Get hyped. Pennywise is on his way back!

The sequel to Stephen King’s It, remade two years ago, will be hitting the cinemas this September.

Here’s the promo trailer:

IT: Chapter Two trailer

In the trailer, Pennywise’s daughter, an old woman now, appears to be sweating excessively. Many fans expected Pennywise to burst out of her chest.

Old family photos of Pennywise and his children have his sunny disposition of undertones in his character.

This time, he is not hooking into fears. The adults mastered how to manage them.

He is after broken hearts, going much deeper into the psychological impact of trauma in adults.

Even if the movie was released in the middle of the summer, I would still surely escape to the darkness for a couple of hours for what appears will be an indescribable dark viewing.

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Trump and Brexit off the cliff edge

The past few weeks have seen historical levels of political unwill in the US and UK.

Despite the repetitive votes in the parliament on Brexit options, across the pond, considerations over at which level the business interests of the President are conflicting with responsibilities in the public office, have been held back by senior Democrats.

Not very unlike the Labour leader’s opposition to the EU, and dislike the Tories are in the driving seat of the negotiations, with Theresa May being traditionally pro-EU – a clarity of parliamentarian’s will, is anything but a clear cut between for and anti-Brexit voices.

The confusion in UK and US is the re-divergence of the drivers behind people’s voting preferences. Traditional politics, that of the left and the right, have hegemonized to the extent of other areas of connectivity between political preferences has emerged.

Some may think the opinion Brexit will never happen and that Trump will not see through a second term, is premature today. Rightly the politics are still shedding old skin and testing new voices. Traditional far rightism may see some rise or tv coverage however in temporality, people seek new ideas, often held by the young.

Unquestionably it is a unique time in history to live and experience the shifts, twists, and stretches. Yet the presence of Extinction Rebellion and Young People’s Climate Strikes over the past few weeks have an 80’s tone, the global problems are ours and they are ignored by politicians continuing the pursuit of fast results and short term solutions. In the background, seals are dropping off to their death from cliffs in the Arctic they have not had to climb before when the ice area was 40% larger than it is today.

The tide is certainly changing, and we are running out of those in ye olde politics – inevitably will need to work together, for their own survival.

 

Sources:

  • No Brexit more likely than a disorderly one, say economists

https://uk.reuters.com/article/uk-britain-eu-poll/no-brexit-more-likely-than-a-disorderly-one-say-economists-idUKKCN1RU01J

  • Landmark moment for Trump as Mueller report on Russia looms

https://uk.reuters.com/article/uk-usa-trump-russia/landmark-moment-for-trump-as-mueller-report-on-russia-looms-idUKKCN1RU0EJ

  • UK should ‘cool down’, drop Brexit – Socialist candidate to head EU Commission

https://uk.reuters.com/article/uk-britain-eu-timmermans/uk-should-cool-down-drop-brexit-socialist-candidate-to-head-eu-commission-idUKKCN1RT26W?il=0

 

 

Curatorial proposal

From the Contemporary Art in the Global (MSc School of Oriental and African Studies)

WE.LIVE.INDARKTIMES

Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji

The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.

ARTWORK SELECTION

  1. Rothko. M, ‘Orange and Yellow’, 1956:

Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.

  1. Bowling. F, ‘Who’s afraid of Barney Newman’, 1968

The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?

  1. Tanaka, A. ‘Electric dress’ 1956

Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)

  1. Walcott, D. ‘Love after Love’, 1948–1984

Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.

  1. Baloji, S. ‘Kumbuka’, 2003

Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Artwork Labels

orange-and-yellow(1)6721995702035878555.jpgImage from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.

t12244_10190182530184748032.jpgImage from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.

Electric DressImage from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.

love-after-love7742550341063638439.jpgImage from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.

