2ACO/V

Warisnolongerwonbydirectconfrontationwiththeenemywarnowdependsonspeed
theabilityforthemilitarytoacquireintelligenceandinformationabouttheenemyat
supersonicspeedsinordertoconstantlymapandunderstandwhatishappeninginthe
worldatalltimesthewilltohavecompletecontrolovertheenemy.
Theoceanisanincrediblystrategicspaceforthemilitarytocontrolitcontrolstheroads
toallModernStates.Wesurroundeverycountryandpatroleverypathway.Thefasterwe
acquireinformationthefasterwecanrespondtoitandconcealthreats.Everythingisa
raceinformationisthepreconditionfortheenemysdestruction.
3impacts
1.WilltospeedOurArmitageevidenceindicatesthatlifeaffirmationhasbecome
impossibleintheworldofspeedbodiesaretechnologicalmachinesdisconnectedfrom
realityallofourjobsproduceinformationortechnologythatthemilitaryusesasfuel.
Wehavewillstospeedandnothingness,goingthroughthemotionsoflifeasatoolforthe
stateandfailingtoexperiencethejoyoflife.
2.TheAccidentEverytechnologyproducesaninevitablefailureasaresultofthat
technology.Theshipinventedtheshipwreck,thetraininventedthetrainwreck.Asmilitary
technologyadvances,thesetechnologiesgetmoredangeroussuchasthenuclearbomband
thenuclearexplosion.OurVirilioevidencesaysthatweareheadingtowardsafuturethat
willleadtotheglobalaccidenttheendofallaccidents.Theunpredictabilityofthenext
dangeroustechnologythemilitaryindustrialcomplexwillproduceintensifiesthe
magnitudeofourimpact.Humangenomeprojectisoneofthetechnologies
3.OntologyWeconstantlymaptheworldoutandforcebeingtoexposeitselftous,we
frameeverythingweencounterasathreatandtheonlyencounterswehavetheotherisas
animageonascreenthatthemilitaryindustrialcomplexcontrols.Thispreventsthe
possibilityofagenuineencounterwiththeotherweonlycalculatetheotheronamapas
anobjecttocontrol.ThatsSmith.
Forcing exposure with other is bad. We force other to be presented as only.
Its about the natural rhythm of the ocean
Ryan evidence: tech is inevitable, not a question of bad or not, but how we
orient ourselves.
One of the natural intervals is the wave. No matter what we do we cannot
make it go further. It has a natural rhythm to it, by allowing the bodily
experience to overcome us, we are slowing down. The sound of the ocean
cleanses us from the techno military poison time and the ocean makes us be

natural, biological. And it gives us a sense of spatiality and gives us a

connection with material space that we have lost.
Our methodology is key to create a materiality of space, which has been lost to
techno time.
RYAN 12
[Anna Ryan, a Lecturer in Architecture, at the School of Architecture
University of Limerick, Ireland Where Land Meets Sea : Coastal Explorations
of Landscape, Representation and Spatial Experience. May 2012. //Horn]
Seameetsland,aparticularintensityofencounterissetup. The physical properties of the
coast as meeting point can be wrapped up in asenseofunceasingmobility:dynamics
of light, sound, presence, absence, surface, depth and texture are continually (re)worked and
become apparent as alternating activities of construction, destruction and

reconstruction. These movements are regular, rhythmic and constant, but

are also interspersed by moments of intensity. Nothingisstatic.Nothingremainsthe

same.Thesespatialnaturesofthecoastthustangiblyhighlightthefluidityoftheworlditsongoing
and everemergent dynamic. People are drawn to the coast- to the paradoxical
regularity of its ever-moving and elusive characteristics. Thisflowingmobilityof
themeetingoflandandseadrawsattentiontomultiplespatialsensationsaswellasmakingthe
physical mobility of the world materially and visibly apparent, the coast also emphasises the
flowingnatureoftherelationshipbetweenbodyandworld . In this chapter I explore the

spatiality of the coast as experienced: the interwoven dynamic of the

physical and the social at the meeting of land and sea. I trace a journey
through the material, the geometrcal. the conceptual, and the historical
conditions of the coast. PART 1: EXPERIENTIAL QUALITIES OF THE MEETING
OF LAND AND SEA Indistinct boundaries of the coast Defininganexactpointwhen
landbecomessea,orwhenseagiveswaytoland,isverydifficult. Even at a vertical clif
face, both land and sea are fully involved in the movement of the other, and
separation is an artificial exercise. Boundaryremainsnotional. Acknowledging and
grasping this diference the world of mixing and intermingling, gives
definition to both sides of the 'divide) the world of the sea and the world of
the land. Aslandbased,westernpeople,ourdescriptionsoftenattempttodescribeoneofthe

worldsinthelanguageandspatialrealitiesoftheother. Ourgeneraltendencyistoattemptto
situatetheshoreinaworldweknowandunderstand:theexperienceoflandwhichistwiceaday
inundatedbythesea.However, in her book The Edge of the Sea, first published in
1955, RachelCarsonembracestheinbetweennatureofthecoast.Sherecognisesthereisaplace
thatisdifferentandseparatetoeitherthelandorthesea, and though it is intrinsically

bound up within each, she points to the fact that it is neither wholly of the
sea nor wholly of the land. This world "belongs alternately to sea and land"
(Carson 1999:31). It is interesting to consider seals as representative of this
intermediate world. Richard Nairn (2005: 40) writes of how seals live in two
worlds, breeding on land but spending more than half their lives in the sea.
Their lives continually cross this undefined boundary. In a somewhat similar
manner, the sea forms another boundary with the air. Birds and gulls

traverse this boundary as part of their everyday existence. Aerial space and
oceanic space are in a constant fluid cycle and changing of state through
these two media. John Hay (1980: 106) describes a particular aerodynamic how gulls carefully use the wind deflected from the waves to assist and guide
their movements. Theseindistinctmixingsofcoastalbodiesthusoffersensesofconnectivity:

drawingthehumanintomorethanhumanworlds,blurringtheboundariesbetweenindividual
andsurroundings. Articulating the coast-the measure of edge The challenge of

