Friday 10th April 2026
Blog Page 1218

Why social media doesn’t promote social justice

0

Recently, Emmeline Skinner Cassidy published a moving and eye-opening piece detailing her relationship with a Syrian family exiled in Jordan. It was an account that described the generosity and humanity that flourished in a terrible situation. Like her, I agree that we should give a voice to individual suffering and hardship; tragedies comfortably forgotten as anonymous statistics on the 10 o’clock news.

Her account gave me pause for thought. Putting a face to the events behind the headlines is undoubtedly important. This task has been facilitated on an unprecedented scale by social media, allowing otherwise neglected stories to be recorded and disseminated. Intuitively, you might think that this is a good thing. Sadly, the intervention of social media is a development heralding bad as well as good.

Celebrated theorist John Berger once made the provocative comment that Vietnam War photography did not desensitize the public to suffering, rather it duped them. Rather than eliciting meaningful change, these photos forced the spectator to reconcile his/her guilt with the horror of the tragedies before them. Confrontation with arresting imagery therefore shifted the attention of the public from ending the photographed atrocities, to dealing with their guilt. By forcing the public to swallow the horror in these photos made the public complicit in the continuation of this horror.

In relation to social media, such a theory fails to account for the many positive and meaningful changes that the online dissemination of injustice has facilitated. Yet Berger’s fundamental point bears consideration, namely that emotions of guilt, indignation and anger are no substitute for making a real difference to the situation that has provoked such sentiment. In short the stories that move us aren’t about how we feel, but about the situation of those in need.

This distinction is crucial in light of the effect social media has had in defining the relationship between our empathy and those with whom we empathize. A paradigmatic case study is the ‘Humans of New York’ stream. The comments on posts that detail hardship fall into two tellingly distinct types. The first type complains about the more general structural, social or political factors that have created the suffering of the subject. The authors see the tragedy as representative of a problem beyond its incarnation in one human. The other half makes the opposite observation. Their comments lament the particular circumstances of the people or person in need. These are the sorts of posts that demand to know the detailed circumstances of the subject in order to help.

It is easier and seemingly more effective to donate to the plight of one family or person than to change the circumstances that led to their difficulties. This in part explains why the latter reaction is so widespread. But this is not simply a case of shortsighted charity; it can do more harm than good. Having helped the family in whose narrative the donor has invested himself or herself, they can now feel good about themselves. They have purged themselves of their guilt with an emotional pay-off: follow-up pictures of the happy family, reports of how they are now on their feet with jobs and safety. Meanwhile, thousands if not millions continue to suffer conditions similar those of the family that was helped.

The impetus behind campaigns to change the lives of individuals is no doubt well-intentioned, but Berger’s comment seems relevant.  If Vietnam war photos forced the public to reconcile themselves with atrocity, so too does the internet. It purges the guilt of spectators by allowing them to participate in facile short-term solutions that pacify their horror in lieu of creating real, long-lasting solutions. Indeed, the case-by-case solution that social media offers becomes more about making you feel good than about meaningfully helping people. This shortsightedness is not innocent; it ultimately results in a handful of people being generously assisted and the rest often forgotten.

The ineffectuality of distributing charity on a case-by-case basis is in addition perverse in what good it can do. It may reasonably be asked how it is people can still feel good about creating a solution that will ultimately change little. The answer is that we have been taught to understand tragedy precisely through the sort of exception that social media allows. In Hollywood, the dramatization of real life tragedies never tells the story of those who died. United 93 is about the foiled 9/11 hijacking , Captain Phillips is about the captain who was recued from pirates, The Impossible is about the family who survives the Indian Tsunami. Is it not worrying that the way in which social media encourages charity is by telling a tragic narrative, and then allowing you to pay for it to finish like a film? This is not only ineffectual, it is insulting to those in need that they should be helped not as humans deserving of fundamental rights, but as cathartic pay-offs for the delusional sentimentality of the first world.

This further begs a question. How, and by what criteria, does a stream like HONY decide whose story will receive the salvation of online exposure? Indeed, how does the public decide whose story will be shared enough to change someone’s life? It is almost as if the distribution of the first world’s best intentions is a lottery. This is perhaps the most disturbing point, that the people the internet ends up helping are not helped because of their fundamental, intrinsic human right to be saved from the injustices they suffer. Rather, they are helped because of the pity of self-appointed internet crusaders. This is why we should be wary of how social media has changed the process of putting a face to the suffering: the salvation it offers is shortsighted, unjust and frankly humiliating as a response to the problems of the world.

