tag:blogger.com,1999:blog-44398062997336489242024-03-06T08:03:40.801+00:00cosmopolismatthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.comBlogger81125tag:blogger.com,1999:blog-4439806299733648924.post-25715239021164388992021-03-10T17:14:00.004+00:002021-03-10T17:17:03.160+00:00<p style="text-align: center;"> </p><p style="text-align: center;"> </p><p style="text-align: center;"> </p><p style="text-align: center;"> <span style="font-size: large;"> </span></p><p style="text-align: center;"><span style="font-size: large;"> </span></p><p style="text-align: center;"><span style="font-size: large;"> </span></p><h1 style="text-align: left;"><span style="font-size: x-large;">My blog has now moved to:</span></h1><h1 style="text-align: left;"><span style="font-size: x-large;"><a href="http://matthewgandy.org">matthewgandy.org</a></span></h1><p style="text-align: left;"><span style="font-size: x-large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;"> </span><br /></p>matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-91958677810647999772020-04-28T18:57:00.001+01:002020-04-28T18:57:32.175+01:00Night Moves<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #444444;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">The exploration of radical environmentalism in the thriller <i>Night Moves</i> (2014), directed by Kelly
Reichardt, is a fascinating study in character development and ethical
complexity.<span> </span>The film steadily builds a
sense of extreme tension in relation to the planned destruction of a dam that
has unintended consequences.<span> </span>Shot over
just thirty days in southern Oregon, the sparsely populated landscape provides
a poignant backdrop to the inner turmoil of the three main protagonists.<span> </span>A sense of foreboding permeates the film as
it drifts inexorably towards its violent denouement.</span></span></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-15596300751383575382020-04-26T18:44:00.001+01:002020-04-26T18:44:22.663+01:00High Life<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #444444;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">The
grim possibilities of multi-generational space travel to reach potentially
inhabitable reaches of the solar system are explored in Claire Denis’s film <i>High Life</i> (2019) where human “refuse” is
propelled into space as part of a system of extra-terrestrial laboratories. The
scarred and psychologically damaged human cargo are “recycled” as part of a
largely unseen nexus of scientific experimentation.<span> </span>The film presents an unsettling post-human journey
in which the limits to humanity become brutally exposed: in one strange
sequence the decaying spaceship docks with another experimental space station
full of dead and dying dogs.<span> </span>The doomed mission
lies trapped in a liminal state between the claustrophobia of confinement and an
inky abyss beyond.<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></span></span><span lang="EN-US" style="font-family: "Baskerville",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Palatino-Roman;"></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-60462860729769284562020-04-21T10:35:00.000+01:002020-04-21T20:33:14.713+01:00Covid and Brexit: the accursed duo <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #666666;"><span style="font-family: "verdana" , sans-serif; font-size: small;">The senior public health expert, Professor Anthony Costello,
warns that the UK is likely to have one of the worst, if not <i style="mso-bidi-font-style: normal;">the </i>worst, death rate from Covid-19 in
Europe.<span style="mso-spacerun: yes;"> </span>The UK has been experiencing a
slow-motion catastrophe, unfolding over a period of weeks and months symbolized
by the current incapacity and near death experience of the Prime Minister.<span style="mso-spacerun: yes;"> </span>Why has the UK been much more badly affected
than Denmark, Germany, South Korea, and many other countries? <span style="mso-spacerun: yes;"> </span></span><span style="font-family: "verdana" , sans-serif; font-size: small;">
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<span style="color: #666666;"><span style="font-family: "verdana" , sans-serif; font-size: small;">i)<span style="mso-tab-count: 1;"> </span>From the
outset the British government tried to pretend that they had a superior
approach to the coronavirus crisis that contrasted with the “panicky”
overreaction of their European neighbours.<span style="mso-spacerun: yes;">
</span>There was a palpable sense of “British exceptionalism,” now liberated
from the strictures of European cooperation (the UK had only just “celebrated”
its departure from the EU at the end of January).<span style="mso-spacerun: yes;"> </span>Opportunities to share procurement
opportunities for essential equipment were simply rebuffed (and then denied).</span></span></div>
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<span style="color: #666666;"><span style="font-family: "verdana" , sans-serif; font-size: small;">ii)<span style="mso-tab-count: 1;"> </span>Tellingly,
many of the leading ideological zealots and opportunists behind the Brexit campaign
are now at the heart of the UK government, bringing with them the same degree
of hubris and insouciance that has marked policy making over recent years.<span style="mso-spacerun: yes;"> </span>The art of “winging it” and dispensing with
preparation has become a mode of governmentality, born out of a neo-colonial sense
of superiority, as the Irish writer Fintan O’Toole has brilliantly observed.<span style="mso-spacerun: yes;"> </span>It seems oddly appropriate that last summer’s
ill-fated leadership campaign for the Conservative Party, launched by the
hapless health secretary Matt Hancock, was quickly dubbed “the charge of the lightweight
brigade” (after a famous nineteenth-century military disaster).</span></span></div>
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<span style="color: #666666;"><span style="font-family: "verdana" , sans-serif; font-size: small;">iii)<span style="mso-tab-count: 1;"> </span>A major
strategic exercise in pandemic planning in 2016 — Exercise Cygnus — found
serious gaps in preparedness but was never acted on.<span style="mso-spacerun: yes;"> </span>All government attention since 2016 has been subsumed
by the on-going Brexit fiasco sucking resources and expertise away from every
other area of public policy.<span style="mso-spacerun: yes;"> </span>Breezy talk
of economic self-reliance has quickly fallen apart during the coronavirus crisis
leaving a landscape of broken supply chains, idle factories, and food left
rotting in the fields. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-25464708015688192902020-03-29T12:09:00.000+01:002020-04-13T09:15:42.699+01:00Coronavirus<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #666666;"><span style="color: #444444;"><span style="font-size: large;">I was wrong about the Covid-19 virus. On Friday 6 March I met my students in Cambridge
to reassure them that I had every intention of taking them to Berlin for their
overseas field class: at that time there were just 8 recorded cases of the
coronavirus in Berlin and there seemed little reason to simply cancel the
planned trip. Just 24 hours later I had
changed my mind. The latest figures from
the Robert Koch Institute indicate over 2,000 cases of the virus in Berlin
(with over 53,000 cases across Germany as a whole). All of the cafes, museums, and restaurants that
we would have visited are closed. As a
group of 25 people all of our planned field excursions to parks and nature
reserves would have been illegal.</span></span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #666666;"><span style="color: #444444;"><span style="font-size: large;">As I write this blog I am sitting at home in Stoke Newington
in North London. Under placid blue skies
there is an apprehensive atmosphere.
Many people wear improvised face masks.
