Economic diplomacy, the power of data, corporate power and influencing en mass.
Produced by Athina Fokidou for the SOAS MSc module General Diplomatic Studies, Autumn 2018.
Economic diplomacy, the power of data, corporate power and influencing en mass.
Produced by Athina Fokidou for the SOAS MSc module General Diplomatic Studies, Autumn 2018.
Just visited the Oregon Historical Society, where the disappointment turned into contempt and anger.
A state with around 200 years of history.
The first thing that I noticed is how everything was presented as a story of ‘doing’ instead of a series of histories emerging in equal importance on the narrative of what is new America.
The natives, the African Americans, the Asians presented as sharing the same space in an assumptive scenario that puts them in the otherness of America’s existence.
No narrative of their histories, just the acknowledgment they exist.
The pioneers who made this land in the forefront. The dislocations of indigenous people to securitize vast areas of land. The securitization agenda in its earliest form.
Securitise from what? This word serves the interests of those who are pursuing the agenda without equitable considerations for those marginalized in the process.
A history of half-hearted stories, incomplete narratives, equalization said but not existing in any form or story in real life.
The marketization of ideas, becoming ideas in themselves and accepted as currency fueling development, without any fundamental structure for emerging cooperation.
Forcibly changing a world that doesn’t want to change and presenting it as de facto.
I can dig a thousand words to describe the disappointment in American history. Mostly, because whoever took the lead in making this the common reality, had not thought through all they lost in the process of focusing on the small detail of the multiplicity the size of land has offered them.
Agrarian change for who, and to feed who?
The land of the amble, producing less for less.
The establishment of fake stories as a level of understanding of what might have been better imaginable.
For all the free souls out there, the surfers, the boarders, the under-trendies, past 9-5 jobbers and dreamers out there are some spots in town that will meet you half way to your soul. Here are my top suggestions:
The Fresh Pot, easy-going vibes, wicked design on mugs, great for people watching in either of the two locations (Central and Mississippi) that I’ve been to.
Ecliptic Brewery, intriguing brew menu, food tastes really good too. Soundtrack expectations of spacey Pink Floyd kind of tunes, or rock. What else would you expect?
I also love the Ecliptic Brewing branding and some of the tins you buy from the shops are fluorescent.
It’s the mellowness – if you weren’t keen on drinking coffee because of the ground bean bitterness, this one will surprise you. A must-try!
Sizzle Pie, hmm soul-warming, heartwarming filling vegan food. It makes me hungry thinking of it every time. vegan, tasty, filling. end
To all the 80s souls out there, Goonies and Stranger Things fans. You are in Portland and there is a wicked retro gaming arcade. It’s between downtown and the Pearl and you can’t miss it, the music will mesmerize you to enter. It’s like why bother questioning the 1+1 equation. You know the answer, jump right in!
Jezebel’s Last Standing Merrygoround Cafe, 502 NE 42nd Ave, Portland, OR 97218
Gently themed like a traveling carnival of the depression times era, aka Carnivale, this place is comfortable and understated yet smart cool for those who prefer to head out a few streets east from trendy Alberta and the tourist drag.
Old house turned into a house styled bar. Cool cocktails, healthy and tasty fast food, happy hours, and a friendly non-goth -but slightly goth-like feel, for everyone. The patio sitting area is pretty continental too.
Article guarantee: spending a couple of hours in each of the places above, will considerably improve your Pacific NorthWestern experience.
So you know Portland is the weird and quirky side of the western coast of the US for being alternative and out there. Well, it is for American standards, but… There are some things so ingrained in the American culture that even Portland can’t shy.
I’ve been visiting the Portland State University library for a while, getting some quiet time to write for hours.
I don’t get to talk to folks when here much. A new friend who studied linguistics mentioned she was considering a PhD study on the linguistics of indoor graffiti to research the public debates drawn out on loo doors, library spaces, lecture theatre desks, cantines and classes amongst others.
Reading the voices in public yet privately defined spaces gives you an idea of what people really want to say. That is usually expressed in a doodle, a few words, at the end of an emotion or thought.
I saw this one in the quiet study area of Portland State University.
What shook me was that I was in a relatively trendy and well off part of the world where people are seen as Liberal and progressive. Without assuming the voices on this graffiti represent all American voices, they do sum it up in a nutshell.
Bernie Sanders can shout as much as he wants about healthcare for all. Some may know what universal income is too. How does a population within an economy as such get to the point of believing free healthcare is brainwash? Is that an indication the writer thinks it’s impossible? Or is it inappropriate?
Will the benefits that we have not had the opportunity to experience never materialize? How does fit it in the big American dream?
I now understand that we can’t rely on the young to fight for things they don’t understand. But what happened to them that got them to a place of not believing in the state’s capability of delivering on its social contract. Was it the Republicans, or Democrats before them, the Tories or Blair before them or the disconnected wababee socialist Corbyn? They are all part of the same system, right? Taking their quick and short chances (cause that’s all they’ll ever get nowadays) in power trips and little business for their buddies whilst citizens lose the will to live, and are devalued for their contribution to society and beyond their filling the gaps in the pockets of those near and dear.
Yet the broken system is showing that’s all around us. Segmentations of data that forgot how they came to be.
To be called brainwashed is to have a compliment. A recognition of the presence of a brain that’s been open to dialogue and will continue to do so.
Don’t tell me who I am, tell me who I want to be.
So I will not start from the beginning, why should I, after all, I will start from the point writing this blog post, became urgent. And that wasn’t until I got inspired.
So you know how much I love Camden Town, right? I suppose in many ways it’s the alternativeness I have come to love for decades, even if it is being polished gradually, the edginess is still here.
So what’s up Seattle?
