#LOWER SUSTAIN GLADIATOR VST HOW TO#

2Ģ Rooted in the same historical moment that defined this worldview, the idea of development – more or less seasoned with sustainability – runs economic liberalism often disguised as neo-humanitarianism in the wake of the increasing NGOization of social care, praise for civil society and calls for values such as solidarity. This is still the same worldview that we have inherited from post-World War II, specifically built to counter the excesses of nationalisms: a community built with the same imagination, devices and displays that Anderson described for the rise of nations (1983), but one that, paradoxically, is inter-national, made of nations, a meta-nation. Universal Heritage, which was institutionalized by UNESCO, thus contributes to the naturalization of an allegedly Universal Law. 1 The moral that steers this world is universalist, and the chart that presided over its curatorship is the Universal Declaration of Human Rights. This heritage regime (Bendix, Eggert e Peselmann 2012 Geismar 2015) chooses the exhibitable and visitable fragments of culture and iconizes them to celebrate a purportedly universal morality.

#LOWER SUSTAIN GLADIATOR VST HOW TO#

2 It should be noted that rather than being a direct offshoot of the United Nations, UNESCO stems f (.)ġ If we think of the world according to the oratory of the international community and in the light of the United Nations, we could read the map of UNESCO World Heritage Sites as a huge museum, hosting unevenly distributed showcases, as an exhibitionary complex (Bennet 1995) which teaches us how to be citizens of the world and compels us to participate in its construction.1 Heriditary regime means an understanding of heritage as governance and politics rather than simpl (.).A questão é que a ideia de comunidade internacional mobiliza para a sua construção os mesmos dispositivos imaginativos e exibicionários e o mesmo pressuposto pancultural das emoções que Anderson descreve para a ascensão das nações, embora paradoxalmente, se assuma como inter-nacional, feita de nações: uma metanação.

O regime global do património promovido pela UNESCO e por outras plataformas institucionais similares deve ser considerado o aparato mais persuasivo para a criação de um sentimento de pertença coletiva, ultrapassando fronteiras nacionais e difundindo uma ética liberal e formas de memória cosmopolita que já não são definidas em função da moldura dos estados-nação. O meu modesto argumento é que a ideia de comunidade internacional, baseada no princípio da universalidade dos direitos humanos é recriada e reencenada, através da convocação dos sentimentos para lugares como este. Para isso contribuem as múltiplas declarações da UNESCO, os depoimentos políticos de visitantes ilustres, as performances de artistas afro-americanos conhecidos e os comentários registados pelos turistas.

Mais do que meramente simbólicos, os destinos do turismo de raízes, como a ilha de Goré (Senegal), são lugares onde se espera que a emoção despoletada pela escravatura seja experienciada e exibida. The question here, is that the very idea of international community is built with the same imagination, devices and displays and based on the same nationalist assumption of pan-cultural emotions that Anderson described for the rise of nations, but one that, paradoxically, is inter-national, made of nations: a metanation. I believe that the global heritage regime promoted by UNESCO and other similar international platforms could be considered the strongest apparatuses to induce common belonging crosscutting national borders while spreading cosmopolitan liberal ethics and forms of cosmopolitan memory that are no longer primarily framed by the nation state. I modestly argue that, by evoking feelings, presumably shared, about slavery in a setting that exacerbates emotions through touristic performances, the idea of international community is here re-enacted and sustained, under the principle of the universality of human rights. UNESCO statements, political testimonies by distinguished visitors, performances of well-known African American artists and comments of tourists seem to testify this. More than merely symbolic, destinations of roots tourism such as Gorée Island (Senegal) are places where emotion about slavery is supposed to be experienced and displayed.

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