Thursday, May 22, 2025
Blog Page 308

The Return of Formals

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For many colleges, formals are finally back on the menu. Whether that means donning your gown for the first time in a year, or a more relaxed opportunity to enjoy hall food without plastic screens muting any hopes of a conversation, the return to inside dining has been much awaited by many. For many freshers, this term offers the prospect of their first formals ever – and with it, the promise of a normal student experience, though it may well feel overdue. So, although some college chefs have kept us entertained over lockdowns with Instagram posts and student-friendly recipes, their time has come to shine and plate up Masterchef-worthy creations for halls filled with hungry students who have been eagerly waiting for their chance to be a food critic.

Last Friday, I attended my college’s first formal of Trinity and was overwhelmed with nostalgia as I filed into the hall with the 49 other lucky ticket holders. I felt as though I’d won a golden ticket, though I’d have to wait until dessert for a taste of dreamy chocolate. The familiar sight of candlesticks sitting side by side with the cheapest bottles of Pinot Grigio made me grin from ear to ear; after a long stretch of unfulfilling student experience, going back to normal is like clouds parting to reveal sunshine. Even given the variance in hall food prices, it does feel like a real privilege that a hallmark of the Oxford experience is a three-course meal for about a fiver – impossible to forget as I marvelled at the starter of whipped goats cheese, beetroot, and pickled fennel salad, served with the well-loved bread and butter and a slice of toasted ciabatta.

For mains, the omnivores among us were served a slow cooked lamb shank, tender enough to slide off the bone, while vegetarians such as myself received an eggplant steak with a scored king oyster mushroom. I particularly loved the use of mushroom on the aubergine, it lent it an umami earthiness and slightly beefy flavour to the otherwise wholly vegetable based dish. Served with crushed new potatoes, seasonal veg and herby jus, both of these options were really popular- the food lived up to the high standards we had set for our first formal back in college. In the last few years, many restaurants and takeaways have upped their veggie and vegan game as a result of skyrocketing demand for plant-based alternatives. This trend seems to have extended to college kitchens too, as this was undoubtedly the best vegetarian (and vegan friendly) meal I’ve been served in hall. Each dish had an almost identical vegan counterpart, so rejoice vegans, at the end of boring salads and fruit plates!

As someone with a certified sweet tooth, I’d been looking forward to the dessert from the moment I walked into the hall – although I cook a fair amount of my own food, the precision and luxury of formal hall desserts remain firmly out of my territory, and always feel like a real treat. We were served a blackcurrant and raspberry chocolate bar, filled with mousse, alongside a scoop of fresh raspberry sorbet. The perfect combination of sweetness and tartness rounded off my first formal of Trinity term and reminded me of all the good yet to come, despite the sour bits of the pandemic we’re all keen to leave behind.

All in all, my first formal of 2021 was a great experience, leaving me feeling grateful to have been back in hall surrounded by friends, and far from the desk at which I ate most of my meals during virtual Trinity. The menu was thoughtfully curated, making use of seasonal and local produce, and it was clear that the vegetarian and vegan alternatives were given just as much consideration. I’ll definitely be trying to grab a ticket for the next formal at my college – and I’d recommend you do the same!

Published in print on 26/05/2021

Hanging by a Thread: Fragility and Femininity in the Work of Nensi Dojaka and Rui

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The LVMH Prize for Young Fashion Designers was launched in 2013 with the aim of seeking out and fostering emerging talent within the fashion world. Each year, the winner receives  €300,000 and mentorship from LVMH and the runner-up (or winner of the Karl Lagerfeld/Special Jury Prize) also benefits from this mentorship, as well as a grant of €150,000. With this incomparable support, winners consistently graduate from the realm of ‘up-and-coming’ to fully established and revered designers. This is evidenced in the success of past winners such as Jacquemus and Marques’Almeida which now have their shows sandwiched between century-old houses at fashion week.

Before the winners are announced, however, a short-list of finalists is released. Within the group of the 2021 finalists, we find Nensi Dojaka and RUI. Nensi Dojaka is a designer from Albania and based in London. Having graduated from Central Saint Martins, she was swept up by Ssense, producing a capsule collection with them in 2019. She has recently finished a stint with the so-called ‘talent incubator’ Fashion East. Rui Zhou, the designer behind the eponymous brand RUI, describes herself as from “a small city surrounded by mountains and trees in China”. She now works in Shanghai, having studied at the Tsinghua University, Beijing and Parsons, New York. Although the background and education of these two designers are contrasting, their works similarly challenge the rules of womenswear and create new definitions of femininity.

Speaking to the LVMH panel, Rui described the aesthetic of her brand as “based on the relationship in between fragility and strength” and this definition could equally be applied to Nensi Dojaka’s work. In the latter’s garments, this fragility is created by the straps which hold the pieces together. The concept of the strappy little black dress is taken to its extreme, as she criss-crosses thread-like straps (too slight to be called ‘spaghetti’) which precariously hold up the main body of the item. From this precariousness arises a provocativeness as it seems that the garment could snap at any moment. As the wearer can be confident that the structure of the item is not as delicate as it appears, this endows them with a secret strength which raises them above any viewer who dares to think that they will see more. This effect is also achieved by Rui’s pieces which consist of star-like panels of fabric held together by tenuous links adorned with crystals or beads. The placement of this adornment visually symbolises the beauty of this fragility, but also physically strengthens the most delicate parts of the garment, thus representing the designer’s vision of fragility and strength existing in harmony.

The shapes which arise from the structure of these pieces hint towards a playfulness within this new vision of femininity and this partly derives from the use of asymmetry in the work of both these designers. In some of Nensi Dojaka’s most recognisable pieces, she connects the straps in such a way that the panels of fabric sit at wonky angles. This adds to the provocative nature of the garment through making the function of the structure seem even more miraculous. In other pieces, she stays strictly symmetrical, but a playfulness is maintained through intricate layering. For example, in one of her bodysuits, three layers of sheer fabric are placed on top of each other to form a bra. As the transparency of this fabric is lost through this layering, an element of modesty is born out of the sensuality and this ties into the symbiosis of fragility and strength.

Rui Zhao similarly experiments with symmetry and asymmetry. In the symmetrical pieces, the shapes that are formed in the negative space of the fabric are perfectly circular, making the overall effect rather cute and fun, contrasting with the severity of the geometry in Nensi Dojaka. In others, spiky and asymmetric layers are chaotically intertwined as if the wearer has accidentally become tangled in a cobweb. As well as showing playfulness and experimentation, the construction of these shapes is a testament to the technical prowess of these designers.

