‘This environment is normal in Tokyo’: Jeff Liang’s best phone picture | Photography

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Reflecting on his three years in Japan, Taiwan-based photographer Jeff Liang says, “Someone said to me once that Japanese society is like nigiri rice – that’s a perfect ‘bowl’ of rice, formed with your hands: nothing can fall out, or stick out – every single grain of rice must stick together to make it work. In Japanese culture, conforming is deemed essential.”

He had arrived in Japan on a working holiday visa and found a job as a souvenir shop clerk in Osaka, before being hired as a photographer and designer for an app. His office was in Shibuya, one of Tokyo’s busiest areas. “I was working for a Taiwanese company though, so my working day was only 10am to 8pm. It sounds long, but that’s pretty short by Tokyo standards. From 8am to 10pm is more normal. People are afraid to leave early and make a bad impression.”

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As such, the commuter rush hour is not only one hour; instead, it’s more like four. “It begins by 6am, through to 10am, and then again from 6pm to 10pm.” In those periods, finding a seat on his daily 40-minute commutes, when this photo was taken, was almost impossible. But while he always found it stressful, “something to be endured”, he notes that the faces he captured around him are relaxed, comfortable even.

“These hours and this environment is normal in Tokyo. But it’s also the reason why you see so many people passed out drunk on the streets at night. They have to be a certain way for their work, and the commute is part of that. Afterwards, they can free themselves. But the next morning, it starts again.”

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Rebecoming, The Other European Travellers @ Flowers Gallery, London 10 September-10 October

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Rebecoming
The Other European Travellers

Flowers Gallery, London. 10 September-11 October 2014
Virgílio Ferreira,
Henrik Malmstr
öm, Tereza
Zelenkova and Lucy Levene
Curated by Tim Clark, 1000 Words


Virgílio Ferreira, Being and Becoming, 2013. Injet print on cotton fine art paper, 70 x 47 cm.


1000 Words is delighted to announce a group exhibition featuring the four winners of the inaugural 1000 Words Award at Flowers Gallery, London this September.

