Abstract
There is much in late modern warfare that, in all its high tech rendering, expresses a paradoxical desire for a war devoid of violence, somehow cleansed, materially and morally, of all the responsibilities that come with war. The "shock and awe" tactics celebrated by their perpetrators in the Iraq invasion were an articulation of power aimed at the gaze of a wider global public arena, the target of an emerging regime of control, where the violence perpetrated against the other has come to constitute the governmentalising practices aimed at the global space as a whole. This paper argues that while the sublime horror of late modern war aims at control precisely in its capture of a gaze that is global, it is precisely this gaze and its articulation in art that contains the expression of resistance and a democratic ethos emergent from the excess of subjectivity, an excess that defies the ordering epistemic violence of representation
| Original language | English |
|---|---|
| Pages (from-to) | 819 - 839 |
| Number of pages | 21 |
| Journal | MILLENNIUM |
| Volume | 34 |
| Issue number | 3 |
| DOIs | |
| Publication status | Published - 2006 |