorder among war veterans. The article analyses Virtual Iraq as an example of new forms and strategies for the management of affectivity and memory that have been developed in conjunction with contemporary neuroscientific discourses on the evolutionary origins of emotional life and its neurobiological functionality among humans qua species. Furthermore, it discusses Virtual Iraq as an example of the biopolitical work of contemporary screen media in which the reality of images starts to concern the organism’s internal functioning instead of being anthropological or communicative, tapping into the brain’s capacity of self-organization as well as contributing to the production and maintenance of psychological immunity. (shrink)

The 1991 war against Iraq was one of the first televised events of the global village in which the entire world watched a military spectacle unfold via global TV satellite networks.1 In retrospect, the Bush administration and the Pentagon carried out one of the most successful public relations campaigns in the history of modern politics in its use of the media to mobilize support for the war. The mainstream media in the United States and elsewhere tended to be a (...) compliant vehicle for the government strategy to manipulate the public, imperiling democracy which requires informed citizens, checks and balances against excessive government power, and a free and vigorous critical media (see Kellner 1990 and 1992). Indeed, if the media do not adequately inform citizens, provide a check against excessive government power and corruption, and adequately debate the key issues of the day, democracy is undermined. M oreover, the U.S. media, especially CNN, completely dominated global coverage of the event. CNN had cameras and reporters in Baghdad throughout the war, a large crew in Israel, and live coverage of all U.S. military and government press conferences. Thus its images, discourses, and material tended to shape global coverage of the event. This meant that the Bush administration and Pentagon was able to control the flow of images and discourses and thus to manage the TV spectacle of the Gulf War.2 In this chapter, I first discuss the production of the text of the "crisis in the Gulf" and then "the Gulf war." This will involve analysis of disinformation and propaganda campaigns by the Bush administration, the Pentagon, and their allies, as well as dissection of the constraints produced by the so-called pool system. I also indicate how the political economy of the media in the United States facilitated the manufacturing of consent for U.S. government policies. Then I analyze the meanings embedded in the text of the war against Iraq and the reception of the text/event by the audience.. (shrink)

“The ‘eyes’ made available in modern technological sciences shatter any idea of passive vision; these prosthetic devices show us that all eyes, including our own organic ones, are active perceptual systems…” (Donna Haraway, 1991). A tool of military surveillance to “love at a distance”? (Caroline Bassett, 2006). Google Earth, a culmination of remote sensing satellite technologies, mega database and 3D animations, is open to both kinds of critique. This paper focuses on the latter, on how the human faculty for (...) compassion might be aligned with and elicited from the ways we search and apprehend the swirling visions of earth that Google Earth makes available. Haraway’s idea that new kinds of “prosthetic” vision constitute “active perceptual systems” resonates strongly with Hansen’s description of the digital image as a new kind of image that is produced through the process of searching rather than from passive viewing. My discussion of the Google Earth site, Crisis in Darfur , investigates the subversive possibilities of compassion in opening up an aesthetic and yet mundane space of respite from the regimes of power inherent to Google Earth, a website with an undeniable prehistory of military surveillance. (shrink)

Just war theory needs to become a real-time critique of government war propaganda in order to facilitate peace advocacy ante bellum. This involves countering asserted justificatory reasons with demonstrable facts that reveal other motives, thereby yielding reflective understanding which can be collectivized via electronic media. As a case in point, I compare here the publicly declared reasons for the U.S./U.K. invasion of Iraq in 2003 with reasons discussed internally months and even years before in government and think-tank documents. These (...) sources show that control of oil rather than regime change or a WMD threat was theunderlying motive. Neo-conservatives in the Bush Administration justified such deception by citing an exoteric/esoteric distinction traceable to Plato via Leo Strauss. As with the Iraq invasion, so in general such propaganda and its rationalizations can be undermined by investigative journalism understood as ranging from fact gathering to rhetorical analysis and critique. (shrink)

At the turn of the twentieth century, French society was shaken by a scandal that affected it at many levels to varying degrees and that is still considered as a symbol of injustice, miscarriage of justice and antisemitism. The Dreyfus Affair started in 1894 when an artillery officer of Jewish descent was convicted and sentenced to life imprisonment for communicating military secrets to the German embassy in Paris. Only years later was Alfred Dreyfus exonerated and rehabilitated, due mainly to the (...) role of the media and the famous article by the novelist Emile Zola, “J’accuse”. The press, in general, played a fundamental role in the narration of the event and in the complex chemistry that led a confidential case of espionage to become a broad public debate, exemplifying the constant struggle against prejudice and irrational impulses that implies democracy. From the impressive volume of publications, I selected two drawings issued when the truth about captain Dreyfus’s innocence began emerging. One is by Félix Vallotton, “That’s why she was not coming out!”, the other by Gustave-Henri Jossot, “She was too naked”, and they both give an interpretation of the truth and of the reasons why it—the truth—came out so late. The semiotic approach of the drawings and of Zola’s pamphlet in terms of visual message leads us to distinguish three aspects. The first is iconic and consists of establishing the links between a signifier, a signified and a referent in order to recognize the immediate message but also the connoted signification; the second is linguistic and consists of the captions; and the third is plastic, focusing on size, colors and shapes. These analyzes of the mode in which visual artefacts produce meaning and provoke an interpretative process are made in terms of rhetoric insofar as rhetoric is considered, not only in terms of figures of speech, but as a method of persuasion and argumentation. (shrink)

_ Americans were forced to decide during an 18-month period of intense uncertainty whether to invade Iraq as part of the war against terrorism. This article reports compelling evidence that mainstream media between September 2001 and March 2003 failed in their primary responsibility: to provide sound news and commentary on which Americans could base critical decisions about war and peace. One reason is that journalists did not use an objective approach-in part because it had been discredited by media professionals (...) and critics who advocated more activist approaches. (shrink)

Extensive media coverage of the nation’s response to its obligation to furnish health care for service members wounded in current overseas conflicts in Iraq and Afghanistan has elevated public consciousness of the importance of the U.S. military and veteran’s health care systems to a level not seen since the end of the Vietnam War. The number of casualties of U.S. military engagements has varied in each specific conflict and is a direct result of both the type of battle and (...) the military’s ability to handle battlefield injuries. (shrink)

This study examined more than 2,500 war images from U.S. television news, newspapers, news magazines, and online news sites during the first five weeks of the U.S.-led invasion of Iraq in 2003 and found that only 10% showed injury or death. The paper analyzes which media platforms were most willing to show casualties and offers insights on when journalists should use gruesome war images or keep them secret.