Rebecoming brings
together newly commissioned works from four artists Virg
ílio Ferreira, Henrik
Malmstr
öm, Tereza Zelenkova and Lucy Levene. Focusing on migration patterns
between 1950 and 1980 from southern to central and northern Europe, it depicts
fragments of the lives, stories and environments of individuals who left their
countries of birth to start a new life in new lands, principally due to
economic reasons.
The works explore issues related to family, labour, mobility, boundary,
cultural heritage and social expectation. They also connect to instances of courage,
upheaval, opportunity, unfreedom, self-respect, heroism and the dream of
returning ‘home’, not withdrawing exploitation and poverty; the ultimate
capitalistic ethic. By offering personal visions of lived experience, Rebecoming examines the contradictory
nature of how the stage for temporary migration in many cases became permanent.
An installation by Tereza Zelenkova (b.1985, Czech
Republic) comprises black and white photographs from two series’, Girls & Gloves and Stewartby inspired by John Berger’s 1975
seminal text The Seventh Man. Shot in
the former London Brick factory in Bedford, England - a company that once recruited
more than 7,500 men from villages in southern Italy to fill the least desirable
and repetitive jobs during the post-war reconstruction boom - the images
make visible bits of detritus strewn across the building’s crumbling
interior.
Workers’ gloves and posters of women form Zelenkova’s
topology, offering monuments to
desperate optimism. Drawing on her signature surrealist
impulse, these objects undergo metamorphosis and alongside portraits and images
of a housing estate in the adjacent town Stewartby, become imbued with
emotional encryptions that speak to isolation, powerlessness, homesickness,
sexual frustration and desire. Central to her project lies an exploration of how,
or whether, the dream of a suburban life abroad was ever realised.
In The Spaghetti Tree, Lucy Levene (b.1978, UK) also responds
to Bedford’s Italian community, the largest concentration in the UK at more
than 14,000 people. The artist pulls together strands from her previous work, deftly
fusing documentary photography with performance and construction, experimenting
with varying levels of control and direction.
Attending events and accepting invitations to people’s homes, she
developed attachments and became involved in the families’ intimate narratives.
Her often witty photographs call
into question mythologies of what it means to be ‘Italian’ and the nostalgic ideal
of La Bella Figura felt by many
as they try to forge an independent identity in their new home, simultaneously revealing
the tensions in
conventional modes of portraiture; the perfect and
imperfect image.
Virgílio Ferreira (b.1970,
Portugal) has created the series Being
and Becoming
in an attempt to evoke the inner feelings of his Portuguese subjects
and open up a space for reflecting on hybrid-identities and polarity of living
in-between cultures, languages, landscapes and borders. Using multiple
exposures and diptychs, and by loading his imagery with metaphor, Ferreira’s
images not only evoke a sense of duality but also lend tangible form to the
condition of remembering.
The diffuse traces, obstructions and dappled light that routinely appear
in his imagery lock the viewer into moments where elements of the past coalesce
with the present to create a notion of continuity between ‘there’ and ‘here’. Ultimately,
Ferreira’s images tap into feelings of being uprooted or of seeing oneself
through the filter of difference in an adopted country.
Through a short film entitled Life’s
Work
Henrik Malmstr
öm (b.1983,
Finland) offers an unpredictable twist on the distance between objectivity and
subjectivity by reflecting on the mundane situations of various Portuguese inhabitants
from his local neighbourhood in Hamburg, Germany.
Getting as close as possible yet aspiring to a neutral position, Malmström conjures up the
vivid presence of cleaners, sex workers, laundrette staff, religious
worshippers and commuters. With deadpan humour and an unremitting gaze, the
artist seeks to open up ‘the universe next door’ whilst also engaging more
broadly in
the multitude of
individual dreams that form one universal wish - to find happiness in life
through comfort and material security.
Collectively the artists in Rebecoming
offer insight into the complexities of the migrant experience at a charged and
contentious moment in the evolution of modern Europe. It is an ode to those travellers
who dared to make the journey, for better or worse.

Rebecoming is part of The
Other European Travellers project, a co-production by
1000 Words, Cobertura Photo and Atelier de Visu with the
support of
EACEA programme of the European
Union.
For further
information or images contact Alex Peake on 020 7920 7777 or email alex
@flowersgallery.com



*Tim Clark will give a free, informal curator's tour discussing the exhibiting artists and themes of the shown Saturday 11 October at 3pm. Please RSVP to jessica@flowersgallery.com to attend.*






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Reservation Dogs Photo Essay | HuffPost Voices

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As a Cree woman from Northern Alberta, I was truly shook to witness “Reservation Dogs” bring our Native humor to the mainstream. Hearing our rezy-isms like “skoden” is a small but mighty win against America’s relentless attempt to erase our accents and colloquial slang. We’ve had to code-switch for our whole lives, but through the characters in this series, the phrases we spoke only to each other were exposed for the world to see. It’s a moment both vulnerable and empowering.

“Reservation Dogs” will end after only its third season, but the show has already been revolutionary for the culture — largely because it was written and led by actual Indigenous people, setting new precedents for Indigenous content moving forward. For years, we’ve had to endure violent stereotypes of Native people drawn crudely through a cloudy white lens. For so long, we were seen as a monolith of victimhood.

The “Rez Dog” writers dismantled all of that swiftly, portraying us as who we actually are: vibrant contemporary NDNs with all different skin tones, lengths of hair, and ways of being. And so the show is a legacy, and an eversick example of Natives thriving in all areas of television and filmmaking.

D’Pharoah Woon-A-Tai, who plays Bear Smallhill in the series, pointed out that even before pen hit paper, there was intentionality to the show. “The casting directors are the biggest part of making sure our stories are told right,” he tells me. “If a non-Indigenous casting director is going to cast a major project and is not familiar at all with our communities or culture, they will resort to stereotypes.”