It is easy to get wrapped up in the fragile technicality of these pieces, but one must remember that they are made to be worn. Nensi Dojaka and Rui Zhao did not forget this. Their radical femininity is reflected in the way that their clothes accentuate the body, wrapping themselves around the curves and contours of the figure. This flattering fit was not accidental and it is clear that the designs were created for real bodies rather than coat hangers. Nensi Dojaka uses adjustable straps which allow you to precisely fit the item exactly how you desire. Whereas adjusting the straps on a normal piece of clothing would change how high or low the garment fits on your body, the sheer number of adjustable straps on each item means that you can transform its whole appearance through playing with the endless permutations. Rather than using adjusting devices like Nensi Dojaka, the materials used for the RUI collections are inherently adjustable. This is because they are extremely stretchy, meaning that they change shape to fit whichever body they wrap themselves around. This is evidenced through the range of the bodies used in their campaigns which in itself points to an inclusivity in this femininity – it is not limited by the boundaries of gender or size, but willing to be embraced by all. The downside to these wonderfully stretchy fabrics is that they are thoroughly unsustainable (polyamide, nylon, spandex etc.), but Rui Zhou reassures the LVMH judges that sustainability is something she would focus on if she won the prize.

Unsurprisingly, I am not the only one who is obsessed with this new style of feminine dressing. It only takes a scroll down the Instagram accounts of these designers (@ruiofficial.me and  @nensidojaka) to see that celebrities have been lapping up their striking pieces. Emily Ratajkowski was recently pictured in a signature-style Nensi Dojaka minidress and other big names such as Bella Hadid, Emma Corrin had come before her. For her Rolling Stones cover, Dua Lipa was pictured in a RUI bodysuit, leggings and gloves and even the insta-famous ‘robot’ @lilmiquela has had a RUI top superimposed on her CGI body. When a robot is sporting your work, it surely means that you have captured the zeitgeist. This celebrity popularity does, however, betray a lack of accessibility to these clothes. RUI’s prices start at £180, and that is just for a single sleeve and the cult minidresses of Nensi Dojaka cost around the £800.  Perhaps this is reflective of where the designers are in their careers. Having won the LVMH prize, Grace Wales Bonner collaborated with Adidas allowing her to reach a different audience outside of the sphere of high-fashion and I wonder whether RUI and Nensi Dojaka could follow a similar trajectory. For the moment, we may just have to admire these clothes from a distance like works of art. Even if we cannot wear them ourselves, they are still able challenge our understanding of femininity and inspire us to find strength in fragility and to dress to reflect this.

Plans to restart greyhound racing in Oxford met with opposition

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Oxford Vegan Action and animal rights charity PETA have expressed their opposition to restarting Greyhound racing at Oxford Stadium. Oxford Vegan Action have held in-person protests, while PETA have started a petition urging the Council to use the stadium for “sports that involve willing human participants”.

Oxford Vegan Action conducted peaceful demonstrations in Oxford City Centre in July, and invited people to also voice their opposition by writing to the Stadium owner. The activists highlighted the number of injuries and deaths of Greyhounds due to racing, stating that 1 in 3 dogs in the industry are injured, and 1 in 14 die (source: UK figures in 2017 from Greyhound Board of Britain). 

A protester colds a sign reading "4837 greyhounds injured within the industry (1 in 3)".
Image: Oxford Vegan Action
A women holding a sign saying: "1013 GREYHOUNDS DIED WITHIN THE INDUSTRY (1 in 14)" and in small writing at the bottom "UK FIGURE IN 2017 FROM GREYHOUND BOARD OF GREAT BRITAIN"
Image: Oxford Vegan Action

A 2015 joint analysis by The Sunday Times and animal welfare campaigners found that 40,000 greyhounds have been injured on British racing tracks in the past decade, and that more than 18,000 of these did not race again.

Statistics on the effects of racing on Greyhound welfare differ according to sources and measurements. The British Greyhound regulator only records those injuries noted directly after the race, while other animal welfare campaigns include long-run effects. Long-run health effects of Greyhound Racing include behavioral problems and trauma, making it hard to find homes for dogs, and unhealthy bone structure due to the curved tracks.

The animal rights charity PETA also criticizes the use of doping drugs on Greyhounds. Drugs used include morphine to reduce perception of pain from injury, steroids, and class A drugs like cocaine. The Greyhound Board of Great Britain has published hundreds of positive drug tests since 2009, says greyhound advocacy group GREY2K USA.

Oxford Stadium closed in late 2012 due to financial difficulties, with Greyhound racing seen as a declining industry. UK attendance decreased from 3.2 million spectators in 2006 to 2 million in 2014, and the number of licensed tracks decreased by 25% from 2006 to 2021. 

Successful campaigning by Save Our Stadium and the City Council stopped the stadium from being demolished back in 2012. In June 2021, more than 8 years later, racing track manager Kevin Boothby acquired a ten-year lease for the Stadium. He plans to reopen it for Greyhound racing this December.

Kevin Boothby told Cherwell: “We have been overwhelmed and delighted by the positive response from local people, families and businesses about the return of greyhound racing to Oxford. As the country’s sixth most popular spectator sport, greyhound racing is enjoyed by people from all ages and all walks of life. We look forward to opening our doors and welcoming local people from across the local area and beyond.

“Greyhound welfare is at the very heart of our sport and there are strict rules and regulations in place to ensure greyhounds are well cared for throughout their racing careers. Racing injuries are at an all-time low and more retired dogs than ever are going onto loving forever homes.”

Regarding the maintenance of the stadium, Oxford City Council told Cherwell: “The Council was clear in the adopted Local Plan Policy SP51 that we wanted to ensure that the site was kept for community and leisure use. We will want to be confident that the operator will be committed to ensuring this is a long term proposal delivering a high quality and accessible venue as well as delivering jobs and training to the local community. We will look forward to working with Galliard Homes to achieve this.”

This article was updated on July 30th to include comments from Mr Boothby and Oxford City Council.

Image: Oxford Vegan Action

Review- In the Heights

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“No pare, sigue, sigue” (a Spanish aphorism which translates as “don’t stop, keep going, keep going”) is a particularly catchy recurring motif from the score of Lin-Manuel Miranda’s 2005 debut musical In the Heights. It is this indefatigably optimistic spirit which defines both the stage musical and Jon M. Chu’s recent film adaptation. Originally slated for release in the summer of 2020, In the Heights instead provides ebullient viewing as the first film many of us have seen on the big screen since cinemas closed their doors. A celebration of the power of families and local communities and of the possibility of sueñitos (“little dreams”) coming true even in the most adverse of circumstances, it is the perfect antidote to a year in lockdown.

The film focusses on the hopes and dreams of an ensemble cast living in Upper Manhattan’s majority-Latinx Washington Heights neighbourhood. Anthony Ramos’ charismatic protagonist-narrator Usnavi and his love interest Vanessa (Melissa Barrera) both dream of moving away from their neighbourhood as it rapidly becomes gentrified – Vanessa to a downtown apartment and a fashion career, Usnavi to his deceased parents’ home in the Dominican Republic – while Nina (Leslie Grace) struggles with financial pressure and racial microaggressions at Stanford University. These underlying tensions come to fruition alongside the revelation that someone in the community has bought a winning lottery ticket, and climax during a neighbourhood power outage.