What about those who comment about the wider problems of which tragic stories are a symptom? While their appraisal is perhaps more appropriate, they, too, are guilty of doing nothing to change the situation. They see that a larger solution is necessary, but provide none. They therefore have two problems. The first is that unlike the other group, this first group has no consensus either about the nature of the problem or how it can be tackled. Their second problem is that unlike the solutions to the problems of individuals, resolving these deeper underlying problems requires resources far beyond haphazard kick-starters and Facebook groups.

The shortsightedness of the first group and the impotence of the second are both symptoms of the same situation. Both are apolitical attempts at finding solutions. The appeal to humanity of the first group avoids ideology, while the lack of unity and organization of the second avoids collective action. Collective action and ideology: surely the hallmarks of politics?

If a political solution is needed, then perhaps this explains why there is currently no solution. It will have been noted that for all the mention of authentic change and action, this article has given no suggestion of what that might be. Truthfully, I do not know. From aid to intervention, the action of political entities (by which I mean democratically mandated governments) will have to find a solution. But first, the deadlock that has characterized the politics of recent years will have to be broken. Not for the sake of the guilt-stricken, but for that of the suffering. 

Sell Us the Truth

0

‘In my German words, we have totally screwed up.’ Speaking in New York on Monday to the assembled American press, Michael Horn, Head of Volkswagen America, could only be apologetic for the scale of the scandal that his company had presided over. As of Tuesday, Volkswagen has admitted to selling as many as 11 million diesel vehicles fitted with so-called ‘defeat devices’ designed to mislead US emissions testers. The American Environment Protection Agency (EPA) has found that this technology has been used to hide pollution levels released by certain Volkswagens as much as 40 times the American legal limit. As the British transport secretary, Patrick McLoughlin has called for an EU wide investigation into whether similar technology has been used in Europe to mislead the testers, Volkswagen faces fines of more than $18 billion in the US alone. When the scandal broke on Monday, Volkswagen shares lost as much as 17.1 per cent of their value. Europe’s largest automobile manufacturer faces a possibly fatal crisis and consumer confidence in the motor industry has been severely dented across the world.

Speaking on Tuesday in an emergency press statement, VW’s chief executive, Martin Winterkorn, put it bluntly that ‘manipulation at Volkswagen must never happen again’. Winterkorn reiterated the opinion that ‘the irregularities in diesel engines of our group contradict everything which Volkswagen stands for’. Yet, the fact that such a large manufacturer could integrate premeditated mechanisms for misrepresentation on so massive a scale suggests otherwise. For so large a programme of what Winterkorn describes as ‘manipulation’ to have taken effect, people very high up the command structure must have been complicit. Whatever Volkswagen has told the public it stands for in the past, this scandal has demonstrated a profound disrespect for its customer base deeply ingrained within the company.

When Horn told the American press that the scandal was ‘completely inconsistent with our core values’, he highlighted the gap that had developed between the ‘core values’ the company presented to its public and its shareholders. The rigging of emissions tests for certain diesel engines meant that Volkswagen could continue its narrative of being a producer of clean diesels for a clean future. By designing engines that could at times be economic with the truth about emissions, Volkswagen secured the lucrative position of one of the largest diesel manufacturer in the United States. At the expense of those people who were envisaged to be using and living around their products, Volkswagen secured a profit for its shareholders. The company’s rigging of the emissions tests meant that it could continue to supply a sub-standard engine to the American people. Beyond the ‘core values’ advertised in its showrooms, Volkswagen’s main motivation for this technology was greed. It was a misrepresentation that could save millions of dollars in expense developing less pollutant engines.

