Despite some interesting research on crime and violence in Latin American countries (particularly Colombia), there is still a relative dearth of policy-oriented research. People interested in these subjects lack a convenient means to access the emerging research in these areas, or to pool data across countries and contexts.  Scholars within particular sub-fields are routinely engaged in separate conversations that do not sufficiently leverage complementarities in methods and substantive areas. This project will addres these gaps by delivering a first-rate electronic resource making it easy to pool data, to share research, and to engage audiences within and beyond academia. We also want to make it easier for policymakers in the United States and Latin America to learn about cutting-edge, policy-oriented research addressing the problems before them. 

About the Topic: Osama bin Laden’s demise was merely one sensational moment in the first decade of America’s shadow war, the transformation of the national security apparatus into a machine calibrated for man-hunting operations. Beyond the “big wars” in Afghanistan and Iraq, America has pursued its enemies with killer robots and special operations troops, sent privateers on assassination missions and to set up clandestine spying networks, and relied on mercurial dictators, unreliable foreign intelligence services and ragtag proxy armies. A new military-intelligence complex has emerged: the soldiers have become spies and spies have become soldiers.

The CIA, created as a Cold War espionage service, is now more than ever a paramilitary agency ordered by the White House to kill off America’s enemies: from the sustained bombing campaign in the mountains of Pakistan and the deserts of Yemen and North Africa, to the simmering clan wars in Somalia. For its part, the Pentagon has turned into the CIA, dramatically expanding spying missions in the dark spaces of U.S. foreign policy.

About the Speaker: Mark Mazzetti is a national security correspondent for The New York Times, based in the newspaper's Washington DC bureau. In 2009, he shared a Pulitzer Prize for reporting on the intensifying violence in Pakistan and Afghanistan and Washington's response, and he has numerous other major journalism awards including the George Polk Award (with colleague Dexter Filkins) and the Gerald R. Ford Prize for defense reporting. Mazzetti has also written for the Los Angeles Times, U.S. News & World Report, and The Economist.

In popular discourse, variations on Samuel Huntington’s “clash of civilizations” thesis have cited cultural differences to explain conflicts ranging from Hindu-Muslim violence in India to the Rwandan genocide. Few scholars take these accounts seriously. Culture differences are multiple and ubiquitous. Were they sufficient causes of conflict, the world would have undergone far more inter-group violence than has in fact occurred. Social scientists have instead focused on a far wider range of reasons, including skewed distributions of material resources and the political mobilization of group identities by rival elites.

Yet those who are involved in or affected by such conflicts often describe or explain them in cultural terms, and this affects how the conflicts evolve. The empirical divisions expressed by a supposedly “ethnic” conflict can also change, as can the material issues involved, such that whatever first led to the conflict may no longer be relevant. In this process, global and local fears and narratives can intersect. Drawing on quantitative evidence and case studies from Southeast Asia, Graham K. Brown will explore how and why these shifts occur.

Graham K. Brown directs the Centre for Development Studies at the University of Bath. He has held research positions with Oxford University, and with the Consumers Association of Penang, Malaysia. His many publications include a chapter on Malaysia in The Political Function of Education in Deeply Divided Societies (2011). His current work focuses on the interactions between inequality, identity, and security, with particular reference to Southeast Asia.

Seminar Synopsis:

The memory euphoria of the past half-century has, if anything, raised awareness of the constructed or invented nature of national memories and their complexity. Because the articulation between the normative rules of public memory and the at times politically incorrect claim to a right to private memory is representational and discursive, cultural artefacts, such as literary texts, films, photographs, videos or monuments have seismically materialized as go-betweens in the memory wars. The memories of empire in the Portuguese cultural tissue have been over the past 40 years after independence of the former colonies contentious sites, where a certain colonial melancholia clashes with a critical nostalgia that has been growing particularly amongst a generation of artists born after decolonization. Colonial melancholia is not simply a result of recent traumatic events, but spreads over two centuries in a pathological inheritance filled with resentment, humiliation, violence, denial, myth and mystification. This melancholic vision of the past has been mediated and disseminated by several media from texts to monuments, photos and films, which have either become accomplices in this regime of power, or have sought to subvert it and have finally created spaces of ambivalence and hybridity. A notorious example of the mediation of the colonial regime was of course photography.  Visibility was pivotal to the image world of the imperial regime, that not only needed to dominate the reality portrayed in the new medium, but which also made use of it for the sake of its own assertive self-representation. The talk inquires into this regime of visibility and seeks by means of a practice of interference to unravel the colonial discourse that used the perceived essentializing of reality supported by visual ‘objectivity’ to create a structure of feeling based on melancholy and nostalgia that would become the dominant  memory of empire in Portuguese culture.  Arguably, in this practice of interference resonates a practice of cultural literacy that allows for the reinterpretation and re-contextualization not only of what the images showed, but  what they meant. Then again, it is precisely a regained cultural literacy in the reading of the visual that lies at the root of the project of critical visual nostalgia enacted by contemporary video artists in the fragmented deconstruction of the imaginary wholeness of nostalgic thinking embedded in home movies.