This subject matter has the potential to feel small-scale and everyday, especially in comparison to Miranda’s later historical epic Hamilton. However, like many great movie musicals, In the Heights employs music, dance and theatricality in a way that elevates these mundane concerns to matters of world-changing importance. The eponymous opening number, which posits Usnavi’s bodega as the spiritual centre of the neighbourhood and casts Ramos as a deeply convincing “boy next door”, lends an almost mythical quality to Washington Heights. This quality is enhanced with the slightly corny yet effective framing device which positions the entire film as a story read by Usnavi to his future children on the Caribbean island of his dreams. Cinematographer Alice Brooks’ occasional use of fantastical elements – a feature which is often liable to ward sceptics away from the movie musical genre – is also effective in granting mythological proportions to a domestic tale. The use of graffiti imagery “spray-painted” in the air by the male leads at the start of ‘96,000’ (a childlike visualisation of the characters’ dreams of what they would spend their lottery money on) sticks especially in the mind.

Musical theatre as a genre has always excelled at walking the fine line between telling the stories of esoteric communities – the shtetl of Fiddler on the Roof, for example, a musical Miranda has cited as an important influence for Heights – and extracting messages from these stories which can resonate with more diverse audiences. Heights similarly tempers universal observations about the power of family and community with a deep affection specifically for the cultures of the Latinx diaspora in New York. Chu’s direction on the blockbuster numbers is unafraid to move the camera away from the dance sequences and let it linger on mouthwatering pernil and arroz con pollo being prepared, or on the impressive acrylic nails and platform shoes of the neighbourhood salon owners — the cinematic equivalent of Abuela Claudia’s (Olga Merediz) mantra that Latinos should “assert dignity in small ways”. 

As a longtime fan of the original musical’s cast album, I may risk slipping into pedantry by critiquing the ways in which the plot of Heights was changed on its journey from stage to screen. Nevertheless, the extent to which Nina and Benny’s love story was sidelined in the film is regrettable, especially given how it addressed the uneasy racial dynamic between Benny, the only non-Latinx lead character, and Nina’s disapproving father. The removal of certain key songs, especially ‘Sunrise’, the intimate Act Two opener performed the morning after Nina and Benny’s first night together, led to the development of their love story feeling rushed in comparison to that of Usnavi and Vanessa. Admittedly, some of the screen time gained with the reduction of Benny and Nina’s storyline was used to explore the status of Usnavi’s cousin Sonny (Gregory Diaz IV) as an undocumented immigrant. However, this was a minor subplot at best, and thus felt like a noble but underdeveloped attempt to update the musical with references to issues relevant to America in 2021, at the expense of the storylines which made the original special.

Despite these misguided alterations, Heights is unafraid to experiment with the flexibility of the movie musical format, and consequently never falls into the trap of feeling like a filmed stage production. This experimentation is employed most effectively in Abuela Claudia’s moving autobiographical solo number ‘Paciencia y Fe’. While in the stage musical this was a simple sung soliloquy about an elderly Cuban immigrant, the film version is one of Chu’s most boundary-pushing moments as a director. In contrast to the colours and vibrancy of the other musical set pieces, ‘Paciencia y Fe’ takes place in a dreamlike version of the New York subway, and positions Abuela Claudia trapped in a subway carriage and alone in a crowd of ghostly interpretative dancers, seemingly representing the different pressures and anxieties described in the song’s lyrics.  During two other emotionally resonant numbers, Nina and Vanessa’s solos ‘Breathe’ and ‘It Won’t Be Long Now’, Chu and Brooks are unafraid to use dream sequences — an apparition of Nina’s younger self, Vanessa’s desperate run down a busy avenue — to transfer the emotional weight of songs written for the stage to a specifically cinematic context. Though In the Heights’ willingness to play with the structure and staging of the original musical has its shortcomings, it demonstrates a fearlessness which sets it apart from more straightforward stage-to-screen adaptations.

Given Miranda and Chu’s much-stated desire to use In the Heights to amplify underrepresented voices in Hollywood, in the vein of Black Panther or Chu’s Crazy Rich Asians, it would be remiss not to mention the controversy surrounding the lack of Afro-Latinx representation in the film. According to the most recent American Community Survey, 59.29% of the population of Washington Heights identified as non-white. While this diversity is represented to an extent by the casting of Leslie Grace and by an ensemble largely made up of people of colour, it is still troubling that all of the other leads were played by white or white-passing Latinx performers. After several detailed critiques from Afro-Latinx writers, Miranda did offer a heartfelt apology for the limited representation of his community.

Nonetheless, concerning comments continued to be made by cast members such as Barrera about how the light-skinned lead actors were selected because they “embodied each character in the [sic] fullest extent”, implying that the characters were never written with anyone other than a light-skinned performer in mind. Though In the Heights’ goal as a piece of Latinx representation is laudable and perhaps unachievable given the size and diversity of the Latinx diaspora in the US, its shortcomings may prove to be a lesson to future filmmakers telling the stories of underrepresented communities.

Despite these questionable choices and serious missteps, In the Heights shines a spotlight on communities whose stories deserve to be told. It provides a much-needed reminder of the importance of optimism, family, and the unique power of the movie musical, and one could definitely do worse when finding a suitable film for their first post-lockdown cinema trip.

In the Heights is in cinemas now. 

Most teaching will be in-person, Oxford University plans

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Oxford University has announced they are planning that most teaching in the new academic year will be delivered in-person.

In a newsletter sent to students, the Pro-Vice-Chancellor for Education Chair of the Conference of Colleges confirmed the move, adding that teaching will be “enhanced by high-quality online resources” and possibly “online teaching”.

A variety of assessment types, both online and in-person, will be offered depending on the courses. The newsletter told students they will find out how their course will be assessed at the start of the academic year.

The University has contingency plans in place if Government restrictions are re-introduced, or cases in Oxford rise to a high enough level. These could involve moving more teaching online. “Decisions will be made based on the level of local cases in the Oxford area and the prevailing health advice in the run-up to the start of term,” the email continued.

The University hopes that “as many students as possible” will start Michaelmas term in-person in Oxford. However, that travel restrictions may mean some international students will be unable to arrive at the start of term. In recognition of this, residency exemptions will be in place for students from regions on the UK Government’s Red List. Information on the support available to students quarantining after arriving from Amber List countries can be found here.

Health measures currently in place at the University will remain in place at the moment. However, the newsletter said they would be “kept under review”.

The newsletter says that a “fuller update” containing more details about teaching and health measures may be available in early September.

Students are advised to check the webpage for offer holders and returning students, or contact their department for further information.

Image: CC0 1.0 via Max Pixel

St John’s College announce Professor Dame Sue Black as President-elect

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St John’s College has announced Professor Dame Sue Black, Baroness Black of Strome will be the President of St John’s College from Summer 2022. She will succeed outgoing President Professor Maggie Snowling to become the 37th President since the College’s foundation in 1555.