articulating this blurred relationship has been taken up by the drawings,

paintings, and photography of many artists. As representative of a huge
body of coastal work, I have selected the paintings of two Irish artists. John
Shinnors presents a series of conte drawings along the coastal estuary of the
River Shannon in Limerick. In these estuary drawings, such as Figure 1.1,
there is a sense of enclosure. Singly, they each form a measure of the riverthe dimension of its width - and when viewed together as a whole, the series
forms a measure of the expanse of the river estuary as it progresses towards
its mouth and beyond to the open Atlantic. The tone used is slow and blurry
and defines this shift in change or measure across to the other bank of the
river. This set of paintings and drawings appears as a presentation of the
particular kind of movement sensed within this broad river estuary- a
movement in both dimensions, both forward and laterally. Similarly, Mary
Lohan's Shoreline series of paintings are all about a sense of movement
(Figure 1.2). MarkLawlor (2001: 34) describes that these paintings "have
moved through paint, and with that pigment keep moving. Itisanoddmoment
youdon'tknowwhetheryouareinmotionorwhatyouarelookingatisinmotion. The lack of
definition, the blurriness of the paintings is working to create an atmosphere.
Fluidity, movement, is the central subject of the paintings. It is interesting to
consider the titles Lohan has given her paintings. All include the word
Shoreline and mention a particular area of shoreline. But the irony is there is
no one line that dominates any other in the painting: it is all about a
thickness presenting movement through, out, and beyond. Coastal
movement and time Theexperienceoftimeisintegrallyboundupwiththephysicalityofthe
sea. Thecoastlineexposesandconcealsinregularintervals,movingacrossandcoveringlikeaveil,
swellingupandbackdown, whether quietly or violently. Thereiseverasenseofongoing
motion.Inthis,asenseoftime,ormoreprecisely,theblurringoftime,isaperceivablequalityof
thecoast. Indeed, John Hay (1960:7} suggests of the sea that: "Waiting,infact,
seemstobeitsessence,sinceitgivesnoanswertowhatitis,beingawide,surfacebrightness,atidal
beat,asoundingwhosemonumentaldepthsareconcealed,suggestingtoo,thatwemightwaitforit
foreverandknownothing" But in parallel to this mesmerising sense of time and
motion, arelaxationduetorhythmandrepetition,theimpactsanddynamicsoftimearevery
apparent and are describable in the short, medium, and longer term. The

cyclical fluctuations on a daily basis merge as visible seasonal diferences

which in turn contribute to an annual or historical dynamic. Rachel Carson
(1999: 93) talks of the short term exposure of rocky coasts and pools:
Perhaps because we can visit this area only in the hot brief and magical hour
of the tide's turning, perhaps because of the nearness of waves breaking on

rocky rims, dissolving in foam and spray, and pouring seaward again to the
accompaniment of many water sounds, weareremindedalwaysthatthislowtidearea
is of the sea and that we are trespassers. Moving beyond the daily cycles, Vmey
(199Bb) writes of the diference in movements between seasons; how, for
example, the beach is far more static in the summer. It is still and calm
enough to remember the tracks of animals and the very delicate lines of
fieldmice or dung beetles. Carson (1999: 240) presents the even longer
rhythms of the sea: the time-frame of geology, of diferent shorelines, sea
levels, and continents, "in which there is no finality, no ultimate and fixed
reality- earth becoming fluid as the sea itself" Thatthereisthisflux,thissenseofre
creation,paradoxicallygeneratesasenseofdeepstability.Forgingarelationshipofunderstanding
and acceptance of movement, change and time is critical in this coastal edge

environment, particularly when it comes to accepting the dynamics of the

coast, including processes of erosion and deposition. Carson's (1999:3) longterm view of time emphasises this stability of mobility. The edge of the sea is
a strange and beautiful place. All through the long history of earth it has
been an area of unrest where waves have broken heavily against the land,
where the tides have pressed forward over the continents, receded, and then
returned. For no two successive days is the shore line precisely the same Hot
only do the tides advance and retreat in their eternal rhythms, but the level
of the sea itself is never at rest. It rises or falls as the glaciers melt or grow,
as the floor of the deep ocean basins shifts under its increasing load of
sediments, or as the earth's crust along the continental margins warps up or
down in adjustment to strain and tension. Todayalittlemorelandmaybelongtothe
sea, tomorrow a little less. Always the edge of the sea remains an elusive and indefinable
boundary. The necessity and integrity of movement to the coast is sensed by
John Hay (1980: 124-5) who believes the notion of beach as transition zone
lie. a distinctive place in itself) is misleading: It is made of land materials but
it is not exactly a land boundary. ..The beach in its grand exposure, its
instability, seems closer to the sea than land...Thebeachisnaked,malleable,readyto
move and be moved..It is a receiving ground for light. It is a power, with an
expression made up of all its communicant and communicating energies,
their substance and formality. Understood in this way, the meeting point of
land and sea, (whether physically manifest as a beach or as a clif etc.) is
movement. Thesecyclicandrepetitivemovementsofthismobilecoastgenerateaparadoxical
experienceoftime,whereongoingrhythmsaresensedasstable. The relationships between
time and the moving coast present a significant complexity to the nature of
the negotiations between individual and environment. Texture and
construction The coast is a material experience. The changes of physical
substance that occur directly at this edge create an active materiality that
can be viscerally experienced. From liquid to solid, there is a progression of
textures apparent in diferent forms, but similar in their movement. Beachcan
beconceivedaspiecesofsolidmatterthatflow. Rocky clif is perceived as more solid
than beach, but it moves nonetheless due to erosion Biologists describe the
textures of the coast as soft or hard Movement, whether by water or wind, is