The review essay deals with two recent publications on media-war relationships: Tumber and Palmer's ‘Media at war. The Iraq crisis’ and Thussu and Freedman's ‘War and the media. Reporting conflict 24/7’. Two questions are raised in this essay. First, is it still relevant to look back at two publications on media-war relationships when the wars they focus on have fundamentally altered? And even more importantly, is there a convincing reason for actually reading them? Answering these questions allows for a (...) more fundamental reflection on the importance of academic activities in relationship to issues of media and war. Three answers are suggested: the importance and necessity of documenting, analyzing and archiving war, the facilitation of academic and societal dialogue on the issues of war, and the analyses of the political, economical, cultural, technological and ideological contexts that transcend singular wars. Especially the last domain is considered crucial. Although each war is characterized by a high degree of specificity and contingency, which unavoidably influences and alters the media-war-military relationships, the contextual analyses enable uncovering the presence of more structural aspects in these relationships. More specifically, these contextual analyses teach us most about the role of power and ideology in the representational processes that deal with war. These analyses again show the powerlessness of media and media professionals to escape from the dichotomized ideological model of war and from the legitimization of what Knightley termed ‘the institution of war’. (shrink)

When advanced technologies of globalization that are closely associated with secular cosmopolitics are opportunistically employed by fundamentalist politico-theologies for their own particular purposes, an essential irresolution of territory, jurisdiction and programmatic projection is revealed. Where some may wish to identify an ideal correspondence between a global political sphere into which multiple differences might be adjudicated and the visual, geographic representation of a single planetary space, this conjunction is dubious and highly conditional. Instead multiple territorial projections and competing claims on (...) space are also generative of the very qualities of the spatial as a political medium altogether. For example, the well-publicized use of satellite-based mapping and telecommunications tools, such as Google Earth, by the terrorist group that attacked Mumbai in November 2008, raises several knotty and important questions about how contrary comprehensive images of the world can make use of one another in ways that undermine the ‘unitotality’ of global territory. It is not that Google and Jihad are ‘equivalent’ or even ‘translatable’, but rather because they are not, they are in practice interoperable. Instead links between urbanism, cosmography, and the socialization of planetary software networks demonstrate the centrality of design to the ongoing fashioning of the territory of territories, the geoscape. (shrink)

The Balkan War was a conflict that provoked many parties to intervene. The war was also covered by a number of journalists, who carried out what we may call a “media intervention.” This article ana...

Currently, we find ourselves in a paradigm in which we believe that accepting climate change data will lead to a kind of automatic action toward the preservation of our environment. I have argued elsewhere (Fried 2020) that this lack of civic action on climate data is significant when placed in the historical, military context of the technologies that collect this data––Earth remote sensing technologies. However, I have not yet discussed the phenomenological or moral implications of this context, which are deeply (...) interconnected. In this paper, I assert that Earth remote sensing technologies can, if we are not careful, lead us to a kind of environmental deskilling. This assertion comes in four parts. First, the military context of Earth remote sensing technologies––which collect important data on climate change––acts as a kind of stability, as defined by Don Ihde and others. Second, I invoke Sir Patrick Heelan to argue that the theoretical underpinnings of Earth systems science do not translate from military to environmental praxes as we imagine they do. Third, Hannah Arendt makes the case that a state’s trust in simplifying narratives like that of climate data, meant to create “islands” of certainty in an uncertain world, can be self-defeating. That is to say, they can silence public action. I extend these arguments through Vallor’s analysis of moral deskilling, in which she points out that an overemphasis on autonomous data collection––and trust in a kind of automated decision-making on that data––can deskill us from important questions relevant to our collective flourishing. In all of these examples, the lines between environmental and military research are blurry. (shrink)

The analysis explores the main arguments of Noam Chomsky’s short book,Media Controlthat also reprints the monograph “The Journalist from Mars: How the ‘War on Terror’ Should Be Reported.” The problematic is Aristotelian rhetoric and Enlightenment rationality (justice) in civic discourse (Lógos) as compared to the thematic of dialogic reasonableness (Eulógos). Chomsky’s assumption of, and critique of, “old rhetoric” [Aristotle’srhētorikḗ] is followed by a discussion of Chiam Perelman’s “new rhetoric” [presocraticpoiētikḗ/epideiktikos / gērys] and his “incarnate adherence” (givingvoiceto) concept of the Universal (...) Audience as a function of Epideictic argumentation. This is also a critique of Stephen Toulman’s neo-Aristotelian model of rhetorical “warrant” and its connection to Charles S. Peirce’s normative semiotic of the “argument cycle.” Heidegger’s and Lakoff’s concept of discourse framing is associated with Michel Foucault’s rhetoric concept of an ethic of social discourse for the common good (parrhesia) in the age of Umberto Eco’s hyperreality media that displays Baudrillard’s simulacra, such as Donald Trump. (shrink)

The present study examined how the pre-war debate of the US decision to invade Iraq (in March 2003) was discursively constructed in the US/British mainstream newspaper opinion/editorial (op/ed) argumentation. Drawing on theoretical insights from critical discourse analysis and argumentation theory, I problematised the fallacious discussion used in the pro-war op/eds to build up a ‘moral/legal case’ for war on Iraq based on adversarial (rather than dialogical) argumentation. The proponents of war deployed ‘instrumental rationality’ (ends-justify-means reasoning), ‘ethical necessity’ (Bush’s (...) ‘Preemption Doctrine’) and ‘humanitarian virtue’ (the bombing of Iraq to ‘save’ Iraqis from Saddam’s pestilent tyranny) to justify the pending invasion of Iraq. Their arguments intertextually resonated with Bush administration’s ‘war on terror’ rhetoric in a way that created a form of indexical association through ‘recontextualisation’. The type of arguments marshalled by the pro-war op/ed commentators uncritically bolstered the set of US official ‘truth claims’ and ‘presuppositions’. (shrink)

Now that it has become so commonplace, we rarely blink an eye at camera footage framed by the crosshairs of a sniper’s gun or from the perspective of a descending smart bomb. But how did this weaponized gaze become the norm for depicting war, and how has it influenced public perceptions? _Through the Crosshairs _traces the genealogy of this weapon’s-eye view across a wide range of genres, including news reports, military public relations images, action movies, video games, and social media (...) posts. As he tracks how gun-camera footage has spilled from the battlefield onto the screens of everyday civilian life, Roger Stahl exposes how this raw video is carefully curated and edited to promote identification with military weaponry, rather than with the targeted victims. He reveals how the weaponized gaze is not only a powerful propagandistic frame, but also a prime site of struggle over the representation of state violence. (shrink)

Considering a number of recent works on the ideology and culture of Fascism, the article explores how the concept of utopia, as formulated by different thinkers, can prove useful in attempting to unlock some of the mechanisms through which Fascism sought to manipulate the imagination and the aspirations of Italians. It focuses on the written accounts of writers and journalists who reported on the supposed achievements of the regime both in Italy and in the newly established colonies. It examines the (...) cult of Rome, which was increasingly to become the symbolic language of Fascism, and explores how, in the writings of one journalist after another, the regime was represented as having recovered the powerful utopia of the ancient past. The article then looks at the kind of rhetoric that surrounded some of the most important building projects that took place in Italy in the 1930s. It suggests that the creation of a blueprint for an ideal society was central to this rhetoric and that the notion of the arrival in an earthly paradise was to form the master narrative for most representations of Mussolini's newly acquired African territories. The article then looks at some of the competing versions of utopia that were presented, albeit subliminally, in the official media of the time. It examines some of the dystopian images of the United States that were manufactured on the eve of the Second World War. It concludes by pointing to the violence and intolerance imbedded within the utopian project of Italian Fascism. (shrink)