Professor Dame Sue Black is a world-renowned forensic scientist who is currently the Pro-Vice-Chancellor for Engagement at Lancaster University. In this role, she is responsible for promoting the University’s regional, national and global profile through various public engagement strategies. She is also the President of the Royal Anthropological Institute. After graduating from the University of Aberdeen in human anatomy and forensic anthology, Professor Black worked as a lecturer in Anatomy at St Thomas’ Hospital London, as a consultant in forensic anthropology for both the Home Office and the Foreign and Commonwealth Office, and as the lead forensic anthropologist during the international war crimes investigations in Kosovo. She returned to Scotland in 2003 as a Professor of Anatomy and Forensic Anthropology at Dundee University, where she taught for 15 years. 

Professor Black boasts several personal accolades. She was made a Dame Commander of the Order of the British Empire in the Queen’s Birthday honours for services to Higher Education and Forensic Science in 2016 and entered the House of Lords as a crossbencher peer as Baroness Black of Strome in 2021. She is also a recipient of the Fletcher of Saltoun award for her contribution to Scottish Culture, the Jephcott gold medal for scientific advancement, the Lucy Mair medal for humanitarian assistance, and the Outstanding Women of Scotland award. 

St John’s College has an approximate cumulative total of 800 students, Fellows and lecturers. Professor Maggie Snowling, who is an Honorary Professor in the Department of Experimental Psychology, will leave her post as President after 10 years, having become President of St John’s College in September 2012. On the appointment of Professor Dame Sue Black, Professor Maggie Snowling said: “‘I am delighted that the Governing Body has chosen Professor Dame Sue Black, a distinguished academic, to succeed me as President. I am confident that her wide experience of fundamental and applied research, coupled with her extensive knowledge of Higher Education, and the challenges it faces, make her an ideal person to lead the College to new heights of distinction and inclusivity in the next decade.”

Professor Dame Sue Black stated: “I am honoured to be chosen for the post of President for St. John’s College. I pay tribute to the work undertaken by Professor Snowling over the last decade. She has set impeccable standards of service, been inspirational and innovative in her leadership and tireless in her support of staff and students. I can only promise to do my best to build on the strong foundation that she has set and look forward enormously to the tasks ahead.”

Image: St John’s College

#StopAsianHate was long overdue

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CW// Racism, Slurs, Violence, Mental Health 

‘Look, it’s Coronavirus!’

My mother went on holiday to the seaside town of Whitby, North Yorkshire, in the summer, and instead of telling me about the lovely time she had had, she told me about an incident when a white family pointed and exclaimed this at her. For context, my mother is Japanese and works in retail. When coronavirus first came onto the radar, she became used to an increase in members of the public not wanting to sit next to her on the bus, crossing the road to avoid her or refusing to be served by her in the shop. These were all things which occurred in general everyday life beforehand, but, in the vacuum of lockdown, such behaviour felt even more stark. 

A few months earlier, in April, she texted me to warn that there were more racists about in public, and that I shouldn’t leave the house alone. After that there was a period when I had a mild onset of, if not quite agoraphobia, then a fear of the outside world which was of course partly due to the virus but also the racism which it had enabled. Whether it be when going for a walk in the park or when doing the weekly supermarket shop, I felt a slight pang of fear whenever someone looked at me or approached me, scared of whatever prejudice my mere presence had ignited within them. 

According to the group End the Virus of Racism, there was an increase of 300% in hate crimes towards East and Southeast Asian (ESEA) people in the UK. According to the same group, up to 15% of the Chinese community in Britain had experienced racial discrimination pre-pandemic, which apparently is the highest percentage for any other ethnic group in the United Kingdom. Another sobering fact they reveal is that more Filipino nurses have died serving the NHS in its fight against Covid-19 than in the entire Philippines, and in total amount to around 1 in 4 deaths of healthcare staff in the NHS; South East Asian healthcare workers are disproportionately being sacrificed in this pandemic, yet this point has been rarely mentioned in the media. 

The Coronavirus pandemic did not create anti-racist sentiments amongst the British population out of nowhere. It merely made bigots feel legitimised, sometimes even to the extent that they felt emboldened to attack Asian people in the street. Doubtless to say that many people will have seen and shared Facebook posts where ESEA people have recounted their experiences of being threatened or even beaten purely because they look Asian (and thus, according to the perpetrators’ flimsy logic, are personally to blame for the current predicament), but almost all of your ESEA friends will have experienced verbal abuse at some point; we see these posts and wonder if and when something physical will happen to us too. 

Part of the British-Asian (or to be honest, probably Western-Asian experience generally) is having to internalise the everyday racism you experience. Growing up, I was pretty normalised to having strangers say ‘Nihao’ to me, sometimes whispered, sometimes tauntingly shouted, but always unsolicited. Speaking to other East Asian people in the UK, it is obvious that I was far from unique in my perspective. A student at King’s College London had told me about a time when ‘I was waiting outside a train station for an Uber with a friend (who is Chinese passing and from Malaysia) and there was a white man who passed us by and said, “ni hao leng lui (hello sexy girl), why don’t you come over to my place tonight”’. 

I will admit that I too, have been made to feel uncomfortable as a half-Asian woman. For instance, during my first term at Oxford I was locked in the room of a fellow student at my college…before he proceeded to tell me about how he had been learning Japanese. Gripped with fear about how to navigate this bizarre situation, I asked to allow my friend to join us before he panicked and refused. Luckily nothing happened, but I was incredibly worried that he could well do much worse to other female Asian students.

Another person whom I spoke to came from a predominantly white town in England, and referenced ‘people doing ‘chinky eyes’ at me when they passed me on the school bus… being asked why I didn’t have a Chinese accent, occasional sexual harassment aimed at me rather than other women’ and even within professional institutions: ‘being asked on a psych ward whether living up to the cultural expectations of my family was the cause of my mental illness’.

A common issue which stems from the ignorance of the general population is an assumption of the homogeneity of all ESEA people. The aforementioned King’s student went on to lament the aestheticisation of her background during a conversation with someone: ‘I told her that I was from Malaysia and for some reason she said, “oh cool I’ve always wanted to go to Thailand to take pretty pictures”, and I guess it was also this generalisation that annoyed me because she thinks that SE Asia is one big country with one culture’.

Yet I always felt a hesitancy about making a concerted point about my experiences of racism; whilst my family had experienced uncomfortable incidences like those aforementioned, I felt immense privilege compared to my Black and other Asian peers who experienced systemic and institutional racism and barriers in British society. Perhaps I had internalised this perspective and felt reticence about speaking out because of, in part at least, the ‘model minority’ myth – that ever pernicious tool which divides immigrant and minority communities on their perceived value to society. 

Even supposedly intelligent and worldly students, our peers at university, can make Asian students feel out of place. Quite a few students mentioned to me their discomfort at how Western students immediately jump to the assumption that they are agents of the Chinese government, for example. One international student told me an anecdote which demonstrates this phenomena: ‘one of the things that really concerned me during my freshers week were comments primarily aimed at Chinese international students. I sat through a very awkward event where two students spoke about how Chinese students are simply unable to think critically because they supposedly are unable to be critical of Chinese state narratives. It was frustrating for a lot of reasons, not only because there was an incredible lack of self awareness from this person, who was a white European, about how they’ve also internalised their own state narratives, but the attempt to paint all Chinese international students as “incapable of critical thinking” is simply false and racist.’

