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This chapter reviews the literature to contextualize the intervention in the post–cold war era characterized by the momentum of globalization dominated by informal actors beside the legal authority of the state. It indicates how these actors deviate the primary purpose of the humanitarian intervention and create an ungovernable environment of the state particularly when interventions are operated in countries endowed with natural resources. The case of the Democratic Republic of the Congo (DRC) serves as a model to ascertain such phenomenon in which actors such as states involved in intervention come in collusion with shadow elites, lobbyists and multinational companies to establish clandestine networks of illegal exploitation and smuggling of natural resources. The chapter winds up by suggesting the redefinition of policies of interventions to keep humanitarian intervention in its primary mission while holding actors involved in illegal and smuggling of natural resources accountable.

This chapter deals with the effects that the socialisation process, both primary and professional, has on the cultural attitudes of young people interviewed with regard to national security.The data show the great importance of primary socialisation, especially among cadets, who form a military mindset already before entering the training academies. The process is less accentuated for youths who attend civilian universities.Professional socialisation then operates in both environments, at times in contradictory ways with respect to the aims of the profession for cadets, and with respect to greater awareness of security issues for university students.

This chapter explores the multiple levels of authenticity involved in son et lumière and projection mapping. Light shows are increasingly staged at historic sites, using monumental buildings as canvases. The use of light allows the buildings to communicate, giving them a performative, additional dimension, generating multiplicity, where the same architectural structure or place is encountered simultaneously in both its light and physical forms. The effect is hyperreal, transforming buildings into simulacra, versions of distorted reality, where no original exists. As the building appears to move, the mind simultaneously informs the viewer that it is static, evoking a co-created tourist experience. Light shows, arguably staged by “imagineers”, reflect the increasing move toward the spectacle essential for creative and experience economies.