The wider problem is that this priority of profit over people, practice over ethos, is not confined to this company alone. Nobody yet knows how far this scandal will extend and how many other car manufacturers may or may not be found to have committed the same crimes. The share price of other European car makers has taken a battering in the last few days and, until further tests have been carried out, the market remains unsure as to whether Volkswagen is an isolated case. Recently, the public has been misled and, at times, cheated in scandals as variant as the 2013 horsemeat fiasco and the fixing of the London Interbank Offered Rate (LIBOR). Customers are beginning to realise that they are no longer making transactions in a market designed to cater for their needs, but rather the markets are selling customers ideas of the truth that are remote from reality. Misrepresentation has, in other words, become a symptom of how we do business in the twenty-first century.

Now that this has all happened, we need to ask ourselves how we should go forward from this. This scandal will, no doubt, rumble on for months, if not years, after this. The reputation of the EU’s biggest car manufacturer has been seriously, if not terminally, damaged, and the whole diesel motor industry has been thrown into ill-repute. As consumers, however, this fiasco should be seen as a chance to call for a re-conception of our relationships with manufacturers. We need to make sure that car manufacturers, like Volkswagen, are never again confident enough to deliberately cheat the public and expect to get away with it. We need to expose the widening gulfs between what companies describe as their ‘core values’ and the realities of their practice. Ultimately, we need to demand basic respect from the people that sell things for their clients: the general public.

Researchers honoured for Ebola crisis work

0

A team of researchers led by University of Oxford staff has been honoured for its work in tackling the Ebola epidemic in West Africa.

30 British researchers were awarded the government’s newly commissioned ‘Ebola Medal for Service in West Africa’, an award that was established in June by the Prime Minister to recognise the contribution of thousands of British citizens towards combatting the epidemic.

39 other people in the team, representing 14 different nations including Guinea, Liberia and Sierra Leone, were awarded a specially commissioned ‘University of Oxford Ebola Medal.’ These individuals were not eligible for the government award either because of their nationality or the location of their work. 

Catrin Moore, project manager of Oxford’s epidemic research group, told the Wellcome Trust, which funded the research team’s efforts in West Africa, “Peter Horby (Co-lead of the research team and Oxford professor of Emerging Infectious Diseases and Global Health) and I were discussing how wonderful the Ebola medals are, but that they are only available to Brits who have spent over 21 days in one of the affected West African countries”.

“We thought that it would be wonderful to thank all of the West African, non-British and Oxford staff who dedicated so much of their time and effort to our project. We were unable to find a medal anywhere which expressed this so I suggested that we design a University of Oxford Ebola medal.”

The researchers who were given the honours carried out clinical trials for an Ebola vaccine in West Africa, setting the trials up in only a few months, far faster than the trials are usually conducted.

Held at Exeter College, the medal ceremony was part of a day of events on the topic of ‘fast-tracking clinical research in an epidemic’, with the findings of the conference due to be included in a forthcoming ‘Rapid Research Response Framework’ document.

Professor Andrew Hamilton, the outgoing Oxford Vice-Chancellor who presented the medals, commented, “The work of the team was absolutely critical. These kinds of outbreaks can arise at any time and we need to be ready to respond. They responded magnificently”.

‘End of the road’? Hopefully not.

0

A surprise day ticket to a festival is always welcome, but having not heard too much about ‘End of the Road’ before I wasn’t sure of what to expect. Enthralled particularly by the prospect of Sufjan Stevens in the evening, I went caring little else about what I did all day. But thank god I turned up early enough to make the most of the rest of what this little festival had to offer. It was the tenth anniversary of the event, set in the quite idyllic Larmer Tree Gardens. The place completely suited the slightly alternative vibe that the organisers were going for. Every so often one would stumble across a peacock, fairy-lit woodland or a meditation session, perhaps by the ‘free bookshop’.

We made it in time to catch the end of Slow Club’s set; a duo who have definitely moved on since their acoustic days of ‘Because We’re Dead’ and ‘Christmas TV’, but still managed to capture the audience with a real stage presence. Before enjoying more of the main stage, we made it to the comedy tent, set in a little glade, to see Phil Jupitus reciting some humorous haikus – a far cry from his ‘Buzzcocks’ persona, with much more solemnity.

The proportion of female artists in the whole lineup, not only as singer-songwriters but also in bands, really impressed me. Just while walking around we heard Stealing Sheep at the garden stage. Apart from one or two tracks, I knew little of this band, but it didn’t seem to matter with the energy their psychedelic pop created so easily. Girlpool’s punk and Saint Etienne’s dance-inducing sound were also great, but the girls that really stole the show were The Unthanks.