‘I didn’t want to be the one who’s like “hm well I’m Asian, does that mean I’m incapable of critical thinking?” because I know they’d be like “we’re not talking about you, but Chinese international students” and there’s just no winning. I’ve never seen this in undergrad, partially because my undergrad was in California so it was just so normal to see so many Asian (both Asian American and Asian international) students’. 

One thing which can be drawn from this testimony is one of exasperation at the lack of discussion of racism towards East and South East Asians – we are far behind the level of awareness that is more commonly expected in the US. In part, this is because our communities in the UK are more disparate and lower in number, so in conversations about ESEA experiences, we can feel as if there is little alternative to having basic discussions, including this article, which focus on the foundational issues affected all ESEA people as at least some discussion is better than none. 

Furthermore, the Stop the Virus Against Racism group has also pointed out that, as most ethnic groups which aren’t ‘Chinese’ require people to tick the ‘Other’ box on forms, it is difficult for the government to gather specific information about the ESEA community, once again meaning that our experiences and issues cannot be easily accounted for at the highest levels of government. Indeed, whilst researching this article it became clear that data on prejudice against ESEA people in the UK was much harder to find than comparative information in the United States. Meanwhile Sarah Owen, the MP for North Luton and the first Labour MP of East Asian descent, has noted that two other MPs referred to the Chinese as “those evil bastards”.

The Sewell report on race relations which was released by the government in April had serious criticisms, and far too many which could be meaningfully addressed here. However, it is worth highlighting how the experiences of ESEA people who are not Chinese are not included, and instead the model minority myth of the Chinese community is unhelpfully perpetuated. Chinese people are deemed as an example of a successful community in an effort to create a narrative which disregards the issue of inequalities within communities and instead pits them against other minorities. This does not help anyone who wants to tackle the systemic racism and divisions in society.

There is also, generally speaking, a pitiful representation of ESEA people in the British media. Growing up, if there was ever an Asian person on TV my (white) father would feel the need to point it out to me. As an indication of how deep my internalisation of racism was, he would also joke about ‘my relatives’ whenever we were watching a nature programme that features monkeys, but I didn’t realise the troubling implications of that until I sat down to write this article. 

The inspiration for this article came from the most tragic of circumstances. In March 2021, 8 people, including 6 Asian women, were killed in a horrific shooting which was the worst incident of its kind in America since 2019. Yet despite the obvious racial motivations behind the killer’s actions, the police sought to downplay this and instead point out that he had a “sex addiction” and he was trying to “take out that addiction”. Such a framing seemed totally tone-deaf and ignorant of the basic fact that these victims were women and women who had existed in a society that constantly dehumanises and hypersexualises Asian women.

The media has also been complicit in stoking the flames of prejudice: 33% of images used to report on Covid in this country have featured Asian people, likely as a reference to the virus’s origins in China, but it provides an inaccurate portrait of the realities of the pandemic – everyone of any ethnicity is able to contract and spread the virus. As a more general point of the lack of care paid to ESEA communities by the media, the Sunday Times published an article (on their front page, no less) on Prince Philip’s passing by describing him as “an often crotchety figure, offending people with gaffes about slitty eyes, even if secretly we rather enjoyed them”. One would have hoped that you would think twice before publishing such casual racism right after a mass awakening to the realities of the ASEA community with the #stopAsianhate campaign, but clearly, that is asking for too much.

However, let us not kid ourselves,  there have certainly been some members of our communities who have taken advantage of the ‘privilege’ awarded through the designated model minority status. When the world was coming together in the wake of George Floyd’s death last summer, some observers of the video footage noticed the Hmong-American policeman Tou Thao doing nothing in response to the horrific act which Derek Chauvin was doing right beside him. Whilst Asians are far from immune to experiencing racism, we need to recognise that we can also perpetuate such pernicious behaviour amongst other ethnic minority groups. 

Times are difficult right now for the ESEA community, but it would be fallacious to point to a time when everything was perfect for us in the UK. Hopefully, however, these experiences of coming together to tackle anti-racism with the #stopAsianhate campaign will continue to develop in the future, and we will feel more confident in tackling the issues which we face, as well as recognise through full and frank conversations about how we need to stop upholding racist behaviour towards other minorities. For far too long, many of us have tended to keep quiet in the face of abuse and victimisation, but no longer.

Image Credit: Heidi Fang

In Conversation with Lord Harry Dalmeny

“When I finish this call I’ve got to go on to a client who owns a Monet”, says Harry Dalmeny, the UK Chair of Sotheby’s. Having spent some three decades at the preeminent auction house, he’s seen hundreds of millions pass under the hammer, trawled through the country’s greatest estates hunting-out forgotten prizes crammed in distant corners of grade-listed attics, and personally sold some of art history’s most treasured works. He must have an enviable black book of contacts, I think, half-disappointed that he doesn’t have any recognisable artists hanging behind him. Though I’m sure he knows the various international whereabouts of many of their prized works—concealed within private collections.

Dalmeny’s fascination with objets d’histoire was near instantaneous: the heir apparent to the earldom of Rosebery, a great-grandson of Prime Minister Archibald Primrose, 5th Earl of Rosebery and Hannah de Rothschild—the richest woman in Britain—he was raised amongst the great collections of Dalmeny House and Mentmore. “My family had been collectors; my great-grandmother had an amazing house, full of treasures; when I was about eight, my father died and tax rates being what they were, we had to sell the house and Sotheby’s did a house sale on the lawn.” Dalmeny recalls his amazement at perfect strangers knowing more about the objects in his house than he did himself. I wonder whether, had the lawn-sale been held by Christie’s, the seed might have been planted to join Sotheby’s renowned adversary instead.

Dalmeny was fortunate to have a fortuitous exposure to a bounty of things ancient and precious, a metaphorical cornucopia—only this collective horn of plenty was offered to the government for the equivalent of £24m in 1974 in lieu of taxes. Dalmeny pursued his interest in the arts to Cambridge, where he studied History of Art. Having grown up in a private art-horde I can imagine the world’s greatest museums felt a little pedestrian (rather, with too many pedestrians) in comparison. Post-graduation, he came to work at the older of the two dominant auction houses, starting off as a ‘porter’, a denomination which he assures me has now been upgraded to ‘technician’, which seems a little more dignified. Enjoying a stimulating breadth of experience throughout the house’s numerous departments, this suited an anxiety to understand as much as he could, ever-conscious that he would soon be the custodian of his familial collection.