This research evaluates the production of three dimensional (3D) clouds for geospatial viewing programs such as Google Earth, NASA World Wind, and X3D Earth. This thesis took advantage of iso-standard X3D graphics and X3D Edit in conjunction with manually produced image textures to represent 3D clouds. While a 3D geospatial viewing might never completely characterize the current state of the atmosphere, a sufficiently realistic virtual 3D rendering can be created to present current sky coverage given adequate satellite and model (...) data. Various visualization demonstration results are presented that can be rendered and navigated in real time. Further research and development is needed to match a cloud typing model output with a particular method of 3D cloud production. Data-driven adaptation and production of cloud models for web-based delivery is an achievable capability given continued research and development. (shrink)

In the bygone days of U-2 spy planes and Sputnik, the only ethical issues attached to satellites seemed to involve military secrecy and national boundaries. Now, with high-powered lenses, infrared senso ry devices, ubiquitous sateIEites, and instan,t high-resolution image transmission, the communication ethics issues-like the powers of global observation-have greatly magnified. Possibly, conventional warfare has become obsolete because television networks have access to a worldwide satellite images that show troops, fleets, and fighter squadrons forming prior to attack. Civilian privacy has (...) changed drastically as well because backyard sunbathers, naturalists, couples, speeding vehicles, and naked paramours seen through bedroom windows can all be identified, photographed, and publicized without their awareness or permission. Because the power, range, fuequency, and commercialism of such space photography will increase, ethicists must survey the surveillance. Vendors in many countries now routinely sell space imagery to news outlets. This means there are at least two types of communication ethics to consider: (a) In journalism ethics, editors and producers must decide whether they will publish many types of invasive photographs, some of which may also deal with military secrecy; and (b) in new media ethics, decisions about who employs, duplicates, regulates, as well as who sells and buys satellite imagery, must be monitored and debated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time For Beginners:Natality, Biopolitics, and Political TheologyRosalyn Diprose and Ewa Płonowska ZiarekDespite The Growing Interest in Hannah Arendt’s idea of natality and its relationship to politics,1 natality is rarely discussed in the context of biopolitics.2 This is all the more puzzling since Arendt is not only a thinker of natality but also, as Agamben acknowledges in Homo Sacer, the first thinker of biopolitics (Agamben 1998, 3–4). While we will (...) elaborate the complexity of what these two terms mean shortly, a useful provisional definition of “natality” is birth as “event” and as the figure of a new beginning in political life. Michel Foucault defined “biopolitics” as the government of the biological life of a population where the state holds the right to life and death in terms of the power to “make live and … let die” (Foucault 2003, 254). We are interested in the relation between natality and biopolitics with regard to maternity in particular, first of all, because this intersection marks the site of some of the more surprisingly volatile conflicts of contemporary political life, and second, because the biopolitical regulation of giving birth raises the question of the fate of political transformation and agency within a biopolitical framework. This second point is illustrated by two relatively short-lived but volatile political events, one in Australia in December 2005–February 2006 and the other in the United States early in 2012.The Australian Case of Ru486A public debate erupted in Australia in late 20053 when, in an unprecedented move, four women senators from across the political party spectrum sponsored a “private members bill” to repeal the federal minister for health’s jurisdiction [End Page 107] over the licensing of RU486 (the so-called “home abortion pill”).4 The senators were protesting how the then conservative Australian government (the so-called Howard Government) was continuing to block the licensing of the drug despite Australia’s relatively liberal approach to surgical abortion, which has been legally available since the 1970s. The debate exposed how the Howard Government, in one of its first legislative acts after assuming power in 1996, had placed abortive agents such as RU486 under its own jurisdiction (instead of the independent body, the Therapeutics Goods Administration, which regulates all other drugs). Even though protest at this situation was well overdue by 2005, it was surprising that RU486 in particular became the focal point of contestation of government authority over life at that time. There were a number of other aspects of the government’s wider legislative agenda that were more publicly contested—harsh refugee policies, participation in the war in Iraq, draconian antiterrorism legislation, legislation deunionizing the labor market and tightening the marriage act to define marriage in terms of sexuality. Yet only RU486 succeeded in mobilizing a wave of defiance of prime ministerial authority sufficiently strong to push the debate in parliament to a rare “conscience vote” (a “free vote” that suspends the usual allegiance to one’s political party required in the Westminster system) and, even more rare, a vote that the prime minister and minister for health lost. Perhaps heartened by the success of this expression of dissent, others within the government (and the Labor opposition) began to challenge other aspects of the Howard Government’s conservative legislative agenda, eventually leading to a change of government in 2007.What does the RU486 event reveal about the relation between maternity, the politics of reproduction, political agency, and government of the life of a population? Why did administration of a home abortion pill become such a focus of dissent against totalizing government, sufficient to effectively reactivate democracy? And more specifically, what does this event say about political agency, biopolitics, and the significance of reproductive self-determination? Our second example illustrates the converse—the ever-present threat to close down women’s reproductive self-determination.The Case of the U.S. “Birth Control Mandate” of 2012In February and March 2012, the Republican Party presidential campaign veered off course from its disciplined focus on fixing the economic crisis and engaged instead what the media called “the war... (shrink)