Stereotypes aren’t the only issue; we’re still combating a long history of non-Natives assuming a fake Indigenous identity for profit — when we have been here the whole time to fill those roles — or simply from a place of fetishizing our cultures. To be in a space where your cultural identity is protected, Woon-A-Tai says, is sacred. After working with an Indigenous-led team, he adds, “I will never do another project that’s not Indigenous-led that has as much Indigenous content that ‘Reservation Dogs’ has.” To provide a more intimate glimpse into how it all came together, photographer Jonathan Blaustein captured moments from behind the scenes of Season 3. Through this unique access granted to him, we’re able to see the authenticity behind the genius of the show.

After more poignant and challenging scenes (like when the characters discover their friend Daniel’s body) many members of the cast and writing team came together to heal, by smudging, praying and singing songs — ensuring the well-being of the cast during those triggering moments. All of the storylines in the series are based on events that have actually happened to cast members, and NDNs all over Turtle Island. The writing and dialogue on the show reflect these shared experiences.

“There was just such a shorthand and common understanding and collective experience that ties us all together,” Devery Jacobs, who plays Elora Danan, tells me. “There’s such an indescribable experience that roots you to your community and culture when we all come together.”

This connectedness that Jacobs describes has resulted in a series that educates the masses without being didactic, and reinforces the sanctity of cultures that have battled attempted erasure for centuries. We, as young Natives, no longer exist in the margin.

Below, see photos from the set and locations of “Reservations Dogs” by photographer Jonathan Blaustein.

A mural on the side of a building in downtown Okmulgee, Oklahoma, where much of Season 1 was shot. In the series, the town is fictionally known as Okern. Okmulgee is located on the Muscogee Nation, about 45 minutes south of Tulsa.

Jonathan Blaustein for HuffPost

The Orpheum Theater, in downtown Okmulgee, was featured in Season 1, Episode 5, in which Cheese rides along with Lighthorse police officer Big (Zahn McClarnon), and they bump into Bucky (Wes Studi) outside the theater.
The Orpheum Theater, in downtown Okmulgee, was featured in Season 1, Episode 5, in which Cheese rides along with Lighthorse police officer Big (Zahn McClarnon), and they bump into Bucky (Wes Studi) outside the theater.

Jonathan Blaustein for HuffPost

A motorbike is suspended in the air as part of the sign for an auto-body shop on Oklahoma Avenue in Okmulgee.
A motorbike is suspended in the air as part of the sign for an auto-body shop on Oklahoma Avenue in Okmulgee.

Jonathan Blaustein for HuffPost

A Lighthorse police vehicle parked in downtown Okmulgee. “When I asked across the street, a barber told me the policemen were likely having lunch in Kirby’s Cafe,” Blaustein says.
A Lighthorse police vehicle parked in downtown Okmulgee. “When I asked across the street, a barber told me the policemen were likely having lunch in Kirby’s Cafe,” Blaustein says.

Jonathan Blaustein for HuffPost

Lane Factor and Elva Guerra goofing off for the camera, while Paulina Alexis looks on amused.
Lane Factor and Elva Guerra goofing off for the camera, while Paulina Alexis looks on amused.

Jonathan Blaustein for HuffPost

Migizi Pensoneau, co-executive producer of “Reservation Dogs” and one of its writers. He was also a founding member of the 1491s comedy group, with showrunner Sterlin Harjo and several of the other writers and actors.
Migizi Pensoneau, co-executive producer of “Reservation Dogs” and one of its writers. He was also a founding member of the 1491s comedy group, with showrunner Sterlin Harjo and several of the other writers and actors.

Jonathan Blaustein for HuffPost

A "Reservation Dogs" clapperboard sits on an apple box.
A "Reservation Dogs" clapperboard sits on an apple box.

Jonathan Blaustein for HuffPost

The young actors stand at the edge of the set for Leon’s office, lit from behind.
The young actors stand at the edge of the set for Leon’s office, lit from behind.

