ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of the book. The book focuses on how popular culture can also be suited for the task and generate dissensus given some of the objects' formal creativity and aesthetic complexity. It also reflects a contemplative and practical process of bridging the gap between politics and aesthetics, as well as a similar chasm within the discipline of IR, via the lenses of resistance and the sensorial. For 9/11, what has been delimited are senses themselves in terms of sensory regimes that arose following the catastrophe and in relations to the war on terror; the book examines boundaries that police mediated and commodified forms of visibility and audibility. It focuses on the specificities of the four objects as their qualifications to represent the popular: their mass production, global circulation, and availability, as well as their formulaic formats and familiar styles, which are easily recognizable.