"I'll furnish the war": the making of a media myth -- Fright beyond measure? the myth of the war of the worlds -- Murrow vs. McCarthy: timing makes the myth -- The Bay of Pigs/New York Times suppression myth -- Debunking the "Cronkite moment" -- The nuanced myth: bra burning at Atlantic City -- It's all about the media: Watergate's heroic-journalist myth -- The "fantasy panic": the news media and the crack-baby myth -- "She was fighting to the death": mythmaking (...) in Iraq -- Hurricane Katrina and the myth of superlative reporting -- Conclusion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rhetoric of RHETORIC: The Quest for Effective CommunicationCarolyn R. MillerThe Rhetoric of RHETORIC: The Quest for Effective Communication. Wayne C. BoothMalden, Mass: Blackwell, 2004. Pp. xvi + 206. $20.95, paperback.By using the traditional word rhetoric I want to suggest a whole philosophy of how men succeed or fail in discovering together, in discourse, new levels of truth (or at least agreement) that neither side suspected before.—Wayne C. (...) Booth, 1974Listening-Rhetoric is what I most long to celebrate and practice—the kind that is sadly rare.... Here both sides join in a trusting dispute, determined to listen to the opponent's arguments, while persuading the opponent to listen in exchange.... Both sides are pursuing not just victory but a new reality, a new agreement about what is real.—Wayne C. Booth, 2004By the evidence of these two quotations, the late Wayne Booth sustained a passionate interest in a constructivist, cooperative rhetoric for at least thirty years. His 1974 Modern Dogma and the Rhetoric of Assent first sounds many of the themes that are rearticulated in his 2004 The Rhetoric of RHETORIC, a volume in the Blackwell Manifestos series. Both books were motivated by evident failures of public discourse, the earlier one by those emanating from the Vietnam War, including student protests at the University of Chicago, and the recent one by multiple rhetorical sins of the Bush administration and the national media, especially those concerning the war in Iraq. Indeed, Booth confesses here that his distress dates at least to 1963, when he lamented that "the debate about the [Kennedy] assassination [may be] a greater national disgrace than the assassination itself" (109).What animates Booth in both books is the conviction not that only we can do better in conducting our discursive relationships as a nation, as institutions, as families, but that we must do so. We must do so because our ability to live and progress together depends on our talking rather than resorting to force and on our talking in a way that engenders trust and enables continued debate, rather than provoking mistrust and disrespect. The two enemies he has always in sight are violence and deception. These are two forms of rhetorical failure, but the two become entangled when "violence and the threat of violence corrupt rhetoric," particularly during times of war (118), and when corrupt rhetoric itself becomes a kind of violence (48). [End Page 261]As a "manifesto" addressed to a non-specialist audience, The Rhetoric of RHETORIC is relatively brief, engagingly written, and passionately argued. It includes chapters on definitions of rhetoric (good and bad), the history of rhetorical studies, the difficulties of judging rhetoric (i.e., the disjunction between instrumental and ethical effectiveness), the dispersal of rhetoric to multiple disciplines and forums, the condition of rhetorical education today, the dangers of bad rhetoric in politics and in the media, and a demonstration of how our many intractable debates might be improved with "listening-rhetoric," using as a case example the "warfare" between science and religion. Throughout, Booth dramatizes his ideal of listening-rhetoric by engaging in frequent proleptic questioning and refutation as well as reflexive commentary.Anyone who heard Booth talk at a conference within the past decade or more has first-hand knowledge of his predilection for neologism, and he indulged himself in this book (though he resisted in 1974; see Modern Dogma, 11n5). His term for bad rhetoric, the rhetoric that exacerbates misunderstanding or seeks victory through deception, is "rhetrickery"; his term for the best rhetoric, a kind of critical consciousness that seeks to find common ground and to remove misunderstanding, is "rhetorology." We are also introduced to LR (listening-rhetoric), WR (win-rhetoric), BR (bargain-rhetoric), Rhet-Ed (rhetorical education), P-Rhet (political rhetoric), and MR (media rhetoric).Rhetorology, or listening-rhetoric, is Booth's solution to our rhetorical woes, a solution that admittedly has both philosophical and practical limitations. Rhetorology opposes rhetrickery and some versions of win-rhetoric. He is at some pains to explain and sequester these damaging capabilities so that the unsavory aspects of rhetoric's reputation do not obscure its positive potential. Readers familiar with recent rhetorical theorizing... (shrink)

Undergirding China’s Belt and Road Initiative’s lofty promise of global connectivity are existing connections between the PRC’s implementation of planetary-scale observation systems for environmental sustainability and the recognizably nefarious policies of localized, colonial surveillance of Turkic minorities in the Xinjiang Uyghur Autonomous Region (XUAR). My article examines how the recently alleged genocide in XUAR becomes the afflicted topos where both the rhetoric and practices of monitoring differently complex systems come together. Such complex connections require a recursive analysis, one which further (...) distinguishes between recursion as an actual technique used in remote sensing and algorithmic processes and recursion as a heuristic in discourses about these computational processes and their effects on controlled populations and territories. This article, following recent interest in the intersections of geopolitics, computational design, digital capitalism and colonialism, argues that the Chinese government’s multipronged investments in environmental sciences-related sensing and imaging technologies do not simply help track its own citizens and foreign populations but also how these groups are increasingly monitored by them. I examine how the Digital Belt and Road’s Science Plan frames the environment, including sovereign territories, peoples, and natural resources as data assets. The rest of my discussion turns away from state-sponsored Earth sciences to examine Anglophone media and human rights groups’ use of satellite imageries and databases to evidence the state’s construction of internment facilities and other surveillance mechanisms in XUAR. Alleged algorithms of oppression enclose the XUAR as a black box of the police state, but digital infographic interfaces like the Xinjiang Data Project, which attempts to expose the PRC’s relegation of Uyghurs to biometric and surveillance data, only furthers a recursive datafication of XUAR. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In this article, we explore the tension between truth telling and the demands of civic life, with an emphasis on the tension between serving one's country and reporting the truth as completely and independently as possible. We argue that the principle of truth telling in journalism takes priority over the promotion of civic values, including a narrow patriotism. Even in times of war, responsible journalism must not allow a narrow patriotism to undermine its commitment to truth telling. Journalists best fulfill (...) their civic role by adopting the perspective of a democratic patriotism. We conclude that if news organizations accept the primacy of truth telling and democratic patriotism, they should not embed reporters with military units, or if they do, they have an ethical obligation to implement special editorial precautions. (shrink)

Radio Free Europe used balloons to drop leaflets in an attempt to supplement radio with printed words in the 1950s—a historical moment when closing borders, censoring the press, jamming foreign radios, tapping telephone lines, and tracking letters from abroad created an almost hermetically sealed space without many means for exchanging information across the Iron Curtain. This article traces how distorted and limited information shaped Cold War propaganda and practices of information-gathering. The article further examines unpredictable environmental factors that were transformed (...) into persuasive political rhetoric. A comparative analysis of communist media shows similarities of imagination in a visual propaganda campaign across five communist countries. Fantasies evolved into an object of public interest when propaganda strategies embraced a language of facts. (shrink)

The British Miners’ Strike of 1984–1985 represents one of the most pivotal periods in British industrial relations. The significance of media stance towards the miners remains a controversial issue today, as attested by recent publications looking back at the strike. Here, authors including miners, journalists and other commentators argue that media coverage of the strike followed a consistently anti-trade union agenda in which the media sought to destabilise the strike. An internal British Broadcasting Corporation report, only recently made public, shows (...) that the BBC themselves had concerns over possible imbalances in their coverage of the so-called ‘Battle of Orgreave’. Despite the weight attached to media coverage in this context, however, surprisingly little research has been conducted from a discourse-analytical perspective to show systematically and empirically how such an agenda may have been manifested across media texts. In this article, drawing on Cognitive Linguistic Critical Discourse Studies, I show how one particular metaphorical framing of the strike, which construed the strike as a war between the State and the National Union of Miners, persisted through the year-long period and consider the potential ideological functions of this framing in media strategies of legitimation. I show how this metaphor featured in linguistic, visual and multimodal forms of media representation. (shrink)

