Show cover of Visualising War and Peace

Visualising War and Peace

How do war stories work? And what do they do to us? Join University of St Andrews historians Alice König and Nicolas Wiater as they explore how war and peace get presented in art, text, film and music. With the help of expert guests, they unpick conflict stories from all sorts of different periods and places. And they ask how the tales we tell and the pictures we paint of peace and war influence us as individuals and shape the societies we live in.

Tracks

Peace and Conflict in Space
In this week’s episode, two students from our Visualising Peace project - Harris Siderfin and Otilia Meden - talk to experts on space security. Dr Adam Bower is a Senior Lecturer in the School of International Relations and Co-director of the Centre for Global Law and Governance. His research examines the intersection of international politics and law, and particularly the development, implementation, and transformation of international norms regulating the use of armed violence. He is currently undertaking a long-term research project that assesses the development of new international governance mechanisms to regulate military space operations. Dr Bower is a Fellow of the Outer Space Institute, a global network of transdisciplinary space experts, and in that capacity is involved in a number of OSI research and advocacy efforts relating to outer space security.Wg Cdr Sas Duffin joined the RAF in 2005, and began working in the Space and Battlespace Management Force in Jul 2018, developing strategy and training for Space Operations.  She became a Qualified Space Instructor (QSI) in Feb 2020 before heading to Defence Academy Shrivenham where she obtained an MA in Defence Studies, writing a thesis on the ‘Language and Narrative of Space: Why Words Matter’. Joining UK Space Command in Jul 21 as the Senior Space Liaison Officer, she has developed a network of Space Liaison Officers (SpLOs) across Defence to aid in the awareness and integration of space in wider military planning and operations.Sqn Ldr Stu Agnew is a Scottish-qualified solicitor serving in the Royal Air Force Legal Services. Following qualification as a solicitor in 2014, he moved to specialise in corporate and commercial law before joining the Royal Air Force in January 2016. He was selected to be the first Legal Adviser within UK Space Command following its establishment on 1 April 2021. In this role, he provides legal advice on all of the Command's outputs. His remit includes advising on the development of doctrine and wider Defence outputs centred on space. Sponsored by the Royal Air Force, he obtained a Masters' degree in International Aviation Law & Regulation from Staffordshire University in 2020. His dissertation focused on the boundary between airspace and outer space under international law, or more accurately the absence of one.In the episode, Harris, Otilia and their guests discuss why and how security in outer space is important for people living on earth. They reflect on the development and implementation of the Outer Space Treaty of 1967, and the spirit of international collaboration that underpins it. They also look at increasing activity in space by private corporations as well as nation-states, at the increasing militarisation of space, at the potential for growing conflict in space, and at the consequences of that for ordinary lives. Among other questions, they ask:Who are the primary state and non-state actors in outer space today? What dangers does conflict in space present and why should we, as individuals, care? How does peace in space help maintain peace on earth? And how can peace in space be promoted, improved and maintained?How can we best visualise peace in space when outer space itself is so difficult to conceptualise? We hope you enjoy the episode. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews' Visualising War website.Music composed by Jonathan YoungSound mixing by Zofia Guertin
82:10 08/03/2022
The Militarisation of Childhood with J. Marshall Beier
This episode continues our mini-series looking at how children are socialised into recurring habits of visualising war and peace. Alice interviews Prof. J. Marshall Beier, who is Undergraduate Chair in the Department of Political Science at McMaster University. In the course of a distinguished career, Marshall's research has focused particularly on how children and childhood get conceived in political contexts, and what impact that can have on their political involvement as well as on their lives more broadly. In the course of this research, Marshall has published extensively on the militarisation of childhood and well as child and youth rights and youth political participation. Notable publications include edited volumes such as The Militarisation of Childhood: Thinking beyond the Global South (2011), Discovering Childhood in International Relations (2020), and – with Jana Tabak – Childhoods in Peace and Conflict (2021). We begin the podcast by looking at how children are militarised in many different ways - from their recruitment as child soldiers, to more 'benign' forms of cadet training, to messaging in society about the pervasiveness of threats (leading to an understanding that citizens need protection via the military), to the ways in which leisure spaces such as museums, airshows and online gaming can promote the 'cult of the hero' and inculcate wider military values, such as resilience, courage, or the idea that certain wars are 'good' while others are 'bad'. Marshall draws attention to 'militarism's ambient cacophony' - by which he means that the promotion of different kinds of military activity is all around us - and to the fact that as children grow up, they are exposed to many different kinds of pedagogies (formal and informal) which both normalise and naturalise war. This indirect 'enlistment' is vital to governments who, in time, may ask the adults that children become to sanction military spending and military deployments. Marshall also discusses the concept of 'childhood' itself, and differences between 'the imagined child' and children as political agents, subjects, knowledge-bearers and knowledge-producers.  We examine typical representations of children affected by conflict, and the ways in which images of their victimhood and vulnerability are often leveraged as 'a technology of governance' - in other words, used by politicians and others to shape wider attitudes and policy. Marshall underlines how flexible a category 'child' can be, however, and how governments and militaries can 'evacuate' certain age groups from this category when they see them as a threat, deeming them e.g. 'military-age males'.  He notes that states and militaries sometimes also ask children to 'do the work of adults': for instance by conducting surveillance, or being resilient when they lose a parent to conflict. And he draws on his work with the McMaster Youth and Children University to discuss how we might take a more rights-based approach to engaging with children around war and peace, empowering them to contribute to debate and discussion, rather than side-lining or even exploiting them.We hope you enjoy the episode. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews' Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
84:41 07/06/2022
Visualising Young People as Peacemakers with Helen Berents
In this podcast Alice interviews Dr Helen Berents, a senior research fellow in the School of Justice at the Queensland University of Technology in Brisbane, Australia. Helen’s research focuses on the involvement of children and young people in international conflict and peace-building processes, and she advocates strongly for wider recognition of their contributions and capacities in navigating violence and building peace. Her book Young People and Everyday Peace explores the presence and influence of youth voices in everyday efforts to respond to ongoing violence and insecurity in a small community in Soacha, Colombia. She has also looked at adult representations of children and young people in contexts of crisis and conflict, comparing them with the stories that young people tell themselves when given the chance. Helen is currently working on a project funded by the Australian Research Council on Youth Leadership and the Future of Peace and Security, exploring the role of youth-led advocacy and engagement in building more inclusive, durable forms of peace in different parts of the world. One aim is to improve the ways in which young people are supported and empowered in conflict-affected contexts; another is to develop new recommendations for the involvement of young people in peace and security policies in future.In the podcast Helen discusses widespread assumptions about children and childhood, which condition us to view them as victims in need of protection rather than as experts or agents in peace-building contexts. As Helen explains, it is important to be mindful of their potential vulnerabilities; but this can be compatible with recognising their lived experiences of conflict as valuable forms of expertise. We discuss the places where children are typically thought to 'belong' in times of war and peace, the images of child victims of conflict that often go viral, and the long-running marginalisation of their voices. But we also consider the work that young people have been doing in many different parts of the world to make their voices heard, and the impact of the UN's Youth, Peace and Security agenda. Along the way, Helen talks about the differences between 'liberal', top-down peace and grassroots, 'everyday' peace. Citing Veena Das and Christine Sylvester among others, Helen explains why we cannot simply study war and peace 'from the high places' (i.e. solely from the perspective of governments or abstract ideals) and why we need a 'descent into the ordinary' to excavate multiple lived experiences of violence and peace-building rooted in the everyday. Above all, Helen invites practitioners and policy-makers to consider what changes adults need to implement to make more space for children in different peace-building contexts, including recalibrating what 'expertise' looks like and ceding power to young people. We hope you enjoy the episode! You can find out more about Helen's work here. For a version of our podcast with close captions, please use this link. Please visit the University of St Andrews Visualising War website for more information about our project. Music composed by Jonathan YoungSound mixing by Zofia Guertin
78:11 06/06/2022
Civilian Resistance in Ukraine, 2014-2022, with Olga Boichak
Alice's guest on this podcast is Dr Olga Boichak, a Ukrainian-born sociologist who works as a lecturer in Digital Cultures at the University of Sydney. Editor of the Digital War Journal, Olga’s particular research interest is the war-media nexus. She has spent years studying participatory warfare in Ukraine, looking at how civilians have used mobile media and open-source intelligence to engage remotely in military conflict; and also at how digital media have been facilitating grassroots activism, from local military crowd-funding to the development of transnational humanitarian aid networks. Her research helps us understand the symbiotic relationship between digital and real-world activities: not just how war and digital media shape each other, but how digitally-driven volunteer movements that emerge in wartime can have longer-term effects on civil society development and broader institutional change. In the podcast, Olga discusses the 'reflexive control' that Russia has long tried to exert over Ukraine since its independence in 1991. She then reflects on the long history of 'productive resistance' that ordinary Ukrainians have engaged in, which over the years has helped to forge a stronger sense of collective identity and shared civic values. She discusses the many forms of civic participation in military activity that have evolved since Russia's annexation of Crimea in 2014, and this gets us talking about blurred boundaries between war and peace, about people's proximity to and distance from conflict, and about the ethical dilemmas surrounding involvement and non-involvement. Along the way, we discuss the role that digital media have played in the conflict in Ukraine. Olga analyses Russia's use of social media from 2014 onwards, in particular their efforts to convince the wider world that people in Donbas have long had strong separatist leanings. She  explains how social media activists in Mariupol helped to disrupt that message back in 2014, which is perhaps why Russia has been so determined to conquer Mariupol in 2022.  We also talk about the ways in which social media have facilitated a range of humanitarian responses to the war in Ukraine - and how social media have been shaping our understanding and perception of the conflict more broadly. In many ways, our twitter feeds are full of very conventional pictures of war (tanks, bombed out buildings, soldiers firing weapons), reinforcing long-established habits of visualising conflict. At the same time, more innovative  forms of data visualisation (such as stats on the length of time people are spending in bomb shelters each day) are helping us to grasp the 'slow violence' of conflict on civilian populations.  New trends in representation are emerging all the time, challenging the traditional metrics we have long used to assess the costs of war and offering us different conceptual frameworks for understanding what is going on. Olga has family in Ukraine, so we talked a little about what they have been going through. If you are moved by anything you hear, please consider donating to organisations such as the Ukraine Crisis Appeal and UNICEF's Ukraine appeal. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
68:08 05/11/2022
How can children and young people help us re-visualise war?
