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This intervention offers a speculative lexicon to help students and scholars of global politics think critically and creatively about entanglement. It is neither definitive nor complete, but instead offers some possible points of entry into a contested field. It mobilises two particular claims: (1) that entanglement always involves both human and non-human entities; and (2) that entanglement is always emergent and in process. As a whole, this speculative lexicon is intended to help us sense the moment when entanglements intensify in ways that render them stable; attune to these durabilities in order to analyse their constitutive logics of inclusion/exclusion; acknowledge our own irrevocable entanglement in these logics; care for those bodies, lifeworlds, species and habitats that are targeted or abandoned by such logics; and craft mutual projects to disrupt, disaggregate and re-route these logics. Because entanglements are always emerging, dissipating and reconvening, the practice of navigating this open terrain is disorienting and often frustrating. We may desire a final destination where entanglements solidify and horizons magically appear, but giving in to that desire reproduces the violence of enclosure. This lexicon is offered as a way to keep the political terrain of entanglement open so we can collectively ensure that contestation remains a possibility.

In the Ulster Museum’s new gallery The Troubles and Beyond, the central display showcases a Wheelbarrow bomb disposal robot. This machine was invented by the British Army in Northern Ireland in 1972 and used by officers of the 321 Explosive Ordinance Disposal Squadron (321EOD) to defuse car bombs planted by the Irish Republican Army (IRA). This article offers an alternative history of that machine – a dirtier history – that critically assesses its role during the Troubles. Centrally, the article contests the British Army’s preferred account of this machine as a ‘game-changing’ technological innovation in counterinsurgency, and their understanding of themselves as benign peacekeepers. Rather than figure the Wheelbarrow robot as an unreadable ‘black box’ used instrumentally by the superior human operators of 321EOD, this article seeks to foreground the unruly transfers of agency between the machine and its operators as they tested and experimented in the exceptional colonial laboratory of Northern Ireland. The article further explores the machine’s failures during bomb disposal episodes, the collateral damage that resulted, and the multiple and often unruly reactions of local populations who watched the Wheelbarrow robot at work. Providing a ‘dirty history’ of the Wheelbarrow robot is an effort to demonstrate that war can never be fully cleaned up, either through militarized mythologies of technological innovation or hopeful museum displays.

What happens when violence disappears? What is left in the backwash of crisis? Who attends to the emotional, material and ideational detritus of closing borders? Like many, we are working in the aftermath of the recent and deadly intensification of EU migration. We contest the widespread account that the ‘crisis’ is now over – that policymakers have effectively ‘solved’ the problem of migration by gathering undocumented subjects into infrastructures of containment. We focus instead on the painful traces of EU migration that continue to be produced by global structures of citizen/alien, legal/illegal, friend/enemy. We do not produce a comprehensive diagnosis, normative argument or critical framework. Instead, we rest awhile in the aftermath of the crisis – specifically on the Greek island of Kos – to think about questions of abandonment, erasure and displacement. This is a visual essay representing a conversation between two researchers as they interact with the aftermath of the refugee crisis on Kos. Reflecting on select images from September 2016, we present a dialogue that directly speaks to a core theme each image raises. In doing so, we question some of the basic assumptions about how to do critical analysis on migration, security and borders, and therefore seek to disrupt dominant modes of academic writing as well as the practice of research itself.

This is a reply to:Moller, Frank. 2017. “Witnessing violence through photography.” Global Discourse. 7 (2–3): 264–281. https://doi.org/10.1080/23269995.2017.1339979

This paper uses the work of Samuel Beckett to reflect on the in-between positionality of International Political Sociology (IPS) and offers a field guide to help scholars, students, and thinkers embrace this disposition more energetically. It makes the case for a more balanced transdisciplinarity that keeps the field of inquiry open while attending to the international, the political, and the social at the same time and in equal measure. The power of this in-between approach is that it forces thinkers in IPS to constantly look at the horrors of our contemporary world without turning away. Through the ambivalent position of the “happy wreck,” this paper explores the need to do something about these horrors (e.g., diagnose, act, intervene) while fully acknowledging that such actions always produce new forms of violence and exclusion. To help thinkers in IPS inhabit this challenging space of inquiry more confidently, the paper makes four suggestions: (i) broadening our emotional responses to the horrors of the world; (ii) resisting resolution through non-cathartic dispositions; (iii) pursuing slow research to contest dominant rhetorics of crisis and emergency; and (iv) re-imagining shared conditions of vulnerability.

This article argues that the terrorist bombings of hotels, pubs and nightclubs in Bali in October 2002, and in Mombasa one month later, were inaugural moments in the post-9/11 securitization of the tourism industry. Although practices of tourism and terrorism seem antithetical – one devoted to travel and leisure, the other to political violence – this article argues that their entanglement is revealed most clearly in the counter-terrorism responses that brought the everyday lives of tourists and tourism workers, as well as the material infrastructure of the tourism industry, within the orbit of a global security apparatus waging a ‘war on terror’. Drawing on critical work in international relations and geography, this article understands the securitization of tourism as part of a much wider logic in which the liberal order enacts pernicious modes of governance by producing a terrorist threat that is exceptional. It explores how this logic is reproduced through a cosmopolitan community symbolized by global travellers, and examines the measures taken by the tourism industry to secure this community (e.g. the physical transformations of hotel infrastructure and the provision of counter-terrorism training).