These Tyneside sisters’ eccentricity cannot be denied. Their manipulation of traditional Northumbrian folk into a rather haunting (and definitively experimental) storytelling device really drew in the crowds. The set climaxed, not only with a surprise tap dance (of course), but the brass and string accompaniment brought an already captivated audience to a state of palpable jubilance. Their album Mount the Air was released in February, and definitely should be given a listen.

The headline act made the evening. Slightly dubious about how Sufjan Stevens’ sound would translate to a live performance, I would now highly recommend catching what is remaining of his European tour. His multitalented and peripatetic band moved round from keys, to trombone, to guitar, to vocals with ease. The unique vocals he has brought to his records allowed a lot of otherwise sombre tracks to really lift the crowd. The brass element to his earlier works, such as ‘Come feel the Illinoise’, were not forgotten, much to the excitement of the fans, many of whom had initially been drawn in by this atmospheric concept album. Sadly no encore was permitted, much to the dismay of many – really a testament of how successful the set was.

I couldn’t recommend ‘End of the Road’ enough. Slightly more expensive than some similarly sized festivals, it’s definitely worth it. The line up (which included Laura Marling on the Sunday) had an eclectic mix of everything alternative, folk and Americana. And if this doesn’t sell it, the woodland dens and occasional peacock sighting seals the deal for me.

Home or Roam: Melbourne

0

My Melbourne is a treasure-trove of hidden gems. Camberwell has its age-old ‘trash n’ treasure’ Sunday market, obscured behind the façade of an otherwise generic shopping hub. Meanwhile, Chapel Street boasts a supremely exclusive ‘Jungle Bar,’ accessible only by those who have received the tip-off to open the cool-room door behind the counter of a sandwich place, revealing this otherworldly jungle-themed cocktail bar. In the Central Business District, ‘Cookie,’ one of Melbourne’s most acclaimed (nouveau-)Thai restaurants, lies in the unlikely Curtin House, former headquarters of the Communist Party and current host to a Kung Fu academy, a bookstore, a music venue and a rooftop cinema. Secrets lie awaiting discovery down dubious laneways, around cunning corners, and even go way over pedestrians’ heads as they stroll beneath rollicking rooftop bars and parties.

Yet this apparent penchant for glamorous exclusivity is matched only by Melburnians’ remarkably inclusive instinct, by their desire to share and spread the secret far and wide. Epitomising this happy union of exclusivity and inclusivity is Bourke Street’s Hamodava Café. A curious passer-by might stumble upon this hidden gem, secluded in its narrow laneway off the main road, to find what seems, at a glance, to be another of those foodie ‘hipster’ cafés that have come to be so quintessentially Melburnian. Here, however, is a difference: everything is free.

Hamodava Café is, in fact, an initiative of the Salvation Army. The café gets its name from the Singhalese word for Salvation, paying homage to its prototype, the Salvos’ Hamodava Coffee and Tea House, the first place in Melbourne to serve Fair Trade coffee and tea, which was founded in the same building in 1897. Nowadays, the café runs a full à la carte breakfast and lunch menu, with a full-time barista brewing up hundreds of cups of silky smooth coffee à la Melburnian each day. Volunteers provide table service, greeting patrons with a smile and addressing them by name. Customers – about 300 every day – are brought to Hamodava’s tables predominantly by word of mouth. They come from all walks of life, from the city’s homeless population to struggling migrants and others seeking respite from the loneliness of city life. They are united by food and conversation, and there’s music too; while upbeat tunes jazz up the experience, a piano in the corner lies in wait for visitors to rouse some good vibrations of their own.

Café manager Matthew Daniels is, as Aussies like to say, a ‘top bloke’. When a fight breaks out amongst some of the regulars one morning, Matt springs into action and diffuses the tension in seconds flat, with a cheerful ‘Take it easy, mate,’ and a friendly smile. For some seven years, Matt has been involved in the initiative. He is always on hand to refer customers to the Salvos’ full-time counsellors, medical assistants and legal advisers, or simply for a friendly tête-à-tête. He, along with his team of dedicated volunteers, appears daily as a familiar face to make visitors feel – perhaps a feeling otherwise foreign to them – quite at home. Indeed, some customers feel so at home that they offer to fill out their own order sheets, knowing and loving their favourite Hamodava fare. Gratitude is the only currency exchanged here, but both customers and volunteers leave feeling truly satisfied.

