Luis Eslava

Luis Eslava is Senior Lecturer in International Law and Co-Director of the Centre for Critical International Law at Kent Law School, The University of Kent, Senior Fellow at Melbourne Law School, The University of Melbourne and International Professor at Universidad Externado de Colombia.
TWAIL Coordinates

TWAIL Coordinates

Also available in Spanish, Portuguese, Arabic, Farsi, Sinhala, and Turkish translation     Street in San Juan, Puerto Rico, 1941. FSA-Office of War Information Collection. Library of Congress, Washington, D.C., USA. (Note on the photographThis...

A World of “Sound” and “Clash”: An Interview with Taru Dalmia (Part III of III)

A World of “Sound” and “Clash”: An Interview with Taru Dalmia (Part III of III)

We want to know more about the roots of your music. As we understand it, your music brings together a particular new take on reggae, ska, and techno sounds with powerful lyrics. How does this mixture relate to your aim to engage with social struggles? We are thinking here too about ‘tradition’ – an idea that for legal scholars simultaneously denotes social power, respect, order, patterns of thought, and, of course, obedience: inheritance, and mixing? T: In music as opposed to prose it is not just lyrics but sound that becomes a carrier of meaning. Bass music, dub music, deeply impacts upon people and can be powerful expressions of emotion, of political sentiment, even of metaphor. In the case of reggae in particular we feel that it lends itself very well to expressing the fractured militarised reality that we are engaging with…

A World of “Sound” and “Clash”: An Interview with Taru Dalmia (Part II of III)

A World of “Sound” and “Clash”: An Interview with Taru Dalmia (Part II of III)

Taru, as legal scholars the idea of soundclashing is extremely interesting. We know that speech and rhetoric have been always part of law, and yet it is hard to grasp the actual mechanics of using sound in our projects. How do you process, or how do you render into a material form, this idea of ‘soundclashing’? Specifically, how are technique and technology mixed at this point with politics, histories of violence and entrenched power asymmetries in order to produce something new, or at least something different? Taru [T]: There are different processes at play, depending first on whether we are talking about a recording or performance oriented endeavour and then also, the various musical outlets…

Colombia: Counter/Revolution in Present Tense

Colombia: Counter/Revolution in Present Tense

Facing the negative results from the plebiscite to ratify the peace agreements, Colombia is in the midst of a counter-revolution of sorts. But the country is not staying still. The day arrived, voting stations opened in the morning, they closed in the afternoon, and...

Colombia: The Rubble of History and the Future to Come

Colombia: The Rubble of History and the Future to Come

The Colombian peace agreement plebiscite to ratify the final agreement on the termination of the Colombian conflict on 2 October 2016 is a day when another Colombia and another world become possible. On 2 October 2016, a country of 48 million people will confront...

Dense Struggle (IV): The Ghostly Real

Dense Struggle (IV): The Ghostly Real

As I mentioned in the last post, one of the most perplexing circumstances that surrounded the appearance of the ghost in the refuge was that it occurred at the precise moment at which the group of IDPs formally entered into the realm of the official. It could have...

Dense Struggle (III): The Modern Uncanny

Dense Struggle (III): The Modern Uncanny

In the last two posts I have argued that the longue durée of capitalist modernity has implied an expansion of a material and social global ordering, and that this process is far from being free of emotional forces, even of an uncanny dimension. In my account, this...