Please note: this episode was recorded before recent events in Ukraine. We stand in solidarity with everyone caught up in this terrible conflict, and our thoughts are particularly with its youngest victims. Children's voices on conflict matter more than ever at present. This episode is no. 50 in the series! Listeners might remember that our first guest on the podcast was Lady Lucy French, the founder of Never Such Innocence, an organisation which gives children and young people a voice on conflict. In this episode, Alice interviews three Never Such Innocence Ambassadors - Molly Meleady-Hanley, Jasleen Singh, and Vasko Stamboliev - to help kick-start a new Visualising War project looking at the forces that influence young people's habits of visualising both war and peace. In this new project we will be collaborating with a wide range of researchers in childhood studies, critical security studies, peace studies and futures thinking, to build an extensive network of academics and practitioners to ask some of the following questions:What kinds of war stories are children of different ages most regularly exposed to in different parts of the world (through films, gaming, school curricula, local folklore, graffiti, news reports, and so on)? What aspects of war dominate the narratives that children are exposed to? And what narratives about war’s aftermath, conflict transformation and peace-building tend to circulate in the media that children most frequently engage with?What do children and young people think about dominant modes of representing war and peace in different media? How do they describe the impact which different narratives of war and peace have had on them? And how differently might they represent or narrate war, conflict transformation and peace, if they were in charge of the storytelling themselves? Finally, what impact can children’s voices have on entrenched adult habits of visualising war and peace, both now and in the future?In the podcast, Molly, Jasleen and Vasko share their memories of the war stories they grew up with, and they reflect on how war and peace were taught in the different school systems (in Greece, Serbia, Australia, Ireland and England) which they were part of. We dive into the poems, speeches and artwork which they have authored themselves, to express their own views on conflicts past, present and future. We discuss what impact children's perspectives can have in helping all of us re-visualise conflict from many different angles. And they explain how empowering it has been to have their voices heard, thanks to Never Such Innocence. Their experiences underline the vital importance of involving children in conversations about war and peace, and we celebrate the amazing work done by Never Such Innocence in bringing young people from all around their world into dialogue with each other and in giving them opportunities to address world leaders in lots of different places, from Buckingham Palace to the Bundestag. We hope you enjoy the episode! You can read Molly and Jasleen's poems and see Vasko's artwork in this blog, and you can find out more about Never Such Innocence via their website. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
67:19 03/02/2022
Visualising The Next World War with Peter W. Singer and August Cole
In this week's episode, Alice interviews two well-known authors and policy advisers on Future warfare: Peter Warren Singer and August Cole. Peter is a Strategist at New America, Professor of Practice at Arizona State University and Principal at Useful Fiction LLC – a network of creators, thinkers and artists, who explore the potential of fiction and other media to forecast future trends. He has served as a consultant for the US Military, Intelligence Community, and FBI, and he sits on the US Military’s Transformation Advisory Group and NATO’s Innovation Advisory Board, among other roles. He is the author of a number of best-selling books, including Corporate Warriors: The Rise of the Privatized Military Industry, Wired for War , Cybersecurity and Cyberwar: What Everyone Needs to Know  and LikeWar, which explores how social media has changed war and politics, and war and politics has changed social media.August is also a Principal at Useful Fiction and an author who explores the future of conflict through “FICINT” [Fictional Intelligence] storytelling. His talks, short stories, and workshops have taken him from speaking at the Nobel Institute in Oslo to lecturing at West Point. August is a non-resident fellow at the Brute Krulak Center for Innovation and Creativity at Marine Corps University and a non-resident senior fellow at the Scowcroft Center on Strategy and Security at the Atlantic Council. From 2014-17 he directed the Council’s Art of Future Warfare Project, which explored creative works for insight into the future of conflict. August is a regular speaker to private sector, academic and US and allied government audiences. He also leads the Strategy team for the Warring With Machines AI ethics project at the Peace Research Institute of Oslo.  With Peter, August is the co-author of the best-seller Ghost Fleet: A Novel of the Next World War (2015) and Burn In: A Novel of the Real Robotic Revolution (2020).In the podcast, we discuss traditional methods of visualising future warfare; what 'useful fiction' can contribute in this space; the use of history in future-focused storytelling; and the capacity of stories (one of the oldest tools in the world) to shine a spotlight on blindspots and to raise uncomfortable questions, while engaging a wide range of readers in important conversations about the future.  We dive into Ghost Fleet in particular, and also August's short story ANTFARM.We hope you enjoy the episode. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
77:55 02/23/2022
Visualising War on Film with David LaRocca
In this week's episode, Alice interviews Dr David LaRocca, a philosopher by training but also an author and expert on cinema. Among other publications, he has edited volumes on the Philosophy of Documentary Film and on the Philosophy of War Films. In his book Metacinema: the form and content of filmic reference and reflexivity he discusses the self-conscious representation of different kinds of violence and conflict in film; and his recent research has paid particular attention to the affective elements of war films, as well as wrestling with big questions like ‘what is a war film?’ and ‘what are war films for?’ In his introduction to The Philosophy of War Films, David wrote: ‘it is largely through the camera, both through its lens and by means of cinematic form, that what many of us know about war is known, especially what we know visually and sonically…’  In the podcast, we discuss how films mediate our understanding of many aspects of war, and the very complex relationship between narrative and reality. David discusses changing trends in the cinematic representation of war, particularly as they have been affected by advances in technology. We reflect on the economics of the film industry and its implications for diversity and homogeneity of representation, and we also talk about the ways in which specific, real-life conflicts have driven developments in cinema. David has fascinating things to say about why we watch war films, not just once but often, on repeat. He explains the concept of the 'humanistic sublime': the vicarious experience of extreme peril without real, bodily-danger. We talk about how 'narratively satisfying' stories of conflict often are, in contrast to some narratives of conflict resolution and peace-building. And we discuss the immersive, emotive qualities of (e.g.) slow cinema relative to high-speed processing of rapid changes of scene.  David also gets us thinking about differences between dystopian and utopian representations of war and peace on the big screen. Along the way, we touch on a huge variety of trends in cinema, from documentary to anime, superhero movies to parody. As David points out, many films show self-awareness of the ways in which they influence and rework others, canonising some iconic images of war but also inviting us to question habits of representation.    We hope you enjoy the episode. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
82:11 02/16/2022
Visualising War through Cosplay with Katarina Birkedal
This week’s podcast continues our mini-series on visualising war through gaming. Alice and Nicolas’s guest is Dr Katarina Birkedal, who holds a PhD in International Relations from the University of St Andrews; her thesis is entitled ‘Resistance, Reproduction, Attachment: Unsettling gender through cosplay.’ Until 2021, Katarina was postdoctoral Research fellow on the Visualising War project. Drawing on literature, theory, and methodology from diverse fields, from archaeology to film studies, her research explores the role of stories in politics, whether they be those told in popular culture, the history lessons taught in school, or the narrative of world order presented by theories. As the title of her thesis reveals, Katarina has a special interest in cosplay, which she also pursues actively herself. Cosplay, and what it can tell us about representations of war and violence, is, not surprisingly, one of the topics that we discuss with Katarina on the show. But that is not all. Among the topics we explore with her, are–      how (childhood) stories shape our memories of wars, even when those wars happened a long time before we were born–      how stories in various media and popular culture, including cosplay, reflect and influence ideas about conflict–      how active involvement in cultural practices such as cosplay is a chance to challenge dominating, often stereotypical narratives of conflict–      conflict and gender roles, in popular culture, cosplay and beyond–      the militarisation of popular culture in Norway and Britain–      cultures of memorialisation: what is remembered and how, and what isn’t, and why–      boundaries between stories and reality–      how representations of war and conflict in popular culture might shape our ideas of the future of warfareWe hope you enjoy the episode!   For a version of our podcast with close captions, please go to our YouTube channel. You can find out more about Dr Katarina Birkedal’s work on her website at the Centre for Arts and Politics at the University of St Andrews. Be sure also to check out Katarina’s blog posts on the Visualising War website.For more information about the Visualising War project, individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website. Music composed by Jonathan Young Sound mixing by Zofia Guertin
56:30 02/09/2022
World of Warcraft with Taliesin and Evitel