1-sammy-825x5106533298255495888239.jpgImages from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”

Checklist:

  1. Mark Rothko, (b. 1903, Daugavpils, Latvia), Orange and Yellow, 1956, 231.1 x 180.3 cm, Albright-Knox Art Gallery, Buffalo, NY, US
  2. Frank Bowling, (b. 1934 , Bartica, Guyana), Who’s Afraid of Barney Newman, 1968, acrylic paint on canvas, 236.4 x 129.5 cm, Tate
  3. Atsuho Tanaka, (b. 1932, Osaka, Osaka Prefecture, Japan), Electric Dress, 1956, 165 X 80 X 80 cm, courtesy of Museum of Contemporary Art, Tokyo
  4. Derek Walcott (b. 1930, Castries, Saint Lucia), Love After Love, Collected Poems, 1948–1984
  5. Sammy Baloji (b.1978, Lumumbashi, Democratic Republic of Congo), Kumbuka!, 2006, Photo collage, various venues)

Bibliography:

  1. Foster, H., Marcus, G. and Myers, F. (1995). The Traffic in Culture. California: University of California Press, pp.302-309.
  2. Bishop, C. (2006). The Social Turn; Collaboration and its Discontents. Artforum International.
  3. Project, S., Bourn, J. and Bourn, J. (2019). Meaning of The Color Green |. [online] Bourn Creative. Available at: https://www.bourncreative.com/meaning-of-the-color-green/ [Accessed 9 Jan. 2019].
  4. New.diaspora-artists.net. (2019). Diaspora-artists: View details. [online] Available at: http://new.diaspora-artists.net/display_item.php?id=928&table=artefacts [Accessed 9 Jan. 2019].
  5. En.m.wikipedia.org. (2019). Frank Bowling. [online] Available at: https://en.m.wikipedia.org/wiki/Frank_Bowling [Accessed 9 Jan. 2019].
  6. Artnet.com. (2019). Atsuko Tanaka | artnet. [online] Available at: http://www.artnet.com/artists/atsuko-tanaka/ [Accessed 9 Jan. 2019].
  7. Dingli, S. (2015). We need to talk about silence: Re-examining silence in International Relations theory. European Journal of International Relations, 21(4), pp.721-742.
  8. Haus Der Kunst. (2019). Electric Dress. [online] Available at: https://postwar.hausderkunst.de/en/artworks-artists/artworks/electric-dress [Accessed 9 Jan. 2019].
  9. Liverpoolmuseums.org.uk. (2019). Ports of the Transatlantic slave trade – International Slavery Museum, Liverpool museums. [online] Available at: http://www.liverpoolmuseums.org.uk/ism/resources/slave_trade_ports.aspx [Accessed 9 Jan. 2019].
  10. visibleproject. (2019). Kumbuka!. [online] Available at: https://www.visibleproject.org/blog/project/kumbuka/ [Accessed 9 Jan. 2019].
  11. Barcio, P. (2018). Achieving Luminescence – Mark Rothko’s Orange and Yellow. [online] IdeelArt.com. Available at: https://www.ideelart.com/magazine/mark-rothko-orange-and-yellow [Accessed 9 Jan. 2019].

Robert Bosch Stiftung Academy Fellowships (Russia and Eurasia) opportunity

The Queen Elizabeth II Academy for Leadership in International Affairs is now inviting applications for Robert Bosch Stiftung Academy Fellowships (Russia and Eurasia). The fellowships are designed for future thought leaders from  Armenia, Azerbaijan, Belarus, Georgia, Moldova, Russia and Ukraine. They will run from September 2019 to July 2020.

The Academy is seeking candidates who would like to contribute to Chatham House’s work on the promise and challenge of global governance in the 21st century.

The Fellowships have three main elements:

  • Work on a personal research project (with the aim of producing a peer-reviewed publication)
  • Participation in the Academy’s leadership programme and activities
  • Opportunity to contribute to the wider work of the Russia and Eurasia Programme

Each candidate’s research proposal should consider how their country or region has been affected – positively or negatively – by aspects of global governance.

For more information visit the Academy webpages.

The application window closes on 29 April 2019 at 9:00am UK time.

Please forward this email to anyone you believe may be a suitable candidate.

The Fellowship is made possible thanks to the generous support of the Robert Bosch Stiftung.

Contact:
Rachel Taylor
Academy Coordinator
academy@chathamhouse.org

Informalisation of labour in Developing Countries, the case of Sierra Leone

In autumn 2018, I made an in-class presentation at the SOAS, University of London Faculty of Law & Social Sciences Department of Development Studies for the GLOBALISATION AND DEVELOPMENT module on the topic of the informalisation of Labour in Developing Countries.

Contrary to expectations, informal labour relations have not disappeared but have been reproduced and incorporated into globalised production circuits.

