| Srl | Item |
| 1 |
ID:
145974
|
|
|
|
|
| Summary/Abstract |
During the last couple of decades, the virtual has emerged as a forceful conceptual tool in security studies. While used primarily in order to question assumptions about an objective truth concerning the meaning and value of security and different forms of insecurity, the implications of drawing on this concept vary considerably depending on how the virtual is conceptualized, and specifically how the potentiality of the virtual is linked to the process of actualization. Turning to the philosophies of Baudrillard, Agamben and Deleuze, as well as key thinkers in contemporary security studies, this article delineates three different approaches to analysing the virtualization of security. Focusing in particular on how these approaches point to contending views of ‘capture’ and ‘resistance’, it is argued that the choice of approach has serious implications for grasping what is at stake politically in the process of virtualization. These implications relate, more precisely, to how the virtual opens up and/or closes down the spaces of resistance that the modern subject of security traditionally has relied upon. In this way, the virtualization of security not only is important for thinking about capture and resistance, but challenges the very ground on which the modern subject of security rests.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
117772
|
|
|
|
|
| Publication |
2012.
|
| Summary/Abstract |
If, as Spinoza suggests, sadness is an inadequate idea, how do we account for its mobilization in nationalist and post-colonial critiques of colonialism, neo-colonialism and neo-liberalism? How, in other words, might we see in the inadequate idea of sadness the very conditions for thinking our way into a discussion of political subjectivity that loosens the grip of biopolitics on African subjectivity? Drawing on aesthetic practices of art and film, this article argues that a fundamental shift is discernable in the careful ways in which the affect of sadness has been worked over by artists and filmmakers in Africa. This is a site of productive reworking, which not only eclipses the exhausted political sphere in Africa, but offers ways to theorize its reconstitution. To this end, the article asks that we attend to the ways in which potentiality and impotentiality are rendered as central premises for tackling the question of the renewal of political subjectivity in Africa.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|