The feel-good vibes of this vibrant, colourfully decorated nook bring together people from far and wide, in a testament to the diversity and inclusivity that give Melbourne its heart and soul. Hamodava Café is just one of Melbourne’s many hidden gems.

Can you think of a hundred reasons why you never want to leave home (or why you definitely do)?  Send us an opinion piece at [email protected]

Please buy Carly Rae Jepsen’s new album on iTunes

0

After the inexplicable underperformance of lead single ‘I Really Like You,’ Emotion, Carly Rae Jepsen’s third album, debuted outside of the top 10 on the US album chart. After similarly lacklustre debuts in Australia, Japan and Canada, the year’s best pop album is in danger of being buried. I encourage you to buy it now for some great 80s-tinged pop, and so you can feel a vague sense of smugness when it inevitably crops up on decade best-of lists in 2020, that will all uniformly describe its low sales as a “tragedy,” leading to a general lament over the modern pop industry and probably a suggestion that it was oversgadowed by Taylor Swift’s similar but less fantastic 1989. Save pop music, buy Emotion on iTunes.

Review: Halsey – Badlands

0

★★☆☆☆

Two Stars

What’s an It-girl who missed her moment? That’s the question confronting Halsey, who emerges from the prerequisite haze of tightly orchestrated internet hype to deliver her debut LP, Badlands. A human personification of the most carefully cultivated Tumblr blog of 2012, Halsey’s particular brand of art pop and big, empty beats now, unfortunately, seems awkwardly dated. In autumn 2015’s cold light of day the album’s synthy production appears as the shimmering leftovers of reigning alt-queens Lana Del Rey, Lorde and Sky Ferreira.

The album does have some good songs. ‘Colors’ offers a lovely, sad, romantic vision of love and loss, whilst ‘Haunting’s melody is catchy and the closest thing the album comes to feeling fresh. ‘Drive’ is also a nice tune, even if it comes across as a Broods knock-off.

So Halsey is many things. Underconfident is not however one of them. Throughout Badlands she does seem preternaturally confident in both delivery and attitude (her vocal on Roman Delivery and the album’s lone fantastic song, ‘Ghost’, show glimpses of a star) yet this also manifests as self absorption. As any self respecting millennial will argue, this is not in itself a criticism – many of her contemporaries tackles their narcissistic tendencies with insight and prescience – but Halsey kind of just breeze’s past it. It is not to be examined and is therefore rendered uninteresting. A surprising amount of the album is devoted to imagining what other people think about her – fans, lovers, adoring hangers on. It makes her hard to warm to – the kiss of death for any budding pop star. “I’m heading straight for the Castle, they want to make me their Queen” is the album’s first hook, whilst on Young Gods “You know the two of us are just young gods, And we’ll be flying through the streets with the people underneath.” So good for her I guess, but it doesn’t make for particularly engaging song writing.

She does have a knack for conjuring images and mood, but in doing so she leans far too heavily on cultural signifiers which work to murky the interesting aspects of her songwriting. She buries personal revelations beneath icons and symbols that are transparent attempts to grab at cool points. There’s an element of calculated curation at work here that is manipulative, somewhat embarrassing, and ultimately self destructive. The album’s second single, New Americana, is a particular low point on this front. Its reheated, anthemic production and mind numbing chorus “We are the New Americana, high on legal marijuana, raised on Biggie and Nirvana” is moving in the sense that your eyes will roll right out of your head. Who knew that someone, anyone, heard a couple of Imagine Dragons album cuts, and thought “I want more of this.” The whole enterprise induces a shiver of revulsion.

Great art makes you feel things, I guess.

Raise the Pink Flag

0

“It waved above our infant might/When all ahead seemed dark as night/it witnessed many a deed and vow/ we must not change its colour now.”

The second verse of the socialist anthem ‘The Red Flag’, the tune better known to our politically estranged generation as ‘Oh Christmas Tree’, is a powerful cry from the past not to compromise Socialist values. The majority of Corbyn supporters, (Tory infiltrators aside), believe that the Labour leader embodies this socialist tradition and expect radical changes to Labour Party policy.