The presentation covered the main theories on the topic with a focus on the case of Sierra Leonian mining work.Informalisation of labour in developing countries G&D presentationInformalisation of labour in developing countries G&D presentation (1)Informalisation of labour in developing countries G&D presentation (2)Informalisation of labour in developing countries G&D presentation (3)Informalisation of labour in developing countries G&D presentation (4)Informalisation of labour in developing countries G&D presentation (5)Informalisation of labour in developing countries G&D presentation (6)Informalisation of labour in developing countries G&D presentation (7)

 

 

Post Graduate funding

Open Society Foundation’s Civil Society Leadership Awards for postgrad studies open for applications now via Check the list of eligible countries.

SEE FULL DESCRIPTION BELOW

The Civil Society Leadership Awards (CSLA) provide fully-funded scholarships for master’s degree study to individuals who clearly demonstrate academic and professional excellence and a deep commitment to leading positive social change in their communities.

Eligibility Criteria

Applicants must meet all of the following criteria:

  • be a citizen of an eligible country;
  • demonstrate maturity, flexibility, and civil society leadership potential
  • have an earned bachelor’s degree as of May 15, 2019 with an excellent academic record;
  • demonstrate professional experience related to your chosen field of study;
  • demonstrate proficiency in the language of instruction (English, German or French) at a level required for admission by host universities;
  • be able to participate in an intensive pre-academic summer school in July or August 2020 and start their degree program in August or September 2020;
  • be able to receive and maintain a visa or study permit as required by the host country; and
  • demonstrate a clear commitment to their home country or region to strengthen open society development.

The awards are available to citizens of the following countries:

  • Afghanistan
  • Azerbaijan
  • Belarus
  • Cambodia
  • Democratic Republic of Congo
  • Egypt
  • Equatorial Guinea
  • Eritrea
  • Ethiopia
  • Laos
  • Libya
  • Myanmar/Burma
  • Republic of Congo
  • South Sudan
  • Sudan
  • Syria
  • Tajikistan
  • Turkmenistan
  • Uzbekistan

Awards are available for study in the following areas:

  • Communications, Journalism & Media
  • Culture, History & Society
  • Development Studies
  • Economics
  • Education Management & Leadership
  • Environment & Natural Resource Management
  • Gender Studies
  • Human Rights
  • Law (including Human Rights law)
  • Politics & International Studies
  • Public Health Policy & Health Management
  • Public Administration
  • Public Policy
  • Social Policy
  • Social Work

The Open Society Foundations and Scholarship Programs are committed to equal opportunity, and exercise that policy in relation to all admissions processes. CSLA does not discriminate on the basis of age, race, color, sex, religion, sexual orientation, or disability.

Purpose and Priorities

Competition for the Civil Society Leadership Awards is open and merit-based. Selection is based on an applicant’s fit with the program’s objectives as well as the graduate admissions criteria of the participating universities. Academic excellence, professional aptitude, leadership potential in the field of specialization, proven commitment to open society values, and appropriate language proficiency are all important factors in evaluation.

All eligible applicants will be reviewed by an international selection committee. The proposed field of study should be logical for the goals expressed, and the application itself should be well-organized and complete. Compelling candidates will be interviewed by a selection committee comprised of university representatives, CSLA staff, and partner organization representatives, such as the German Academic Exchange Service (DAAD).

Guidelines

Selection and Notification Cycle

  • Applications must be submitted by midnight, May 15, 2019, Eastern Daylight Time.
  • Uncompetitive and/or ineligible applicants will be notified in late August.
  • Applicants who pass external review become semi-finalists and will be invited to an interview to be scheduled in late September or October.
  • Semi-finalists are required to secure two (2) letters of recommendation which must be submitted directly to CSLA by referees by October 1, 2019.
  • Semi-finalists will be required to take an official language test by the end of October 2019; all candidates invited to an interview are entitled to one (1) language test, arranged and paid for by CSLA.
  • Final selection will be held in November; results will be sent via email by January 2020.
  • Successful semi-finalists are now CSLA finalists, and CSLA staff will initiate their host university placement process.
  • The CSLA university placement process takes time; CSLA will strive to confirm placements for finalists by late April 2020.
  • Once placement is secured, CSLA finalists will be notified that they are now CSLA grantees, and will be asked to sign and return a formal grant document before any further actions can be taken.

Interested applicants must complete an online or paper CSLA application and submit along with supporting documentation to be considered for CSLA support.