Jonathan Blaustein for HuffPost

Shane Brown, the official set photographer for “Reservation Dogs,” has worked on all three seasons of the show and has been blown away by the camaraderie among the cast and the crew. "It's just the kindness of the cast. Devery, D'Pharoah, Lane and Paulina — they're all just genuinely super kind people, and I feel like I capture a lot of that," he says. "They engage with the camera when they see me because they've gotten to know me over years."
Shane Brown, the official set photographer for “Reservation Dogs,” has worked on all three seasons of the show and has been blown away by the camaraderie among the cast and the crew. "It's just the kindness of the cast. Devery, D'Pharoah, Lane and Paulina — they're all just genuinely super kind people, and I feel like I capture a lot of that," he says. "They engage with the camera when they see me because they've gotten to know me over years."

Jonathan Blaustein for HuffPost

Brown taking photos during a brief scene break, while actor Jana Schmieding laughs at someone’s joke. "They don't need a lot of direction to make a great photo," Brown says of the cast members. "They just know how to do it by being themselves."
Brown taking photos during a brief scene break, while actor Jana Schmieding laughs at someone’s joke. "They don't need a lot of direction to make a great photo," Brown says of the cast members. "They just know how to do it by being themselves."

Jonathan Blaustein for HuffPost

Tazbah Chavez was directing the day Blaustein visited the set. She’s also a co-executive producer and writer for the show and has directed five episodes across the three seasons, including the season 2's “Wide Net,” which featured a hilarious fantasy dance sequence.
Tazbah Chavez was directing the day Blaustein visited the set. She’s also a co-executive producer and writer for the show and has directed five episodes across the three seasons, including the season 2's “Wide Net,” which featured a hilarious fantasy dance sequence.

Jonathan Blaustein for HuffPost

The production team during a brief break before the cameras roll. Chavez is joined by Pensoneau and Harjo (right).
The production team during a brief break before the cameras roll. Chavez is joined by Pensoneau and Harjo (right).

Jonathan Blaustein for HuffPost

Tafv Sampson works as the set decorator, but is also an actor featured in Season 2’s haunting episode “Offerings.”
Tafv Sampson works as the set decorator, but is also an actor featured in Season 2’s haunting episode “Offerings.”

Jonathan Blaustein for HuffPost

Actor Jon Proudstar, who plays Leon, waiting for a scene to begin shooting.
Actor Jon Proudstar, who plays Leon, waiting for a scene to begin shooting.

Jonathan Blaustein for HuffPost

Devery Jacobs, an actor, writer and filmmaker, plays Elora Danan Postoak, one of the lead characters. She’s also a member of the writers room, having penned Season 2’s emotional episode “Mabel.”
Devery Jacobs, an actor, writer and filmmaker, plays Elora Danan Postoak, one of the lead characters. She’s also a member of the writers room, having penned Season 2’s emotional episode “Mabel.”

Jonathan Blaustein for HuffPost

Jacobs’ voice resonated both on-screen and behind the scenes. “When I’ve worked on any other projects in the industry, oftentimes I’m the only Native person — and I’m the only queer person,” she tells me. “It puts me in a situation where I have to educate a lot more, where I have to fight for storylines, or I have to fight to make sure it makes sense.” On “Reservation Dogs,” she had the opposite experience.

When Indigenous people get together, there is so much security in gathering together. “[This] kinship feels like family — we have this bond,” Jacobs says about her “Reservation Dogs” colleagues. “It’s wild to now be talking about this being the last season. Even though the show might be ending, our bonds are forever. I’ve been fighting for over a decade for more Native representation, fighting to have our stories heard and told. Same thing with everyone else on ‘Rez Dogs,’ all of our producers, writers, all of the directors — for us to be able to celebrate this together is just so meaningful.”

Lane Factor, from Oklahoma, plays scene-stealer Cheese, who is known for his honesty, positive energy and communication skills. In Season 2’s episode “Stay Gold Cheesy Boy,” Cheese’s brief interactions with other young men in a group home leave them better people than before they met him.
Lane Factor, from Oklahoma, plays scene-stealer Cheese, who is known for his honesty, positive energy and communication skills. In Season 2’s episode “Stay Gold Cheesy Boy,” Cheese’s brief interactions with other young men in a group home leave them better people than before they met him.