Up University Way and I got blown away. Now this is a quiet Camden, clothes’ exchanges galore, vintage shops with vintage clothes you can actually wear i.e. check out Red Light Vintage http://www.redlightvintage.com/, Korean food that smells beyond tasting good, unintrusive cafes like Cafe Solstice https://www.cafesolsticeseattle.com/ and a second-hand multi-lingo book shop check out Magus Books https://www.magusbooksseattle.com/, all packed on and off a high street where people don’t need to prove they are cool – they kind of are and don’t know it. I loved the dress down punk 90s understated fashion on the street.
Elaborative discussions on how the homeless are better looked after in Seattle than in Portland are complimentary. 90’s vibes. A time before all that uber-conservative shit in politics took off. Where Blur and Bjork are cool to mix with all sorts and cafes don’t mind shitloads of unpretentious laptops.
Now rewind a few days.
The airport; you land in Seattle, you be sure to listen to grunge and rock on the airport speakers. Telling what the city is made off. Even the light rail is called ‘sound’.
Then off to Highline, you could call it a disgruntled neighborhood on the margins, one that will certainly change, because the people may be poorer than average, but have tolerance and are friendly. For Londoners, think of Hackney before the money moved in. In Highline, money is not here yet but I think it won’t show in the same ugly British ways, because the money in the US goes to more affluent areas, whereas money into poorer areas in Seattle means it came from poorer people yet. So you get the picture.
Next off; Gasworks Park, or rewind a few blocks up the hill behind down Sunnyside Avenue North. Probably one of the most beautiful areas in Seattle. Streets manicured pretty green and friendly unpretentious, just the houses are bigger on well thought designed picturesque bliss, but no grandeur here either please, just simply gorgeous. So back down the hill to the Gasworks park and by the Lake Union waterfront – oh my days. My waterways days chucked into the bin, deep deep into the trash bin. The chaos of sup paddleboarding, rowing, kayaking, commercial traffic, houseboats, sailing boats, and water airplanes all using the same water was like watching carnival for the first time. All it felt like, was kind of Greek chaos, only with the confidence. It was fun to watch – put a big smile on my face and gave me another good reason to add to the reasons why I am in this part of the world: it doesn’t make much sense, but it works fine.
A little later, into Fremont, oh my days you have to go, it is so cool and pretty, like an understated really green lightly academic bohemian neighborhood that reminds me of somewhere I would have loved to go before.
So yeah, go Pike Street Market, Alki Beach, the Space Needle (if you must), Westlake Shopping, check out the Fremont Troll and the gum wall (I didn’t – couldn’t bear the thought), look out the wheel from the seafront and maybe jump on the ferry to Bremerton for more really cool views. Pop in at the University of Washington grounds – huge trees bigger spaces to feel academically inspired ;-p and if you are a Harry Potter fan the Library Suzzalo and Allen Libraries is the kind of grandeur that Oxbridge would love to have (I thought my School of Oriental and African Studies university library was big haha). Out of the library look out to the incredible view of the snow-capped Mount Rainier. Whatever you do though, if you are my sort of gang, go up University Way, go down Sunnyside Avenue.
From the Contemporary Art in the Global (MSc School of Oriental and African Studies)
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.
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.
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?
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)
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.
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.
Image 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.
Image 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.
Image 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.
Image 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.
Images 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.”
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.
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.
Applicants must meet all of the following criteria:
The awards are available to citizens of the following countries:
Awards are available for study in the following areas:
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.
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).
Interested applicants must complete an online or paper CSLA application and submit along with supporting documentation to be considered for CSLA support.
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 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.
The Tower Hamlets cemetery is one of the seven ‘magnificent’ Victorian resting places remaining in London. They were created to settle the dangerously overcrowded parish cemeteries. Dracula was filmed at Highgate Cemetery.
My local, the The Tower Hamlets cemetery, is located in the back streets of the heart of the Eastend between Mile End and Bow Station. It has certainly gone to sleep and woken up to the sound of the Bow Bells for many years. Not surprisingly for an Eastend lock-in, it is open 24 hours a day.
In the past I have attended art events and film festivals, including the Shuffle festival curated by Danny Boyle. My visit recently was made in search of a contemplating walking space away from the hectic pace of a Monday mid morning and in search of clean air and quietness.
What I like about this cemetery is it’s capacity to disorient you and draw you off track between the thick growing foliage, and fallen gravestones.
I love how the place smells fresh in contrast to the rest of the wonderfully diverse smells in the Eastend. I love how it is equally shared by hooded youth, trendy dog walkers, old cockneys and the odd walker, like myself, just taking the green goth-icky scenery in.
The cemetery is now a nature reserve looked after by a friendly society, looking out for the wildlife residing in the woods. They hold bat watching events in true Gothic style.
This reminds me of references of the tours at Highgate cemetery, that coincidentally I discovered that on occasions were run by well acclaimed author Audrey Niffernegger who’s one familiar book is Her Fearful Symmetry, a ghost story, is also based in the cemetery surrounding area. Ghostly enough, only two weeks after learning that she gives site seeing trips around the cemetery, one if her books found its way in front of me on a very rare visit to an Eastend charity shop. Good enough reason to write this, right?
There is an uncanny beauty in the ‘Magnificent Seven’. I have not heard of other cities’ stories of overflowing burials, to the extend of contaminating water and grounds.
Victorian Eastend couldn’t have been a happy place, non-the-less for the very unpleasant presence of many evil and opportunist men, without forgetting Jack the Ripper, who roamed the streets freely only a mile or so down the road.
Being able to walk through a place that hosted so much pain once, to soothe the pain of city living in the 21st century is a gift that I rest assured was not planned originally.
I can’t say enough, thank you.