the central characteristic of soft shores as they are formed of mobile

sediments such as sand, shingle and mud that are easily eroded or changed
by tidal currents. In Carson's (1999: 129) words, "the beach has a lifeless
look as though not only uninhabited but indeed uninhabitable. In the sands
almost all is hidden," In contrast, hard rocky coasts have a firm surface and
allow life to cling to it (Carson 1999: 15). But the apparent permanence of
rock and the apparent instability of sand belie an implicit paradox As Carson
(1999: 128) writes, We think of recital a symbol of durability, yet even the
hardest rock shatters and wears away when attacked by rain, frost or surf.
But a grain of sand is almost indestructible. It is the ultimate product of the
work of the waves - the minute, hard core of mineral that remains after years
of grinding and polishing Thus the materialities of the coast are defined by
the creative and constructive acts of movement The textures of the sea itself
are also rich in their appearance and dynamic. The flowing nature of the sea,
or its apparent surface stillness, or its whipped up meeting with the wind,
generates particular atmospheres. In sheltered bays or quiet days the sea
may appear like a spread-out sheet, suggesting its surface rather than its
depth. It has a calm, liquidy, melty feel, where its movements happen in slow
surges, rising and falling. When small breezes cross this surface, dapples and
dimples and ripples and wrinkles appear, gathering themselves and then
folding out as the air movement above relaxes once again. On the scale of
the ocean, response or reaction to these surface appearances can be used to
guide or navigate. In Passage to Juneau, Jonathan Raban (1999:93) writes of
trying to sail by the swell and the feel of the wind, concentrating on the
character of the sea itself as the way to move forward. The diferent textural
formations of the coast are determined by the way the sea accesses,
approaches, and meets the land. For example, Carson (1999) describes how
some rocky coastlines were once rugged inland hills, but under the weight of
a glacier, the flexible crust of the earth tilted downwards, the plains were
flooded, and so the shoreline was suddenly changed. In contrast, Nairn
(2005: 72) discusses how estuaries are formed from sediments eroded on
more exposed coasts being carried there and deposited by the tide as well as
from sediments arriving into the estuary from the land and being deposited
by the river. Similarly, the movement of substances gives rise to dune
systems, for example inland mac hair are formed by wind-blown sand (Nairn
2005:60). In contrast to the 'passive' action of deposition, coral reef is
actively constructed out of its own material, being described by Carson
(1999:236) as "built": she talks of the "sea becoming land almost before our
eyes" With the action of the fire of a volcano, liquid land combines with liquid
sea, to also generate the sense of sea becoming land before our eyes. In all
its formations, this link between the constructed nature of the coast and its
texture is immensely apparent. At the coast, the 'solidity' of the land is
compromised, and is forced to become mobile, forced to respond to the
liquidity of the sea. A relationship of give and take is formed; a taking of
substance, and a returning of substance. The land becomes fluid, broken into
small pieces to work with the insistence of the water. The junction point

marks a measure of change, a measure of action and re-action. Asa place of

meeting, the coast is a bringing together of entirely diferent physical
substances, in diferent physical states thus giving rise to specific and strong
sensibilities of texture and materiality. Light at the edge of land Light on the
ocean or at the coast has a particular character. The changing dynamics of
coastal light is a significant experiential aspect of the meeting point of land
with sea, a physical presence that efectively dramatises and heightens all of
the other action that occurs. After World War II, French philosopher Paul
Virilio approached a beach and the sea for the first time ever in his life. Virilio
(1994: 9-10} experienced the light as intensely part of the spatiality of the
coast. The weather was superb and the sky over the low ground was
starting, minute by minute, to shine. This well-known brilliance of the
atmosphere approaching the great reflector was totally new. the
transparency I was so sensitive to was greater as the ocean got up closer, up
to that precise moment when a line as even as a brush stroke crossed the
horizon, on almost gracious grey-green line, but one that was extending out
to the limits of the horizon. Writing of his time spent living on Inis Mor in
1968. before the advent of electricity and artificial lighting there, Andrew
McNeillie (2001 > presents"the falling ocean light" as alive, as an animate
force. The converse of the activity of the light is the reflective capacity of the
moving water of the sea, whether in its expansiveness, in its rolling and
dispersing swell, or in a thin sheet on the wet ground. The sea and the wet
ground accept what the changing light ofers. Though perhaps perceived as
passive in nature, this reflective property has the result of causing dramatic
alterations to the nature and feel of any coastal place over both short-term
and long-term time. Discussing the big spring tides of the autumn, Michael
vlney (1998b: 161) writes, "What draws me to the shore is the clean sheet
these big tides make of it, erasing the last runic vestiges of car tracks and
shriving the very air of summer sweat. The wet strand is a huge mirror to a
sky laundered full of haze, full of blue, rinsed distances and shining clouds
"The light and reflectivity of the sea gives to it a kind of personality that
moves with the seasons. But in the shorter-term, the speed of movement of
the water and waves also adds a dynamic to this passive reflective property
Then the fast collapsing movements of the shore-break disperses light
outwards quickly, while the ribbing of the sand captures little pockets of
water that act as a series of reflectors as the tide returns seawards. Colour
becomes an obvious property of reflection and of light. The shifting nature of
the coastal terrain is illuminated by absorbing its many, and continually
altering colours. The wet ground of the beach and the coastal light work
together to draw the body into its surroundings; reflective shadow and
reactive sand become one. Coastal light is a presence that wraps the
individual. Sounding the sea Sound is an expressive feature of the coastal
experience. Palpable v/hen both on and of the water, the volume and type of
sound can depend on whether the listener is alongside, or at a distance, or
above at a height, or directly on level surface. The amplitude of the sea's
sound also depends on the dimensionality of the sea at that point itself,

whether apparent as a surface, or a rolling depth. The sound is created by

the meeting of diferent materials, or the same material but in diferent
forms (as a rising form or as a solid depth). The water has to move in
reaction to what it meets, whether air, rock, sand, or the surface below the
water moving with it. The sea's noise on the coast is manifested by shorter
sudden bursts, underpinned by slower, drawn out sounds. In the dark, when
light is no longer present, the sound of the sea is sensed as even more
intense, and becomes a powerful method of measure and of obstacle. When
on land, the aural experience of the sea is very particular. As author E.B.
White (1962:179) presents it in an essay from 1941, The sound of the sea is
the most time-efacing sound there is, The centuries reroll in a cloud and the
earth becomes young again when you listen, with eyes shut, to the sea..The
sea answers all questions, and always in the same way. for v/hen you read in
the papers the interminable discussions and the bickering and the
prognostications and the turmoil, the disagreements, the fateful decisions
and agreements and the plans and the programs and the threats and the
counter threats, then you close your eyes and the sea dispatches one more
big roller in the unbroken line since the beginning of the world and it combs
and breaks and returns foaming and saying: "so soon? The questioning
nature of the eye as main sensing organ is replaced by the receptiveness
and acceptance of the ear. When at the Chapel on Cape Horn at the tip of
South America, Michael Palin (2004). like White, shuts his eyes in an efort to
fully absorb his experience of the place, his moment of encounter where
Pacific meets Atlantic. He makes an efort to be present to this sensation.
I...close my eyes and try to concentrate so lean remember what it feels like
to stand on the tip of o continent, for it's not something you do very often.
After awhile I'm no longer aware of land. The sound of the sea drowns every
other sound, the consciousness of sea. covering almost everything (or
thousands of miles around, overwhelms all other sensations (Palin 2004:
213). The visual recedes and Palin experiences the dominance of the aural.
By allowing himself to become more fully present to the intensity of the
aural, Palin heightens his awareness of his surroundings. Thus by becoming
actively attentive to their body knowledge, and allowing that knowledge to
inform their experience of place, the activities of the writers here resonate
with the aspirations of this book's research- to draw more-than-cognitive
experiences of one's surroundings towards consciousness.
AT Future link:
We live on techno time not biological time. Before we had globally
interconnected life (natives) went to sleep when it became dark. The way
we experience time is dark vs. light (biological clock, time is internal). Little
things like technology fucks with our biological body. Experience time like
distance. We walk to places and stuf, covered certain distances (took us
time to walk there). Human life has been accelerated bc we have pieces
entering our head (media = 50 news stories). Because we can always know
and be in every place on the globe, (invisible fleet of our minds), military

