Riding Routes and Itinerant Borders: Autonomy of Migration and Border Externalization

Despite technological upgrading of borders at the edges of Europe, “Fortress Europe” continues to fail as an effective means of controlling irregular migration. As a consequence, European states are restructuring their border regimes by externalizing migration management to non‐EU countries beyond the border and creating new programs and policies to do so. Autonomy of Migration (AoM) offers a distinct way for thinking about border control mechanisms and goals of managing mobility. AoM does not read this off‐shoring of borders through the lens of centralized and coordinated state powers, but develops an autonomous gaze that supplements these institutional readings of apparatuses of capture with a view that takes as its starting point the ways in which border architectures, institutions, and policies interact with and react to the turbulence of migrant mobilities. By engaging current EU externalization policies, this paper illustrates the shifting relationship between border control and mobility.     

Experimental Study on Seismically Resilient Two-Span Bridge Models Designed for Disassembly

Shake-table studies were conducted on a ¼-scale, 2-span bridge model incorporating a newly-developed concept of replaceable plastic hinges and columns that can be easily assembled and disassembled. The plastic hinges incorporate novel materials that mitigate column damage and permanent drift, allowing the bridge to undergo intense seismic shaking and remain operational when most conventional bridges would warrant demolition. Designed to be disassembled, the column components have the potential to be reused, which is intended to help mitigate the environmental impact from material extraction and manufacture. The concept feasibility was demonstrated by assembling, testing, and disassembling the same bridge model twice.     

The Conventillo,the Department Store,and the Cabaret: Navigating Urban Space and Social Class in Argentine Silent Cinema, 1916–1929

This article examines an understudied film genre that some Argentine early film periodicals labeled cinedrama porteño. Porteño cinedramas portrayed a bleak Buenos Aires, a dark metropolis of massive immigration and accelerated urbanization in which opulence was reserved for the few and misery was all around, particularly in immigrant neighborhoods. Centering on ‘fallen women’ and well-dressed wastrels, the genre foregrounded social instability by confronting emerging and established social actors in several locations, including tenement housing, department stores, and cabarets and garçonnières. Based on surviving film fragments, this article argues that porteño cinedramas rendered visible varying degrees of sociocultural proximity and separation in urban space. In doing so, the genre traced sociocultural cartographies and identitary strategies to confer narrative and visual saliency to mobile subjects, most noticeably urban outcasts. Porteño cinedramas warned against the dangers of upward mobility while at the same time denouncing gender and class inequality in Buenos Aires. Films discussed include Hasta después de muerta (Eduardo Martínez de la Pera and Ernesto Gunche, 1916), La chica de la Calle Florida (José A. Ferreyra, 1922), and La borrachera del tango (Edmo Cominetti, 1928).     

The Visual and the Visceral. Bodily Communities and Visual Communities in Martín Céspedes’s El estómago de la cultura (2012)

El estómago de la cultura (Culture’s Stomach) (2012) is a short documentary film directed by Martín Céspedes which depicts the slaughter process in a refrigerated warehouse ‘without a foreman’ on the outskirts of Buenos Aires. The documentary offers a visual reflection on the place of the livestock industry in Argentina in the face of finance capital driven by genetically modified agriculture and encourages debate around the functioning of an establishment managed by its own workers. In this article, I propose a reading that provides a way of thinking about the representation of Argentine post-2001 communities and their ‘exposure’ in this documentary by analysing two visual strategies: first, the generation of images which appeal directly to the viewer’s sensibility, that is, images affecting the body of the spectator, and second the presentation of collective images or images of groups of people, of livestock, and of lifeless organs or bodies. By generating a community that includes the spectator’s body and by portraying parcels of men and animals and their ‘common ways’ of existing, El estómago de la cultura on the one hand reinforces the sense of communion and, on the other hand, simultaneously indicates the precarious nature of its existence and the survival of post-2001 communal projects.     

What Time Is Japan? Problems of Comparative (Intercultural) Historiography

Rather than reflect on the process of an alleged "modernization" of historical scholarship, an intercultural comparison of historiography should take the European origins of academic history as its starting point. The reason, as this article argues, is that in non-European countries the European genealogy of the discipline of history continued to structure interpretations of the past. Both on the level of method, but more importantly on the level of interpretive strategies, "Europe" remained the yardstick for historiographical explanation. This article will use the example of postwar Japanese historiography to show that historians resorted to a European model in order to turn seemingly unconnected events in the Japanese past into a historical narrative. This is not to imply, however, that Japanese historiography passively relied on concepts from Western discourse. On the contrary, Japanese historians appropriated and transformed the elements of this discourse in the specific geopolitical setting of the 1940s and 1950s. This act of appropriation served the political purpose of positioning Japan with respect to Asia and the "West." However, on an epistemological level, the priority of "Europe" persisted; Japanese historiography remained a "derivative discourse." Studies in comparative historiography, therefore, should be attentive to these traces of the European descent of academic history and privilege the transnational history of historiography over meditations on its internal rationalization.     

Mapping Illegality: The i‐Map and the Cartopolitics of “Migration Management” at a Distance

Cartographies for “migration management” are part and parcel of controversial border practices far from conventional borderlines. Focusing on the i‐Map, this study renders how the European Union's current practices of remote border control are visualised among migration policy circles and expert security actors through a “mapping migration matrix”. The lines portraying migration flows in recurrent maps generate a shared expert language and a common geographical imaginary reinforcing practices of contention and classification of those assumed to move toward the European Union irregularly. It is argued that illegality is constructed in ways that target border crossing long before any border is crossed, making someone illegal at the very moment and place where s/he might decide to migrate. This paper analyses the cartopolitics and limits of cartographic expertise in the production of a “routes thinking” able to legitimise extra‐territorial interceptions and practices of remote border control.