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| Srl | Item |
| 1 |
ID:
148987
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| Summary/Abstract |
On 1 July 2016, commuters and shoppers around the UK were pulled out of their daily routines when silent soldiers in First World War uniforms suddenly appeared among them, waiting on benches, walking single file in supermarket aisles and sitting opposite them in train carriages. The soldiers made eye contact with members of the public, and handed over cards with the name, rank, regiment and age of the soldier they represented who had lost his life on1 July 2016, the first day of the Battle of the Somme. Devised by Turner Prize winning artist Jeremy Deller in collaboration with Rufus Norris, director of the National Theatre, ‘We’re Here Because We’re Here’ was part of the extensive First World War arts programme 14-18 NOW.
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| 2 |
ID:
170783
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| 3 |
ID:
142311
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| Summary/Abstract |
Trevor Paglen, whose work The Octopus was recently shortlisted for the Deutsche Börse Photography Foundation Prize 2016, is a multidisciplinary artist who focuses on surveillance and intelligence activities – what he terms the ‘invisible war’. As well as his solo work, he collaborated with Laura Poitras in the making of Citizenfour, the award-winning 2014 documentary film about Edward Snowden. Other recent projects include Code Names of the Surveillance State, a video installation in which National Security Agency and GCHQ surveillance-programme code names were projected onto public buildings, and Trinity Cube in the Fukushima Exclusion Zone. In this interview, he reflects on some of the questions with which he grapples in his work, from the nature of contemporary warfare to the tension between privacy and surveillance, and the role of the artist in understanding war in contemporary society.
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| 4 |
ID:
122238
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| Publication |
2013.
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| Summary/Abstract |
In the last issue of the RUSI Journal, the article series on transnational organised crime and security focused on a case study, looking at the challenge posed by drugscartels in Mexico and providing us with a compelling view on how organised crime can threaten the security fabric of a single country. In this issue, Peng Wang takes a similar in-depth approach to a case study, with a minutely detailed assessment of the resurgence of Chinese organised crime over the last two decades. His analysis breaks down this increasingly worrying phenomenon into three overlapping levels, scrutinising the activities of criminal organisations with mainland China, the cross-border criminal flows in the Greater China region and ethnic-Chinese organised crime in the UK. This three-level study captures the intricacies of the transnational, globalised nature of these groups' structures and networks, providing a useful resource for those wishing to better understand how Chinese organised crime flourishes at home and overseas, and how it can be countered.
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| 5 |
ID:
131124
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| Publication |
2014.
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| Summary/Abstract |
In the final instalment of the Journal's series on transnational organised crime and security, Peter Romaniuk analyses existing research on terrorist financing. In a comprehensive overview of current approaches to this all-important nexus between organised crime and terrorism, he points out the gaps in current knowledge and suggests ways to develop methods of investigation. The pursuit of further empirical studies - gathering and analysing original evidence - is essential to make research immediately relevant to policy-makers, law enforcers and military professionals who seek to undermine the financial foundations of terrorist activity.
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| 6 |
ID:
140952
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| Summary/Abstract |
Analysing paintings presented by Tate Britain's exhibition Fighting History, Emma De Angelis considers whether history painting can further our understanding of war, especially in today's world. Devices such as the visual fusion of time and space in history painting can facilitate new perspectives and reflections on conflict, and provoke an affective reaction that differs greatly from any scholarly analysis of war past and present.
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