In this episode, our postdoctoral research assistant Katarina Birkedal (2020-21) interviews Taliesin and Evitel, the couple behind the YouTube and Twitch channels of the same name. They offer commentary on the game World of Warcraft, as well as giving regular news updates on everything related to the game. Through a combination of humour and deep dive analyses, they enrich their viewers’ experience and understanding of the game, drawing on their backgrounds as an actor and an art historian to pick apart the references and narrative devices the game uses to tell its story.Taliesin and Evitel’s YouTube channel has 293 000 subscribers at the time of recording, and their Twitch channel has more than 83 000 followers. Their content has been viewed 69 million times. They have also hosted live events for Blizzard, the company behind World of Warcraft. More recently, they have expanded their content to include analyses of film and TV as well as commentary on the game Final Fantasy XIV.You can find them on their YouTube channels – Taliesin & Evitel, T&E Talks, and Taliesin & Evitel TV – on their  Twitch channel, on Twitter, and on their website.Please note that this episode was recorded before the state of California filed its lawsuit against Activision Blizzard for discrimination against female employees, including charges of sexual misconduct. For more information, please see Taliesin and Evitel's video on the topic: https://youtu.be/zqd1uAtqtTQIn the episode, we discuss how war is visualised through immersive fantasy in the MMORGP World of Warcraft. We talk about how the game constructs agency and heroism in war, how allegiance and identity is used, how the aftereffects of war are depicted, and how redemption and reconciliation are presented.  Taliesin and Evitel reflect on how the game treats player choice and ethics in extreme situations, including the perpetration of what amounts to in-game war, and whether the game amounts to a commentary on the illusion of free will in warfare, or on how far a person is prepared to go on orders.We reflect on how the game-world reflects the real-world attitudes of its creators, from the narrative construction of the two main factions – the Alliance and the Horde – as ‘steadfast’ and ‘savage’ respectively, to the treatment of the peoples that constitute them. From this, we discuss how our own experiences inform our readings of the game as players, and whether it is possible for the opposite to occur.  The conversation dives into many fascinating aspects of how we visualise war, in the real world and the game world - and how games and reality inform each other.We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website.   Music composed by Jonathan Young Sound mixing by Zofia Guertin
82:14 02/04/2022
Visualisations of War in Online Gaming with Iain Donald
In this week’s podcast, Alice and Nicolas talk with Dr Iain Donald. Iain is a Senior Lecturer in Game Production at Abertay University. His research explores commemoration and memorialization in videogames and interactive media as well as the intersection of games, digital media and history. Iain is also a skilled developer of video games. He has been involved in several award-winning Applied Games projects, and has written and presented on creating and developing games for digital health, education, cybersecurity and social change. Among other topics, we discuss–      the possibilities, limitations and challenges of representing war and battle in video games–      the significance of historical accuracy in video games based on real conflicts–      the complex interplay of technical, aesthetic, economic and historical interests in the creation of games–      the ethical aspects of video gaming and player immersion, especially with regard to the representation of violence and injury–      the risks, challenges and consequences of representing real-life wars, battles and conflicts in games –      the role and ethics of player agencyWe hope you enjoy the episode!   For a version of our podcast with close captions, please use this link. You can find out more about Dr Iain Donald’s work on his website at Abertay University. For links to some of the games Iain mentions in the podcast, you can read this blog.For more information about the Visualising War project, individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
57:31 02/02/2022
Peacebuilding and Transitional Justice with Roddy Brett
In this episode, Alice interviews Dr Roddy Brett, an expert on political violence and peacebuilding based at the University of Bristol. Roddy’s research looks at the causes and consequences of armed conflict, and how it shapes state institutions and societies more broadly. He also works on conflict resolution and transitional justice, and is the author/co-author of a number of books, including The Companion to Peace and Conflict Fieldwork, The Politics of Victimhood in Post-conflict Societies, and The Origins and Dynamics of Genocide: Political Violence in Guatemala.He has worked a lot in Latin America, and more recently he has been looking at armed conflict in Ukraine, Myanmar, Lebanon and Northern Ireland, examining the legacies of armed conflict and the strategies which individuals and groups use to coexist in the aftermath of mass violence. Roddy is not just an academic: he has also worked for the United Nations and various NGOs on conflict analysis and conflict transformation. In Guatemala, for example, he was part of the team that prepared the investigation and brought evidence against former de facto president General Rios Montt for genocide and crimes against humanity, which resulted in his conviction in 2013. In the podcast, we discuss the language and categories used to define different kinds of political violence, the hierarchies we construct between them, and what difference they make to how perpetrators, victims, international observers and legal processes visualise and respond to conflict. Roddy talks us through the long process of investigating and redefining the political violence that took place in Guatemala from 1975 onwards, which was described by government supporters as 'brave counter-insurgency' but ultimately defined as involving acts of genocide, perpetrated against the Mayan population by the state. He reflects on the ongoing dissonance between how different sectors of Guatemalan society visualise and narrate the past, with implications for their future: different habits of remembering and describing what happened are further polarising an already polarised community. This gets us talking about peace and reconciliation processes, with Roddy reflecting on some of the ground-breaking aspects of the 2014 Colombian peace process. Rather than simply involving military actors, this involved civil society and gave victims a seat at the negotiating table. Combatants on both sides heard from a 'universe of victims'. Roddy compares this participatory approach with more 'top-down' peace processes, and we discuss the 'local turn' in sustainable peacebuilding and the 'spaces for encounter' which can engage emotions, break down conflict identities, 'deconstruct' or 'rehumanise' the enemy', overcome mistrust, and help people on all sides envision a more peaceful future. Roddy underlines the blurred line between 'peace' and 'conflict', as we consider the barriers to sustainable peacebuilding. And he talks about a project he is involved in which uses film as a tool to help individuals and communities look critically at their habits of visualising war and peace.We hope you enjoy the episode. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
79:23 01/26/2022
The Just War Tradition with Anthony Lang Jr and Rory Cox
In this episode Alice and Nicolas interview two University of St Andrews colleagues,  Prof. Anthony Lang Jr of the School of International Relations, and Dr Rory Cox, Senior Lecturer in the School of History. Tony’s research focuses on how politics, law and ethics intersect at the global level, with a particular emphasis on human rights, international obligations and the just war tradition. Rory’s research is centred on the ethics of war, the history of violence, and intellectual history, and he explores these topics with an impressively wide chronological range, including ancient Egyptian Just War doctrine, medieval military history, debates on the use of torture, and the history of terrorism. In the podcast we discuss the different ways in which communities and individuals have visualised and articulated the complex relationship between war and justice. Tony and Rory talk us through some of the ideas associated with jus ad bellum (justifications for going to war), jus in bello (laws of conduct during war) and jus post bellum (the responsibilities that states/combatants might have in the aftermath of conflict). Rory stresses how varied different strands of thought within the Just War Tradition have been, taking us back into its deep history and challenging the myth that it is a product of purely 'Western' thinking. Rather than approaching it as a 'doctrine' (i.e. a set of principles that can be applied in any situation), he encourages us to think of the Just War Tradition as posing a set of important moral and ethical questions, to which there are no clear-cut or universal answers. This gets us talking about storytelling - the narratives that individuals and states have told to 'justify' their involvement or behaviour in different conflicts. We discuss the visualisation involved in justifying means via ends, and Tony reflects on the relationship between justifications of war and the fairy tale tradition (invoking Tolkein's idea that all fairy tales are 'eucatastrophes': stories with happy endings which involve great peril along the way). Rory highlights the key role that language plays in colouring how 'just' or 'unjust' we think different conflicts are - and, indeed, how we conduct them. We consider the impact which Just War thinking (on the one hand) and the political justification of a conflict (on the other) can have on soldiers' sense of identity and behaviours. We also talk about the role played by law courts, the press, social media, the film industry and gaming in shaping public perceptions of jus ad bellum, jus in bello and jus post bellum - and how public consensus in turn shapes the stories that policy-makers tell and the decisions they take. As Tony and Rory stress, the Just War Tradition is deployed in culturally specific and highly subjective ways. It sometimes helps prevent conflict, or mitigates its impacts, or holds people to account afterwards; but it can also be manipulated by influential figures within a community to persuade others to visualise war (or 'resistance' or 'terrorism', or torture, or 'the enemy', or the prospect of peace) in particular, self-serving ways. We hope you enjoy the discussion. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
73:35 01/19/2022
Painting Invisible Threats with Kathryn Brimblecombe-Fox
