Architecture, Building and Humanitarian Innovation
T. ( 2019 ), ‘ Beyond the Boxes:
Refugee Shelter and the Humanitarian Politics of
Life ’, American Ethnologist ,
46 : 4 ,
509 – 21 .
Sinclair , C.
K. (eds) ( 2006 ) Design Like You Give a Damn:
Architectural Responses to Humanitarian Crises
( London : Thames
Introduction This strategy is guided by principled realism. It is realist because it acknowledges
the central role of power in international politics, affirms that sovereign states are the best
hope for a peaceful world, and clearly defines our national interests… We are also
realistic and understand that the American way of life cannot be imposed upon others, nor is it
the inevitable culmination of progress . The White House, ‘National Security Strategy of the United States of America’
( The White House, 2017 ) The White House published the
of access that results in the ‘haves’ versus the ‘have
nots’. She convincingly argues that this definition, developed in the West, does
not capture the complexities and transient nature of refugees using digital
technology. The current refugee crisis has witnessed the displacement of close to 70 million people
worldwide ( UNHCR, 2019 ) due to political
conflict, criminal violence and war. While the waves of migrants reaching the coast of
southern Europe has attracted global attention, Australia
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair
supported (financially and politically) by states and
international agencies. Yet in calling for better-informed, long-term
decision-making, he nonetheless highlighted the need for a much deeper discussion of
the relationship between long-term processes, lessons learnt and the practice of
humanitarian aid. At a time of great uncertainty in the world, increased
instrumentalisation of humanitarianism and heightened expectations of aid actors to
‘do no harm’ as they prevent
1314 – 31 .
P. ( 2012 ), ‘ Bioexpectations:
Life Technologies as Humanitarian Goods’ ,
Public Culture , 24 : 1:66 ,
157 – 84 .
R. ( 2009 ), ‘ Social and Public
Experiments and New Figurations of Science and Politics in Postcolonial
Africa’ , Postcolonial Studies ,
12 : 44
communities ( Bloom and Betts, 2013 ; Jacobsen, 2015 ; Ong and Combinido, 2018 ). In addition, because much
humanitarian innovation merely repurposes commercial innovation for humanitarian use
( Carbonnier, 2015 ), when humanitarian
actors incorporate these technologies into their work they also incorporate the values
embedded in them. In the specific case of information technologies, this creates
‘a political economy in which technocratic solutions and quantitative data are
more highly valued
would create such abject living
conditions (akin to Agamben’s ‘bare life’: Gordon, 2018 ) that Palestinians would be forced to accept what Trump and
his administration have denominated the ‘deal of the century’ ( Gordon, 2018 ; Wong,
2018 ). Far from being motivated by an ‘ethics of care’ to protect displaced
and dispossessed people, or a quest to secure a democratically grounded ‘liberal
peace’, this ‘great deal’ can be identified as a quintessentially
neoliberal project. Driven neither by ethics nor humanitarian principles, this is an
This book engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life. In much of Cavell's writing on film he seeks to show us that the protagonists of the films he terms "remarriage comedies" live a form of perfectionism that he upholds as desirable for contemporary democratic society: moral perfectionism. Films are often viewed on television, and television shows can have "filmlike" qualities. The book addresses the nature of viewing cinematic film as a mode of experience, arguing against Cavell that it is akin to dreaming rather than lived consciousness and, crucially, cannot be shared. It mirrors the celebrated dialogue between Jean-Jacques Rousseau and Jean D'Alembert on theatre. The book articulates the implications of philosophical pessimism for addressing contemporary culture in its relationship to political life. It clarifies how The Americans resembles the remarriage films and can illuminate the issues they raise. The tragedy of remarriage, would be a better instructor of a democratic community, if such a community were prepared to listen. The book suggests that dreaming, both with and without films, is not merely a pleasurable distraction but a valuable pastime for democratic citizens. Finally, it concludes with a robust response from Dienstag to his critics.
The idea of toleration as the appropriate response to difference has been central to liberal thought since Locke. Although the subject has been widely and variously explored, there has been reluctance to acknowledge the new meaning that current debates offer on toleration. This book starts from a clear recognition of the new terms of the debate, reflecting the capacity of seeing the other's viewpoint, and the limited extent to which toleration can be granted. Theoretical statements on toleration posit at the same time its necessity in democratic societies, and its impossibility as a coherent ideal. There are several possible objections to, and ways of developing the ideal of, reasonable tolerance as advocated by John Rawls and by some other supporters of political liberalism. The first part of the book explores some of them. In some real-life conflicts, it is unclear on whom the burden of reasonableness may fall. This part discusses the reasonableness of pluralism, and general concept and various more specific conceptions of toleration. The forces of progressive politics have been divided into two camps: redistribution and recognition. The second part of the book is an attempt to explore the internal coherence of such a transformation when applied to different contexts. It argues that openness to others in discourse, and their treatment as free and equal, is part of a kind of reflexive toleration that pertains to public communication in the deliberative context. Social ethos, religious discrimination and education are discussed in connection with tolerance.
The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.