Available Again! Long before the "shock and awe" campaign against Iraq in March 2003, debates swarmed around the justifications of the U.S.-led war to depose Saddam Hussein. While George W. Bush's administration declared a just war of necessity, opponents charged that it was a war of choice, and even opportunism. Behind the rhetoric lie vital questions: when is war just, and what means are acceptable even in the course of a just war? Originally published in 1991, in the wake (...) of the first war against Iraq, Just War Theory explores this essential dilemma. With a new preface by the editor, the essays in this indispensable collection move beyond the theoretical origins of just war theory to examine issues faced by military strategists, politicians, social theorists, and anyone concerned with the provocations and costs of military action. Popular wisdom once claimed that notions of just war would become obsolete with the onset of "total warfare," characterized by attacks on civilians and undiscriminating weapons of mass destruction. While the last decade has been ripe with brutality, just war theory is more critical than ever to the future of international relations and public discourse. This readable collection is an invaluable introduction to the debate. (shrink)

This study examines the complex dynamics of communication in the changing field of journalism influenced by the use of media. It specifically focuses on how thoughts and perceptions are expressed in this evolving landscape. Information and communication technologies significantly influence journalism by rapidly disseminating news, updates, and societal impacts. Utilizing critical discourse analysis, the study aims to reveal systematic language usages and uncover latent meanings beyond news texts. Focused on the 2023 Turkish Presidential Election, news texts from four prominent international (...) newslets Al Jazeera, BBC, CNN, and Euronews are analyzed. The comprehensive analysis of international media coverage investigates the interplay of linguistic and thematic choices in shaping narratives. With a dual focus on macro and micro levels of discourse, the study uncovers diverse approaches among foreign media outlets. Each outlet adopts a distinctive thematic approach at the macro level, emphasizing key figures and sociopolitical contexts. Al Jazeera spotlights competition, BBC underscores post-election polarization, CNN focuses on Erdogan's victory, and Euronews provides insights into national challenges. Visual elements, like photographs, contribute significantly to framing events, offering nuanced political messaging. Micro-level analysis explores linguistic choices, syntax, and rhetoric, emphasizing the active voice to underscore leaders' agency. Deliberate use of the passive voice in presenting election results maintains a neutral tone. The way sentences are structured and the cause-and-effect connections help readers understand political developments by providing context. The study underscores the importance of media literacy in decoding political event representations, emphasizing the multifaceted complexities of media discourse. (shrink)

The unfolding of the panorama of images of US prisoner abuse of Iraqis and the quest to pin responsibility on the soldiers and higher US military and political authorities is one of the most intense media spectacles of contemporary journalism. Evoking universal disgust and repugnance, the images of young American soldiers humiliating Iraqis circulated with satellite-driven speed through broadcasting channels, the Internet, and print media and may stand as some of the most influential images of all time.

Generally speaking, just war theory (JWT) holds that there are two just causes for war: self-defence and ‘other-defence’. The most common type of the latter is popularly known as ‘humanitarian intervention’. There is debate, however, as to whether these can serve as just causes for preventive war. Those who subscribe to JWT tend to be unified in treating so-called preventive war with a high degree of suspicion on the grounds that it fails to satisfy conventional criteria for jus ad bello; (...) – particularly the just cause and last resort criteria. Francisco di Vitoria held that the only just cause for war was ‘a wrong received’, which renders impossible any justification for preventive war. There are assumptions implicit in recent military practice, however – most notably, the US-led invasion of Iraq in 2003 – that challenge this ban on preventive war. Interestingly, both supporters and critics attempt to justify their views through the broader logic of JWT; viz., through a conception of what is good for both political communities and individuals, and through a legitimate defence of these goods. Supporters point to situations where so-called rogue states represent ‘grave and imminent risk’ of committing acts of aggression as grounds that justify preventive war; critics argue that to attack another political community on the basis of crimes not yet committed is a breach of the very rights JWT was created to defend. The advocate of preventive war does not appreciate important aspects concerning the morality of war. In the ongoing tension between Iran and The United States and her allies – if the rhetoric is to be believed – I am asked to tolerate a threat to my security and liberty, and to risk suffering aggression in defence of the rights of the antagonistic, but not yet aggressive, state. The crucial question is how such tolerance and risk fit in with the logic of just war: at what point, if any, does the risk of being attacked become great enough to justify declaring war in anticipation? In this paper I highlight some of the theoretical and practical difficulties in determining what counts as a grave and imminent threat, focusing especially on the complicated case of ‘imminence’ in the face of so-called ‘Weapons of Mass Destruction’. Secondly, I will argue that not only is the notion of preventive war inconsistent with the defence of the rights of political communities that JWT requires; it is also forbidden by the proportionality requirement of jus ad bellum. A risk of being subjected to aggression is the price for global peace. Whilst political communities can do much to prevent aggression and prepare themselves in case it occurs, the conditions for just war require that this prevention and preparation stop short of declaring war. We must live with a certain degree of risk in this area. (shrink)

The import of underground facilities in military strategy in the US grew exponentially after the Gulf War. The success of precision-guided conventional missiles meant that any above-ground building or complex could be accurately targeted and destroyed, thus driving states with less sophisticated weapons to go underground to secure space for covert weapons development and the protection of command and control centres for military and governmental functions. Underground facilities have thus become the main challenge to objects of detection and targeting practices (...) for US military research and development. This article provides a meditation on the underground in relation to military planning and technology, the limits of aerial visual control of terrain, the plans by the US military to counter underground defensive moves, the efficacy of tele-technologies to detect and destroy such installations at a distance, and an oblique genealogy of aerial and subterrestrial strategies in relation to technologies to overcome the limitations of each. In so doing, the article argues a deeply connected relationship between the imaginary and the material in attempts to realize a mastery of space and populations essential to military operations, thus posing questions about sensory perception, the status of the subject with regard to agency and control, and the prosthetic outfitting of the subject that both supports and blunts agency and control. (shrink)

The design office of Charles and Ray Eames was a collaborative, interdisciplinary, multimedia affair linking Hollywood, the State Department, universities, the corporate sector and international fairs during the height of the Cold War. Bringing together design, furniture, cutting-edge technology and experimental, avant-garde informed-multiscreen projections, the Eames Office operated as a humanities/IT/media/arts lab. For the 1964 World’s Fair, the Eameses created ‘The Information Machine’ for IBM. The techniques of display and experimental juxtaposition of images, sound and new media capacities later migrated (...) to the many ‘happenings’ following in the wake of Allan Kaprow’s medial and performative experiments. The Eames Office crafted for the 1964 World’s Fair a vision of global change and possibility grounded in avant-garde visual techniques and aesthetics that continue to constitute a specific globe crafted by the US Cold War military-industrial-university-entertainment complex that remains the grounds for our current collective nomos. (shrink)

