I was recently interviewed for an AP story on atrocity images emerging from Ukraine. There are a range of interesting perspectives in the piece, and I especially appreciate the attention to the display and management of emotion by various journalists and news agencies.

Lessons from the Pandemic: Trauma-Informed Approaches to College, Crisis, Change is just so good. I’m so grateful to the amazing editors – Janice Carello and Phyllis Thompson – for including my article, “Working with Coronavirus Lost and Found in the Trauma-Informed Classroom,” in it. And I learned so much from reading the other chapters. It’s a hard time to be an educator, and this is just the book that our moment requires.

Thanks to the Dr. David Chu Program in Asia-Pacific Studies at the University of Toronto for inviting me to serve as a commentator for a launch event (this Wednesday!) to celebrate Thy Phu’s amazing new book, Warring Visions: Photography and Vietnam. Warring Visions is a brilliant counterpoint to what Phu describes as the “American framework” that otherwise shapes so much writing and thinking about the visual culture of the Vietnam War. Writing against this perspective, which crowds other views and voices out of the frame, Phu provides a richly faceted account that centers the ways that Vietnamese people represented themselves. In the process, Thy demonstrates the need to expand the conventional boundaries of the category of ‘war photography’ to include a range of other images: domestic, quotidian, misrecognized, retouched, missing, and fictionalized. This book is so good, and I’m truly looking forward to being in conversation about it.

ASA is virtual this year but I’m actually serving as chair/comment on the “Creativity and Revolt In / Against Histories of Violence” panel. This panel, which is sponsored by the Visual Culture Caucus, invites exploration of the fraught, often unpredictable relationships between creativity and revolt in histories of violence.  What forms of creativity and revolt in response to violence get recognized as such?  Which ones get buried, overlooked, or obscured?  What objects and images record these histories?  And how might we read them with an eye toward what might otherwise go unseen? I’ll look forward to learning more from Elijah Gaddis, Louise Davis, and Judith Ridner.

This one is from Global Policy, and offers another occasion to reflect on the general fantastic-ness of all the contributors to Remote Warfare.

It is essential reading for researchers interested in how the technologies of remote warfare have been imagined, presented, and resisted. For researchers interested in the geopolitical logics of remote warfare … this text sheds new light on how the constitutive “remoteness” of remote warfare has come to be mediated and encountered by Western publics through a range of different forms of popular culture. 

I recently stumbled upon a lovely review of my co-edited collection, Remote Warfare: New Cultures of Violence in Security Dialogue. Here’s a spoiler:

This book is an excellent resource for researchers intent on forming a better understanding of the methodological challenges that are reflected in researching trauma in complex environments, such as the distant battlefield, and how contemporary modes of approaching this topic have shifted over time.

A belated thanks to my new friends at Curating for Culture for their invitation to host an online workshop on pandemic archiving last month. This Bangalore-based collective is creating online archival spaces where people can record their pandemic experiences, and supporting others who want to launch their own archival projects. Their work is outstanding. A recording of my workshop, “Acknowledging the Crisis,” is available here.