Expanding now familiar debates about the impact of the ‘historical turn’ upon the field of international law, this article considers some of the different ways in which ‘turn to history’ scholars have confronted the methodological and theoretical tensions arising from the central, yet paradoxical, role occupied by the sources doctrine in international law. We suggest that the anxiety over the sources of international law as the basic methodological precepts of the discipline has been a catalyzing element for a radical reengagement with the canon of international law, one with a significant impact on the field’s existing parameters and doctrinal limits. Within the three streams of scholarship we explore here, history has become a site of creative engagement for scholars in opening up the discipline to diverse ends, one in which a new doctrinal universe can be created, and new issues, sources, subjects, and approaches can be explored. Yet, by opening up international law’s sources doctrine, reactionary causes and unjust ends may equally well be the result. This account is an attempt at diversifying the narrative surrounding the causal relationship between history and the ongoing changes to the field of international law, along with the differential practices, techniques and epistemological foundations behind the history of international law as an evolving discipline, and of the different scholarly motivations of its specialists.
Over the last fifty-odd years the US Defense Advanced Research Project Agency (DARPA) has launched programs aiming at emulating and incorporating insect technologies in military technology. The US Army Unmanned Aircrafts Systems Roadmap 2010–2035 has specified insect swarming as a field of development for Unmanned Aviation Systems. While legal scholarship has paid substantial attention to drones, autonomous weapons systems and artificial intelligence (AI), developments based on insect swarming technologies have been largely ignored. This article takes emerging AI swarming technologies in military warfare systems as its starting point and asks about the significance of the swarming insect in and through contemporary International Humanitarian Law (IHL) and warfare. Taking up Gilles Deleuze and Félix Guattari's notions of ‘the swarm’ and the ‘war machine’, and drawing on critical environmental legal scholarship, the article argues that rather than dispersing the human from its central position in the ‘targeting loop’, the increased interest in insects for commercial and warfare purposes is an intensification of transhumanist desires and an acceleration of late capitalism. As a counter-move, and as a contribution to a posthumanist turn in IHL, the article calls for becoming-insect, swarm and minoritarian as an epistemological practice and ontological shift in IHL and its critical scholarship, resulting in a posthumanitarian legal ordering of becoming.
Focusing on targeting law and practice in contemporary high-tech warfare, this article brings international humanitarian legal scholarship into conversation with posthumanist feminist theory for the purpose of rethinking international humanitarian law (IHL) in terms of the posthuman condition. I suggest that posthumanist feminist theoryin particular Rosi Braidotti's scholarshipis helpful to the IHL scholar for understanding and describing high-tech warfare that recognises the 'targetable body' as both material and digital. Posthumanist feminist theory, moreover, avails us of a much-needed critical position from which to reframe the question of what the 'humanitarian' aim in IHL is: who, and what, can the 'human' of this humanitarianism be? This article sets out the framework for a posthumanitarian international law as an ethical-normative order worthy, as Braidotti puts it, of the complexity of our times.
This article presents the notion of spatial justice as a way of considering the relationship between law and street art in a manner beyond the legal/illegal dichotomy. Through a series of empirical examples, it is demonstrated how street art literally takes a place already taken and imposes itself in an already appropriated urban public space. Street art thus redefines the space in contestation to law. However, street art is ephemeral and its taking of space is not permanent. Street art points to an alternative spatial definition, one of spatial justice, before – and, indeed, while – withdrawing from the space it occupies. Street art creates a rupture in the lawscape which makes explicit the presence and claims of law, thereby also making the need for law’s other – justice – pronounced. The question of relationality between law and street art which we bring forth in the present article plays itself out as a production of space and spatial justice in an exchange of place-taking, withdrawal and pronounciation. Spatial justice, as we perceive it here, is thus a way of thinking about law and street art not simply as polar opposites, but rather as co-dependent and bound together in an ongoing process of oscillation, mutual reinforcement and creativity.
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