...The pedagogical force of culture is now writ large within circuits of global transmission that defy the military power of the state while simultaneously reinforcing the state's reliance on military power to respond to the external threat and to control its own citizens. In Iran, the state sponsored war against democracy, with its requisite pedagogy of fear dominating every conceivable media outlet, creates the conditions for transforming a fundamentalist state into a more dangerous authoritarian state. Meanwhile, insurgents use digital video cameras to defy official power, cell phones to recruit members to battle occupying forces, and Twitter messages to challenge the doctrines of fear, militarism, and censorship. The endless flashing of screen culture not only confronts those in and outside of Iran with the reality of state sponsored violence and corruption but also with the spread of new social networks of power and resistance among young people as an emerging condition of contemporary politics in Iran. Text messaging, Facebook, Twitter, YouTube, and the Internet have given rise to a reservoir of political energy that posits a new relationship between the new media technologies, politics and public life. These new media technologies and Websites have proved a powerful force in resisting dominant channels of censorship and militarism. But they have done more in that they have allowed an emerging generation of young people and students in Iran to narrate their political views, convictions, and voices through a screen culture that opposes the one-dimensional cultural apparatuses of certainty while rewriting the space of politics through new social networking sites and public spheres.
A spectacular flood of images produced by a subversive network of technologies that open up a cinematic politics of collective resistance and social justice now overrides Iran's official narratives of repression, totalitarianism, and orthodoxy–unleashing the wrath of a generation that hungers for a life in which matters of dignity, agency, and hope are aligned with democratic institutions that make them possible. Death and suffering are now inscribed in an order of politics and power that can no longer hide in the shadows, pretending that there are no cracks in its body politic, or suppress the voices of a younger generation emboldened by their own courage and dreams of a more democratic future.
In this remarkable historical moment, a sea of courageous young people in Iran, are leading the way in instructing an older generation about a new form of politics in which mass and image-based media have become a distinctly powerful pedagogical force, reconfiguring the very nature of politics, cultural production, engagement, and resistance. Under such circumstances, this young generation of Iranian students, educators, artists, and citizens are developing a new set of theoretical tools and modes of collective resistance in which the educational force of the new media both records and challenges representations of state, police, and militia violence while becoming part of a broader struggle for democracy itself.
Any critical attempt to engage the courageous uprisings in Iran must take place within a broader notion of how the new media and electronic technologies can be used less as entertainment than as a tool of insurgency and opposition to state power. State power no longer has a hold on information, at least not the way it did before the emergence of the new media with its ability to reconfigure public exchange and social relations while constituting a new sphere of politics. The new media technologies are being used in Iran in ways that redefine the very conditions that make politics possible. ...
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