aspect and news stories aspect, speeds up time. We dont experience

material space of time, we dont have to be there anymore, operate in cyber
time. Life is a virtual reality because we can be anywhere at anytime, we
dont travel via distances anymore.
Time is an experience of the past, present, and the future. No longer do we
have a present, the way we experience the future is that we must travel
somewhere to get into the future (need to experience progression into
future), everything happens in the present.
Our methodology is key to create a materiality of space, which has been lost to
techno time.
RYAN 12
[Anna Ryan, a Lecturer in Architecture, at the School of Architecture
University of Limerick, Ireland Where Land Meets Sea : Coastal Explorations
of Landscape, Representation and Spatial Experience. May 2012. //Horn]
Seameetsland,aparticularintensityofencounterissetup. The physical properties of the
coast as meeting point can be wrapped up in asenseofunceasingmobility:dynamics
of light, sound, presence, absence, surface, depth and texture are continually (re)worked and
become apparent as alternating activities of construction, destruction and

reconstruction. These movements are regular, rhythmic and constant, but

are also interspersed by moments of intensity. Nothingisstatic.Nothingremainsthe

same.Thesespatialnaturesofthecoastthustangiblyhighlightthefluidityoftheworlditsongoing
and everemergent dynamic. People are drawn to the coast- to the paradoxical
regularity of its ever-moving and elusive characteristics. Thisflowingmobilityof
themeetingoflandandseadrawsattentiontomultiplespatialsensationsaswellasmakingthe
physical mobility of the world materially and visibly apparent, the coast also emphasises the
flowingnatureoftherelationshipbetweenbodyandworld . In this chapter I explore the

spatiality of the coast as experienced: the interwoven dynamic of the

physical and the social at the meeting of land and sea. I trace a journey
through the material, the geometrcal. the conceptual, and the historical
conditions of the coast. PART 1: EXPERIENTIAL QUALITIES OF THE MEETING
OF LAND AND SEA Indistinct boundaries of the coast Defininganexactpointwhen
landbecomessea,orwhenseagiveswaytoland,isverydifficult. Even at a vertical clif
face, both land and sea are fully involved in the movement of the other, and
separation is an artificial exercise. Boundaryremainsnotional. Acknowledging and
grasping this diference the world of mixing and intermingling, gives
definition to both sides of the 'divide) the world of the sea and the world of
the land. Aslandbased,westernpeople,ourdescriptionsoftenattempttodescribeoneofthe

worldsinthelanguageandspatialrealitiesoftheother. Ourgeneraltendencyistoattemptto
situatetheshoreinaworldweknowandunderstand:theexperienceoflandwhichistwiceaday
inundatedbythesea.However, in her book The Edge of the Sea, first published in
1955, RachelCarsonembracestheinbetweennatureofthecoast.Sherecognisesthereisaplace
thatisdifferentandseparatetoeitherthelandorthesea, and though it is intrinsically

bound up within each, she points to the fact that it is neither wholly of the
sea nor wholly of the land. This world "belongs alternately to sea and land"
(Carson 1999:31). It is interesting to consider seals as representative of this
intermediate world. Richard Nairn (2005: 40) writes of how seals live in two
worlds, breeding on land but spending more than half their lives in the sea.
Their lives continually cross this undefined boundary. In a somewhat similar
manner, the sea forms another boundary with the air. Birds and gulls
traverse this boundary as part of their everyday existence. Aerial space and
oceanic space are in a constant fluid cycle and changing of state through
these two media. John Hay (1980: 106) describes a particular aerodynamic how gulls carefully use the wind deflected from the waves to assist and guide
their movements. Theseindistinctmixingsofcoastalbodiesthusoffersensesofconnectivity:

drawingthehumanintomorethanhumanworlds,blurringtheboundariesbetweenindividual
andsurroundings. Articulating the coast-the measure of edge The challenge of

articulating this blurred relationship has been taken up by the drawings,

paintings, and photography of many artists. As representative of a huge
body of coastal work, I have selected the paintings of two Irish artists. John
Shinnors presents a series of conte drawings along the coastal estuary of the
River Shannon in Limerick. In these estuary drawings, such as Figure 1.1,
there is a sense of enclosure. Singly, they each form a measure of the riverthe dimension of its width - and when viewed together as a whole, the series
forms a measure of the expanse of the river estuary as it progresses towards
its mouth and beyond to the open Atlantic. The tone used is slow and blurry
and defines this shift in change or measure across to the other bank of the
river. This set of paintings and drawings appears as a presentation of the
particular kind of movement sensed within this broad river estuary- a
movement in both dimensions, both forward and laterally. Similarly, Mary
Lohan's Shoreline series of paintings are all about a sense of movement
(Figure 1.2). MarkLawlor (2001: 34) describes that these paintings "have
moved through paint, and with that pigment keep moving. Itisanoddmoment
youdon'tknowwhetheryouareinmotionorwhatyouarelookingatisinmotion. The lack of
definition, the blurriness of the paintings is working to create an atmosphere.
Fluidity, movement, is the central subject of the paintings. It is interesting to
consider the titles Lohan has given her paintings. All include the word
Shoreline and mention a particular area of shoreline. But the irony is there is
no one line that dominates any other in the painting: it is all about a
thickness presenting movement through, out, and beyond. Coastal
movement and time Theexperienceoftimeisintegrallyboundupwiththephysicalityofthe
sea. Thecoastlineexposesandconcealsinregularintervals,movingacrossandcoveringlikeaveil,
swellingupandbackdown, whether quietly or violently. Thereiseverasenseofongoing
motion.Inthis,asenseoftime,ormoreprecisely,theblurringoftime,isaperceivablequalityof
thecoast. Indeed, John Hay (1960:7} suggests of the sea that: "Waiting,infact,
seemstobeitsessence,sinceitgivesnoanswertowhatitis,beingawide,surfacebrightness,atidal
beat,asoundingwhosemonumentaldepthsareconcealed,suggestingtoo,thatwemightwaitforit
foreverandknownothing" But in parallel to this mesmerising sense of time and