In this week's episode, Alice interviews award-winning artist Kathryn Brimblecombe-Fox. Kathryn started painting as a child, selling her first piece of art at just 14 years old, winning her first major art competition at 16, and holding her first exhibition at 17. She has since exhibited not just in her native Australia but in Abu Dhabi, Dubai, South Korea, Norway London and New York. Her art takes inspiration from nature and the cosmos, and in recent years she has focused particularly on the existential threats posed to us and our world by emerging technologies. This has led her to look at military technologies – something which she is exploring academically as well as artistically through a PhD. Kathryn uses the powerful analogue medium of painting to ask huge questions about new media, especially those that use the electromagnetic spectrum: a natural phenomenon which we can’t see with the naked eye but which many are using for commercial and/or coercive purposes. Fundamentally, her art is a powerful exercise in visualisation, inviting us to look deep into the past as well as the future, and to pay attention to phenomena that threaten our landscape and human existence. In particular, she focuses attention on the 'everywhere war': the increasing blurring of military and civilian technologies and activities, a development which challenges our long-established habits of visualising (and separating) 'war' and 'peace'.In the podcast, Kathryn describes her approach as 'imaginational metaveillance' - a term she has come up with to capture the critical, analytical observations that her art performs by taking us to places we can only go in our imaginations and getting us to look critically at things we cannot physically see. In her paintings, she invites us to fly, so that we can look down from above earth's atmosphere, seeing natural clouds but also online/digital 'clouds' that swirl everywhere, and the invisible grids that criss-cross earth and sky, measuring our every move and harvesting our data. Kathryn explains why she uses age-old symbols like the Tree of Life to help viewers connect with the whole span of human history as they visualise future threats and possibilities, both military and civilian - or a combination of the two. We discuss her artistic style, which draws readers in with lots of colour and beautiful aesthetics, and also the responses which viewers often have to her art: most are enthusiastic, until they look closely and grasp its worrying 'revelations' about the threats that lurk in our present and future. This gets us talking about the impact which Kathryn wants to have with her art. Among other places, Kathryn has exhibited her art at the Australian Defence College, and she has enjoyed the many reflective conversations it has opened up with lots of different visitors. She believes that the critical and imaginative visions of past, present and future which art can prompt us to engage with have much to contribute to policy-making and strategic thinking, and she describes her own work as a form of quiet activism, opening up dialogue and inviting people to engage with big questions.  We hope that our podcast conversation with Kathryn does exactly this for you! A blog with some of the images we discuss is available here, and listeners can find more examples and analysis of Kathryn's art on her blog. For a version of our podcast with close captions, please use this link. For more information, please visit the University of St Andrews Visualising War website. 
66:18 01/12/2022
The Art of Peace with Teresa Ó Brádaigh Bean, Lydia Cole and Azadeh Sobout
In this week's episode, Alice interviews three researchers - Teresa Ó Brádaigh Bean, Lydia Cole, and Azadeh Sobout - who are involved in the Art of Peace project based at the Universities of Manchester and Durham. Led by Oliver Richmond, Stephanie Kappler, and Birte Vogel, this project explores arts-based approaches to peace-making and the role that grassroots-led art projects can play in helping communities process and recover from conflict. On the podcast, we discussed the many different roles that different forms of artistic practice can play in post-conflict communities, from bringing people together and building bridges between past and present to rights-based activism and peaceful revolution.  Lydia, Azadeh and Teresa were all keen to stress that participatory arts programmes can help people 'build better futures', not just process past experiences. Along the way, we discussed the false binary between war and peace that often distorts and simplifies how we visualise both. We talked about the limitations of top-down, colonial-style peace-making initiatives, and the merits of grassroots peace-building from below and attention to micropolitics. We also looked at lots of different examples of 'artivism' - art that embodies and enables activism. Our conversation got us thinking about entrenched habits of visualising 'peace' and the role that different art forms can play in re-visualising both peace and conflict and in visualising new/different/better futures.Alongside her research, Teresa works for the charity In Place of War, which supports artists and cultural organisations in places of conflict all around the world. Her recent work has focused particularly on creative enterprise, community arts education and arts-based social movements in Colombia, and she is co-editor of a volume coming out soon called ‘The Art of Making Something from Nothing’, which looks at the social impact of arts projects across the Global South.Lydia is closely connected to the Conflict Textiles project which we talked about on the podcast last week, and she has curated a range of exhibitions in connection with this (called ‘Stitched Voices’ and ‘Threads, War and Conflict’), bringing feminist international relations theory and critical peace and conflict studies together. She is passionate about creative and participatory approaches to peace and conflict studies, and her work for the Art of Peace project has focused particularly on grassroots arts projects in Bosnia and HerzegovinaAzadeh has been leading a research project on the intersection of arts and peace-building in Lebanon, focused particularly on refugee communities from Syria and internally displaced people from within Lebanon itself. She has a particular interest in post-war geographies and narratives of displacement; in how different affected communities present their histories and identities through different artistic media; and how different forms of art can create avenues for peace activism, by helping people work through the complexities of solidarity, responsibility and ethics.  We hope you enjoy the episode. You can find out more about the Art of Peace project on their website, and more information about In Place of War is available here. For a version of our podcast with close captions, please use this link.For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
66:02 12/22/2021
Conflict Textiles with Roberta Bacic
In this week's episode, Alice interviews Roberta Bacic, a Chilean collector, curator and Human Rights advocate, about the ‘Conflict Textiles‘ collection which she oversees. In 2008, Roberta was involved as guest curator at an exhibition called ‘The Art of Survival’, hosted in Derry-Londonderry. The exhibition was focused on different women’s experiences of survival, and it was inspired in part by a Peruvian arpillera (a form of tapestry) which Roberta had brought to a meeting, to illustrate how women on both sides of the long-running conflict in Peru during the 1980s and 1990s represented their experiences and used the stories they had sewn as testimony at the subsequent Truth and Reconciliation Commission. From there, the idea of curating a physical and digital collection of Conflict Textiles grew – and today the collection (based at Ulster University) comprises arpilleras, quilts and wall hangings from many different parts of the world, including Chile, Northern Ireland, Croatia, Colombia, Germany, India, Zimbabwe and Syria. These works of art not only depict conflict and its consequences. In many cases, they embody the resilience of the people who created them, and they can be read as acts of resistance too: fabric forms of storytelling that advocate for justice and promote alternatives to conflict. In the podcast we discuss the origins of the arpillera tradition in Chile during the 1970s and its gradual 'diaspora' around the world as a medium of communication and protest, despite a ban on exports once Pinochet's regime began to understand the power of these 'conflict textiles'. Roberta reflects on their tactile dimension: made up of scraps of ordinary household cloth, they connect viewers to their makers and the stories they want tell in very tangible ways. Made mostly by women, they use domestic materials and techniques to make private griefs public and to amplify marginalised voices. Whether they are documenting events as they unfold or looking back on past conflicts, they play an important role in bearing witness to atrocities and in empowering victims to demand justice, both individually and collectively. Many of the Conflict Textiles we discuss either represent groups of women coming together to demonstrate against violence or are themselves the products of collaborative work. We discuss their often beautiful, seemingly cheerful aesthetics, and the ways in which they subvert visual storytelling trends to communicate the loss and suffering inflicted by conflict. They often combine storytelling with symbolism, and that gets us talking about the 'language of textiles' which transcends borders and continues to resonate across time. Among the pieces we look at are an arpillera made in 2021 by a Syrian refugee, a quilt made by WAVE trauma centre participants in Northern Ireland in 2013, and a textile stitched by an ex-combatant in Colombia who wants to 'unstitch' the idea that he is a monster and not human. These Conflict Textiles have much to teach us not just about habits and techniques of visualising war and its aftermath but also about what the process of visualisation and re-visualisation can achieve.We hope you enjoy the episode. A blog with some of the images we discuss is available here, and listeners can find many more images on the Conflict Textiles website. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
72:06 12/15/2021
War Reportage and Stories of Migration with artist George Butler