Some strangers swerve to avoid each other in the street whilst others
walk towards you out of defiance towards new rules on social distancing. The few shops still trading have long and anxious
queues snaking into side streets. The
other day an army truck trundled down Church Street as if a distant coup was
underway but not yet announced to the wider population. Strange notices appear such as anti-jogging
signs in the local park. Accumulations
of refuse suggest that public services are beginning to fray under the
pressure. At night the city is quieter
than I have ever known—the silence is broken only by the sound of foxes or
distant ambulance sirens.</span></span></span></span></div>
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</span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #666666;"><span style="color: #444444;"><span style="font-size: large;">The coronavirus pandemic is already revealing stark
differences in the public health preparedness of different nations. The contrast between the UK and Germany is
striking: whilst senior members of the UK government fall sick after failing to
follow their own half-baked advice it is already apparent that mass testing in
Germany, combined with a better prepared health care system, is saving many
lives. </span></span></span></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-4025995520863962272019-01-08T15:34:00.003+00:002019-01-08T15:34:47.609+00:00Roma<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEo95LyE4p6Do1fNX_uFulE0_ukvrqyPwdaytek-e6Vpu9tR9IRm35lTo_4lVVAJkdvEN6vAiKeA3uFkQBCxRE_I76ZEOfZzOFt21m9hQnKTulFvl6GgN_kWyOQU9lQKtKnRemtKFJ7O0/s1600/ROMA__382_004R.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEo95LyE4p6Do1fNX_uFulE0_ukvrqyPwdaytek-e6Vpu9tR9IRm35lTo_4lVVAJkdvEN6vAiKeA3uFkQBCxRE_I76ZEOfZzOFt21m9hQnKTulFvl6GgN_kWyOQU9lQKtKnRemtKFJ7O0/s320/ROMA__382_004R.0.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="mso-bidi-font-family: Arial;">Alfonso <span style="mso-bidi-font-weight: bold;">Cuarón’s film <i style="mso-bidi-font-style: normal;">Roma</i> (2018), named after the eponymous neighbourhood of Mexico
City, is framed through the experience of a middle class family’s maid Cleo
(played by </span></span><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Yalitza
Aparicio Martínez).<span style="mso-spacerun: yes;"> </span>The film evokes an
intense sense of time and place from the early 1970s inspired by </span><span style="mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">Cuarón’s childhood
memories.<span style="mso-spacerun: yes;"> </span>The set design encompasses
specific details such as tile patterns along with the use of black and white
photography and rich soundscapes to lend the film an especially poignant
atmosphere.<span style="mso-spacerun: yes;"> </span>The narrative weaves together
the emotional turbulence of the main protagonists with wider events such as the
Corpus Christi massacre of university students of June 1971.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Roma</i>
provides a subtle exploration of the intersections between place, politics, and
memory, incorporating the claustrophobic drama of a family in crisis, as well
as the stark social divisions that underpin modern Mexico.<span style="mso-spacerun: yes;"> </span>Cuaron’s <i style="mso-bidi-font-style: normal;">Roma</i>
reminds us why cinema can be both aesthetically and politically compelling. <span style="mso-spacerun: yes;"> </span></span></span></div>
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</style><br />matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com1tag:blogger.com,1999:blog-4439806299733648924.post-7129721625696395552019-01-08T12:06:00.000+00:002019-01-08T12:06:41.171+00:00Truth is out there: Forensic Architecture<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZf1j87SWeF_QJw4yDOXVcVXgj-NJUwEX0N1IIahwzkOZXCiqBMh72XRW4lcaZXs6hWwkB_gKp6MSvR5LD6y_6yyjO5SUCioFiwFJohEuqcneTooEFIGOL32qTGfwLVxQ27NzgiMXAiOA/s1600/L1130915+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZf1j87SWeF_QJw4yDOXVcVXgj-NJUwEX0N1IIahwzkOZXCiqBMh72XRW4lcaZXs6hWwkB_gKp6MSvR5LD6y_6yyjO5SUCioFiwFJohEuqcneTooEFIGOL32qTGfwLVxQ27NzgiMXAiOA/s320/L1130915+copy.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Forensic Architecture at 2018 Turner Prize. Photo: Matthew Gandy</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYT2ITgN400IjNAgiz-Qyu6Iv5S9P8sbEsjM82Xe6KqJ03LSdPevA9QqoTSVpDRu_9RTT79WZSxbPcLnwxjo3Y0ymsm5BEVvEg5_DWA3IYwkA3hzbc6gJJQWwsDA0JKhgUvkR4dCB3-qg/s1600/L1130960+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="493" data-original-width="900" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYT2ITgN400IjNAgiz-Qyu6Iv5S9P8sbEsjM82Xe6KqJ03LSdPevA9QqoTSVpDRu_9RTT79WZSxbPcLnwxjo3Y0ymsm5BEVvEg5_DWA3IYwkA3hzbc6gJJQWwsDA0JKhgUvkR4dCB3-qg/s320/L1130960+copy.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Still from Forensic Architecture documentary to accompany Turner Prize entry.</span></td></tr>
</tbody></table>
<br />
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">“In my understanding,” argues the founder of Forensic
Architecture Eyal Weizman, “truth is something that is like a common
resource”.<span style="mso-spacerun: yes;"> </span>“The truth is just like air
or water,” continues Weizman, “something that we all need in order to
understand, that provides evidence for civil society groups that are
confronting state crimes and human rights violations worldwide.”<span style="mso-spacerun: yes;"> </span>In this brief yet eloquent interview, that
accompanies Forensic Architecture’s short listed entry to the 2018 Turner
Prize, we gain some fascinating insights into this radical interdisciplinary
research programme that Weizman initiated at Goldsmiths over a decade ago.<span style="mso-spacerun: yes;"> </span>This remarkable body of work brings questions
of epistemology and politics into dialogue as part of an unsettling of the
human subject within architecture, art history, and related fields.<span style="mso-spacerun: yes;"> </span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The work of Weizman and his colleagues provokes a series of
critical questions that offer an important alternative to the recent emphasis
on neo-vitalist or object-oriented ontologies:</span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">i)<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>An enriched reconceptualization of the
human subject can transcend the limitations of humanism as well as the
flattening and undifferentiated dimensions to some post-humanist perspectives. </span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">ii)<span style="mso-tab-count: 1;"> </span>The
conceptualization of buildings and also plants as evidentiary markers or
sentinels could surely be extended to other organisms such as insects because
of their extremely precise responses to environmental change.<span style="mso-spacerun: yes;"> </span>There is in this sense an interesting
parallel with the emergence of “forensic entomology” and the use of biological
data in criminal investigations.</span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">iii)<span style="mso-tab-count: 1;"> </span>The radical
use of technological tools, and the democratization of digital cartographies
and other modes of representation, opens up new possibilities for articulating technologically
enhanced forms of citizenship.</span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">iv)<span style="mso-tab-count: 1;"> </span>The idea of
truth as a collaborative synthesis derived from multiple perspectives, whose
modes of scrutiny or validation are transparent, is a welcome foil to more cynical,
nihilistic, or post-truth formulations. <span style="mso-spacerun: yes;"> </span>There is an emphasis on the accountability of
science rather than its degree of fallibility or infallibility. </span></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<br /></div>
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</style>matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com1tag:blogger.com,1999:blog-4439806299733648924.post-42551401493102330482018-12-31T07:04:00.000+00:002019-01-14T11:37:03.586+00:00Corbyn: a political tragedy<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">I voted for Jeremy Corbyn twice
in the two most recent Labour leadership elections.
The first time because he was the only candidate that seemed to directly
address substantive policy issues and the second time because I felt he
deserved a chance to succeed despite his lamentable performance during the EU
referendum of 2016. Had any other
candidate won I would have rallied round and supported them as usual: the only
time in recent years that I have withheld my support for Labour is for Blair in the 2005 general election, in
the wake of the disastrous Iraq War.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">It’s clear that Corbyn takes a 1970s view of the European
Union that is both conspiratorial and wrong headed.<span style="mso-spacerun: yes;"> </span>His few remarks on state aid for industry
indicate a misunderstanding about the role of the EU in the fields of
technological change, competition policy, and regional development.<span style="mso-spacerun: yes;"> </span>Other socialist politicians in Europe have
urged Corbyn to adopt an internationalist perspective but he will not let go of
a parochial and backward looking stance.<span style="mso-spacerun: yes;">
</span>The repeated mantra of the current Labour leadership for a “jobs first
Brexit” ignores the impact of a shrunken economy on any progressive political
programme.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">If Labour’s support for Brexit is driven more by political
expediency than anything else then this stems from a misunderstanding of
British politics.<span style="mso-spacerun: yes;"> </span>Although many
constituencies with Labour MPs voted for Brexit in 2016 a majority of Labour
voters opted for Remain.<span style="mso-spacerun: yes;"> </span>Recent surveys
show that the shift towards Remain among existing and potential Labour voters
has further strengthened so that a pro-Brexit position risks alienating
millions of supporters.<span style="mso-spacerun: yes;"> </span>It would be far
better to combine a commitment to Remain via another referendum with a clear
programme to end austerity and tackle critical challenges such as the need for more
social housing, the impact of inequality, and declining public services. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Clinging to the “Lexit” position seems even more disastrous
when we move the focus from economic policy to cultural identity.<span style="mso-spacerun: yes;"> </span>Brexit is a project of and for the political
Right: the referendum was narrowly won by the Leave campaign on the basis
of cheating, lies, and the deliberate use of racist rhetoric to unleash a kind
of angry nostalgia.<span style="mso-spacerun: yes;"> </span>This is the vision
of Enoch Powell not Clement Attlee and Labour’s dalliance with a destructive
form of English nationalism risks shattering their commitment to anti-racism
and social justice.<span style="mso-spacerun: yes;"> </span>As the Swedish
sociologist Göran Therborn has recently argued, the defining failure of centre
left parties across Europe in recent years has been to allow worsening socio-economic
inequalities to be blamed on migration rather than neo-liberalism.<span style="mso-spacerun: yes;"> </span>This failure of political leadership predates
Corbyn but he has neglected to challenge dangerous misconceptions about the causes
of poverty, inequality, and industrial decline.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">So here we are, just a matter of weeks away from Brexit,
unless article 50 is rescinded or delayed.