Having spent a career at the place, and indeed over the most transformative decades the art market has seen, Dalmeny remembers the retrospectively modest state of affairs when he started out in the 90s: “When I started, the contemporary art department was two men in corduroy suits with an office halfway up the staircase”. Nowadays, the same department is the single ‘engine’ of the business—the global contemporary market turnover in 2000 was $92m; as of 2019, it was $1.9bn. Yet this transformation has inevitably extended to far more rigorous demands of the auctioneer’s staff: “I’m probably one of the last dinosaurs who doesn’t speak three languages”, he says.

“I spent the 90s going from stately home to stately home, putting up a tent on their lawns and doing to them what was done to me aged eight”. He found the harmonious unity of family collections particularly pleasing—”the whole thing made sense in the house, in the family, in the ownership”. Early in his career, he worked on the Windsor sale, sorting the contents of the Duke and Duchess of Windsor’s house in France after their deaths. Sotheby’s house sale at Chatsworth, the seat of the Dukes of Devonshire, was particularly fruitful: “we freed up the rooms, and gave them £7 million in return for the things that were their problem”. Blocks of stone discovered in an old saw mill on the estate were, in actuality, the dismantled original fireplaces designed for Devonshire House in London, some of which sold for over half a million pounds. Presently, he’s managing a sale of the late countess of Mountbatten of Burma’s collection—whose granddaughter, India Hicks, I happened to have interviewed for Cherwell last July.

Yet Dalmeny most excitedly recalls the unexpected discoveries made throughout the years, of things such as a textile wrapped around a heating pipe—which turned out to be indigenous artwork from Canada which sold for over £200,000. A colleague of Dalmeny’s recently unearthed a cardboard box with a “feathery ornament” inside. Having tracked down the provenance and discovered that it had come back with Captain Cook on his first voyage from the South Sea, the ‘ahu ‘ula sold last year for £239,400. When discussing the art market, it’s difficult not to price-drop, as it were. Dalmeny tells me his most valuable auction lot was a Monet painting of Haystacks.

For those who disdain commodification, and the traditionalists who insist that the price distracts from the purpose or importance of any work, I often agree. The price of a work necessarily informs public perception of it—and its creator. Yet price does not uniquely determine quality, but demand. And, indeed, marketing. “The idea that you would invest in art and you would take a profit is probably a product of the last 20 years. It’s really particularly germane with contemporary art, because people do decide to buy an artist and then will sell it if the price gets to the right point. I’ve known clients who have bought and sold the same work two or more times”. For those who haven’t recently watched Fran Lebowitz on Netflix, I offer her observation: “If you go to an auction, out comes the Picasso—dead silence. Once the hammer comes down on the price—applause. We live in a world where they applaud the price but not the Picasso”.

Marketing has becoming increasingly essential during the pandemic, of course. Despite all operations moving online—no in-person viewings, bidding, etc.—Sotheby’s beat Christie’s to make $5bn in global sales. Yet it seems to me that watching that infamous Banksy self-destruction was cause for more alarm to Dalmeny than the pandemic: despite its suddenness, Sotheby’s circumstance has unsurprisingly been one preparedness. Over the last few years, 80% of sales had already moved online—absentee bidding, telephone bidding. “I witnessed an Asian bidder bidding over $70 million online on his laptop for a Francis Bacon last year,” he recalls excitedly. Fortuitously, Sotheby’s had been acquired by new owners just before 2020, whose apparent digitally-adeptness had already invigorated trade as an ‘interactive marketplace’ rather than the glossy catalogue-browsing of old. “We couldn’t have imagined people spending this much online. This was a person who couldn’t come and view the work in person—the painting was in New York, the auctioneer was in London, the buyer was—well, I can’t tell you… But the underbidder was in Asia. These four entities were interacting.”

But amidst their impressive online marquee auctions, digitally dystopian sales with miniature talking phone bidders beamed in front of the auctioneer, Sotheby’s private sales have been doing exceptionally well. While it often used to be a question of selling “when somebody died, or moved house—we used to operate on death, divorce, disaster”, private sales organised between clients are becoming increasingly popular. “If the vendor wants to sell something privately, we tend to know who has bought similar works, and more critically who has underbid on similar works—if you have a frustrated purchaser for one work, you might know that they might be interested in another.” A few years ago, Sotheby’s sold a copy of Audubon’s Birds of America, a remarkably rare illustrated book. Dalmeny happened to know an owner of another copy; after a bidding battle for the one up for auction, Dalmeny swiftly called the underbidder and negotiated a sale for the other private collection copy within a day—for £6.5 million.

Though the majority of their private sale offerings are posted on the Sotheby’s website, aspersions of opaqueness have been levelled against the auction house: “We’re obviously reacting to what our clients want—and if somebody wants to sell something without it being public, we do all the due diligence to ensure they own it, that they’re entitled to sell it, that it’s being sold legally, and that the funds are being transferred correctly. Beyond that point—if you want to sell your house, you don’t have to take out an advert in Country Life…” It’s true that Sotheby’s recently opened pop-up shops in Hamptons and Palm Beach, as well as a Buy Now in London where Adrian Sassoon showed some ceramics and silver.

But I press Dalmeny on the recent lawsuit filed by the New York Attorney General against Sotheby’s for allegedly defrauding millions in unpaid sales tax. In a 40-page complaint, filed in November 2020 with the New York State Supreme Court, the government lawyers affirm that Sotheby’s “helped wealthy clients evade taxes to boost its own sales”. As the second greatest global art market, how must auction houses change in order to ensure the utmost transparency and ethical practices? “The smoke signals within Sotheby’s is that this is about the American tax regime trying to find a way to attack. We are defending ourselves extremely vigorously”. Naturally, the auction house conducts thorough investigations into the funds proposed by buyers as their source of revenue for purchases. Similarly, if they organise sales through a dealer on behalf of an end buyer, they must always know who the final buyer is.

“Obviously art, and particularly the fact that the object itself is its own certificate, means that you have to be aware of the possibility of dishonesty, fraud—either fake items or the work of art and its value being used perhaps in money laundering.” Dalmeny says that, while Sotheby’s diligently keeps records and cooperates with tax and legal authorities, they nevertheless act to “protect the interests of our clients”. He says that any auction house will always be “caught up” with legal efforts: “We’re the visible point. If they’re investigating somebody who has shady financial deals, they may well have purchased art—just like they might have bought lunch in a restaurant; it’s very hard to know exactly who the clientele sitting in a restaurant is, and we have to be extra vigilant who the clientele are in our auctions”.

As time moves on I can see that Dalmeny’s mind is turning towards that client with the Monet. I cease with the legal line of questioning and he imparts some wisdom informed by his decades in the art market—though being as unpredictable as it is, I daresay no amount of cunning could predict its appearance in the coming decades. Only time—and the influence of Sotheby’s global clientele—will tell.