In this week's episode, Alice interviews award-winning artist George Butler. George's art covers a huge range of topics, but he specialises in current affairs and his visual reportage from conflict zones like Iraq, Afghanistan and Syria has won plaudits from the likes of Jeremy Bowen and Michael Morpurgo. George's work often takes him to places which other people are trying to leave. In August 2012, for example, he walked from Turkey across the border into Syria where, as a guest of the Free Syrian Army, he set about drawing the impacts of the civil war on people and towns. Over the last decade he has been to refugee camps in Bekaa Valley (Lebanon), oil fields in Azerbaijan, to Tajikistan, Afghanistan, Myanmar, Mosul, and to Gaza with Oxfam, among many other places. His drawings have been published by the Times, the New York Times, the Guardian, BBC, CNN, Der Speigel, and a host of other media outlets; and they have also been exhibited at the Imperial War Museum North and the V&A museum, among other places. George has also recently published a book, Drawn Across Borders: True Stories of Migration, which tackles one of the many ripple effects of conflict and shines a spotlight on some of the humans behind the headlines.In the podcast, we talk about drawing as a dynamic process: one in which the artist invests time, and during which the people being drawn might come and go, shift position or mood, fade into the background or come into focus. George’s drawings capture the rhythm of a place over several hours, enabling him to convey a context and set of experiences that are less easily observed through the fast shutter speed of a camera lens. Another aspect of drawing that George relishes is how approachable and unthreatening an artist often seems. While a cameraman’s equipment might act as a barrier, a simple pad and pencil often gets people coming closer to look and ask questions, sparking conversations. Drawing on location involves listening to many different people and the stories they want to share; and what George hears then finds its way into the drawings as they develop. George reflects on the combination of aesthetics and storytelling in his reportage. While he strives to make his art beautiful, he sees little point in an attractive image which is not telling an interesting story – one that uncovers less visible, ignored or forgotten aspects of a conflict. One thing that motivates his work is the desire to round out our habits of visualising contemporary wars. We discuss the push and pull of media organisations and NGOs, who sometimes want an artist to focus on particular aspects of a conflict, and also the challenges that artists and photographers often face in deciding what is appropriate to depict in any given context. George clearly sees his drawings as fulfilling a documentary role, setting down a record for the future; but he is also interested in myth-busting, especially around migration, and his book Drawn Across Borders has been described as ‘a work of art, compassion and activism.’We hope you enjoy the episode! A blog with some of the images we discuss is available here, and more  images are available on George’s website. For a version of our podcast with close captions, please use this link.  For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
59:03 12/08/2021
‘Sorry for the War’: photographer Peter van Agtmael's take on the US at war
The Visualising War podcast recently interviewed award-winning photographer Peter van Agtmael. Over a career spanning 20 years, Peter has focused on representing different manifestations of the US at war. His first book, ‘Disco Night Sept. 11’, brought together images of the USA at war in the post-9/11 era, from 2006-2013. His second, ‘Buzzing at the Sill’, focused on the US in the shadow of recent wars; it does not capture images of armed conflict, but examines aspects of American society that have been shaped by and helped to shape the wars that America has fought. His third book, ‘Sorry for the War’ explores the vast dissonance between how the United States has visualised itself at war and how people on the ground (soldiers and civilians) have experienced those wars, particularly in Iraq and Afghanistan. Peter has won multiple prizes for these books, as well as being highly sought after by media organisations such as the New York Times and the New Yorker. For the last ten years he has also been capturing images of the ongoing conflict between Israel and Palestine.In the podcast, Peter talks about what motivated him to go to war as a photographer in the first place, and how his understanding of war and his approach to conflict photography have evolved over time. Aware that a single photograph can only capture one person’s perspective and a tiny slice of time, Peter underlines the importance of a multiplicity of images which together can build a sense of context, change over time and diversity of experience. He tries to document wars as holistically as possible, while still going deep and getting personal. He is particularly interested in unpicking the gap between our habits of imagining, viewing and understanding conflict and how it impacts people for real. There is a strong sense in his books that he is myth-busting, as he invites us to look critically at our own habits of seeing and really stretches our understanding of war’s dynamics, impacts and aftermath.  Among other things, Peter talks about the aesthetics of conflict photography, the authenticity and 'trustworthiness' of the images he tries to take, and his role as a narrator - both when taking individual photographs and when curating them into photographic collections and books. We discuss the opportunities that long-form books can offer compared with short-form articles, in documenting both multiplicity and complexity. And we consider what written text can add to images, in contextualising and sometimes even dispelling a mirage. Along the way we reflect on the vital role that photography and a reflective press can play in deconstructing misconceptions and idealisations of war that political rhetoric and other social pressures so often rely on. We hope you enjoy the episode! This blog captures some of the images that Peter talks about; and listeners can see more on Peter's website and instagram page. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin
67:55 12/01/2021
War and Peace Reporting in Afghanistan
In this episode, Alice interviews journalists Margaux Benn and Noorrahman Rahmani, about their experiences of war and peace reporting in Afghanistan. Noorrahman comes from Afghanistan, and he has spent much of the last fifteen years working for the Institute for War and Peace Reporting (IWPR), first as a linguistic, then as a press monitor, and more recently as the IWPR’s Country Director in Afghanistan, managing their extensive work programmes there. Margaux is a freelance journalist who has worked for Agence-France-Press, France 24, Le Figaro and the New York Times, among other media organisations. Her career has taken her to Sudan, Kenya, the Central African Republic and Cyprus – but for the past four years she has been living and working in Afghanistan. Together, they reflect on the complex relationship between conflict and journalism, and on the challenges that journalists have faced in Afghanistan, both before and after the Taliban retook control in August 2021. Noor discusses how the media scene in Afghanistan has changed over the past twenty years, with hundreds of radio stations and TV channels emerging, sponsored by a wide range of organisations. He also details some of the vital work that the IWPR has done in training local journalists (women and men) in developing professional networks across the country and in reaching parts of Afghanistan that foreign journalists often struggle to get to. He explains what a difference it can make to a local community to have their voices heard, drawing international attention or government aid to the region. As Noor points out, journalism has been difficult and dangerous for decades in Afghanistan, but all the more so now that the Taliban are back in power. Despite the challenges, Noor hopes that journalists on the ground will find new ways to engage with the Taliban, and he stresses the importance of peace reporting: that is, journalism that critically explores the drivers of conflict, that empowers local communities to make their voices heard, and that promotes conflict resolution between different groups. Margaux discusses her experiences as a foreign journalist in conflict zones, and compares it with that of local journalists who often run even greater risks while struggling to make ends meet. She reflects on the different biases that different sections of the international press can have when reporting on conflicts outside their region, reminding us that international news stories are often driven more by outside perceptions of history than by what is really happening on the ground. She also discusses the different impact which long-form articles, documentaries, radio and podcasts can have, in comparison with breaking news and short-form media, and this gets her talking about the power of different kinds of storytelling. Margaux underlines the importance of contextualising conflict, not just reporting on combat itself, and she gives us a flavour of how wide-ranging 'war reporting' can be in looking at many different causes and consequences of conflict. For her, it is vital that we visualise war through individual people's stories and experiences. Between them Noor and Margaux offer fascinating insights into the current state of media in Afghanistan and into war and peace reporting generally.We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please visit the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guert
75:31 11/24/2021
The Poetics of Rome’s Punic Wars
In this week’s podcast, Alice and Nicolas talk with Dr Thomas Biggs, a lecturer in Latin at the School of Classics at St Andrews, about Roman representations of war, from the beginnings of Latin literature in the third century BCE to the imperial period and beyond. They particularly discuss the impact of Rome's Punic Wars on Roman storytelling habits. Tom is the leading expert on the reception of the First Punic War in antiquity and how it influenced the ways in which the Romans thought about and visualised war more generally.  His book Poetics of the First Punic War was published in 2020.The First Punic War was the first large-scale, overseas war of the Romans and in many ways laid the foundations for Rome’s vast empire. From the beginning, this major conflict prompted authors - many of whom were war veterans themselves, and many displaced to Rome due to conflict - to innovate with their writing. Drawing on present experiences as well as traditional Greek models of writing about war (Homer), they used poetry and drama to conceptualise the nature and impact of this biggest military conflict yet and, in the process, created Latin literature! Among other topics, we discuss:How engagement with the First Punic War impacted Roman culture and society for centuries to come and led to the beginnings of Latin literature What early Latin literature and literary engagement with war was like How writing about war, and drawing on established Greek literary models to do so, impacted Roman identity and self-definition The interplay between different forms of writing and material culture such as coins and sculptures How generation after generation of Romans engaged with the First Punic War in very different ways and what significance the war had to Romans at different points of their history How engaging with modern narratives of war can enhance our understanding of the ancient world What the ancient world might still have to offer us in our attempts to conceptualise and come to terms with war and conflict in the presentWe hope you enjoy the episode!   Tom has put together a blog containing some excerpts of the texts he talks about. You can find out more about his work on his website at the University of St Andrews. For a version of our podcast with close captions, please use this link.  For more information about the Visualising War project, individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young Sound mixing by Zofia Guertin 