"I'll furnish the war" : the making of a media myth -- Fright beyond measure? : the myth of the war of the worlds -- Murrow vs. McCarthy : timing makes the myth -- TV viewers, radio listeners, and the myth of the first Kennedy-Nixon debate -- The Bay of Pigs-New York Times suppression myth -- Debunking the "Cronkite moment" -- The nuanced myth : bra burning at Atlantic City -- Picture power? : confronting the myths of the "napalm girl" (...) photograph -- It's all about the media : Watergate's heroic-journalist myth -- The "fantasy panic" : the news media and the "crack-baby" myth -- "She was fighting to the death" : mythmaking in Iraq -- Hurricane Katrina and the myth of superlative reporting -- Counterfeit quotations : swelling with a digital tide. (shrink)

For the past 5 years I have been photographing and interviewing men who play games based on contemporary conflicts. The games attempt to re-create scenarios that the US military is engaged in around the world like the "Hunt for Osama Bin Laden" that took place three years ago on a campground in Northern, Virginia. On a sociological level, the work speaks about the way that trauma and conflict penetrate a culture sheltered from the horrors of war. Many of the scenarios (...) are created and inspired from news reports and images and the stages where the games are played are often a poor imitation of the original scenes from photographs. The book will bring together the series of 24 photographs with essays discussing and analyzing the influence of the media, particularly photographs and video, on the culture at large and how conflict is "discussed" in the visual realm. (shrink)

This article examines precontextualization: the rhetorical act of previewing and contextualizing a future discursive event. I examine how an NBC News broadcast selected verbal–visual representations of the past in order to enact a context for an upcoming discourse moment: Colin Powell’s 2003 United Nations address. The article draws on appraisal analysis, multimodal video analysis and scholarship on the rhetoric of futurity. I show that the NBC journalists who precontextualized Powell’s address on the night before its delivery presented viewers with (...) a supportive context for understanding Powell’s argument. By representing Saddam Hussein as deceptive and even deserving of future violence, the journalists essentially pre-confirmed arguments that Powell employed the next day. More importantly, because the news representations were presented as factual, they allowed viewers little space to consider alternative viewpoints – and little reason to question or resist the seemingly inexorable push for war. (shrink)

Virtual globes, like Google Earth, are increasingly being used by experts and lay publics in the process of 'defending place' against rapidly shifting energy geographies. Drawing upon the fields of visual studies, landscape architecture and geography, this article examines the use of geospatial tools by conservation campaigns challenging new developments. With a focus on wind energy, the article describes the strategic advantages and risks associated with using virtual globes in campaign work. The article suggests that conservation campaigns need (...) to make more judicious use of visualization technologies. While Google Earth may enable distant viewers to 'witness' change, it may add limited value to how local citizens experience their own topographies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:US War-Culture, Sacrifice and Salvation by Kelly Denton-BorhaugStephen M. VantasselUS War-Culture, Sacrifice and Salvation Kelly Denton-Borhaug oakville, ct: equinox, 2011. 279 pp. $34.95In US War-Culture, Sacrifice and Salvation, Kelly Denton-Borhaug uses cultural and linguistic analysis in order to understand the place of war in American culture and discourse. She begins by noting that war culture is so deeply embedded in America’s ethos that its citizens are generally unaware (...) of the extent to which the United States has been militarized, with both weapons and ideology. With sobering detail, Denton-Borhaug documents how the military has penetrated and shaped institutions ranging from colleges to industry. She explains how militarization is exemplified in the consumer and civilian culture through video games and the rise of a surveillance state. By way of this analysis, the author makes the case that Dwight Eisenhower’s fear concerning the influence of the military-industrial complex has fully been realized in modern America.Denton-Borhaug then addresses what she considers to be the ideological fountainhead for America’s militarism: the Christian doctrine of substitutionary atonement. In short, as Christianity teaches that an innocent man had to sacrifice himself to save humanity, so also American war-culture ideology teaches that soldiers, citizens, and the country must sacrifice on the battlefield in order to achieve national or political salvation. Denton-Borhaug suggests that politicians and others draw on the notion of the necessity of sacrifice as a way to convince people to support militarized conflict and to endure the inevitable hardships that result. By analyzing US political rhetoric between 2001 and 2003, Denton-Borhaug makes a compelling case that the Bush administration used sacrificial images of victims and abusers to set up a simple black-and-white ethical paradigm to justify the war in Afghanistan and Iraq.From there Denton-Borhaug turns to feminist theological and linguistic analysis to deconstruct the language of sacrifice in political discourse. She argues that when sacrifice in war is seen as a necessity, the brunt of its effects is often borne by the weakest groups in society. The sacrifice motif also sets up a problematic model of active masculine protectors and passive women in need of protection, which leaders often exploit to convince the public to “trust them.” [End Page 201]If Denton-Borhaug simply asked Christian leaders to guard against the use of Christian theology to justify national or political war-making interests, I doubt few would object to her case. In fact, I commend her for drawing attention to these critical issues and arguing for tactics that encourage peacemaking. Unfortunately, Denton-Borhaug argues that the solution to the political use of sacrificial theology is to jettison it, or at least to marginalize its use in Christian teaching. She proposes that we replace it with a theology of work, a cure that may be even worse than the disease she diagnoses and that is, moreover, not logically required to achieve the peacemaking she promotes. In this regard Denton-Borhaug could have been more transparent about her own presuppositions. For example, she clearly leans toward nonviolence, leaving readers to wonder whether genocide, nuclear buildup, and state-sponsored terrorism are the only justifications for war (222). Moreover, I am not completely convinced that America’s use of sacrificial language is an unvarnished harm. I suspect that at least some of the United States’ use of sacrificial language stems from a desire to avoid language that glorifies war. Would America be better off if we used militaristic terms like “Death to Afghanistan” that emphasize domination, rather than the suffering associated with “sacrifice”?Despite these weaknesses, Denton-Borhaug’s book is a valuable antidote for Christians who have grown too comfortable with America’s military-industrial complex and ideological war-culture machine. We would do well to take seriously her exhortation to work to remove the roots of war in our effort to create a world of peace.Stephen M. VantasselKing’s Evangelical Divinity SchoolCopyright © 2015 Society of Christian Ethics... (shrink)