And time is rapidly running out for the Labour leadership to take a principled position
on the most critical political dilemma of our generation. </span><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-71692612015922745102016-11-14T18:44:00.001+00:002016-11-18T20:12:32.139+00:00Wisconsin<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh59UGzi1VExwZkacLwOc2-ZrNqYifGyHoGrBhaju7t0aC1Ht9-nhM-Lw7V2bJ1c-2-kbodQxQvs_wy80aIkc2W4tQKMiwsUR4LTdSXgXOatCmW39ZWZmLDzYxoLJmdWuXREPXXauWaycM/s1600/wisconsin-landscape-at-indian-lake-park2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh59UGzi1VExwZkacLwOc2-ZrNqYifGyHoGrBhaju7t0aC1Ht9-nhM-Lw7V2bJ1c-2-kbodQxQvs_wy80aIkc2W4tQKMiwsUR4LTdSXgXOatCmW39ZWZmLDzYxoLJmdWuXREPXXauWaycM/s320/wisconsin-landscape-at-indian-lake-park2.jpg" width="320" /></a></div>
<br />
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<span style="color: #444444; font-family: "verdana" , sans-serif;">In Michelle Obama’s eloquent speech given in New Hampshire
against the rising tide of hatred and misogyny unleashed during the American
election campaign she did not refer to Donald J. Trump by name but merely as
Hillary Clinton’s opponent.<span style="mso-spacerun: yes;"> </span>Now we will
have to get used to reading and saying his name more often but politics is
never just a matter of a single individual, even under the extreme reactionary
swerve of US politics, that has taken everyone, not only Americans, into a
dangerously uncertain and perhaps even irreversible situation.<span style="mso-spacerun: yes;"> </span>The Paris climate change treaty may be in
jeopardy.<span style="mso-spacerun: yes;"> </span>Key domestic achievements of
the Obama years could be ripped up including wider access to health care.<span style="mso-spacerun: yes;"> </span>New appointments to the US Supreme Court will
have lasting significance for American society.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">The Democrats had foolishly assumed that Wisconsin was safely
in their camp but the primaries had already given signs of deep disenchantment
with the dynastic Clinton party machine.<span style="mso-spacerun: yes;">
</span>However effectively Hillary Clinton managed to present her own agenda she
was nonetheless unable to completely emerge from the shadows of the last
Clinton administration (as may also have been the case with Al Gore in
2000).<span style="mso-spacerun: yes;"> </span>Both Gore and Clinton were
ultimately ahead in the popular vote but cursed by the final outcome of the electoral
college system (and also in Gore’s case by the infamous Florida count and its
legal aftermath).<span style="mso-spacerun: yes;"> </span>It turned out that Barack
Obama’s broad-based coalition of progressive voters simply could not be
mobilized in sufficient numbers to hold Wisconsin along with other crucial
electoral college votes spread across the so-called “rust belt” of the Mid West.<span style="mso-spacerun: yes;"> </span>Would a Sanders-Warren ticket have done
better?<span style="mso-spacerun: yes;"> </span>Maybe, but we shall never know.<span style="mso-spacerun: yes;"> </span>Furthermore, with over forty per cent of American
adults not participating in the election, let alone a further seven per cent
disqualified as former felons or for missing papers, the actual outcome of this
debacle was decided by less than a quarter of the adult population, and far fewer
if we look at the wafer thin margins in five or six bell weather states. <o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;">The rise of right-wing populism now endangers liberal
democracy at a global scale.<span style="mso-spacerun: yes;"> </span>A toxic
brew of pervasive inequalities, manipulated grievances, and historical amnesia
threatens to overwhelm attempts to articulate a progressive alternative.<span style="mso-spacerun: yes;"> </span>The social democratic tradition in particular
finds itself in deep crisis, its sources of mobilization splintered and
scattered, and its previous achievements steadily eroded. <o:p></o:p></span></div>
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<br /></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-4908264977804856822016-10-03T22:43:00.003+01:002016-10-03T22:50:31.988+01:00Boyhood<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ta7RX_t6Knvc9QS9saJZgFqY86kehTFFP31KNs34HEYceaDKO9n8dd-HO6wRISUOKJiZgf6Do7drUtLgJo6O4ALrAVkzL6M2s4lF6VejDjnM8UafPbwv6mfFh9D7E0DCqi2znwmuno0/s1600/boyhood_still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ta7RX_t6Knvc9QS9saJZgFqY86kehTFFP31KNs34HEYceaDKO9n8dd-HO6wRISUOKJiZgf6Do7drUtLgJo6O4ALrAVkzL6M2s4lF6VejDjnM8UafPbwv6mfFh9D7E0DCqi2znwmuno0/s320/boyhood_still.jpg" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: #444444; font-family: Verdana, sans-serif;">Richard Linklater’s remarkable film <i style="mso-bidi-font-style: normal;">Boyhood</i> (2015) took twelve years to make.<span style="mso-spacerun: yes;"> </span>The film focuses on Mason Evans Jr (played by
Ellar Coltrane), who we first meet aged six, along with his sister Samantha
(played by the director’s daughter Lorelei), his mother (Patricia Arquette),
who is a constant in his life, and his wayward yet loving father (Ethan
Hawke).<span style="mso-spacerun: yes;"> </span>We follow this ensemble of
characters and actors in real time from 2002 to 2014, the film being shot for a
few days in each year, and then crafted into a cinematic document. <span style="mso-spacerun: yes;"> </span>With the passage of time the emotional nuances
of each scene become magnified through an intense kind of cinematic
verisimilitude.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444;"><br /></span></span>
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444;">The representation of time is one of the most complex
dimensions to cinematic art. The French
philosopher Gilles Deleuze even divides the history of cinema into a putative
shift from the “movement image” to the “time image” in his idiosyncratic overview
of the medium. Though occasional spaces
of real-time have been eloquently evoked in the unhurried films of Michelangelo
Antonioni, John Cassavetes, and other directors, the brilliance of </span><i style="color: #444444;">Boyhood</i><span style="color: #444444;"> is to take the question of time
in a fundamentally different and exhilarating direction. At one level </span><i style="color: #444444;">Boyhood</i><span style="color: #444444;"> serves as an elaborate documentary experiment that works as
both a sociological snapshot of American society but also a dramatic device of
poignant emotional intensity. In the
final scene we encounter Mason, now an eighteen-year old student on a camping excursion
with his new friends from university, and we are taken back to the precise
spot, by a lake in the mountains, to which he had gone with his father years
ago. The beauty and repetition of this
tranquil landscape is startling. Mason
wonders whether the familiar refrain that one must seize the moment should
really be turned around since it is really the moment after all that seizes our
consciousness.</span></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-48104844764729971392016-09-16T22:18:00.003+01:002016-09-16T22:21:22.539+01:00Ex_Machina<style>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEJSxXlWSVrjQXiMHCCrE1O5jBZ1fOyVcVNyriegpYNH9WxxxW3uUFbfmEFlEGnKnqttYVXw0HHFSPweSbJNTxKrv5p7R9gRPX0LLi7QkVM3hyphenhyphennoUMbCh01D-rS0HBOGifaEwdlsXLMnI/s1600/Ex_Machina_2.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEJSxXlWSVrjQXiMHCCrE1O5jBZ1fOyVcVNyriegpYNH9WxxxW3uUFbfmEFlEGnKnqttYVXw0HHFSPweSbJNTxKrv5p7R9gRPX0LLi7QkVM3hyphenhyphennoUMbCh01D-rS0HBOGifaEwdlsXLMnI/s320/Ex_Machina_2.tiff" width="320" /></a></div>
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">In this stylish and intelligent new science fiction drama,
directed by Alex Garland, a young computer programmer is sent to an isolated
research facility, run by an eccentric recluse named Nathan Batemen (played to
terrifying effect by Oscar Isaac), to determine whether his new robotic
creation possesses artificial intelligence.