motion, arelaxationduetorhythmandrepetition,theimpactsanddynamicsoftimearevery
apparent and are describable in the short, medium, and longer term. The
cyclical fluctuations on a daily basis merge as visible seasonal diferences
which in turn contribute to an annual or historical dynamic. Rachel Carson
(1999: 93) talks of the short term exposure of rocky coasts and pools:
Perhaps because we can visit this area only in the hot brief and magical hour
of the tide's turning, perhaps because of the nearness of waves breaking on
rocky rims, dissolving in foam and spray, and pouring seaward again to the
accompaniment of many water sounds, weareremindedalwaysthatthislowtidearea
is of the sea and that we are trespassers. Moving beyond the daily cycles, Vmey
(199Bb) writes of the diference in movements between seasons; how, for
example, the beach is far more static in the summer. It is still and calm
enough to remember the tracks of animals and the very delicate lines of
fieldmice or dung beetles. Carson (1999: 240) presents the even longer
rhythms of the sea: the time-frame of geology, of diferent shorelines, sea
levels, and continents, "in which there is no finality, no ultimate and fixed
reality- earth becoming fluid as the sea itself" Thatthereisthisflux,thissenseofre
creation,paradoxicallygeneratesasenseofdeepstability.Forgingarelationshipofunderstanding
and acceptance of movement, change and time is critical in this coastal edge

environment, particularly when it comes to accepting the dynamics of the

coast, including processes of erosion and deposition. Carson's (1999:3) longterm view of time emphasises this stability of mobility. The edge of the sea is
a strange and beautiful place. All through the long history of earth it has
been an area of unrest where waves have broken heavily against the land,
where the tides have pressed forward over the continents, receded, and then
returned. For no two successive days is the shore line precisely the same Hot
only do the tides advance and retreat in their eternal rhythms, but the level
of the sea itself is never at rest. It rises or falls as the glaciers melt or grow,
as the floor of the deep ocean basins shifts under its increasing load of
sediments, or as the earth's crust along the continental margins warps up or
down in adjustment to strain and tension. Todayalittlemorelandmaybelongtothe
sea, tomorrow a little less. Always the edge of the sea remains an elusive and indefinable
boundary. The necessity and integrity of movement to the coast is sensed by
John Hay (1980: 124-5) who believes the notion of beach as transition zone
lie. a distinctive place in itself) is misleading: It is made of land materials but
it is not exactly a land boundary. ..The beach in its grand exposure, its
instability, seems closer to the sea than land...Thebeachisnaked,malleable,readyto
move and be moved..It is a receiving ground for light. It is a power, with an
expression made up of all its communicant and communicating energies,
their substance and formality. Understood in this way, the meeting point of
land and sea, (whether physically manifest as a beach or as a clif etc.) is
movement. Thesecyclicandrepetitivemovementsofthismobilecoastgenerateaparadoxical
experienceoftime,whereongoingrhythmsaresensedasstable. The relationships between
time and the moving coast present a significant complexity to the nature of
the negotiations between individual and environment. Texture and

construction The coast is a material experience. The changes of physical

substance that occur directly at this edge create an active materiality that
can be viscerally experienced. From liquid to solid, there is a progression of
textures apparent in diferent forms, but similar in their movement. Beachcan
beconceivedaspiecesofsolidmatterthatflow. Rocky clif is perceived as more solid
than beach, but it moves nonetheless due to erosion Biologists describe the
textures of the coast as soft or hard Movement, whether by water or wind, is
the central characteristic of soft shores as they are formed of mobile
sediments such as sand, shingle and mud that are easily eroded or changed
by tidal currents. In Carson's (1999: 129) words, "the beach has a lifeless
look as though not only uninhabited but indeed uninhabitable. In the sands
almost all is hidden," In contrast, hard rocky coasts have a firm surface and
allow life to cling to it (Carson 1999: 15). But the apparent permanence of
rock and the apparent instability of sand belie an implicit paradox As Carson
(1999: 128) writes, We think of recital a symbol of durability, yet even the
hardest rock shatters and wears away when attacked by rain, frost or surf.
But a grain of sand is almost indestructible. It is the ultimate product of the
work of the waves - the minute, hard core of mineral that remains after years
of grinding and polishing Thus the materialities of the coast are defined by
the creative and constructive acts of movement The textures of the sea itself
are also rich in their appearance and dynamic. The flowing nature of the sea,
or its apparent surface stillness, or its whipped up meeting with the wind,
generates particular atmospheres. In sheltered bays or quiet days the sea
may appear like a spread-out sheet, suggesting its surface rather than its
depth. It has a calm, liquidy, melty feel, where its movements happen in slow
surges, rising and falling. When small breezes cross this surface, dapples and
dimples and ripples and wrinkles appear, gathering themselves and then
folding out as the air movement above relaxes once again. On the scale of
the ocean, response or reaction to these surface appearances can be used to
guide or navigate. In Passage to Juneau, Jonathan Raban (1999:93) writes of
trying to sail by the swell and the feel of the wind, concentrating on the
character of the sea itself as the way to move forward. The diferent textural
formations of the coast are determined by the way the sea accesses,
approaches, and meets the land. For example, Carson (1999) describes how
some rocky coastlines were once rugged inland hills, but under the weight of
a glacier, the flexible crust of the earth tilted downwards, the plains were
flooded, and so the shoreline was suddenly changed. In contrast, Nairn
(2005: 72) discusses how estuaries are formed from sediments eroded on
more exposed coasts being carried there and deposited by the tide as well as
from sediments arriving into the estuary from the land and being deposited
by the river. Similarly, the movement of substances gives rise to dune
systems, for example inland mac hair are formed by wind-blown sand (Nairn
2005:60). In contrast to the 'passive' action of deposition, coral reef is
actively constructed out of its own material, being described by Carson
(1999:236) as "built": she talks of the "sea becoming land almost before our
eyes" With the action of the fire of a volcano, liquid land combines with liquid

