1 Henri Lefebvre, The Production of Space, trans. David Nicholson-Smith (Oxford: Blackwell, 1991).

2 Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’ in Hannah Arendt (ed. and intro.) Illuminations. Essays and Reflections, trans. Harry Zohn (New York: Schocken Books, 1968).

3 ‘As a specific type of entity, images are the object of a twofold question: the question of their origin (and consequently their truth content) and the question of their end or purpose, the uses they are put to and the effects they result in.’ Jacques Rancière, The Politics of Aesthetics (London; New York: Continuum, 2004), p. 20. It was Michael J. Shapiro's article, ‘The Sublime Today: Re-Partitioning the Global Sensible’, in Millennium: Journal of International Studies, Special Issue: Between Fear and Wonder: International Politics, Representation and ‘the Sublime’, 34:3 (2006), pp. 657–82. that led me to the engagement with Rancière. For interesting reflections on the practices of inclusion and exclusion in modern politics, discussed using Rancière's works, see Prem Kumar Rajaram, ‘Locating Political Space Through Time’ in C. Grundy-Warr & P Kumar Rajaram (eds), Borderscapes. Hidden Geographies and Politics at Territory's Edge (Minneapolis: University of Minnesota Press, 2007). Borderlines Vol. 29.

4 Rancière, Politics of Aesthetics.

5 Ibid., p. 12.

6 Ibid., p. 13.

7 Ibid.

8 Ibid. p. 18.