The computer programmer Caleb Smith (played by Domhnall Gleeson)
encounters an enigmatic female robot called Ava (played by Alicia Vikander),
who quickly surpasses the boundaries of the Turing test, revealing what appear
to be a range of human feelings including loneliness, vulnerability, and
desire. The emerging emotional
connection between Smith and Ava, or rather projected onto Smith by Ava as part
of an elaborate experiment, begins to unsettle the power relations within the subterranean
labyrinth.</span></span></span><br />
<br />
<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">There is a touch of Tarkovsky’s <i>Solaris</i> (1972) here in Garland’s <i>Ex_Machina</i> (2015) where the power of imagination emerges out of an interface
between human and machine and consciousness resides in a tangle of wires and
flesh. The film’s spectacular denouement
hints at a near future in which Turing’s anticipated avatars stroll among us.</span></span></span></div>
<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span></span><br />
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-78819908079148516612016-09-15T21:47:00.000+01:002016-09-15T21:47:06.371+01:00Harlow as viewed from Berlin
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Hnmh-eNtBgO4g9N337jQvTQmyws_JNrhiyjrFFBrkMGXfYgVQ1pGuM_WHSHitUvpPtmrxtOI8Q0-a2DLEnLIYZNa8sc2mYGe6EJ8ai8zSIEzuvPGwehfhpEvrfhf7sd17OaqM0R5FEU/s1600/Gibberd_Harlow.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Hnmh-eNtBgO4g9N337jQvTQmyws_JNrhiyjrFFBrkMGXfYgVQ1pGuM_WHSHitUvpPtmrxtOI8Q0-a2DLEnLIYZNa8sc2mYGe6EJ8ai8zSIEzuvPGwehfhpEvrfhf7sd17OaqM0R5FEU/s320/Gibberd_Harlow.tiff" width="320" /></a></div>
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<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">In the wake of the EU referendum there has been a surge of
racism and xenophobia across the UK including acts of extreme violence.<span> </span>A spate of attacks on Polish people in the
Essex town of Harlow, for example, located not far from London, culminated in
the murder of<em> </em><em><span style="font-style: normal;">Arkadiusz Jóźwik, and has attracted international
attention.<span> </span>Unlike the muted media
coverage in the UK external observers see this murder and the atmosphere of
intimidation as a shameful indictment of the UK’s declining status as a
respected European nation.</span></em><span style="font-size: xx-small;"><em><span style="font-style: normal; position: relative; top: -3pt;">1</span></em></span><em><span style="font-style: normal;"></span></em></span></span></span></div>
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">
</span></span></span><div class="MsoNormal">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><em><span style="font-style: normal;">Harlow was the future
once.<span> </span>As one of the original new towns
established under the New Towns Act of 1946, and designed by Sir Frederick
Gibberd, Harlow was a state-of-the art planned settlement created in response
to acute overcrowding in London.<span> </span>Its
buildings exemplify some of the most important examples of post-war British
architecture and its comprehensive park system reflects the richness and
complexity of the local topography.</span></em></span></span></span></div>
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">
</span></span></span><div class="MsoNormal">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><em><span style="font-style: normal;">Politically, Harlow
is a classic bellwether constituency:<span>
</span>Labour in the 1970s, Conservative in the 1980s, regained by New Labour
in the 1990s, lost again to the Conservatives in the 2010 general election.<span> </span>In the 2015 election this working-class seat
seems to have slipped further out of Labour’s reach than ever before: it is
more Tory now than even under the high water mark of Thatcherism in the late
1980s.<span> </span>Without Labour winning Harlow
there will probably never be another progressive government in the UK again.</span></em></span></span></span></div>
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">
</span></span></span><div class="MsoNormal">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><em><span style="font-style: normal;">Part of the UK’s
problem is that it has never gone through a process of collective
self-reflection over its colonial antecedents, whether in Ireland, Kenya,
India, or elsewhere.<span> </span>A fog of self
delusion pervades national discourse so that the UK’s complicity in the
geo-political turmoil that has generated the contemporary mass movement of
migrants and refugees is scarcely acknowledged.<span>
</span>Equally, the enormous contribution of migrants to British society, over
many decades, has been drowned out by years of wilful misrepresentation.<span> </span>The imperial mantra of “free trade” has
become part of the labyrinthine tautology of “Brexit means Brexit” where
vacuity and mendacity rule supreme.<span> </span></span></em></span></span></span></div>
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">
</span></span></span><div class="MsoNormal">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><em><span style="font-style: normal;">The fading of
Harlow’s post-war dream is a poignant cipher for the wider ills of British
society.<span> </span>But the European Union is no
more responsible for the town’s perceived decline than the rings of Saturn.<span> </span>Why blame Europeans for the failures of
Britain’s ruling class?<span> </span>I hope very much
that Neal Ascherson’s interpretation of the UK’s predicament is correct: we
will spend three years trying to get out of the EU and then a further three
years trying to get back in.</span></em></span></span></span><style><!--
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--</style><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;"><em><span style="font-style: normal; position: relative; top: -3pt;">2</span></em></span><em><span style="font-style: normal;"><span> </span></span></em></span></span></span>
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<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">
</span></span></span><div class="MsoNormal">
<span style="color: #444444;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;">1<span> </span>Christian
Zaschke, “Rührt euch,” <i>Süddeutsche
Zeitung</i> (10/11 September 2016)
</span></span></span></div>
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<span style="color: #444444;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;">2<span> </span>Neal
Ascherson, “Where are we now?,” <i>London
Review of Books</i><span> </span>(14 July 2016</span></span></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-38324032077832408772016-09-11T18:24:00.002+01:002016-09-11T18:27:42.736+01:00Schlachtensee<style>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisF6ZVJOo68W5-B5lg5kTn_2BAr0RZ-mtqIbftYpUnMcvHIZzzO1F4ERi2_KHxVPlIHCH2oav3ZhrmdCIBd_OYzn-VW0LirRrXrCjlBgs3cUgPAL3lhLv36fiHuJh7s5Rz2S8abTXqB1U/s1600/sammlung_gemaelde_02_walterleistikow-abendstimmungschlachtensee_gem-68-16_bartsch+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisF6ZVJOo68W5-B5lg5kTn_2BAr0RZ-mtqIbftYpUnMcvHIZzzO1F4ERi2_KHxVPlIHCH2oav3ZhrmdCIBd_OYzn-VW0LirRrXrCjlBgs3cUgPAL3lhLv36fiHuJh7s5Rz2S8abTXqB1U/s320/sammlung_gemaelde_02_walterleistikow-abendstimmungschlachtensee_gem-68-16_bartsch+2.jpg" width="320" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">This afternoon I grabbed my towel and headed for
Schlachtensee — a lake in the south west of Berlin, surrounded by the vast Grunewald
forest that stretches beyond the city limits. </span></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">
</span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">It’s been just over ten years since I swam in this lake —
the last time I was here Germany were hosting the world cup and I had a picnic
on the lakeshore. As I swim out through
bands of warmer and cooler water, beyond the dappled shade provided by alder
and poplar trees, I am alongside coots and great crested grebes bobbing about
on the surface, making occasional dives into the muddy depths. Large dragonflies skim across the water like
turquoise jewels in the sunshine. In the
distance I can the see the bright green reed banks on the other side — my
destination as I gradually leave the crowds behind.</span></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">
</span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">In the early twentieth century speculative developers tried
to grab the lakeside to build private villas and restrict public access. Luckily a new city planner called Martin
Wagner stopped this from happening in the 1920s as part of his inclusive vision
for urban nature. How many swimmers know
that somebody had their future in mind nearly 100 years ago<span style="font-family: "verdana" , sans-serif;">?</span> This is public space at its best!</span></span></span></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-86978505584968488722016-09-11T11:51:00.000+01:002016-09-25T13:58:50.563+01:00City of wasps<span style="font-family: Verdana, sans-serif;"><span style="color: #444444;">One of the nicer features of Berlin during the warmer months
is the popular habit of having a Sunday breakfast platter served outside.</span><span style="color: #444444;"> </span><span style="color: #444444;">The city has many hundreds of excellent
cafes with their assorted bread, cheese, and jam awaiting the bleary eyed as
they emerge blinking into the sunshine.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: #444444; font-family: Verdana, sans-serif;">It only takes about three or four minutes but then they
come.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">From the second or third week of