sea, to also generate the sense of sea becoming land before our eyes. In all
its formations, this link between the constructed nature of the coast and its
texture is immensely apparent. At the coast, the 'solidity' of the land is
compromised, and is forced to become mobile, forced to respond to the
liquidity of the sea. A relationship of give and take is formed; a taking of
substance, and a returning of substance. The land becomes fluid, broken into
small pieces to work with the insistence of the water. The junction point
marks a measure of change, a measure of action and re-action. Asa place of
meeting, the coast is a bringing together of entirely diferent physical
substances, in diferent physical states thus giving rise to specific and strong
sensibilities of texture and materiality. Light at the edge of land Light on the
ocean or at the coast has a particular character. The changing dynamics of
coastal light is a significant experiential aspect of the meeting point of land
with sea, a physical presence that efectively dramatises and heightens all of
the other action that occurs. After World War II, French philosopher Paul
Virilio approached a beach and the sea for the first time ever in his life. Virilio
(1994: 9-10} experienced the light as intensely part of the spatiality of the
coast. The weather was superb and the sky over the low ground was
starting, minute by minute, to shine. This well-known brilliance of the
atmosphere approaching the great reflector was totally new. the
transparency I was so sensitive to was greater as the ocean got up closer, up
to that precise moment when a line as even as a brush stroke crossed the
horizon, on almost gracious grey-green line, but one that was extending out
to the limits of the horizon. Writing of his time spent living on Inis Mor in
1968. before the advent of electricity and artificial lighting there, Andrew
McNeillie (2001 > presents"the falling ocean light" as alive, as an animate
force. The converse of the activity of the light is the reflective capacity of the
moving water of the sea, whether in its expansiveness, in its rolling and
dispersing swell, or in a thin sheet on the wet ground. The sea and the wet
ground accept what the changing light ofers. Though perhaps perceived as
passive in nature, this reflective property has the result of causing dramatic
alterations to the nature and feel of any coastal place over both short-term
and long-term time. Discussing the big spring tides of the autumn, Michael
vlney (1998b: 161) writes, "What draws me to the shore is the clean sheet
these big tides make of it, erasing the last runic vestiges of car tracks and
shriving the very air of summer sweat. The wet strand is a huge mirror to a
sky laundered full of haze, full of blue, rinsed distances and shining clouds
"The light and reflectivity of the sea gives to it a kind of personality that
moves with the seasons. But in the shorter-term, the speed of movement of
the water and waves also adds a dynamic to this passive reflective property
Then the fast collapsing movements of the shore-break disperses light
outwards quickly, while the ribbing of the sand captures little pockets of
water that act as a series of reflectors as the tide returns seawards. Colour
becomes an obvious property of reflection and of light. The shifting nature of
the coastal terrain is illuminated by absorbing its many, and continually
altering colours. The wet ground of the beach and the coastal light work

together to draw the body into its surroundings; reflective shadow and
reactive sand become one. Coastal light is a presence that wraps the
individual. Sounding the sea Sound is an expressive feature of the coastal
experience. Palpable v/hen both on and of the water, the volume and type of
sound can depend on whether the listener is alongside, or at a distance, or
above at a height, or directly on level surface. The amplitude of the sea's
sound also depends on the dimensionality of the sea at that point itself,
whether apparent as a surface, or a rolling depth. The sound is created by
the meeting of diferent materials, or the same material but in diferent
forms (as a rising form or as a solid depth). The water has to move in
reaction to what it meets, whether air, rock, sand, or the surface below the
water moving with it. The sea's noise on the coast is manifested by shorter
sudden bursts, underpinned by slower, drawn out sounds. In the dark, when
light is no longer present, the sound of the sea is sensed as even more
intense, and becomes a powerful method of measure and of obstacle. When
on land, the aural experience of the sea is very particular. As author E.B.
White (1962:179) presents it in an essay from 1941, The sound of the sea is
the most time-efacing sound there is, The centuries reroll in a cloud and the
earth becomes young again when you listen, with eyes shut, to the sea..The
sea answers all questions, and always in the same way. for v/hen you read in
the papers the interminable discussions and the bickering and the
prognostications and the turmoil, the disagreements, the fateful decisions
and agreements and the plans and the programs and the threats and the
counter threats, then you close your eyes and the sea dispatches one more
big roller in the unbroken line since the beginning of the world and it combs
and breaks and returns foaming and saying: "so soon? The questioning
nature of the eye as main sensing organ is replaced by the receptiveness
and acceptance of the ear. When at the Chapel on Cape Horn at the tip of
South America, Michael Palin (2004). like White, shuts his eyes in an efort to
fully absorb his experience of the place, his moment of encounter where
Pacific meets Atlantic. He makes an efort to be present to this sensation.
I...close my eyes and try to concentrate so lean remember what it feels like
to stand on the tip of o continent, for it's not something you do very often.
After awhile I'm no longer aware of land. The sound of the sea drowns every
other sound, the consciousness of sea. covering almost everything (or
thousands of miles around, overwhelms all other sensations (Palin 2004:
213). The visual recedes and Palin experiences the dominance of the aural.
By allowing himself to become more fully present to the intensity of the
aural, Palin heightens his awareness of his surroundings. Thus by becoming
actively attentive to their body knowledge, and allowing that knowledge to
inform their experience of place, the activities of the writers here resonate
with the aspirations of this book's research- to draw more-than-cognitive
experiences of one's surroundings towards consciousness.

Edelmanmisreadspoliticsratherthanbeingdefinedasqueervsnormative,thepolitical
representsEdelmansrallyingcryfordestroyingthefutureisactuallythestatusquo
Power 09 [Nina Power; Roehampton University, UK; Non-Reproductive
Futurism: Rancires rational equality against Edelmans body apolitic
Volume 8, Number 2, 2009, Borderlands,
http://www.borderlands.net.au/vol8no2_2009/power_futurism.pdf] J|L
But, for all the talk of disruption and a paradoxical outside, thereissomething
overlyneataboutEdelmansformulations.Ispoliticsreallyexhaustedbytheformulationsofthe
Christianright,thesourceofmanyofhisexamplesofreproductivefuturism ? Is the only

obvious alternative, the other side of this image as it were, an overly

earnest, well-meaning and equally futurist left humanism? In other words, is
the child-as-future really the only image of all political desire? Edelmans
polemic, as welcome as it is within a certain (albeit highly American) context, is

