By critically analyzing the status and differentiation of bodies and their lives, the author expands the vision of governmentality beyond the West in order to define the body beyond the pacified techno-promises of their emancipation through fragmentation, calculability and programmability. By elaborating the nature, power, and promises of dominant digital technologies and technobodies, the author conceptualizes them in relation to the shift between bio- and necropolitics/power and in relation to violence, (digital) coloniality, and racialization to which bodies are exposed. It is about the normality of violence against the Other, also in relation to the principle of separation of virtual bodies and “surplus flesh,” which increases exponentially with technological development. The author seeks to understand how we have come to the point where techno-objects are humanized, given agency, while the body and life of the Other are dehumanized, deprived of any rights. The article contextualizes and re-politicizes the shifting relations between subject and object, particularly within our forensic contemporaneity.

This text critically reflects on cultural events organized to mark the 100th anniversary of the start of the First World War in Sarajevo and Bosnia & Herzegovina. It elaborates on disputes which showed that culture is in the centre of identity politics and struggles (which can also take a fascist nationalist form, accept the colonizer’s perspective, etc.), on how commemorations ‘swallowed’ the past and present, but primarily contextualizes, historicizes and politicizes Sarajevo 2014 and its politics of visibility. This case is approached as an example and symptomatic of the effects of the current state of capitalism, coloniality, racialization and subjugation, as central to Europe today. Article received: June 2, 2017; Article accepted: June 8, 2017; Published online: October 15, 2017; Original scholarly paper How to cite this article: Isanovic, Adla. "Sarajevo: Politics and Cultures of Remembrance and Ignorance."  AM Journal of Art and Media Studies 14 (2017): 133-144. doi:  10.25038/am.v0i14.199