August they arrive in ever greater numbers.</span><span style="color: #444444; font-family: Verdana, sans-serif;">
</span><span style="color: #444444; font-family: Verdana, sans-serif;">It is the wasp season. It is now mid-September, and the glorious blaze
of late summer sun, belied only by its angle in the sky, is but a backcloth to
a momentous feeding frenzy.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">The wasps
seem to know that their days are numbered and it is now or never to have a
really good final supper.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">The Berlin
wasps know what they like: a trace of foam from a Milchkaffee serves as an
ideal accompaniment to strawberry jam.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">A
soft-boiled egg is also appreciated: </span><i style="color: #444444;">genau</i><span style="color: #444444; font-family: Verdana, sans-serif;">
six minutes if you don’t mind.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: #444444; font-family: Verdana, sans-serif;">It is above all jam that kick starts their party.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">Never mind philosophical studies of human
crowd behaviour this is the collective affect of insects in full swing:
suddenly there are nine wasps feasting on the small pot of jam that arrived
with my breakfast.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">There’s just no use
in batting them away — this makes them understandably really annoyed — as other
tables fail to realize in their desperate efforts to curtail the wasp
buffet.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">Yet somehow all this jam seems
to remind the wasps that their days are numbered — a kind of frenzied sugar
rush takes hold.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">I am not so sure about
the Heideggerian assertion that non-human life simply perishes because it has
no conscious understanding of death: these wasps seem to know that they have
little time left and are not happy about it. </span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: #444444; font-family: Verdana, sans-serif;">I observe with grim satisfaction as a party of four enjoying
a champagne breakfast at the table next to me abandon their table amid a series
of elaborate Pina Bausch style body movements to continue their revelries
indoors.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="color: #444444; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: #444444; font-family: Verdana, sans-serif;">The finale to my breakfast is a small glass pot of plain
yoghurt mixed with stewed morello cherries preserved in alcohol: at this point
the wasps finally take over with several sitting on my spoon as it approaches
my mouth.</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">Be gone human!</span><span style="color: #444444; font-family: Verdana, sans-serif;"> </span><span style="color: #444444; font-family: Verdana, sans-serif;">We are in control now!</span></span><br />
<span style="color: #444444;"><span style="font-family: Verdana, sans-serif;">
</span></span><br />
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</span></span><br />
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-53553907865240396492016-07-23T18:45:00.000+01:002016-07-24T11:25:35.808+01:00Exit from Brexit<!--[if gte mso 9]><xml>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">I must confess that I still feel extremely angry about the
outcome of the absurd and unnecessary EU “referendum” yet I am beginning to
think that the UK might remain in the EU after all. I put the chances of this possibility at
about 30 % for the following reasons:<o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;">i) The
political, economic, cultural, and also scientific damage to the UK has already
begun, and is becoming more widely recognized even among those who voted to
leave. Will there be more money for the
NHS or other public services? Rather
unlikely with slower economic growth and even a recession in the offing.<o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">ii) Within the
governing Conservative Party that caused this mess there is a majority of MPs
who wish to remain in the EU. Do they
really want to press the article 50 self destruct button for the UK?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;">iii) The legal
challenge to the use of royal prerogative to trigger article 50 exposes the
absurdity of potentially far reaching constitutional change undertaken by
accident without parliamentary scrutiny or approval. If the UK really is a parliamentary democracy
(and this formed the basis of widespread unease with the extent of EU
legislative powers) then it would be strange if the UK parliament were now
effectively excluded from this process.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">iv) After
triggering article 50 there would be many years of wasted effort and resources
put into the process of leaving the EU to create a weaker and more isolated
(and isolationist) UK. These are years
that could be spent on more productive and useful aims such as investing in the
technologies of the future rather than splurging on consultancy and legal fees
(there are always some beneficiaries from a bad decision). <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;">v) The UK’s new
Prime Minister Theresa May has appointed three leading advocates for the Leave campaign
to senior positions overseeing the Brexit negotiations (the so-called three
Brexiteers comprising Liam Fox, David Davis, and Boris Johnson). Is this a question of political balance for
senior ministerial appointments or a Machiavellian plot to ensure that the
negotiations fail? As a Remain advocate
it is unlikely that May really does want to damage the future of the UK and her
own political legacy to boot. There are
already signs that the idiocy of the Brexiteers is bearing fruit: Davis claims that trade opportunities for the UK are ten times greater outside the EU but
as contributors to <i>The Financial Times</i>
have pointed out, this must surely involve trade negotiations with another
planet. It is time to push back against the
advance of post-factual politics.</span><o:p></o:p></span></div>
<!--EndFragment-->matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-40521804642860256122016-06-26T18:49:00.000+01:002016-06-26T18:51:52.923+01:00Landscape as political transect<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i><br /></i></span>
<i style="font-family: verdana, sans-serif;">Tower Hamlets</i><span style="font-family: verdana, sans-serif;">
(32.5 % Leave 67.5 % Remain)</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">It is the afternoon of Saturday 25<sup>th</sup> June and my
train draws out of London’s Liverpool Street Station amid a thunderstorm,
heading east for Ipswich and Norwich.<span style="mso-spacerun: yes;"> </span>It
is a grubby poorly upholstered train with many empty first class carriages
whilst the rest of us are crammed into the other half of the train. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">As the train leaves the station I can see a familiar mix of Victorian terraces interspersed with post-war social housing.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">Newham</i><span style="mso-spacerun: yes;"> </span>(47.2 % Leave<span style="mso-spacerun: yes;">
</span>52.8 % Remain)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The Olympic Park, Westfield shopping centre, and high-rise
student accommodation. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Cranes, tents, and half-finished buildings in the rain.</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Cemetery, pylons, overpass.</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Car parks, transport depots, inter-war retail units.</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">Barking and Dagenham</i>
(62.4 % Leave<span style="mso-spacerun: yes;"> </span>37.6 % Remain)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Petrol stations, big box Wickes store.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The train slows slightly but does not stop at Chadwell Heath
station.</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Semi-suburbia and standardized poor quality new build
housing.</span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">Havering</i> (69.7 %
Leave<span style="mso-spacerun: yes;"> </span>30.3 % Remain)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Sports playing fields and multiplex cinema. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">We pass through Romford and Gidea Park stations.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Pylons, undulating suburbia, copses.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">We are now leaving the administrative boundary of London and entering
Essex.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">Brentwood</i> (59.2 %
Leave<span style="mso-spacerun: yes;"> </span>40.8 % Remain)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Sewage works<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">We pass over the M25 orbital<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Splash of green graffiti<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Pipe sections by the railway tracks<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Heaps of gravel, greenhouses.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Fields fringed with white flowering umbellifers.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Bird on a wire.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Isolated homestead near the tracks.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Muddy brook and country lane.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The white of willow leaves flashing in the sunshine against
a dark grey thundery sky.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">Chelmsford</i> (52.8 %