61:27 11/17/2021
Ancient Greek warfare and its influence on modern habits of visualising war
In this episode, Alice talks to Drs Owen Rees and Roel Konijnendijk, two experts on ancient Greek warfare and its enduring influence. Owen has written about both land and sea battles in the ancient world, and his current research focuses on the experiences of soldiers: in particular, how they were prepared for war and how they transitioned back to civilian life afterwards. This has led to wider work comparing veteran experiences in ancient and modern times, and Owen has also published on trauma and PTSD in the ancient world. Roel is an expert on ancient Greek military thought, from its origins in storytelling to its codification as a 'science of warfare'. His book Classical Greek Tactics re-examines the literary evidence for Greek tactical thought during the 5th and 4th centuries BC, distinguishing between idealising representations and the more brutal, chaotic reality. He has also looked at how later military thinkers (both soldiers and scholars) have drawn on ancient models and deployed or adapted them in their own times. Owen and Roel are both regular contributors to Ancient Warfare Magazine, among other publications, and Roel recently achieved YouTube stardom with an interview rating the representation of battle tactics in films and TV. In the podcast, we discuss the myth-making around different aspects of ancient Greek warfare, and particularly the Greek elite's interest in narrating pitched battles involving tightly-packed hoplite troops. While naval encounters, ambushes and other kinds of engagement got more summary treatment, pitched battles became a literary trope or set-piece of Greek history writing, generating clichés about Greek warfare that did not reflect the much more complex, messier reality. We also touch on military training, and debunk the idea that Sparta's system was as focused or thorough as is often supposed. Owen discusses the social conditioning - via storytelling and commemoration practices - that prepared Athenian soldiers to fight. And Roel outlines the tensions between Homeric military ideals (of risk-taking and self-sacrifice) and how Greek generals really needed their soldiers to behave. As the conversation goes on, we look at the ways in which generals during the 18th century turned to ancient Greek models to shape their own military practice, reviving or perpetuating the emphasis on decisive pitched battles as the only way to win a war.  We also discuss how narratives and images of ancient Greek warfare have found their way into popular culture, in particular through art, film and gaming. And we reflect on the 'safe distance' which the ancient world can offer as place to explore modern experiences of conflict - whether as a soldier/veteran or civilian. As Owen and Roel explain, the storytelling that has been done about ancient Greek warfare from antiquity to today continues to shape how we visualise many aspects of war, both positively and negatively.We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
78:00 11/10/2021
Visualising Future Conflict through Storytelling with Matthew Brown, Emily Spiers and Will Slocombe
In this episode, Alice talks to Dr Emily Spiers, who is a Senior Lecturer in Creative Futures at Lancaster University; Dr Will Slocombe, a Senior Lecturer at the University of Liverpool and specialist in Science Fiction; and Lt Col Matthew Brown, Chief of Future Concepts and Strategy with the RAF (on loan from the US Air Force). All three have been collaborating on a project, led by Matthew, that uses fictional storytelling to help members of the RAF and the wider military community visualise what the future may hold. Two editions of the RAF's Stories from the Future have been published already, with more to come soon. Emily kicks the conversation off by explaining what 'futures literacy' is: a skill or capability that we can all develop to help us imagine and discuss the future and make better decisions in the present. Traditionally, futures thinking has been done by a handful of experts behind closed doors, with a particular focus on science and technology. However, momentum is shifting towards more creative and inclusive approaches, with storytelling proving to be a powerful tool that enables lots of different people to debate possible, plausible, preferable and not-so-preferable futures.  This gets us thinking about science fiction. Will discusses the 'prophetic vision' which science fiction has often been thought to have, but also its more systematic use in futures thinking in more recent years, in particular in defence and security contexts. We talk about the overlaps between 'science fiction', 'speculative fiction' and 'useful fiction'; and Matthew gives us some insights into the RAF Stories from the Future project - how it came about, its focus and aims, and what impact it has been having. As he puts it, the beauty of all the future scenarios sketched in the project is that they are 'just stories', but stories that gets people talking, thinking and projecting. Matthew talks about the rapid pace of change, recent geopolitical shifts, the growing climate crisis, and the urgency of involving more people in futures thinking as the defence and security landscapes shift. Emily discusses her work with children/young adults, and the wellbeing impacts which can result when young people feel that they have some agency in shaping potentially scary futures. We hear about the virtual 'Museum of the Future' which Emily and Will have been working on, under the direction of Jim Maltby (a Principal Scientist at the Defence Science Technology Laboratory); and Emily also discusses the Past Futures Project, which looks at history as a valuable repository of futures not taken. We end by talking about the role and responsibility of futures literacy to visualise aftermath, conflict resolution and peace-building.We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
100:13 11/03/2021
How War Disrupts the Experience of Time with Julian Wright
In this episode, Alice talks to Prof. Julian Wright, a historian of modern Europe and Head of the Department of Humanities at Northumbria University. Julian specialises in French intellectual, political and cultural history, but more broadly he is fascinated by the idea and experience of time. With colleagues from other disciplines, he has just published a book called Time on a Human Scale: Experiencing the Present in Europe, 1860-1930, which prompts historians who are reconstructing the past to look more closely at how people experienced, understood and articulated the times through which they lived.Julian has recently launched a related research project, looking at the experiences of ordinary people who were living 'outside of time' in the era of the Second World War. He is interested in how the war disrupted everyday practices and, with that, people’s perceptions of time; and also in how people tried to cope with this, establishing new rhythms and seeing, feeling, measuring and trying to control time differently, whether they were living under siege, in prison camps or living in secrecy in occupied Europe. Our perception of time has a huge impact on how we visualise everything else, so Julian’s research is hugely interesting to the Visualising War project. In the podcast, Julian discusses some of the ways in which wars cause 'temporal dislocation', not only by cutting people off from the normal rhythms of life in the present but also by severing links to the past and making it difficult to visualise the future. This sits at odds with the kinds of storytelling we often want to do, about life in general and wars in particular: we like to identify beginnings and work towards endings, demarcating different time periods and charting progress on a journey. Julian talks about the narrative strategies that different people adopted in diaries and correspondence during WWII, to cope with their experience of 'living outside time' - and the ways in which the disruption of time also became a story in itself. We reflect on the choices people had, between enduring the grim present and hoping for an invisible future, and the blurred boundaries between 'wartime' and 'peacetime'. The podcast ends with some discussion of how children experienced and narrated temporal dislocation during WWII; and Julian reflects on how WWII is taught to children today (with a focus on explosive moments and decisive events) and what might be gained from more emphasis on how people experienced the present/time itself. Among other questions, Alice asked:how easy/difficult is it to reconstruct how people experienced the present during the Second World War, and why try?what is 'temporal dislocation' and what are its impacts?how did people in different circumstances (e.g. POWs, women on the home front, resistance fighters) respond to temporal disruptions and try to regain some control?can we see changes in the ways in which time was narrated (not just experienced), and what can this tell us?how might the study of temporal dislocation and people's experiences of the present during WWII help us understand and visualise the impacts of war in general?We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
60:37 10/27/2021
Re-presenting well-known conflicts at the Imperial War Museums: World War II and the Holocaust