atthesametimedepressinglycompatiblewithageneralepochalturningawayfrompolitics,what
AlainBadioucallstheimperativetolivewithoutideas (Badiou, 2007: 117). In a very
real sense, nofuture,farfrombeingarallyingcrytowardssomesubversivecelebrationofa
pleasurethatdestabilisesandyetsubtendsthepoliticalorder,hasbeentheveryorderingprinciple
ofourrecentpoliticalreality.HedonismmaynotbeexactlywhatEdelmanmeansbyjouissance,
butithascertainstructuralsimilarities:adisregardforwhatcomesnext (the hangover, the
come down, the mopping up), acertainselfsatisfactionandinsularity (jouissance
cannot be universalised) anddisruptiveinarelativelycontainableway (it may have

been subversive at various points to watch porn, take drugs and engage in
risky sex, but most of these things have been relatively subsumed into a
wider culture of permissiveness, what Marcuse called repressive
desublimation (Marcuse, 2002: 59)). If there has in fact been a widespread
feeling of no future it is because ithasbeenimpossibletoimagineanythingdifferent;
capitalismdependsuponthereproductionofsamenessintheguiseofdifference,theideathatthere
isnoalternative,andnofuture (in the sense of new ways of living) is possible. This
epochal depoliticisationofpoliticsisalsoidentifiedbyJacquesRancireinoneofhismajor
works,Disagreement, the main text examined here alongside Edelmans No
Future. Against Edelmans powerful but overly general attack on politics, this
paperwillargueforformsofpoliticsthatarenotpredicatedontheoverlapofreproductionwith
thefuture,andforakindofrationalismthatescapesEdelmansequationofreasonwithfuturity

.
Rancire will instead be invoked as thinker of a tentative queerrationalism,one
predicatedonsubtractionandanonfuturalpowertodisrupt(it is politics that disrupts,

not jouissance, despite Edelmans argument that disruption is the most

antithetical movement to politics as a whole). The paper will also draw on
empirical historical examples of certain leftwing and alternative political
movements, such as the early kibbutzim movement in Israel, which explicitly

refusedreproductionbutwereneverthelessmostdefinitelypolitical,andquiteoftenqueerfrom
thestandpointofthenormsofthesocialorder. There are three main areas of argument

here: the concept of rationality and anti-rationality at work in the politics of

Rancire and the anti-politics of Edelman; a discussion of the antireproductive stance of various left-wing political movements and positionsthat

complicateEdelmansclaimthatallpoliticsisbydefinitionreproductivelyfuturaland,finally , a
more polemical and speculative claim that contemporary politicsrelationtothe
childisfarlessthatofitsfuturethanofthemundanespectreofitsalwaysdying . The final

section will in a sense return to Edelmans claim that the defenders of

futurity are indeed dependent on the threat of the death drive. Edelman
makes this claim in the following way: We, the sinthomosexuals who figure
the death drive of the social, must accept that we will be vilified as the
agents of that threat. But they, the defenders of futurity, buzzed by
negating our negativity, are themselves, however unknowingly, its secret
agents too, reacting, in the name of the future, in the name of humanity, in
the name of life, to the threat of the death drive we figure with the violent
rush of a jouissance, which only returns them, ironically, to the death drive in
spite of themselves (Edelman, 2004: 153). It is indeed the case that the
death drive of the social is the truth of the they, but therealsecretof
contemporarypoliticsisnotthatthedeathdriveanditsqueerjouissanceisitshiddentruth,but
thatirrationalityandrepetitionistheverystuffofpoliticalandsociallife:

Rationalitytrue
politicsis,asRancire pointsout,extremelyrare.

Edelmanoverlyhomogenizesthesocial,makingchangeimpossiblethroughamisreadingof
governmentalideology
Power 09 [Nina Power; Roehampton University, UK; Non-Reproductive
Futurism: Rancires rational equality against Edelmans body apolitic
Volume 8, Number 2, 2009, Borderlands,
http://www.borderlands.net.au/vol8no2_2009/power_futurism.pdf] J|L
Thesupposedfuturalreasonofrepresentativepoliticsisineffectprofoundlyfracturedand
contradictory,notintheleastbitreconciledtoeitheritsimageofthechild,ortoitsimageofitself .
Edelmansnotionofthequeerneverthelessseemstodependonanoverlyhomogenouspictureof
thesocialworld. To write, as Edelman claims to, from the space outside the

framework within which politics as we know it appears and so outside the

conflict of visions that share as their presupposition that the body politic
must survive (Edelman,2004: 3) involvesdeliberatelysuperimposingvariouspolitical
categoriesontovariousnonpoliticalcategories.Thus,Edelmanconflatesdemocracywiththechild,
rationalitywithanaveconceptofprogressandheterosexualitywithreproduction, sweeping

away the possibility of collective organisation and action. As John Brenkman

puts it: Edelman compounds his reductive concept of the political realm by
in turn postulating an ironclad intermeshing of social reproduction and sexual
reproduction (Brenkman, 2002: 176). By neglecting the contradictory
economic imperatives at work in political conceptions of the family and
fusing politics with reason Edelmanleavesnoroomatallforwhatwecouldcallaqueer
reasonqueerfromthestandpointofrepresentationalpolitics,andneithercommittedtothechild
nortosexualessentialism. It is here that Rancires ideas are relevant. If a queer

reason is to make any sense, it is important to separate out two diferent

kinds of rationalism, which Edelman refuses to do. In a section in
Disagreement entitled The Rationality of Disagreement, Rancire states the

following: Politicalrationalityisonlythinkablepreciselyontheconditionthatitbefreedfrom

thealternativeinwhichacertainrationalismwouldliketokeepitreinedin,eitherasexchange
betweenpartnersputtingtheirinterestsorstandardsupfordiscussion,orelsetheviolenceofthe
irrational (Rancire, 1999: 43). Contemporary parliamentary politics is

predicated on this notion of a certain rationalism, the realpolitik of the

everyday whereby some order is better than no order at all, where the threat
of real public violence hovers like a shadow over a pessimistic and jaded
acceptance of the venality of public life. Againstthisnotionofrationalism,whichin
essenceisnotrationalatall (the idea that a vote every four or five years exhausts
peoples political desires, for example),Rancirepositsafarsubtlerunderstandingof
rationalismandirrationalism,whichhediscussesintermsoftheveryequalityofspeakingbeings :
For the idea that speaking beings are equal because of their common
capacity for speech is a reasonable-unreasonable idea ... The assertion of a
common world thus happens through a paradoxical mise-en-scne that
brings the community and the non community together. (Rancire, 1999: 55)
If, in fact, representational politics is only unreasonable, then it is to these
moments of rational disruption, those events and occurrences that interrupt
the everyday flow of a political discourse which thinks its being practical but
is in essence incredibly unstable, that a true kind of queerness emerges
Edelmanisthusentirelyrighttohighlighttheimportanceofdisruptionagainsttheexistingorder,
butwrongtoinsistthatitmustalwaysbeonthesideofunreasonorantireason