For his supporters, the reaction of the Conservative government to Corbyn’s election was very encouraging. David Cameron’s tweet that the Labour Party is now “a threat to our national security, our economic security and your family’s security” was only one of a ‘the end is neigh’ backlash. The right wing press want the British public to believe that this sandal-wearing, four-times winner of the parliamentary ‘beard of the year’ award is the first horseman of the apocalypse.

Unfortunately the appointment of John McDonnell, Corbyn’s former campaign manager, as Shadow Chancellor has done nothing to challenge this narrative. McDonnell’s article in the Guardian seemed reasonable enough: he accepted that public sector cuts were needed, but that a Labour government wouldn’t target “middle and low income earners and certainly not the poor”, and argued for greater regulation of the banking sector. Most Labour party supporters and the wider public could get behind these policies.

However, McDonnell’s highly controversial show of support to the IRA in 2003 could continue to haunt his political career. The shadow chancellor argued that Britain should ‘honour’ IRA fighters, for “it was bombs and bullets and sacrifice…that brought Britain to the negotiating table.” This story has already gained traction, and could seize the imagination of the public. Ed Milliband was never able to shake the perception that he was untrustworthy after he ‘did the dirty’ on his own brother, and it remains to be seen whether this moment will taint McDonnel in the same way. 

Can Corbyn possibly hold the Labour Party together in the long term? Already twelve shadow cabinet ministers – Yvette Cooper, Tristram Hunt, Emma Reynolds, Chris Leslie, Liz Kendall, Ed Miliband, Shabana Mahmood, John Woodcock, Jamie Reed and Rachel Reeves –  all said that they do not want to be part of Corbyn’s shadow cabinet. His stances on Trident, NATO and the EU will be critical in these coming weeks. If he does not allow the centrists this ground, there is a risk that they will defect.  Paddy Ashdown may not have been overly optimistic when he claimed that Corbyn’s win was “the Liberal Democrat’s Opportunity. If you want a modern centre-left part that is addressing the issues of today rather than those of the 1950s then there is an opportunity for us.”

There is a fundamental gap between the values of Corbyn’s supporters and Labour MPs. Only 6% of MPs backed Corbyn; his support comes overwhelmingly from the grass roots. The Labour leader was partly elected on his anti-EU, Trident and NATO stances, but if he wants support from his own party and from the public at large he will have to compromise on these issues. On the Andrew Marr show, deputy leader of the Labour Party Tom Watson vowed to “convince” Corbyn to renew Trident and stay in NATO. Whilst Hilary Benn claimed on the Today show that the Labour would campaign to keep Britain in the EU “in all circumstances”, to the sigh of relief of Liberals up and down the country, Umunna felt the need to resign over what he perceived to be Corbyn’s anti-European stance. This ambiguity will not fill the public with confidence. Whilst we can all appreciate Corbyn’s attempt to include politicians from several strands within the Labour Party, his attempt to unify the party will be to no avail if he doesn’t listen to the moderates.

It’s impossible not to respect Corbyn as a politician. His compassion and sincerity have reinvigorated the political scene, and engaged an alienated electorate. But if he is to have a prayer of coming into power and implementing any of his ideas, the red flag will need to be diluted to a tamer pink. Let’s keep the pink flag flying.

Review: Inside Out

0

★★★★★

Five Stars

Director Pete Docter has been behind some of the most emotional premises ever cooked up by computer animation veterans Pixar. Remember that scene at the end of ‘Monsters Inc.’ where Sulley leaves Boo in the human world for the final time? The opening ten minutes of ‘Up’? Few audience members can sit through those scenes without shedding a few tears, and that’s putting it mildly. I challenge you similarly to view Docter’s latest offering, ‘Inside Out’, with dry cheeks.

‘Inside Out’ tells the story of twelve-year old Riley. Her role is not so much the lead character, as the setting of the film. Uprooting Riley from her life in Minnesota when her father gets a new job in San Francisco, the film alternates between showing the changes that physically take place on the outside – such as moving into a filthy San Francisco apartment (watch out for a dead rat which looks suspiciously like ‘Ratatouille’s’ Remy here…), and moving schools – as well as the inside of Riley’s mind. 

