How do emotions shape ecological activism in the global South? Despite growing interest in researching ecological activism in International Relations (IR), there hasn't been much work that draws insights from the global South due to the predominant focus on western societies. Against the backdrop of the recent ‘relational’, ‘emotional’ and ‘Anthropocene’ turns in IR scholarship, this article examines how emotions can contribute to ecological activism in the global South. The article seeks to move beyond the dominant rationalist technocratic fixes to (...) the Anthropocene condition and conceptualize the ‘affective relations’ as a frame for situating and sustaining relations between humans and nature. It argues that the ‘international’ in IR is a relational sphere of society—and emotions act as the purveyor of those social relations. Empirically, this article examines historical insights from ecological activism in the Chipko (tree-hugging) movement in India. The article argues that feelings as the non-violent practice (in their hugging of trees, silent demonstrations, protest slogans, street plays, songs and performances) become sites of resistance in ecological activism in India's Chipko movement. Finally, the article explains how affective relations sustain humans, nature and the state. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)