In considering how to best deploy robotic systems in public and private sectors, we must consider what individuals will expect from the robots with which they interact. Public awareness of robotics—as both military machines and domestic helpers—emerges out of a braided stream composed of science fiction and popular science. These two genres influence news media, government and corporate spending, and public expectations. In the Euro-American West, both science fiction and popular science are ambivalent about the military applications for robotics, and (...) thus we can expect their readers to fear the dangers posed by advanced robotics while still eagerly anticipating the benefits to be accrued through them. The chief pop science authors in robotics and artificial intelligence have a decidedly apocalyptic bent and have thus been described as leaders in a social movement called "Apocalyptic AI." In one form or another, such authors look forward to a transcendent future in which machine life succeeds human life, thanks to the march of evolutionary progress. The apocalyptic promises of popular robotics presume that presently exponential growth in computing will continue indefinitely, producing a "Singularity." During the Singularity, technological progress will be so rapid that undreamt of changes will take place on earth, the most important of which will be the evolutionary succession of human beings by massively intelligent robots and the "uploading" of human consciousness into computer bodies. This supposedly inevitable transition into post-biological life looms across the entire scope of pop robotics and artificial intelligence, and it is from beneath that shadow that all popular books engage the military and the ethics of warfare. Creating a just future will require that we transcend the apocalyptic discourse of pop science and establish an ethical approach to researching and deploying robots, one that emphasizes human rather than robot welfare; doing so will require the collaboration of social scientists, humanists, and scientists. (shrink)

Ernst Friedrich's War Against War is an important document in the struggle against the barbarism of modern warfare. Outraged by the unprecedented brutality and massive destruction of the First World War, Friedrich sought out and then published this collection of pictures and other visual artifacts which illustrate not only the human suffering and death produced in the war but also the lies and hypocrisy of the political and economic forces which promoted it. Aiming at an international audience, Friedrich had (...) the book's introduction written in four languages-- German, Dutch, English and French--and accompanied his collection of images with captions in these languages.{1} It was the first extensive published collection of photographic images of the atrocities of World War I, and thus brought the public face to face with a powerful panorama of the horrors of war through the media of photography and other mass images. Friedrich hoped that when they actually saw the reality of modern warfare, people everywhere would become more critical of war, the military, and militarism. (shrink)

This interview with the art historian and curator Julian Stallabrass was conducted by Alex Fletcher and Andrew Fisher over the winter of 2022–23. It takes as its point of departure Stallabrass’s recent and large-scale study Killing for Show: Photography, War, and the Media in Vietnam and Iraq (2020), in order to consider the changing ways in which images have been used to both document and to wage war. The interview explores Stallabrass’s central historical contrast between photography in the (...) class='Hi'>Iraq and Vietnam Wars. It considers the relative critical values of photojournalism and art in their engagements with violence and what the problems and possibilities of photojournalism tell us about the wider fate of liberal notions of the public sphere. The interview ends by linking these themes in Killing for Show to the photographic mediation of current conflicts and the visual cultures of contemporary capitalism. (shrink)

In March 2003, President Bush declared the start of Operation Iraqi Freedom, the anticipated commencement of intensive American-led military operations in Iraq. With this declaration, the media began intense coverage of military operations from the field. For the first time, viewers were able to see images of actual events. This was due to three developments: the advancement of technology allowing immediate transmission of text and images, the actual presence of journalists identified as "embedded journalists" at military sites, and the (...) fierce competition among networks for viewers. One result of this constant coverage was significant pressure on decision makers within the television and cable news networks to decide within a matter of seconds which images to air. In particular, producers and broadcasters of competing networks experienced this pressure. Though the radio and broadcasting industry has a published code of standards, it is "general and advisory rather than specific and restrictive." Therefore, it did not address the unique time sensitive decision-making required within this new environment. Issues such as the security of soldiers, confidentiality of troop maneuvers, and the safety of the embedded journalists were critically important. Equally serious were the concerns about the impact of the immediate airing of information and violent images to the public. This research used Patrick Primeaux's ' mind-heart-sou¾ model of decision-making as its theoretical framework. The study investigated the gender and industry experience of selected professionals in a cable news network, MSNBC, to explore how ethical codes of behavior are integrated when people make decisions. Decision-making in both their professional and personal lives was examined. It is from this perspective that their professional decisions to air/not to air material from Operation Iraqi Freedom were studied. The findings on decisions about airing/not airing material from Operation Iraqi Freedom yielded both expected and unexpected results. There was no clear gender difference regarding ethical decision-making, but there was a difference when analyzed by industry experience. When the study focused on questions regarding the respondents' personal lives, the original hypothesis that there was a gender difference was validated. (shrink)

Used for everything from geographic evaluation to secret spy missions, aerial photography has a rich and storied history, ably recounted here in Photography and Flight. Aerial photography is marked by its dependency on technological developments in both photography and aerospace, and the authors chart the history of this photography as it tracked the evolution of these technologies. Beginning with early images taken from hot-air balloons, fixed platforms, and subsequent handheld camera technology, Denis Cosgrove and William Fox then explain how military (...) reconnaissance and governmental projects were instrumental in catalyzing these and other innovations in the field. They examine pivotal historical moments in which aerial photography began to establish itself as essential tool, such as in World War II military strategies, high-altitude photography taken from postwar rockets and aircraft, and the use of aerial photography during the cold war and the Cuban Missile Crisis. The book also explores the advancement of geographic scholarship through aerial photography, ranging from military excursions into Antarctica to the images of the curvature of the earth taken during the Apollo space missions. While digital technology and remote sensing have changed the landscape of photography, Photography and Flight argues that they have not diminished the significance of aerial photography in providing images of the earth. Rather, new technologies and resulting innovations such as Google Earth have enabled the mass democratization of access to such information. Photography and Flight ultimately reveals how the camera lens from far away continues to unearth telling details about the land and those who live upon it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:January 12, 2013 (10:49 am) C:\WPdata\TYPE3202\russell 32,2 062 red.wpd 1 [For document sources and the pseudonyms used, see the entries in D.4 of the Malleson bibliography in this issue. The Wrst is under “Hemma Hos br”.z—zK.B.] 2 [Russell had given Malleson directions: “Festiniog is 3 miles from Blaenau Festiniog, along the road to Port Madoc; our cottage is a quarter of a mile from Festiniog, towards Port Madoc; the (...) inn, the Pengwern Arms, is at our end of the village. You would not Wnd our cottage on any map, but you might Wnd Bryn Llewelyn, a big house next door. Festiniog is on a ridge between two mountain streams, the Teigl and the Cynval” (24 Aug. 1948, ra3 596.200860). Find it at 52 57N32.17ON, 3 56N29.04OW on Google Earth.] 3 [Russell’s later secretary, Christopher Farley, attended the evacuated school.] russell: the Journal of Bertrand Russell Studies n.s. 32 (winter 2012–13): 161–9 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631; online 1913-8032 ocuments THREE PORTRAITS OF BERTRAND RUSSELL AT HOME1 Constance Malleson i.w“bertrand russell at home” (1949) A ysage in ancient times once said that the best and wisest men love ythe ymountains and the sea. So it is perhaps not surprising to Wnd yEngland’s ygreat philosopher, Bertrand Russell, living in a little grey stone cottage on the side of a mountain and within sight of the sea. At a bend in a steep road, you suddenly come upon it: a typically Welsh looking place, for it is situated not far from the village of Llan Ffestiniogz—zin North Wales. It is small-scale country, this north-western corner of Merioneth: small steep hills; small glistening-green oak woods; small compact purple mountains (about 2,000 feet high). Ffestiniog village stands upon a ridge with a deep valley on either side; and a river, with white churning waterfalls, in each valley. From the grey stone terrace in front of Russell’s cottage, the whole Vale of Ffestiniog opens out to the shining estuary and the sea.2 The terrace has three tall, clipped, very prim looking bay trees; and all the cottage’s eight windows and two doors open out onto it; and Russell will tell you (with a lightly sardonic tone in his voice) that there were originally six trees, but that A.yS. Neill’s small scholars cut down three of them. (A.yS. Neill’s famous “experimental” school was evacuated here during the war.3 ) While Russell is himself an advocate of a very great deal of freedom in education, he thinks it is a pity if small children grow up without any knowledge whatever in their heads. At the western end of the terrace, the cottage has a projecting wing and it is January 12, 2013 (10:49 am) C:\WPdata\TYPE3202\russell 32,2 062 red.wpd 162 constance malleson 4 [B.yH. Liddell Hart (1895–1970). Conrad Russell recalled him visiting in “Shaking OT the Family Curse” (interview), The Independent on Sunday, 13 June 1999, pp. 16–17.] 5 [Edward, Earl of Clarendon, The History of the Rebellion and Civil Wars of England Begun in the Year 1641, 3 vols. (Oxford, 1704). The copy is still in Russell’s library.] 6 [It was the unique Doves type that T.yJ. Cobden-Sanderson disposed of in this way in 1916. He died in 1923. Many Doves Press publications remain in Russell’s library.] 7 [1817–1857. Finnish book collector.] 8 [The book was on loan to Russell from Malleson. She later sent a wedding oTering of what is probably the same copy to the Editor and his wife.] 9 [One such stone jar, with a screw-on top, is in ra.] there that Russell’s own small son, Conrad, age twelve, has his bedroom. Its walls are covered with delightful, large, coloured, historical maps of the world; and it once happened that, when the famous military expert of The Times, Liddell Hart,4 was visiting Russell and holding forth about some very remote and little known place, Conrad piped up and corrected him... (shrink)