Online Application

All candidates are strongly encouraged to apply online if possible using the Open Society Foundations grant portal, an online platform. To apply online, please register on the portal and then follow instructions.

Paper Application

Paper applications may be accessed in the Download Files section of this page. Please download the application form before completing or printing, and review the accompanying materials before submitting your application.

If you are applying in French, you must download and email or mail in an application form. Please consult How to Apply for further information.

If you have further questions, please consult the Frequently Asked Questions.

All application materials in French will be available on this page from March 21, 2019.

 

https://www.opensocietyfoundations.org/grants/civil-society-leadership-award

Chefchaouen, the blue pearl of north Morocco.

Chefchaouen is the perfect day or weekend trip on your travels in Morocco.

Famous for the blue painted buildings, more recently featured on French Montana’s ‘Famous’ videoclip

https://www.youtube.com/watch?v=LNHkxOU7zz8 that was filmed in the souks and circular main road around the town sitting on the mountain side. The 33 year old  moroccan-american artist is from the Casablanca and often pays tribute to his love for Morocco.

Back to Chefchaouen, the town is easily navigable by foot, but not wheelchair users, or for those with mobility difficulties. Built on the mountain side, souk and town streets climb up and down through the mountain curves, offering exquisite views over the town and the landscape beyond.

Chefchaouen is one of the easier villages to travel through Morocco. It is small enough to walk through in a day, and big enough that you can find another photogenic corner to help you on your dream-scape of what life may be like in the town, or in-fact to those that grow up in the alleys and buildings, protected by the elements and near everything else.

Here are some of the photos from our visit, we arrived on a cloudy and rainy day, yet it was also wonderful to see the town in non-postcard conditions, a different, and what felt more genuine side of life there. Rain gently encouraged us to go into the local cafe, not the tourist ones, and to get lost around the back streets to a school, trying to find a way through to the main square.

Chefchaouen’s location is equally impressive nesting on the mountain feet, reminds you of the perspectives on life which is so easy to forget when bouncing about between places in a city.

You could say Chefchaouen becomes the little blue light, twilight, dream-scape of adventure.

Karma, and kindness, is a bitch

I’m one to preach loudly and stand for what I believe.

I’m the one that I will point to injustice.

I am the one that tonight also feel bad for pointing the finger at someone who I have contrary views to while they put themselves in the public eye to defend those views even though they are ‘out there’.

I don’t like confrontation but learning to present what I believe in more confidently.

Yet that’s only possible when the other party stretches out so they can hear clearer.

Because without that, nothing would ever be possible.

The post is devoted to my day today at the School of Oriental and African Studies, yet it is written with an individual in mind, unrelated to my day at the university, yet being a member of the uni.

They surprised me beyond all expectations.

I suppose, that’s the true Soasian style.

A walk in the port of Piraeus

Westward from the ferry port for destinations to the Cyclades and Crete, the port of Pireaus has a few hidden surprises.

Boats get larger and the space wider, abandoned warehouses as a backdrop, grafitti and murals galore.

The Chinese Road and Belt initiative will be redeveloping this area and on a beautifully sunny autumnal Sunday morning, I could not find an excuse to not document the blue of the sea with the yellows and blues of the ferries and the brownish grey concrete warehouses overshadowing the port streets.

I can’t predict what the port will look like in the future development, however I know for sure, the colourful ferries will still be floating on the beautiful coloured sea all the same.

Back in education

I am back at the university studying full time twenty years after the last time I was in formal education.

There are some things that have changed since. I’m not lacking of confidence. And I have work experience on the subject. Did I think I would be an alien, at least a decade older than the majority of the students? Yes. And I can see some twenty years old students talk the theory but weak in joining the dots. Then there are exceptions, the smart ones. That put the hours in and build coherence across perspectives and layers. And the professors the Bank of knowledge of recalculations across parallel universes, the poets that make you laugh, worry, question, empower.

Do the 20 something year olds see what I see?

I’m emerged, taken, absorbed.

The weight of information is frying my brains, I can feel the heat emitting. I feel like a Nick Cave song. Poverty, testosterone, rebirth, death, crisis, grouping, introspection, self and sense check.
I can see again and with that I came to find a purpose for the frame I hold in my hands as I type.

Here are the shots from the first month in uni. After 20 years. Just as my memories from the first time, fading away in the distance, this somehow has poured new colours on to it.