Image Credit: luxurylondon.co.uk/CC BY-SA 4

It’s coming to Rome: The Italian response to Euro 2020

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‘We heard it day in and day out since Wednesday night after the Denmark game, that the trophy would be coming to London. Sorry for them but actually the cup will be taking a nice flight to Rome to celebrate with us.’ In this manner, Leonardo Bonucci, Italy’s star centre-back, summarised Italy’s attitude to the final against Southgate’s England. The final served as a reminder that, in spite of being a smaller and often overlooked nation, Italy could still be at the centre of the European sporting stage – receiving a further boost by Berrettini’s historic second place at Wimbledon, the best Wimbledon result in Italian tennis history. Unfortunately the pride and jubilation of the victory in the European cup is generally seen by Italians as having been met with contempt and arrogance by our friends across the channel. Bonucci’s words summarise this arrogance, with England fans continuously chanting about football coming home – although, as Denmark’s Kasper Schmeichel noted, was it ever home to begin with?

The Italian press has suggested that this arrogance was displayed across the footballing world, reflected in Rio Ferdinand’s claim that England was ‘superior to both Italy and Spain, whilst Gary Neville affirmed that ‘Italy is not at the level to play with England in Euro 2020’. A myriad of English commentators continued this rhetoric by talking about Mancini’s Italy being made up of footballers from ‘farm leagues’ – a pejorative epithet for the Italian Serie A – whilst Boris Johnson flirted with the idea of instituting a national holiday if Southgate successfully outmanoeuvred Mancini. This confidence only increased after Shaw’s second minute goal in the final. Call it arrogance or ‘just English humour’, as argued by Southgate after the defeat, such an attitude would be unthinkable in Italy. The reason for this can be explained by Italian superstition and the concept of ‘Scaramanzia’, something that no one can truly understand outside of Italy. As a nation steeped in tradition and customs,  Italy holds superstition as a matter of utmost importance. As a family, we first watched Italy’s knockout matches at home with family friends, and hence we continued to watch the matches at home with the same people every week, eating the same pasta, sitting in the same seats. It may be stupid but this was so serious that if Italy had scored with one person in the toilet it is likely that they would have been forced to watch the rest of the match sealed in the lavatory. This is something practiced by Mancini’s azzurri as well. Before the first game, the bus leaving for the stadium forgot Gianluca Vialli, Mancini’s second in command, only to then realise and have to return to pick him up. Italy then proceeded to defeat Turkey 3-0. From then on, this became a ritual, with the Italian bus pretending to forget Vialli and then coming back to pick him up before every game. Call it stupid, but this scaramazia bred humility, meaning that drilling a song like It’s Coming Home or the Italian equivalent Notti Magiche into everyone’s minds would be unthinkable in Italy.

This perceived arrogance was perhaps aggravated by the behaviour of the English side during the game and after. Much like in the famous 1950 world cup, where Brazil behaved like they had some God given right to win, England seemed to think they had already won. This divine ordination was stopped by the mortal hands of Gianluigi Donnarumma, much like the Brazilians had been halted by the Uruguayan goalkeeper Máspoli. This apparent confidence was mirrored in Southgate’s substitutions. These substitutions so close to the 120th minute seemed, in Italy, to be tempting fate. Further, many saw the English defensive attitude as an affront. Much like Italy had been wrong to attempt to defeat Spain using a Spanish style of gameplay, Southgate could not win against Italy by using an Italian creation – the catenaccio. Additionally, what in particular angered Italians across the peninsula was the way in which English players took off their medals, almost to indicate no respect for their opponents. It is true that this is becoming an increasingly common practice in football, nevertheless the English players unprecedentedly left the pitch before the Italians received the cup, whilst Prince William failed to greet our President Sergio Mattarella. The combination of all of these is being seen by Italians in a very disappointing light. Italians often put England on a pedestal as the alleged inventors of fair play and sportsmanship. Instead, all we seemed to witness was a petty display of disrespect amongst the team, with only Henderson and Southgate proudly keeping their silver medal. This view was only accentuated with scenes of violent hooliganism. The prevailing narrative in Italy is that in one day, Italy showed Sua Maestà – the term ironically used to refer to Queen Elizabeth – how to win in style at Wembley, and how to lose in style, with Matteo Berrettini’s defeat to Djokovic at Wimbledon. The parallel is now being used to show how Italy won in both sport and conduct. This does raise an important point – when Italy lost to Spain in the Euro 2012 final, the players did not behave in such a way. Further, can we imagine athletes in other competitions, say the Olympics, refusing to keep a silver medal? In Italy, the English behaviour is being overwhelmingly compared to the way in which the Spanish behaved after the semi-final. Louis Enrique, the Spanish coach, hugged Italian players, praised Italy, and consoled his players in defeat, before wishing Italy good luck in the final. The Italian press has therefore contrasted Enrique to the defeated English with a view to showing that Mediterraneans do it better. It shows that it is not only possible to lose with dignity, but that you can actually win even when you lose. 

Ironically, this English confidence appeared to succeed in uniting not only the Italian resolve, but also the world against England. Even the Germans – noted for a strong sporting rivalry with Italy – supported Italy, a sentiment captured by the picture of the EU commissioner Ursula von der Leyen (a figure generally despised in Italy) with an Italian jersey.  For Italy, football becomes a tool to unify the country, and is one of the few collants of the nation. It is one of the few things which can unite Neapolitans like Ciro Immobile and Lorenzo Insigne, with the Sardinian Salvatore Sirigu, or the Tuscan Giorgio Chiellini. This unity was mirrored in Mancini’s group, which had humility instilled in it. It is for that reason that the arrogance with which many English fans, commentators and players seemed to deal with Italy before, during, and after the final, filled Italians with anger. The English modus operandi – from the royal heads of the Duke and Duchess of Cambridge, to the footballing feet of Southgate’s men – represented an affront which only emboldened us. It showed that, as Bonucci remarked, England ‘still has to eat lots of pasta’: a reminder that in order to win you need more experience, hard work, respect, and, most importantly, humility. The humility to realise that football does not have a home, but rather chooses one.

Image Credit: Gustave Deghilage via Flickr (CC BY-NC-ND 2.0).

Virtual beings: We are our data

The digital world is integral to our very understanding of being in this modern, post-industrial age. Whereas the factories of Victorian Britain once exerted discipline and control over working class populations through imposition on their routines and dictating ruthlessly their economic possibilities, today, being is conditioned by the factories of FAANG. What is produced is no longer coal or cotton, but data. Superficially, then, the economic product has moved from a determinate materialism to a more hazy and amorphous entity. Yet this conjecture is, as Amartya Sen’s analysis of freedom-as-capabilities contends, epistemically limited. In a critical step for the theorisation of disability, Sen advances the argument that freedoms are properties of action and not a hypothetical or non-motivational construct. He likewise rebuts the idea that political freedoms are afforded simply by the distribution of resources. In taking this line, he ascribes to the products of those factories – whether they be kinds of fuel or clothing materials, or food or matches – a supervening quality of applicability that serves as a more holistic basis for considering the instrumentality of goods in structuring the human condition.