Leave<span style="mso-spacerun: yes;"> </span>47.2 % Remain)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">We draw into Chelmsford station, the tracks lined with buddleia,
elder, and sycamore.<o:p></o:p></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-866545867749748282016-06-22T05:57:00.000+01:002016-06-22T06:03:11.798+01:00Political vandals<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;">Last Sunday I followed the lead of </span><span lang="EN-US" style="color: #424242; font-family: "verdana" , sans-serif;">Unison's Dave
Prentis</span><span style="font-family: "verdana" , sans-serif;"> and reported Nigel Farage to the police for inciting racial
hatred: his now notorious poster depicting refugees seeking a safe haven from
war and violence marks a debasement of our political culture that cannot go
unchallenged.</span><span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">Given the murder of the
Labour MP Jo Cox, and rising levels of racism and xenophobia in the UK not seen
since the 1970s, the task of defending society from the politics of hate is a
responsibility for every citizen.</span></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">When the UK Prime Minister David Cameron foolishly called
for a referendum on UK membership of the European Union he set in train a
process that has yet to be fully played out regardless of the final outcome on
23 June. <span style="mso-spacerun: yes;"> </span>At one level we have the
spectacle of a Conservative leadership campaign in which political recklessness
has been re-fashioned as an absurd bid for English independence that further
divides the different nations, regions, and communities of the UK.<span style="mso-spacerun: yes;"> </span>And standing behind the right-wing populist
Boris Johnson is his new aide-de-camp Michael Gove, a curious ideological
zealot, still smarting from being sacked by Cameron as Secretary of State for
Education.<span style="mso-spacerun: yes;"> </span>The simmering internal
disputes over Europe within the Conservative Party have been re-energized by a
cocktail of bitterness and political ambition.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">Among the glaring features of this referendum, illustrated
yet again by the final debate at Wembley last night, is a pervasive hostility
towards “experts” and rational argument.<span style="mso-spacerun: yes;">
</span>Millions of voters are convinced that the decline of manufacturing
industry, falling living standards, and underinvestment in public services is the
fault of the European Union and not successive UK governments.<span style="mso-spacerun: yes;"> </span>The longstanding lack of investment in education,
skills, innovation, infrastructure, and all the other ingredients of economic
success has scarcely been addressed.<o:p></o:p></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">If there was ever an illustration of why a referendum is a
crude and dangerous political tool this Thursday’s polarized and unnecessary
choice shows why.<span style="mso-spacerun: yes;"> </span>The EU is not perfect
but to leave would be an act of political vandalism based on a misreading of
history and a retreat from reality.</span><o:p></o:p></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-30129197917685695932016-05-29T22:22:00.000+01:002016-05-29T22:22:09.786+01:00The attraction to moths<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiANLqexb1NWVORwdeIFe5leLMTfXO-q15KFQ5034rNkB96WTQjJjVYhtth4Gl3IyocNyECp0yyRDpQnPF_Hsgchtm_KtUQOxG-kaRW7jwBJJLGN1CCMvNpoVfnbG8NsLJtjpzl_gNCv0o/s1600/Gandy_Moth.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiANLqexb1NWVORwdeIFe5leLMTfXO-q15KFQ5034rNkB96WTQjJjVYhtth4Gl3IyocNyECp0yyRDpQnPF_Hsgchtm_KtUQOxG-kaRW7jwBJJLGN1CCMvNpoVfnbG8NsLJtjpzl_gNCv0o/s320/Gandy_Moth.tif" width="227" /></a></div>
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<span style="font-family: Verdana, sans-serif;">“We know that moths are attracted to light, but what
attracted you to moths?”</span></div>
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<span style="font-family: Verdana, sans-serif;">I have been puzzling over this question ever since it was
posed to me a few weeks ago by a biochemist.<span style="mso-spacerun: yes;">
</span>I think my childhood curiosity for insects was initially spurred by
noticing bees, bugs, and other insects, but especially butterflies, which
descended in great numbers every summer onto the buddleia bushes that grew in
the former “bomb sites” and wastelands of London.<span style="mso-spacerun: yes;"> </span>Butterflies often serve as an “entomological
portal” to the vast and mysterious world of moths: whilst the UK has only
around 60 species of butterflies there are over 2,500 species of moths
(including only a tiny number that can truly be considered pests or devourers
of woollen clothes).<span style="mso-spacerun: yes;"> </span>In practice, however,
the distinction between moths and butterflies has always been more cultural
than taxonomic in origin since they are grouped together under the same order called
“Lepidoptera” (on account of the distinctive scales on their wings that give
rise to the enormous range of colours and patterns).<span style="mso-spacerun: yes;"> </span>Even the observation that most moths fly by
night is only part of the full story of their diversity and fascinating life
histories: there are actually more species of day-flying moths than there are
species of butterflies.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">As a teenager I bought a moth trap consisting of a bright
mercury vapour bulb that attracted nocturnal species that would spiral towards the
light during the night, falling down into a plastic drum where the moths would
settle under egg boxes so that they could be observed the next day, after which
they were released unharmed back into their environment.<span style="mso-spacerun: yes;"> </span>Even in the heart of London there were dozens
of species I had never encountered before such as the Dog’s Tooth, the
Setaceous Hebrew Character, and the Shuttle-shaped Dart.<span style="mso-spacerun: yes;"> </span>The names were a source of fascination in
themselves.<span style="mso-spacerun: yes;"> </span>And then I tried using the
moth trap one warm and humid July night in the Teifi Valley, West Wales, and
experienced what I would describe as the “entomological sublime”: moths swirled
about me from every direction, just as the German writer W.G. Sebald has described
in his novel <i style="mso-bidi-font-style: normal;">Austerlitz</i>, whilst
dozens of bats swooped between the trees.<span style="mso-spacerun: yes;">
</span>I will never forget the passage of a Barn Owl overhead, eerily lit up by
the light of the moth trap against the deep darkness of the sky.<span style="mso-spacerun: yes;"> </span>The next morning there were over a thousand
jewels awaiting me of every conceivable shape and colour.<span style="mso-spacerun: yes;"> </span>There were dozens of hawk-moths that I had
previously only seen depicted in the striking plates of identification guides
such as Richard South’s <i style="mso-bidi-font-style: normal;">Moths of the
British Isles</i>.<span style="mso-spacerun: yes;"> </span>I was hooked.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">But moths are far more than just a focus of intrigue and
delight.<span style="mso-spacerun: yes;"> </span>They constitute a vital
component of global bio-diversity, reaching their peak diversity in the
Andes.<span style="mso-spacerun: yes;"> </span>Many individual species serve as
sensitive indicators, demonstrating the effects of environmental degradation,
ranging from the creeping menace of climate change to the irreversible
destruction of complex ecosystems. <span style="mso-spacerun: yes;"> </span>Moths also play a significant role in
pollination including species that have co-evolved with specific plants such as
the remarkable relationship between a long-tongued hawk-moth and a long-spurred
orchid in Madagascar that was first realized by Charles Darwin.<span style="mso-spacerun: yes;"> </span>There is even a moth that has shaped human
history:<span style="mso-spacerun: yes;"> </span>the silk trade could not have
emerged without the domesticated silk moth and its diligent “worm”
(caterpillar) that produces the finest, strongest, and most versatile thread
that has ever been known.<span style="mso-spacerun: yes;"> </span>Whether visiting
our dreams or circling around street lights the moth is undoubtedly one of the
wonders of nature.</span><o:p></o:p></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-5561729425043617932016-05-29T22:15:00.000+01:002016-05-29T22:15:09.080+01:00Aferim!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7KKd7-nVeZCxaMqKgZiVv8KQfVLjuL0P85GYa7Bhd7LPnb9Svj2BiT5glUtTflvBhuaCsLacfLPmAPbarSWkhyUlDyUPFvyKsAAFY2ZC_4xhyo61KQffmzptqI2i5GkK5kM3DYFvauo/s1600/aferim_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7KKd7-nVeZCxaMqKgZiVv8KQfVLjuL0P85GYa7Bhd7LPnb9Svj2BiT5glUtTflvBhuaCsLacfLPmAPbarSWkhyUlDyUPFvyKsAAFY2ZC_4xhyo61KQffmzptqI2i5GkK5kM3DYFvauo/s320/aferim_2.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">I saw </span><i style="font-family: Verdana, sans-serif;">Aferim!</i><span style="font-family: Verdana, sans-serif;"> at the Berlinale last year and the film has stayed
with me ever since. </span><span style="font-family: Verdana, sans-serif;">Finally, it is
getting the wider release that it deserves.</span><span style="font-family: Verdana, sans-serif;">
</span><span style="font-family: Verdana, sans-serif;">This remarkable film, directed by the Romanian filmmaker Radu Jude, is
set in nineteenth-century Wallachia, a region in what is now Romania but was then part
of the Ottoman Empire. The narrative is framed around a policeman and his son