The inside of the mind is represented in part by ‘Headquarters’, an abstract interpretation of the mind’s control centre populated by five emotions: Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling). The film explores the emotional fallout (as rendered through these internal manifestations) when Riley begins at a new school and, simultaneously, Joy and Sadness get stuck in the depths of Riley’s mind, deep within long-term memory. With Riley’s mind left in the hands of Anger, Fear and Disgust, her outward behaviour rapidly changes as these emotions govern without Joy’s firm leadership to keep their influence at a minimum.

This constant juxtaposition between the world in Riley’s head, and the way it affects the external world, both directly and indirectly, is an interesting concept which allows the film to work on two levels. On the one hand there’s the dynamic race back to ‘Headquarters’ which Joy must undertake to resume control. This is a ceaselessly creative and visually mesmerising spectacle which takes us into the depths of ‘Imagination Land’ and ‘Dream Productions’, a Golden Age Hollywood-inspired film studio where a team of mind-workers create Riley’s dreams – Joy’s odyssey gives the film an action packed thread which is sure to satisfy younger audiences. On the other hand, as the film progresses, we begin to catch sight of the bold and thought-provoking message at its core, a message of such sophistication that all audiences will be able to take something away. 

At five years in the making, ‘Inside Out’ is one of the longest Pixar films in development, and Docter has spoken of the difficulty in creating a world which accurately reflects the workings of the human mind. Part of the film’s originality derives from the intricacy with which the mind has been conceptualised. From Riley’s core memories, which power different aspects of her personality (represented in different ‘Personality Islands’), to the storage of countless memory orbs in the depths of long-term memory, and a hilarious sequence taking place in abstract thought; the complexities and mysteries of the human mind have been brilliantly illustrated and integrated as parts of this world. There is even a train of thought, literally. 

Pixar has suffered something of a critical backlash over recent years, with 2011’s ‘Cars 2’ being widely panned, and the studio’s followups ‘Brave’ and ‘Monsters University’ faring only slightly better. Accusations that Pixar had lost its ‘mojo’ and was being co-opted by Disney into a tumult of sequels ensued. Does ‘Inside Out’ mark a turning point for the studio? Can first time feature-film director Peter Sohn’s ‘The Good Dinosaur’ in November 2015 sustain the quality this summer release has set? ‘Inside Out’ certainly shows something of a return to form in the creative culture of Pixar, and judging by the breathtakingly beautiful trailer for ‘The Good Dinosaur’, it will not disappoint either. 

Last but certainly not least, praise must also go to Michael Giacchino’s truly mesmerising score. From the second the Disney and Pixar logos appeared at the start of the film, and Giacchino’s musical cues sprung delicately through the darkened theatre, I was captivated. Known for his work on this summer’s blockbuster ‘Jurassic World’, and the Oscar winning score for Docter’s previous film ‘Up’, he does not disappoint here. There are moments towards the latter half of the film featuring a very special character called Bing Bong (Richard Kind) where the score only serves to amplify some of the most heart-wrenching storytelling the company has come up with. Can you really fail to love this pink-cotton candy, part cat, part elephant, part dolphin creation of Docter’s? You’ll have to see the film to find out.

Airbrushing our art and architecture

0

A visit to the beautiful capital city of France is a visit that many people have undertaken in their lives: and if they have not yet, they hope to do so in the future. There is something about Paris that pleases everyone. The city is undeniably charming with its magnificent history, reputed works of art, and diverse architecture that make it one of the most visually impressive places to visit in the world; so much so that there is a certain level of expectation for tourists who visit Paris. Everyone wants to marvel at the graceful white buildings that line the Seine, sitting on a roof-top bar eating macaroons. Everyone wants to get a picture with the Mona Lisa, buy a book at Shakespeare & company, and practice a few lines of broken French at a ‘typically French’ bistro on the Champs-Élysées. As charming as it may be to spend a romantic week at the ‘capital city of love’, this is a largely idealised misconception of not only Paris as a city, but French lifestyle as a whole. 