This week Alice and Nicolas return to the Imperial War Museum, with the second episode of our mini-series on the recently redesigned WWI, WWII and Holocaust Galleries. Last episode focussed on the WWI Galleries; in this episode we take a closer look at the WWII and Holocaust Galleries, which open to the public on the 20th of October. Among our guests we welcome back Vikki Hawkins and Kate Clements, the curators of the WWII Galleries; and we also have with us James Bulgin, the content lead for the Holocaust Gallery. They give us exclusive and in-depth insight into the design and aims of the galleries, the planning process, and the spectacular and often poignant objects which visitors are able to see and experience  first hand, many for the very first time, from the UK and all over the world. Among other topics, we discuss how our ways of visualising WWII and the Holocaust have changed over the past decades and how those changes are reflected in the design of the galleries what sorts of objects are visible at the galleries and what kinds of stories these objects can tell us wide-spread myths about WWII and the Holocaust which the new galleries seek to challenge the responsibilities involved in visualising such highly sensitive topics as the WWII and the Holocaust, and what effect the stories we tell about these events have had and might have on us the challenges involved in presenting a global conflict in all its diversity, while making ample room for the many personal voices from all over the world to be heard ways to make objects tell those personal stories and prompt us to engage into a dialogue with them and - through them - with each other James’, Vikki’s and Kate’s favourite objects, and how the WWII and Holocaust Galleries fit into the IWM’s representation of war and conflict more broadly We hope you enjoy the episode!   Listeners who want to see some of the objects mentioned by Kate and Vikki can read about them in this blog. For a version of our podcast with close captions, please listen here. Also, if you haven't heard it already don't forget to check out the first episode of this two-part mini series, in which we discuss the IWM’s recently redesigned WWI Galleries. To find out more about the WWI, WWII and Holocaust Galleries, do visit the website of the Imperial War Museum. Also be sure to keep an eye out for the richly illustrated book accompanying the opening of the WWII Gallery and co-authored by our guests Vikki and Kate as well as Paul Cornish, with a foreword by Margaret MacMillan:Total War. A People's History of World War II (Thames&Hudson). James Bulgin has also written a brand new book on the Holocaust, featuring many personal stories and objects - it is available as an audiobook here.  For more information about individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young  Sound mixing by Zofia Guertin  
76:51 10/20/2021
Strategy-making and/as Storytelling with Phillips O’Brien
In this week’s podcast, Alice and Nicolas discuss strategy with Prof. Phillips O’Brien. Phil joined the School of International Relations at the University of St Andrews in 2016 as Professor of Strategic Studies; he also directs the university’s interdisciplinary Institute for the Study of War and Strategy, which has some obvious areas of overlap with the Visualising War project. His interests in warfare and strategy range widely, with a particular focus on the early twentieth century. Most recently, in 2019 Phil finished his biography of Admiral William D Leahy, Roosevelt’s Chief of Staff and (as Phil puts it in the title) the ‘second most powerful man in the world’, who became de facto president of the United States when Roosevelt’s health started to fail. Strategic studies look at how decisions about war (including avoidance of war and concluding them through treaties) are made at the highest political level, and what influence those decisions have on the course of wars and battles. Strategy-making is an act of visualisation in itself; and of course it can be heavily influenced by past habits of visualising war.  We discuss the connection between strategy-making and storytelling, and how descriptions of strategy end up shaping the ways we visualise individual conflicts and war more broadly.  Among other topics, we talk about: The role of grand strategies in wars from antiquity via WWII to more recent conflicts in the Middle East – do grand strategies win wars? How our understanding of and approaches to grand strategy have changed over time, and how they might develop in the future What shapes generals’ and politicians’ strategic decision-making, including the influence of past war stories in promoting particular 'strategic' mindsetsWhether you can teach and learn strategy, and the best ways to do that, including war gaming How grand strategy is visualised and narrated, and how it coexists and sometimes competes with other narratives Whether it makes sense to wage wars at all We hope you enjoy the episode! For a version of our podcast with close captions, please listen here. You can find out more about Phil O’Brien’s work on his website at the University of St Andrews; also be sure to check out the website of the university’s Institute for the Study of War and Strategy.  For more information about the Visualising War project, individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young Sound mixing by Zofia Guertin 
69:47 10/13/2021
Re-presenting well-known conflicts at the Imperial War Museums: World War I
This week Alice and Nicolas have a special treat for you: the first episode of a two-part mini-series on the Imperial War Museum’s recently redesigned WWI, WWII and Holocaust Galleries. The WWI Galleries are already open to the public and will be the focus of this week’s episode. In a couple of weeks, the second part of this mini-series will then take a closer look at the WWII and Holocaust Galleries, which will open on the 20th of October 2021.With us on the show today are Sir Hew Strachan, a world-leading authority on Britain’s military history and WWI in particular, and academic advisor on the 2014 design of the WWI Galleries; James Taylor, Assistant Director Narrative and Content at the Imperial War Museums; and Vicki Hawkins and Kate Clements, curators for the IWM's new WWII galleries. They give us exclusive insight into the planning and processes behind this enormous project of redesigning the galleries, which make thousands of objects come to life, many for the first time.Among other topics, we discuss–      the influence of wide-spread myths about WWI, the need to bust those myths and the best ways to do that–      the collaboration between curators and academic advisors and trustees–      the history and development of the Imperial War Museum and its approach to narrating past and present conflicts–      the challenges involved in presenting a global conflict in all its diversity, doing justice to its impact on the home front just as much as to the events and suffering in so many different theatres of war across the world–      the challenges of making individual, personal voices heard while setting them in their global context–      the processes of selecting objects and the best ways to narrate their story–      James, Hew, Vicki and Kate’s favourite objects, and–      how the work on the WWI galleries has influenced the design of the WWII and Holocaust galleriesWe hope you enjoy the episode!  For a version of our podcast with close captions, please listen here. To find out more about the IWM's WWI, WWII and Holocaust Galleries, do visit the website of the Imperial War Museum and for more background about modern wars and conflicts, be sure to tune in to James Taylor’s new podcast series, Conflict of Interest. For more information about individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website. Music composed by Jonathan YoungSound mixing by Zofia Guertin 
78:43 10/06/2021
Gallipoli to the Somme: musical responses to WW1 with Kate Kennedy and Anthony Ritchie
In this episode, Alice talks to acclaimed composer Dr Anthony Ritchie about his oratorio 'Gallipoli to the Somme', which was commissioned for the Dunedin Symphony Orchestra and City Choir Dunedin as part of the centenary commemorations of the First World War. Also joining us is Dr Kate Kennedy, a musician, librettist and expert on the poetry and songs of WW1. Both have lots to say about how music can deepen our understanding of war and its impacts.  Kate has recently published a biography of the poet and composer Ivor Gurney, and that gets us chatting about the mix of high-brow poetry and more bawdy trench song which have together shaped our habits of visualising the First World War.  A soldier during the war, Gurney suffered a series of breakdowns and spent his last fifteen years confined to a mental asylum. The songs he composed reflect real tensions in the ways in which he and his contemporaries regarded the war, for example by undercutting celebratory verses with disturbing harmonies that evoke violence and trauma. Anthony's oratorio similarly plays with ironic contrasts between words and music, making use of silence as well as well-known musical quotations to weave a narrative about the First World War that captures many perspectives. Based on Alexander Aitken's book 'Gallipoli to the Somme', the oratorio includes a Maori war song, German Lieder, contemporary folk songs, a battle plan set to music, and the words attributed to Mustafa Kemal Atatürk, the first President of the Republic of Turkey, inscribed on the Ari Burnu Memorial, Gallipoli. The composition process got Anthony thinking about the purpose of performing war history; the most effective ways to represent war in music and words; what it means to commemorate war and the dangers of distorting reality to make war more manageable for audiences; and how commemorations can critique as well as celebrate past conflicts. Among other questions, Alice asked:how differently is WW1 remembered in New Zealand compared with elsewhere?what forms of commemoration or storytelling dominate our habits of visualising WW1?what impact did centenary commemorations have on how we view this well-known conflict?what different musical responses to WW1 have there been over the last century?what challenges and opportunities do composers wrestle with when representing war in music?what musical styles did Anthony adopt in his oratorio, Gallipoli to the Somme, and why?how might this oratorio change or develop the ways in which we look back on WW1 today?We hope you enjoy the episode! You can listen to the whole of Anthony's oratorio 'Gallipoli to the Somme' here; it is one of the most moving and thought-provoking representations of the First World War in existence. Kate's latest book, 'Dweller in Shadows: A Life of Ivor Gurney', is also a tour de force, and will make you want to dive deeper into Gurney's works; you can purchase it here. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
81:51 09/29/2021
War, knowledge and narrative from Napoleon to today