who are sent to find a runaway Roma slave and return him to his owner, a </span><i style="font-family: Verdana, sans-serif;">boyar</i><span style="font-family: Verdana, sans-serif;"> (a kind of feudal lord).</span><span style="font-family: Verdana, sans-serif;"> </span><span style="font-family: Verdana, sans-serif;">The widescreen black and white photography
lends the landscapes a vivid verisimilitude and belies the desperate poverty
and violence that lurk everywhere.</span><span style="font-family: Verdana, sans-serif;"> </span><span style="font-family: Verdana, sans-serif;">I can
think of no other film that so brilliantly and devastatingly depicts the
historical plight of the Roma (and illuminates the contemporary weight of the
past).</span><span style="font-family: Verdana, sans-serif;"> </span><i style="font-family: Verdana, sans-serif;">Aferim!</i><span style="font-family: Verdana, sans-serif;"> is surely a milestone in European cinema.</span></div>
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<o:p></o:p></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-39568352461115811352015-01-20T21:23:00.001+00:002015-01-20T21:23:24.709+00:00Street scenes: Thomas Struth and the distillation of vision<div class="MsoNormal">
<span style="color: #444444; font-family: Verdana, sans-serif;">Among the eighteen photographers featured in the recent show
<i>Constructing Worlds</i> at the Barbican
Centre in London I want to reflect for a moment on the work of the German
artist Thomas Struth. Struth forms part
of an influential circle of former students of Bernd and Hilla Becher at the
Düsseldorf Academy where significant advances were made in the use of large
format black and white photographs to record the scale and detail of urban and
industrial landscapes.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="color: #444444; font-family: Verdana, sans-serif;">One of Struth’s photograph stands out for me in particular, entitled
<i>Clinton Road, London</i> (1977), which
captures a wide-angle view of an empty London street, perhaps on a Sunday
morning so as to be as unobtrusive as possible (save for a possible curtain
twitch to the left). In a series of
photos taken in the late 1970s in several cities—among them Brussels, Cologne,
and New York—Struth sought to distil the essence of an entire city into a single
image. In the case of London this is no
easy task. Nevertheless, this street is
instantly recognizable as an example of the type of turn of the century terrace
housing that dominates many of London’s newly built suburbs of the late
nineteenth- and early-twentieth centuries.
There is a studied ordinariness to this image that captures something of
the enigma of London as a city. </span></div>
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<span style="color: #444444; font-family: Verdana, sans-serif;">Sometimes it takes an outsider to notice what is taken for granted. Like the Danish architect Steen Eiler
Rasmussen achieved, with his marvellous book <i>London: the unique city</i>, first published in 1934, Struth has also managed
in the field of photography with his carefully chosen location. That this image is a large format image,
with all the skill and technical complexity that that entails, merely adds to
its poignancy. And with the use of black-and-white rather than colour, the image seems to be both closer in time and yet
simultaneously further away. </span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt8p7QQsY7kPvCm4OBOT_3upmcryGJrVSLioXOw6CTEznmkp_undXSZHxAHcWibpvUFYnoEd974QRTSUbCiWHTm_0Fj7ueZ2uPZWgL1dK8g4EOlMk_Uq5LT0FZOICqUOa8kwkteuqt0gY/s1600/Struth_London.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt8p7QQsY7kPvCm4OBOT_3upmcryGJrVSLioXOw6CTEznmkp_undXSZHxAHcWibpvUFYnoEd974QRTSUbCiWHTm_0Fj7ueZ2uPZWgL1dK8g4EOlMk_Uq5LT0FZOICqUOa8kwkteuqt0gY/s1600/Struth_London.jpg" height="224" width="320" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="color: #444444; font-family: Verdana, sans-serif;"><span style="font-size: xx-small;">Thomas Struth, <i>Clinton Road, London</i> (1977) </span></span></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-72788730332619234152015-01-17T17:42:00.001+00:002015-01-17T18:27:48.178+00:00Spacey city<div class="MsoNormal">
<span style="color: #666666; font-family: Verdana, sans-serif;">I recently took the <span lang="EN-US">Berlin</span><span lang="EN-US">-<span style="mso-bidi-font-weight: bold;">Warszawa</span>-Express and </span>made my first visit to
Warsaw<span lang="EN-US">.<span style="mso-spacerun: yes;">
</span></span>As soon as you leave
Berlin’s Hauptbahnhof you are already in Poland: freshly cooked pierogies are immediately
available in the restaurant car.<span style="mso-spacerun: yes;"> </span>The crowded
car necessitated a nicely Hitchcockian juxtaposition of strangers: behind me I
could hear an urgent discussion about the political situation in Belarus.<o:p></o:p></span></div>
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<span style="color: #666666; font-family: Verdana, sans-serif;">My hosts were mainly
architects and urbanists who explained to me how post-socialist Warsaw has been
characterized by a construction frenzy, especially on the urban fringe, so
that the grey vistas of state socialism now jostle alongside a kind of
neo-Disney palette of pink and orange.<span style="mso-spacerun: yes;"> </span>The
sense of a postmodernist hangover is perhaps most directly evoked by Daniel’s
Libeskind’s <span lang="EN-US">Złota 44—an immense edifice of luxury
condominiums plonked right in the middle of the city.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Verdana, sans-serif;"><span lang="EN-US">One of the most characteristic features of
Warsaw is the use of almost every available space for advertising: above all,
during my visit, the ubiquitous presence of the actor Kevin Spacey to promote a
mobile phone network.<span style="mso-spacerun: yes;"> </span>Spacey seemed to
peer at you from all angles as if he formed part of some ill-defined political
campaign.<span style="mso-spacerun: yes;"> </span></span>The powerful effect of an urban landscape dominated by billboards
is reminiscent of the geographer Anton Wagner’s encounter with Los Angeles in
the early 1930s. Wagner was fascinated
by the garish landscapes produced by weak or uncertain planning regulations: a
topography in which real spaces were hidden by a proliferation of imaginary
ones.</span><span style="font-family: Baskerville;"><o:p></o:p></span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-82955015958713362992015-01-14T16:22:00.002+00:002015-01-14T16:22:54.686+00:00Camberwell Beauty<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Feeling the glimmer of January sun this morning I recalled
one of my most vivid memories of last year.<span style="mso-spacerun: yes;">
</span>On the morning of Saturday 29 March, at just after noon, I cycled past a
favourite spot amid the woods and waterways of Spreewald, a biosphere reserve
that lies about 100 kilometres south-east of central Berlin.<span style="mso-spacerun: yes;"> </span>As I passed the point where two canals meet,
next to towering ash and poplar trees reaching up into the sky, an unmistakable
butterfly swooped up into the air: a Camberwell Beauty, <i style="mso-bidi-font-style: normal;">Nymphalis antiopa</i>, which owes its English name to an early sighting
in 1748, in what is now part of South London.<span style="mso-spacerun: yes;">
</span>I stopped my bike and frantically assembled my camera in time to take a
bad shot of the butterfly sunning itself on the track some ten metres behind me
before it took off over the trees.<span style="mso-spacerun: yes;"> </span>At
least I had proof of having seen it but otherwise only a blurry likeness.<span style="mso-spacerun: yes;"> </span>I waited maybe an hour in the vain hope that
it might reappear but there was a strange stillness in the March sunshine and
nothing was to be seen.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">The next day I approached the exact spot again, at precisely
the same time, riding my bike quite slowly: to my delight I could see that the
Camberwell Beauty was already there several metres ahead of me so I made
another stealthy attempt to take a photograph.<span style="mso-spacerun: yes;">
</span>Again it soared upwards at my approach only to reappear a few minutes
later further down the track, now being pursued by another Camberwell Beauty, flying
even faster.<span style="mso-spacerun: yes;"> </span>The two butterflies took
off together, spiralling around each other, higher and higher, way above the treetops,
until they were a mere pair of specks in orbit silhouetted against the sky.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">I stood by the track and waited patiently, camera in
hand.<span style="mso-spacerun: yes;"> </span>About twenty minutes later I happened
to glance to my left.<span style="mso-spacerun: yes;"> </span>A Camberwell
Beauty sat sunning itself on a warm twig jutting out from dead vegetation, this
time just a few metres away.<span style="mso-spacerun: yes;"> </span>I edged
towards it and this time it did not fly away.<span style="mso-spacerun: yes;">
</span>Evidently the strange creature advancing towards it no longer seemed to
present a threat; I had made a temporary connection with their world.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: xx-small;">Spreewald, Brandenburg, 30 March 2014</span></div>
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-64936863084856147942015-01-14T14:59:00.002+00:002015-01-18T11:50:31.641+00:00Syriza<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The radical Left party Syriza may win the forthcoming Greek
parliamentary elections on 25 January or at least play a decisive role in the
formation of Greece’s next government.