What we have seen is not a fundamental break but a progressive divergence from a vitalist core in the nature of industrial products. This amounts to a consideration of contemporary being as increasingly constituted by non-essential goods. Data is not something which directly benefits the donor, nor the person working in the firm that utilises it for profit, but rather exists in a contentious realm of superfluity. Contentious because, phenomenologically, very little about what is being harvested from us – as inputs into great semiocapitalist machines of information production – is actually separable from the living of our lives. With the level of social embeddedness which all but the most hermitic humans experience, it is almost a necessary feature of conscious existence that we participate in grand structures of technology. 

Few students have as vivid a social life without using Facebook to meet people and find events. No writer in America seems able to fashion a career without the help of Twitter. And Instagram is an essential property of being for the creative or the artist. Even my almost ninety-year-old grandfather has a smartphone, collecting data on what he wants and what he does. To philosopher Giles Deleuze, capitalism is a grand structure of desire capture. It exploits the very basal nature of wanting in our daily existence to inculcate us into ways and modes of wanting that sustain no one, ultimately, but the capitalist system. Unless we nurture a very conscious desire to rid ourselves of the loci of desire-training and control, there is no escape from oneself except into the anonymous depths of continual commodification and exchange.

We have, in the advent of the data-driven world, become commodities. Our ontology has gone beyond what can be conceptualised simply as the interaction of the human subject with an external, externalising economic world. Our lives themselves are in fact the fodder for corporations. Where we eat, where we shop, what kind of porn we like, who we associate with, what our political views are – these are not things that can be separated from the constitution of oneself. These are the self. And so, when they are machinated – and thus, able to be intruded upon or breached – what can only happen is a deep reconstitution of the subject.

The great debate within modern theory on the place of the radical individual within society contests whether we can really escape the subjectification of rationalist modes of reason. Jurgen Habermas, of the Frankfurt School, interprets the rationalisms of capitalism and bureaucracy as means, rather than ends. They are pathological insomuch as they infect our being and are parasitic upon our continual participation in such systems. Michel Foucault, on the other hand, issues a wide condemnation of all practices of reason – discourse itself included. But in his grand narrative of social contingency, the ultimate conclusion he comes to – that the subject should aestheticise itself so as to escape economic modes of control such as the Big Data industry witnessed today – ironically privileges an individualised subject, and fails to offer a proper account of the complex interpersonal relations that also enmesh into this debate. 

Habermas, in his post-Enlightenment appraisal of universalism and autonomy, endorses communication as a means by which legitimate reason can be laid out in a deeply infected meta-system, and in this sense, comes close to a framing which properly envisages the role of the interpersonal in constituting political relations. However, he does not stop to consider the wider implications of the psycholinguistic developmental evidence he cites in support of this. Rather than suggesting that, because communication is an inherent property of humanity and social relations, the mediation of communication by structures of power shapes rationality and legitimate discourse on a hidden level, he reaffirms an essentially negative and self-effacing vision of autonomy.

Psychologist and psychoanalyst Bracha Ettinger develops a notion of self in her seminars on “transsubjectivity” that better reflects the relational nature by which we are constituted under a cyber-oriented regime. Contrary to Foucault, who cryptically sneaks a normative core into his radical ontology of power, Ettinger affirms the role that personal relationships – with family, friends, lovers and acquaintances – play in self-identity and self-relation to the wider world. It is not simply that we can conceive of ourselves as isolated nodes connected by interpersonal links. Rather, interpersonality and social embeddedness are unignorable aspects of our humanity. Jean-Paul Sartre writes on the existential necessity of the presence of the other required to feel the feeling of shame in his seminal work Being and Nothingness. But we must move from incorporating these emotive insights into a personalist attitude toward the data economy’s infringement on privacy to a transsubjective attitude which focuses on the breach of authentic relations.

The invasion of one’s online accounts, or data collected upon oneself, by outside entities is a co-optation of necessary social dynamics on two levels. For one, we witness a manufacturing of consent when we are driven into signing unread digital contacts to access coveted resources. We sign away the right to keep details to ourselves in a Faustian bargain that ends up robbing us of power. When participation in socially contrived networks requires that signing away, we are left exploited. Cyberprotectionism is the means by which we strike a careful balance between wilfully and non-optionally giving away some part of ourselves. The ideal compromise empowers us through the abilities afforded by computerised resources – whether that be job opportunities or social occasions, educational resources, or analytical insights – without letting that potentiality for exploitation be foregrounded by the emergence of digital alienation. 

But on the second level, the impersonal and unstable relations we have with corporate and institutional bodies that require signatory acts from us plays off human tendencies toward agreeability and local social relation.  We are not made to negotiate with corporate entities, nor give away bits of ourselves to them. Yet in any interaction we have with the Internet, or social media, or CCTV, or any assemblage of equipment which can be used for data analytics or insight, this is what we are doing. We are rendering to a nonhuman Other access to the human potentialities which are supposed to be bestowed upon and conflict with those of other human beings; and in this sense, the industry of data capture and dissemination represents a new pinnacle for desire and potentiality absorption under capitalism.

If we conceive of the self as digitally contingent and cybernetically oriented, virtual hazards become existential ones. But so too do the agentic, technologically facilitated procedures by which our day-to-day operates. The Baudelairean aestheticisation which Foucault cites as a necessary means of escape does not serve as a useful exit point if our exodus only takes us as far as the realm of semiotic cyber aesthetics. Yet what combines with the mounting digital dependency of the modern human is not a radical undermining of authentic or liberated capacity on all levels. Contrary to the theorisations of sociologist Jean Baudrillard, technologisation can inform the development of new realms of sincerity and creative potentiality as well as undermine them. One may bemoan the scourge of algorithmically-stymied dating apps; but then there are the numerous success stories which tell you that one really can find love on the internet. Or think of the online communities, organised around obscure and recherche interests, that would never have come into fruition had it been for the absence of intercontinental intercommunicative links. There are, on the other hand, sections of discursive digital life where the promise of partial anonymity and unaccountability lead to cancerous comments sections and neo-fascist Chans

Given that our fundamentally immutable penchant for communication is now shaped and stylised by the cybersphere, we have undergone a slow translation into beings whose subjectivity is now digitally determined as well as determined by the power-structures which make possible such digitality. As a result, the legitimation power of the successful argument is now moderated not only by sociological contexts like ethnicity, class, neurodiversity and gender, which can shape the perceived rationality of an opinion well laid-out, but also by algorithmic intervention. The criteria for “reasonability” are shaped by powers even further out of our control than social structures – artificially intelligent tastemakers take up the job of deciding what to expose to us and how. If this is not a challenge for Habermas and the expression of autonomy through voice and rational judgement, nothing else is.

The growing importance of virtuality is symptomatic of an increasing digitalisation of the subject, which reconstitutes what it means to be human but also what it means to participate in complex social, economic, and organisational systems. The material and pragmatic considerations of cyber threats precede a wider threat to the freedom and autonomy of the individual. We can only ask that, when driven into difficult bargains with those that want our data, we retain a position of advantage by limiting the immediate potential for exploitation. If we are to continue living modern and digitally enhanced lives, cyberprotectionism is and always will be a necessity.

Image Credit: MaxPixel / CC0 1.0