Accounting for nature as capital is touted as a promising way of aligning environmental conservation with global capitalism by valuing nature like economic assets. Both its proponents and detractors ...speculate on what its promises might achieve if they were fully realized, i.e., if nature were actually accounted for, capitalized or commodified. There is, however, an enduring disjunction between vision and execution in this field: the promises simply do not materialize. Economizing nature proves to be extremely complex, raising not only technical hurdles but also intractable conceptual and ontological issues. We suggest taking a critical realist approach to natural capital accounting, acknowledging the inherent resistance of nature to being treated as capital. We consider the arenas dedicated to natural capital accounting as the sites of singular dramaturgical performances, whose effects extend beyond the integration of nature into economic decision making. Drawing on documents, interviews and observations at events dedicated to natural capital accounting, we highlight their theatrical character and reveal the effects they produce. This article aims to contribute to the investigation of environmental governance arenas by emphasizing their significance as venues for symbolic performance and achievement, extending beyond the traditional emphasis on regulatory and hoped-for environmental transformations.
Para apreender corretamente o espírito de nosso tempo, é necessário analisar em profundidade e na superfície a correspondência contemporânea entre o espetáculo e o consumo: consumo espetacular e ...espetáculo de consumo. A cadeia das mercadorias-signos (Baudrillard, 1968), meio e veículo de adesão ao sistema produtivo e político, assume um valor extraordinário a partir do momento em que acolhe tudo o que é não-racional numa sociedade racionalizada, bem como o aspeto anti-utilitarista de um social focado, precisamente, na lógica do utilitarismo. Nesse sentido, o ciclo dos consumos espetaculares coincide com o consumo da individualidade burguesa, enquanto a massa que se tornou público se torna a matriz na qual o sujeito se perde para amortecer o peso das mudanças e exprimir as pulsões marginalizadas pelo sistema social.
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Precarious mobilities caused by insufficient capacity or unplanned stoppages of public transportation services can result in line-ups that are as much a part of commuters' daily routines as travel ...itself. This article explores how excessive line-ups can be analyzed as forms of spectacle dwelling in the context of a Canadian aquamobile transportation corridor on Conception Bay, linking Bell Island to the main island of Newfoundland. For several decades, Bell Island ferry commuters have been governed by vivid representations of the bureaucracy literally seizing up in users' stalled movement for hours or sometimes days. Based on an application of concepts initiated by Debord, this article discusses how such line-ups comprise forms of spectacle dwelling; the role of commentaries about these spectacles; and examples of counter-spectacles in 2017 that created a forum for protesting changes to the service.
Border policing and immigration law enforcement produce a spectacle that enacts a scene of 'exclusion'. Such spectacles render migrant 'illegality' visible. Thus, these material practices help to ...generate a constellation of images and discursive formations, which repetitively supply migrant 'illegality' with the semblance of an objective fact. Yet, the more these spectacles fuel anti-immigrant controversy, the more the veritable inclusion of the migrants targeted for exclusion proceeds apace. Their 'inclusion' is finally devoted to the subordination of their labour, which is best accomplished only insofar as their incorporation is persistently beleaguered with exclusionary campaigns that ensure that this inclusion is itself a form of subjugation. At stake, then, is a larger sociopolitical (and legal) process of inclusion through exclusion. This we may comprehend as the obscene of inclusion. The castigation of 'illegals' thereby supplies the rationale for essentializing citizenship inequalities as categorical differences that then may be racialized.
In this article, we bring together understandings of the spectacle of nature and spectacle 2.0 to show how people are invited to participate in the spectacular production of nature. Recent work has ...expanded on the Debordian notion of spectacle, interrogating the ways people do not just consume images, but help to produce and enact spectacle: spectacle 2.0. Building on this, we argue that in conservation, consumers increasingly interact with the spectacle through digital and real-life means, thereby reinforcing and reproducing the nature that is being transformed. We term this process the spectacle of nature 2.0. We present the case of Valle Chacabuco in southern Chile, which has been transformed into Patagonia National Park. This process has been welcomed by the international conservation community, but has incited tension and conflict with local residents who have their own very different sense of Valle Chacabuco. Through the production of spectacle, park discourses highlight the heroic role of Northern conservationists, obscuring the underlying capitalist logics of the project and the social tensions it has created. We argue that it was possible to unmake/remake Valle Chacabuco from once a place of livelihoods, ranching, and production to a place of unspoiled nature through the recruitment of digital and material interaction. In the process, environmental politics and activism are channeled back into the dominant underlying capitalist ideology. Patagonia National Park is now a place that the park promoters claim belongs to the world, its nature and culture to be consumed and reproduced by environmentalists and tourists.