Doug McGill published several articles about the massacre of 425 members of the Anuak tribe by the Ethiopian military in 2003 and 2004 on his Web site, The McGill Report. The mainstream news media ignored it. McGill's narrative demonstrates the impact of his reporting on the Anuak community worldwide, its impact on several beneficiary groups in the United States, and the lack of interest by the mainstream news media that failed to fulfill journalism's primary purpose. Two responses follow McGill's narrative. (...) Jeremy Iggers examines the social and economic realities that make it difficult for journalists to fulfill their primary purpose. He suggests that partnerships between journalists and engaged citizens may provide a new model for journalism. Andrew Cline examines the rhetorical and ethical nature of the journalistic transaction between journalist and audience. Who counts as a journalist arises from the experiences of an audience that uses a journalist's work as a civically important text. (shrink)

This essay examines media images of women in recent conflicts in the Middle East. From the Abu Ghraib prison abuses to protests in Iran, women have become the public face of violence, carried out and suffered. Women’s bodies are figured as sexual and violent, a potent combination that stirs public imagination and feeds into stereotypes of women as femme fatales or “bombshells.”.

This is an analysis of a large facial formation set within a glacial moraine along the southeast corner of Alberta, Canada, known as the Badlands Guardian. The formation is presented in one aerial and three satellite images acquired over the past 70 years by the Alberta Department of Lands & Forests and Google Earth. The images reveal a profiled portrait of a human head wearing a feathered headdress. The facial features include an eye, nose, mouth, chin, neck, and jawline. (...) The headdress consists of a headband containing a staggered set of feather-shaped extensions. When taken together these aesthetic features create the visual impression of a left-facing portrait of an indigenous tribesman wearing a feathered headdress. A claim of intelligent design is offered and a geologist and geoscientist examine natural mechanisms that could contribute to the formation of these aesthetic features. A comparison of the iconographic tribal motifs of both North and South America is presented and a request for an extensive ground exploration and additional satellite images of this formation is encouraged. (shrink)

This article examines how, through militarism, masculine imaginings of Indonesian nationalism construct a ‘national feminine’. Whether through popular song, national war heroines, or the institutionalization of feminine roles in the military, the positioning of the ‘national feminine’ is always contradictory. On the one hand, it is gendered and domesticized, while, on the other, it is employed as confirmation that Indonesia has already achieved gender equality. In most instances, once the national crisis is over, and before a new crisis emerges, both (...) the rhetoric of equality and the representation of the nation used to mobilize women's participation in the popular armed struggle are once again adjusted to fit the heterosexual familial model. However, in the Indonesian military, discursive constructions of the ‘national feminine’ are not enough; the military must further define the ‘national feminine’ through institutionalized practices. (shrink)

This book analyses the influences of ideas of honor on the causes, conduct, and endings of wars from Ancient Greece through to the present-day war in Iraq. It does this through a series of historical case studies. In the process, it highlights both the differences and the similarities between the various eras under study, and draws conclusions about the relevance of honor to war in the modern era. Each chapter looks at a particular period in history and is divided (...) into nine sections: Honor and virtue in the relevant period; Honor and the causes of war; Honor as a motivation for fighting; Honors and rewards; Death and honor; Honor and the conduct of war; Honor and the enemy; Honor and the ending of wars; Women and honor. The book makes use of original archival research and interviews with serving military officers, as well as secondary source material. Its subject will be of interest not merely to students of military history, military ethics, security studies and international relations, and anthropology/sociology/philosophy/history of ideas. (shrink)

The formation of public opinion in different countries of the world is important for the formation of global media discourse, since ambiguous opinions are produced in the Asian media, it is worth investigating and studying the linguistic nature of journalistic methods of influencing the audience and the peculiarities of communication with readers. The study aimed to decipher the explicit and implicit linguistic techniques employed to construct political narratives in the media domains of China and Japan, while also examining existing research (...) in the realm of media language. The methodological basis of the work is analytical-synthetic, comparative, contextual and lexical-semantic analysis, which were used in a complex. In this study, the peculiarities of the media discourse of China and Japan were determined based on the analysis of the objectivity of the depiction of events related to the war in Ukraine, and an idea was formed about the characteristics of the narratives that were laid at the level of explicit and implicit meanings, decoded using the study of linguistic means. Attention is focused on the contrast between the Chinese and Japanese positions regarding the war in Ukraine in the media discourse and the peculiarities of information coverage (neutrality or stylistic marking, the choice of lexical-semantic means, the level of artistic imagery). A contextual analysis of Chinese and Japanese online newspapers, which form the modern Asian media field, was carried out, which journalistic techniques are used and which linguistic means are used to achieve the basic communicative goal. This research can be used for further linguistic investigations regarding the formation of political narratives in different regions and countries of the world, in particular regarding the war in Ukraine, conducting a comparative analysis of the rhetoric of public opinion leaders and their influence on the general media discourse. (shrink)