Bulley, Dan and Debbie Lisle. (2012) Welcoming the World: Governing Hospitality in London’s 2012 Olympic Bid. International Political Sociology, doi: 10.1111/j.1749-5687.2012.00158.x © 2012 International Studies Association London’s successful bid for the 2012 Olympic Games presented a diverse, cosmopolitan city opening its arms and “welcoming the world.” This article explores the apparently benign gesture of hospitality contained in London’s official candidature files submitted in 2004 and asks how such a promise of inclusiveness is managed. We argue that London’s depiction of itself as hospitable to every kind of visitor relies on subtle techniques of governmentality in which the subject positions of “host” and “guest” are imagined and produced in ways that make them more governable. By this, we are not referring to acts of authority, coercion, or discipline that exclude subjects or render them docile bodies within a rigid panoptical city. Rather, we are referring to the delicate ways in which the official bid document imagines and produces the ideal subject positions of host and guest and in so doing enables, encourages, and incentivizes certain behaviors. This analysis of urban welcoming takes us beyond reductive oppositions of hospitality and hostility, inclusion and exclusion, self and other. It focuses instead on how London’s inclusive welcome produces a variety of host and guest positions (for example, the “Olympic Family,” volunteers, guest workers), segregates them within the city, and then “conducts their conduct” in the areas of planning, security, transport, accommodation, education, and training. By analyzing the techniques of governmentality at work in London’s 2004 bid document, this article foregrounds the enabling form of power driving the city’s inclusive welcome and exposes its inherent micropolitics.

Aside from the more mundane purpose of telling us where to eat, sleep and sightsee in foreign lands, guidebooks communicate an ethical vision that sees travel as the key to reducing cultural differences and inequalities. This article argues that Lonely Planet guidebooks in particular encourage a form of ‘responsible independent travel’ that both reflects and produces a powerful discourse of humanitarianism. By examining the controversy over Lonely Planet’s publication of guidebooks to Burma, this article uncovers the problematic colonial logic embedded in that ethical vision.

This article examines the role of contemporary art in a post-9/11 context through The American Effect exhibition at the Whitney Museum of American Art in New York in 2003. This exhibition displayed a range of artworks from around the world that specifically engaged with, commented upon and interrogated the USA's pre-eminent position as a global superpower. In the politically charged climate after 9/11, the exhibition offered itself as a critical voice amid the more obvious patriotic clamour: it was one of the places where Americans could ask (and answer) the question, `Why do they hate us so much?' Although The American Effect claimed to be a space of dissent, it ultimately failed to question, let alone challenge, US global hegemony. Instead, the exhibition articulated a benevolent patriotism that forced artwork from other nations into supplicating and abject positions, and it obscured the complex discursive networks that connect artists, curators, critics, audiences and art museums.

This paper examines how experiences of the sublime are regulated in the war exhibitions of modern museums. Ambivalence is a key feature of the sublime because subjects are forced to negotiate simultaneous feelings of terror and awe in the face of something unrepresentable like war. This paper analyses how war exhibitions dispel ambivalence by resuscitating a Kantian sublime full of resolution, catharsis and transcendence. In this context, potentially destabilising encounters with horrific objects (e.g. guns, bombs, shrapnel) are neutralised by didactic `Lessons of War' and celebratory narratives of victory. Using examples from the United States Holocaust Memorial Museum, the Imperial War Museum in London and the Smithsonian Institution, this paper illustrates how conventional war exhibitions reproduce a politics of consensus by carefully managing the experience of the sublime.

Traditionally, the political murals of Belfast have been understood as expressions of either loyalist or republican communities, a reading that reduces the complex struggles of Northern Ireland into a simple conflict between two groups. This article rereads the murals through the specific context of the peace process, in which the “two communities” thesis is losing its relevance. It suggests that when the murals are understood through three, wider networks—production, signification, and reception—it is possible to see how they disrupt ongoing debates about public art, make explicit gestures to other international conflicts (such as the hunger strikers in Turkey), and encourage a new form of political tourism. Rereading the murals in this way reveals the multiple global networks that the city of Belfast is linked into, networks that are silenced by a traditional “two communities” framework.

This article uses Ridley Scott's 2001 blockbuster film Black Hawk Down to examine the claim that popular film is the “newest component of sovereignty.” While the topic of the film – the 1993 UN/US intervention in Somalia – lends itself to straightforward politicization, this article is equally interested in the film's production history and its reception by global audiences. While initial reactions to the film focused on its ideological commitments (e.g. racism, collusion between Hollywood and the Pentagon, post-September 11th patriotism), these readings continually posed an imagined “America” against “the world.” This article argues that Black Hawk Down is not about sovereignty as traditionally conceived, that is about national interest shaping global affairs. Rather, Black Hawk Down articulates, and is articulated by, a new and emerging global order that operates through inclusion, management and flexibility. Drawing on recent theoretical debates over this new logic of rule, this article illustrates how Black Hawk Down invokes much more diffuse, complex and deterritorialized categories than national sovereignty. In effect, Scott's film goes beyond traditional notions of sovereignty altogether: its production, signification and reception deconstruct simple notions of “America” and “the world” in favor of what Hardt and Negri call “Empire,” what Zizek calls “post-politics,” and what we refer to as “meta-sovereignty.”

This article explores the conflicting representations of masculinity and femininity in contemporary travel writing. The workings of power are quite easy to identify in texts that represent 'other' places populated by foreign and exotic people. This article adds another layer to that cartography by exploring how patriarchy is embedded in the representation of foreign lands. Using the insights of postcolonial and feminist research, it is possible to illustrate how intertwining hierarchies of gender and geography continue to reinforce one another in contemporary travelogues. However, locating the ways in which masculine/feminine maps onto familiar/foreign is only part of the project- this article is also concerned with resisting the hegemonies of patriarchy and colonialism. With a performative understanding of identity formulated by Judith Butler, it is possible to interrupt the strict attachments of man = masculine and woman = feminine that are employed in the literary colonization of foreign places. When t...