This would undoubtedly be a good thing.
What is especially interesting about this looming possibility is that it
has forced a spectrum of commentators both inside and outside Greece to take
their alternative programme seriously.
The hollow rhetoric of doom issued by the European President Jean-Claude
Juncker and the German chancellor Angela Merkel has been replaced by a sense of
quiet trepidation. If Syriza wins power
they intend to not only renegotiate the terms of Greece’s financial settlement
but also carry out the real structural reforms of Greek society that not even
the EU dared suggest. The Greek
oligarchs and their powerful friends, who have been busy squirrelling money
away in Swiss bank accounts and overseas property in London and elsewhere, will
find themselves under intense scrutiny.
The so-called Lagarde list of tax evaders and their fellow travellers,
people who have in effect been betting against their own country, will have to
pay up.<span style="font-size: xx-small;"><span style="position: relative; top: -3pt;">1</span> </span> If Greece does ultimately
stay within the Euro under Syriza it will emerge as a better and fairer country
as a result. The powerful interests who
have most to gain from a Greek exit form part of a mendacious establishment
with links to the military junta of 1967–1974.
It is no wonder that figures such as Juncker are worried by the
prospects of real reform: this discredited politician has himself been a
facilitator of vast tax evasion practices within the Grand Duchy of Luxembourg:
a shadowy entity exemplified by its nefarious monarchy parading in the pages of
<i>Hello</i> magazine.<span style="font-size: xx-small; position: relative; top: -3pt;">2</span><span style="font-size: 10pt; position: relative; top: -3pt;"> </span> If Syriza were to take a decisive role in
governing Greece a huge amount would be at stake since their failure would
usher in an intensified wave of cynicism and strengthen the murderous
xenophobia of Golden Dawn. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBy79EM3vHgSdDz79fr59VlOXjmmMkJa5U6k1ztZ7Lbo-IlmPshQM-Hg-fRFydszdMGx1fB0rS5OyUtCh6ufgoCsUIu5Ecb0mjtc7fgWPSygbCGKgW5r0yEJBuCvuSHxi7PuXYqE03Vtk/s1600/syriza_LONDON_logo_square.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBy79EM3vHgSdDz79fr59VlOXjmmMkJa5U6k1ztZ7Lbo-IlmPshQM-Hg-fRFydszdMGx1fB0rS5OyUtCh6ufgoCsUIu5Ecb0mjtc7fgWPSygbCGKgW5r0yEJBuCvuSHxi7PuXYqE03Vtk/s1600/syriza_LONDON_logo_square.png" height="229" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: xx-small;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">1 Kerin Hope,
“Syriza to crack down on Greece’s oligarchs if it wins election,” <i>Financial Times</i> (6 January).</span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;"><br /></span>
<span style="font-size: xx-small;"><span style="font-family: Verdana, sans-serif;">2 Susan
Watkins, “The political state of the union,” </span><i style="font-family: Verdana, sans-serif;">New Left Review</i><span style="font-family: Verdana, sans-serif;"> 90 (November/December 2014) pp. 5–25.</span></span><br />
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matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-48173276854204864192014-12-31T17:28:00.000+00:002015-01-11T09:57:17.617+00:00City of the Lord<!--[if gte mso 9]><xml>
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<span style="color: #444444; font-family: Verdana, sans-serif;">On 20 December I spent a weekend in Leeds. The city is the third largest in the UK (after
London and Birmingham) but this agglomerative accolade is as much the outcome
of cookie-cutter administrative boundaries than any geographical fact. It is a regional centre for banking and
retail, along with significant remnants of its once dominant role in
manufacturing. On the recommendation of
a friend I decided to stay at the Queens Hotel, an eerie Art Deco building
dating from 1937, because I had been given a small task to complete: to
photograph the hotel ballroom. The
ballroom of the Queens Hotel has a distinctive place in the music culture of northern
England — during the late 1970s many bands performed there— but what is the
venue like now? I finally set out to
complete my task on the Sunday morning but immediately found that the pathway
to the room was staffed by succession of stewards for the LIFE Church, a
recently founded religious organization based in Bradford, with branches in
Leeds, Belfast, and most recently Warsaw.
As an agnostic atheist I felt rather like an imposter edging my way ever
closer to the room; as I neared the entrance someone tried to hug me, I was
clearly entering an alien spiritual domain.
The room was filled with a glittering darkness of acoustic guitars and
biblical incantations; an imaginary post-industrial nirvana far removed from the
sound and fury of the past. </span><span style="font-size: large;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Ballroom of the Queens Hotel, Leeds, 21 December 2014</span></div>
<!--EndFragment-->matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0tag:blogger.com,1999:blog-4439806299733648924.post-1094803058737860082014-12-31T15:41:00.000+00:002015-01-02T11:29:38.230+00:00Funkstille<!--[if gte mso 9]><xml>
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<span style="color: #444444; font-family: Verdana, sans-serif;">My apologies for not having posted anything for over two
years — it was as if I had gone to make a cup of tea only to find that time had
moved swiftly on by the time I returned to my desk. Well here I am again with a mug of tea to my
right and the familiar London vista of moss-clad rooftops to the left. The German word <i>Funkstille</i> means “radio silence” but it also has the figurative
connotation of a non-communicative interlude.
My very own <i>Funkstille </i>has origins
both personal and professional (if I may be permitted such a plodding
alliteration). I also somehow managed to
mislay my password — just one among dozens of others that we all strive to make
both cryptic and memorable. </span><o:p></o:p></div>
matthew gandyhttp://www.blogger.com/profile/07365182181250999529noreply@blogger.com0