OBJETIVO: Perceber como o cenário da espetacularização política pode acarretar uma falência democrática e se, como e por que o Brasil passa por uma falência democrática.
MÉTODO: Para realização dessa ...pesquisa, utiliza-se o método hermenêutico-filosófico.
RELEVÂNCIA/ORIGINALIDADE: O momento excepcional de pandemia pela disseminação do vírus SARS-COV-2 refletiu diretamente nas políticas multilaterais e nacionais a serem adotadas no que tange a contenção do vírus. Por isso, é essencial observar como, se, e por que as políticas empregadas no Brasil nesse cenário podem ocasionar uma falência democrática, para assim procurar meios de impedir tal falência.
RESULTADOS: Nota-se uma falência democrática, lenta e gradual, ocorrendo no Brasil que se agrava no espetáculo banalizado da pandemia da doença COVID-19.
CONTRIBUIÇÕES TEÓRICAS/METODOLÓGICAS: Para realização dessa pesquisa, emprega-se os conceitos de espetáculo apresentados por Mário Vargas Llosa em “A Civilização do Espetáculo”, a percepção de falência democrática demonstrado por Steven Levitsky e Daniel Ziblatt em “Como as Democracias Morrem”, e se analisa o fenômeno da pandemia à luz de noções de Teoria do Estado, Direito Internacional Público, Direitos Humanos e geopolítica.
Despite its importance to literary and cultural texts of resistance, theater has been largely overlooked as a field of analysis in colonial and postcolonial studies. Acts of Authority/Acts of ...Resistance seeks to address that absence, as it uniquely views drama and performance as central to the practice of nationalism and anti-colonial resistance. Nandi Bhatia argues that Indian theater was a significant force in the struggle against oppressive colonial and postcolonial structures, as it sought to undo various schemes of political and cultural power through its engagement with subjects derived from mythology, history, and available colonial models such as Shakespeare. Bhatia's attention to local histories within a postcolonial framework places performance in a global and transcultural context. Drawing connections between art and politics, between performance and everyday experience, Bhatia shows how performance often intervened in political debates and even changed the course of politics. One of the first Western studies of Indian theater to link the aesthetics and the politics of that theater, Acts of Authority/Acts of Resistance combines in-depth archival research with close readings of dramatic texts performed at critical moments in history. Each chapter amplifies its themes against the backdrop of specific social conditions as it examines particular dramatic productions, from The Indigo Mirror to adaptations of Shakespeare plays by Indian theater companies, illustrating the role of theater in bringing nationalist, anticolonial, and gendered struggles into the public sphere.
In recent years, the terrorist network Islamic State of Iraq and Syria has generated what might be referred to as a ‘spectacle of fear’ through strategic dissemination of execution videos and other ...graphic material. In response, social media users, activists and others circulate ‘counter-spectacles’, attempting to circumvent Islamic State of Iraq and Syria’s spectacle of fear. An important case in point is the global hacking network Anonymous declaring ‘war’ against Islamic State of Iraq and Syria, including a global call for a ‘Troll ISIS Day’. This article develops a theoretical framework for understanding the spectacle of fear generated by Islamic State of Iraq and Syria and the counter-spectacle created through Anonymous’ trolling practices and explores empirically how Anonymous uses humor to combat fear through the memes produced on ‘Troll ISIS Day’. Bottom-up, cultural forms such as memes are increasingly woven into strategies for countering the fear associated with terrorism, and they represent the potential for humor to generate public engagement. However, as these memetic counter-spectacles draw on the incongruent humor characteristic of meme culture, they both contest and adopt strategies of fear, pointing to ethical challenges inherent in the counter-spectacle.
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