In this episode, Alice and Nicolas interview Prof. Anders Engberg-Pedersen, Professor of Comparative Literature  at the University of Southern Denmark. Anders is the author of Empire of Chance, published in 2015, which argues that the Napoleonic Wars not only changed the nature of warfare but also revolutionised people's understanding of chance, contingency and probability, inspiring a new discourse of knowledge. He has also edited volumes on Literature and Cartography, exploring how different kinds of texts visualise space, and Visualizing War: Emotions, Technologies, Communities, which explores the emotional language of images of war, and how they build emotional communities as well as impacting on individuals' emotions.In the podcast, we talk about the impact which war has on culture and society, as well as the impact which culture and society have on war. Anders explains that the scale of the Napoleonic Wars resulted in a shift in how comprehensible people thought war was, with a move from universal principles, geometric representations and scientific discussions to an emphasis on chaos, uncertainty and the fog of war. This was felt in literature as well as military theory, with authors like Balzac, Stendhal and Tolstoy reflecting on the difficulties of describing war and opting to narrate individual perspectives alongside - or instead of - sweeping panoramas. Anders also discusses the origins of wargaming in the Napoleonic period, and the ways in which wargaming ever since has trained people's emotions as well as their physical and cognitive skills. Along the way, he reflects on the complex emotional impact of many different visual images of war, and the ways in which militaries often co-opt the language of art to talk about war as a creative endeavour, full of design. War shapes knowledge and narrative forms, and they in turn shape how war is visualised and pursued. Among other questions, we asked Anders:How and why did concepts of war shift in the Napoleonic era?In what sense did war become a 'problem of knowledge', with uncertainty outweighing certainty?How did these changes in war itself and the way it was visualised affect how people wrote about it and trends in representation? What new 'poetics of war' emerged? And what media came to dominate?In what sense do representations of war like maps and virtual reality games act simulate war itself, enabling readers to immerse themselves rather than just visualising from afar?What emotional impact do representations of war in different media have on individuals and communities? And to what use are they put?Anders' insights into the complex relationship between war, knowledge and narrative touch on issues that go right to the heart of the Visualising War project. We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
61:09 09/22/2021
Documenting war and promoting peace in Mosul with Omar Mohammed / Mosul Eye
In this episode, Alice interviews historian Dr Omar Mohammed, founder of the acclaimed Mosul Eye blog. When ISIS captured Mosul in 2014, Omar began posting regular updates to keep people informed and to counter misinformation – and his blog became a vital source of information both for those within the city and the wider world. He posted regularly throughout the occupation and liberation of Mosul, and has since turned his attention to Mosul’s recovery, using the blog to promote cross-cultural understanding as well as raising Mosul’s profile internationally. Mosul Eye has a lot to teach us about representations of conflict, particularly those that are produced while a war is ongoing, and it is a real testament to what the public documentation of a war can achieve, in the aftermath as well as during a conflict.In the podcast, Omar explains that he began keeping a diary to document what life was like on the ground during conflict after the US-led invasion of Iraq in 2003. However, it was only in 2014 when ISIS/Daesh captured Mosul, that he started blogging publicly, with no idea at the time how long his blog - or the occupation - would last. As a historian, he wanted to provide the people of Mosul and wider audiences with accurate accounts of events as they were unfolding in real time; but he also used the blog to preserve the names of victims and build up a reliable record for posterity, so that future generations could understand what went on.  Crucially, his blog posts narrated many small, everyday details, painting a holistic picture of the conflict rather than focusing on major events. His correction of fake news and exposure of atrocities meant that he and the blog were targeted by Daesh, but he persevered despite the risks, viewing his writing as a way to fight back. Over time, Mosul Eye became so well known that major news organisations turned to it to verify or flesh out their stories, and Omar was able to leverage the growing influence he had to help rescue people and families from the city and collect books for the University's stricken library. Since Mosul's liberation, Omar has used his position to put Mosul on the global map in positive ways, building bridges between different communities and kick-starting a major tree-planting programme, to help the people of Mosul visualise a greener, more peaceful future and to connect them to wider efforts to address climate change. His blog has helped him and others to grasp the profound and sometimes unseen destruction that war brings; but it also testifies to the power of history writing and digital media to promote peace, healing and renewal. Among other questions, Alice asked:what prompted Omar to begin blogging as 'Mosul Eye' in 2014 and what his initial goal waswhat aspects of the occupation and liberation he decided to focus on, and whyhow the people of Mosul, the media and the wider international community responded to Mosul Eyewhat role his blog played in the 'information war' which accompanies conflict in the digital agehow different live blogging is from writing the history of a conflict with the benefit of hindsightwhat role blogging can play in helping people visualise peace/renewal as well as warWe hope you enjoy the episode! To find out more about Mosul Eye, please visit the website. For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan YoungSound mixing by Zofia Guertin 
55:25 09/15/2021
Warfare in the Digital Age with Donatella Della Ratta
‘The non-violent Syrian uprising that turned into an armed conflict was born digital and networked from the very moment an unarmed activist used a smartphone camera to shoot while an armed man raised his gun to shoot at him.’ Donatella della Ratta, Shooting a Revolution: Visual Media and Warfare in Syria (2018).In this week's episode, Alice and Nicolas interview Dr Donatella della Ratta, Associate Professor of Communications and Media Studies at John Cabot University in Rome. Donatella specialises in Arabic-speaking media. She lived in Damascus from 2007 to 2011, so Syrian media became a particular area of focus for her – and particularly the use made of iphones, youtube and online media to document what was happening as civil protests turned to civil war from 2011 onwards. She has professional experience as a journalist and TV producer, and managed the Arabic speaking community of the international NGO Creative Commons from 2008-2013. Alongside her expertise in media, Donatella is interested in storytelling across different art forms. She has curated several art exhibitions and film programmes on Syria, and she co-founded ‘Syria Untold’, an online platform for independent writers to share stories about peace and war in Syria which might otherwise be unheard. In the podcast, we talk about the impact which the so-called 'digital revolution' has had on how people experience, communicate, visualise and even conduct war. Donatella discusses the rise of citizen journalism and hand-held film-making as new ways to document and communicate conflicts as they unfold; but we also reflect on more sinister developments such as the use of social media to spread misinformation and generate violence. As Donatella puts it in her book Shooting a Revolution, 'Syria is the first fully developed networked battleground in which the technological infrastructure supporting practices of uploading, sharing and remixing, together with the human network of individuals engaged in those practices, have become dramatically implicated in the production and reproduction of violence.' We discuss the increased visibility of modern conflict, but also the role played by social media organisations in preserving, censoring and deleting content - which can limit our collective memory of individual conflicts and our wider habits of visualising war. Ending on a more upbeat note, we talk about the ways in which campaigners and activists can harness blogs and other forms of digital media to broaden public understanding of conflict and its impacts. Among other questions, we asked Donatella:compared with traditional media, what impact can digital media have on how conflicts are reported, represented and understood?when peaceful protests turned violent in Syria, what use did people make of digital media and why?in what ways can digital media drive (and not just document) conflict?  what role might social media providers play in shaping current and future habits of visualising war?how did the rise of citizen journalism in Syria turn into a thriving new film industry?how can the publication of blogs via online platforms like Syria Untold broaden our habits of visualising war?We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. For more information about individuals and their projects, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young Sound mixing by Zofia Guertin 
82:40 09/08/2021
Visualising Peace with Frank Möller
In this episode, Alice and Nicolas interview Dr Frank Möller, a researcher at the Tampere Peace Research Institute, Finland. Frank studies peace photography - both how photography can represent peace, and how such representations can contribute to peace. He has published several books on this topic, including Visual Peace: Images, Spectatorship and the Politics of Violence (Palgrave Macmillan, 2013) and Peace Photography  (Palgrave Macmillan, 2019). He also leads a project on 'peace videography' and is co-founder of https://www.imageandpeace.com, a hub for researchers, artists and anyone interested in the link between visual culture and peace. In the podcast, we ask Frank what distinguishes 'peace photography' from other kinds of photography. That gets us talking about the long tradition of war photography, 'anti-war' photography, and the tendency to define and represent peace in relation to war - for example, by visualising peace through images of aftermath or post-conflict reconciliation and reconstruction. Frank argues for a broader approach to peace photography, and discusses the power of images of 'everyday peace' even in the midst of a war. He argues that if we can capture images of everyday peaceful practices, their momentum might grow and they might go on to generate more peaceful practices in turn. We also talk about the role that images of peace can play in mediation processes, through 'active looking'. As Frank puts it in one of his books, 'images reflect the world; in order to change the world, we need to change the images we see.' Among other questions, we asked Frank:is it easier to represent war than peace - or, at least, to represent cliches of war and peace?why is there no easily recognised tradition of 'peace photography' as there is for war photography?what role does photography play alongside other media (texts, films, works of art, etc) in shaping our habits of visualising war and peace?how can efforts to represent or visualise 'pockets' or 'islands' of everyday peace engender more peaceful practices in the wider world? How can we build peace with images?We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. To find out more about Frank's work, you can visit his project website where he invites anyone interested in building peace with images to get involved.  For more information about individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young Sound mixing by Zofia Guertin 
63:56 09/01/2021