Parisians have been aware of this for many years however. The idealisation of Parisian and French culture is something that many have long recognised as a way of selling overpriced merchandise to eager tourists. Yet increasingly, this idealisation of French culture has begun to leave a deep imprint on social mentality within the capital, particularly in relation to art and architecture. There is no better example of this than the unnecessary laser-cleaning of ancient buildings which is becoming increasingly common in France and in other countries across Europe. 

One of the first laser cleaning projects was conducted in Italy on the portal of the cathedral of Cremona at the start of the 1980s. Since then, it has been frequently used to help clear up unintelligible ancient documents and paintings, though the risk of damage remains an ever present problem. The use of such cleaning methods on historic buildings was at first reserved simply for those most badly damaged by centuries of pollution. One recent example are the magnificent stained-glass windows at Sainte-Chapelle in Paris. The restoration work took seven years from start to finish and was completed on time for the 800th anniversary of the birth of King Louis IX. The stained-glass panes, that had previously been covered in a layer of traffic pollution, were restored to their previous conditions and their colours were once more distinguishable.

For 12th century works of art (though already restored numerous times throughout the ages) that had been on the point of being lost to the world for good, laser cleaning was a much-needed treatment. Yet it seems that besides a few necessary cases, the French have begun to take laser-cleaning to an entirely new level. Laser cleaning is now to be the fate of an increasing amount of historical buildings across the capital. The supposed intent: to restore these architectural works to their ‘previous splendour’. The Pantheon for example, at the heart of Paris’ Latin Quarter, has been cluttered with scaffolding for a number of years. That which has emerged from this thorough cleaning process has been transformed from a sandy grey to a beautiful beige colour, clean and undeniably aesthetically appealing. But to what extent is this truly what the Pantheon looked like originally? And how much has it really been redesigned by an increasing desire to mould Paris fittingly to the expectations of a touristic culture?

Yet Paris is not the only area of France experiencing the effects of this deeply saddening modern perception of architectural beauty.  France is famously dotted with some of the world’s greatest gothic architectural masterpieces ever made. Often mingled into the ordinary French landscape, many of these vast gothic cathedrals tower over their native French villages and towns. The French however, have decided that an extensive laser-cleaning project of many of these old delicate works is appropriate even to such structures that are not in any need of cleaning. With the intention of ‘restoring the buildings to their intended appearance’, what they wish to do is transform these aged, medieval structures into polished, dazzling white monuments that fulfil tourist expectations and increasingly, their own expectations of what great art should look like.

Nantes Cathedral, an example of this new cleaning-mania, is an elegant white building in the historic centre of Nantes. Though very beautiful, the cathedral is confusing to anyone with the slightest knowledge on architecture. The building gives the appearance of being entirely new; as if construction was finished only yesterday. In the name of ‘restoring’ the building (which was in reality only completed at the end of the nineteenth century), the extensive laser-cleaning it underwent for a number of years has as a consequence wiped away a layer of the original surface. Many, in an attempt to justify these actions, have claimed that Nantes cathedral amongst other significant architectural masterpieces, was covered in a layer of soot and dirt which had to be removed to attain the work’s original appearance. But why do the French (and at this point it is necessary to add that the French are not the only country to have adopted excessive laser-cleaning) think that restoring a building to its ‘original’ appearance, makes it the ‘right’ appearance? Is a work of art only a work of art in its original birth state? A building has a life, and removing layers of supposed ‘dirt’ or colouring, is removing valuable layers of its history and its life. 

The huge controversy over Duveen’s cleaning of the Elgin Marbles in London, after the Second World War, brought to light some very important issues on the matter. The curators at the British Museum at the time were quite happy to turn a blind eye to Duveen’s ‘cleaning’ of the Elgin Marbles because they knew the outcome would fulfil their idealised perception of what classical sculpture should look like: pure and flawlessly white. The press and the majority of people, then as now, were outraged at this shocking removal of the surface of the ancient Parthenon sculptures. Yet there is not a huge difference between this supposed ‘horrifying cleaning’ of the Elgin Marbles, and the present-day laser cleaning of already perfectly satisfactory historical structures. 

Indeed both have removed layers of supposed ‘dirt’. Both fulfil our modern societies’ expectations of a ‘beautiful’ work of art, without the necessary regard for the work’s history. Both have rendered the works a product, no longer of the past, but of the present.