.Rancire
recognisesinsteadthesubversiveanddisruptivenatureofpolitics:Whatmakespoliticsanobject
ofscandalisthatitisthatactivitywhichhastherationalityofdisagreementasitsownrationality

(Rancire 1999: xii). From the standpoint of the supposedly rational state,
this rationality of disagreement in other words the contention that politics,
far from being a secure foundation, is predicated on a dissensus, the ability
of speaking beings to disagree with one another appears as decidedly
paradoxical and threatening. It is not merely that human beings can disagree
with one another, but that some cannot even be heard, and that this is
where secure identification of individuals comes undone: For Rancire, if
there are some invisible, nameless and disenfranchised people, it is because
they do not participate in the public (political) life of the city (the
mechanisms for dividing up legitimate shares, the police, etc.); itisbecause
althoughtheyhaveanacknowledgedplaceinsociety,thatistosayaplaceviewedasuseful,andare
identifiedassuchbysociologytoday,theyareneverthelessexcludedfromlegitimatelyspeakingout

(Dotte and Lapidus, 2004: 79). Unlike Edelmans conception of the queer,
which is purely negative, perhaps even individualistic, Rancireexplicitlystresses
therolethatequalityplaysinhisconceptionofpolitics. In the chapter entitled From
Archipolitics to Metapolitics, Rancire argues that: Politicsonlyexiststhroughthe
bringingoffoftheequalityofanyoneandeveryoneinavacuousfreedomofapartofthe
communitythatderegulatesanycountofparts.Theequalitythatisthenonpoliticalconditionof
politicsdoesnotshowuphereforwhatitis:itonlyappearsasthefigureofwrong. (Rancire,

1999: 61) The figure of wrong (to be opposed to the right of classical
political philosophy and jurisprudence) could, however, be understood as
queer, even in some of Edelmans own senses: it is unwanted, negative,

and not comprehensible from the standpoint of the existing order and the set
demarcation of places. As Marx originally put it, the possibility of German
emancipation could only arise: [i]n the formation of a class with radical
chains, a class of civil society which is not a class of civil society, a class
[Stand] which is the dissolution of all classes, a sphere which has a universal
character because of its universal sufering and which lays claim to no
particular right because the wrong it sufers is not a particular wrong but
wrong in general. (Marx, 1974: 256)
Edelmanreliestoomuchonamiddleclassmalequeerfigurethisforeclosespolitical
possibilityies
Fontenot 06 [Andrea, Professor, English Department, University of California,
Santa Barbara, 2006, No Future: Queer Theory and the Death Drive
(review), Project MUSE, MFS Modern Fiction Studies 52.1, p252-256]
Edelman's acceptance of the cultural logics linking death and homosexuality may seem hard to
swallow: not only does he ask us to commit political suicide, he systematically refuses the
fantasy of an afterlife, of an alternative future. However bleak this may seem, Edelman's work
envisions for queer theory something much more powerful than politics. In identifying the broad
nexus of forces that participate in reproductive futurism, Edelman enables queer theory to be a voice
of resistance to the dominant political order in a more comprehensive way than any issue or identity
based politics could contain. Indeed, the challenge he puts forth is for queer theory to more effectively
channel the dissonant and disruptive effect of sexuality rather than distance ourselves from it. From
my perspective it is not the negativity of his theory that constitutes its weakness. Rather, it
is his failure to imagine the sinthomosexual in more diverse terms and his
unwillingness to recognize possibilities for allegiance with others who suffer under
reproductive futurism's grip on our political culture. It is not just that his examples
happen to all be white middle-class childless mensomething we may excuse as product of the
cultural register he chooses to investigatebut that his entire imagining of the scope of the
sinthomosexual is limited; his exclusive use of "he" to denote queers and sinthomosexuals
alike is only one manifestation. Though he illuminates the intricate displacements and disavowals
required to figure the homosexual's difference in terms of their narcissistic love of sameness (see 56
60), he nonetheless ignores the differences that exist among those positioned under the
sign "homosexual." This becomes a weakness for his analysis in the section where he
deconstructs Jean Baudrillard's nauseating jeremiad, "The Final Solution," a treatise against
"artificial insemination" and the "global extermination" of meaning it portends (6465). Edelman
dedicates six wonderfully reasoned pages to exposing Baudrillard's outrage at the imminent vanishing
of sexual difference (and thus, for Baudrillard, difference at all) as a homophobic response to the way
that the possibilities of sex without reproduction and reproduction without sex reveal the always
already meaninglessness of sex, even in the heterosexual pairing (6066). What Edelman misses here,
though, is an opportunity to show another face of the figure of the sinthomosexual . In
Baudrillard's paranoid reaction to new technologies of reproduction, it is not the gay male
who is evoked but rather the lesbian mother, that most notorious beneficiary of this
desexualized reproduction. Were Edelman to entertain this difference, he would find that she
is figured in much the same terms as her male counterpart: imperiling both the child
she would bear and the future that the Child is meant to guarantee, despite the efforts of
some lesbian mothers to trade on the capital of reproductive futurism to purchase civil rights. By
simply dismissing queer parents as "comrades in reproductive futurism " (19), capable
only of contributing to the homophobic scapegoating of the sinthomosexual, he ignores
their possibility as allies on the frontier between the Child and children, between the
future and tomorrow. Regardless of these omissions, however, Edelman has certainly articulated a
new direction for queer theory, making No Future required reading both within the field and beyond.

Ontology impact: only understand world as images on the screen.

Everything we know about the Other is mediated by images on the screen.
(Ukraine etc).
***the will to speed. Forces the presenting of everything. we force things to
reveal them to us. We search oceans with mindset of things we need to
defend against. The only experience we have with the Other. By constantly
searching for things we force world to present itself to us. The only
understand being is through the mindset of securitization, forecloses the
possibility of knowing the Other. We only know them through the frame of
how media frames them.