Jonathan Blaustein for HuffPost

Paulina Alexis, the Canadian actor who plays fan favorite Willie Jack, confirmed she is very much like her character IRL. (Her fellow cast members agreed.)
Paulina Alexis, the Canadian actor who plays fan favorite Willie Jack, confirmed she is very much like her character IRL. (Her fellow cast members agreed.)

Jonathan Blaustein for HuffPost

D’Pharoah Woon-A-Tai, the actor who plays Bear Smallhill, was comfortable doing model poses for the camera, joking about how “Reservation Dogs” had introduced the world to the all-encompassing term “shitass.”
D’Pharoah Woon-A-Tai, the actor who plays Bear Smallhill, was comfortable doing model poses for the camera, joking about how “Reservation Dogs” had introduced the world to the all-encompassing term “shitass.”

Jonathan Blaustein for HuffPost

“Everything either has happened to one of the cast members, one of the writers, directors — everything you see in that episode, Cheese being taken away into foster care, is true,” Woon-A-Tai says, referring to the Season 2 episode “Stay Gold Cheesy Boy.” “That happened to one of the writers. Everything in between, from suicide to the happy parts to the stealing — that’s all real. All these writers threw their real life situations into all of it.”

Elva Guerra's character Jackie has evolved the most over time. Jackie was the Rez Dogs’ main antagonist in Season 1 before becoming (almost) friends with the gang by the end of Season 2.
Elva Guerra's character Jackie has evolved the most over time. Jackie was the Rez Dogs’ main antagonist in Season 1 before becoming (almost) friends with the gang by the end of Season 2.

Jonathan Blaustein for HuffPost

Photographer Shane Brown with primary cast members D'Pharoah Woon-A-Tai, Paulina Alexia, Devery Jacobs, Lane Factor and Elva Guerra.
Photographer Shane Brown with primary cast members D'Pharoah Woon-A-Tai, Paulina Alexia, Devery Jacobs, Lane Factor and Elva Guerra.

Jonathan Blaustein for HuffPost



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Art Photo Collector, “I don’t pretend to be an intellectual or a…

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“I don’t pretend to be an intellectual or a philosopher. I just look.”Josef Koudelka

Chris Killip was one of Britain’s most important documentary photographers, and yet, he has been under appreciated outside of the UK. His contributions to photography and to his students at Harvard, where he taught from 1991-2017 as Professor of Visual and Environmental Studies, have never gained the wider recognition he deserved, until now.

Coinciding with a major retrospective at The Photographer’s Gallery in London, Thames & Hudson has recently published Chris Killip (1946-2020), offering the most comprehensive collection of Killip’s work to date. What we discover poring through the monograph is an artist at home in the communities he photographed. Chris Killip, himself the son of pub managers from the Isle of Man, lived small town life and the quotidian. He also understood class. His sympathies and work with the historic Miner’s Strike in the Thatcher years make it clear. His 1988 landmark book In Flagrante showed us potently how class impacts communities. Thus, his superlative images come through an intimacy of understanding, an acknowledgement of class, and a love for people. 

Killip left school at age 16, and probably never imagined he would one day become a tenured Professor at Harvard, or spend the remainder of his life actively engaged as a working photographer. With his passing in October 2020, this new collection of his work is a fitting tribute to his legacy, the people he photographed and the images he left us. Like his old friend Josef Koudelka, Killip wants us “to look” and to see. –Lane Nevares

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The centre cannot hold – the failure of Change UK and the atrophying of political thought

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The latest disasters to befall Change UK—Chuka Umunna’s decision to join the Liberal Democrats and the party’s decision to change its name for a third time—are a good excuse to reflect on the sad fate of one of the most ill-starred parties in British political history.

It’s not that long since Change UK was poised to revolutionise British politics. There are lots of reasons why that never came to pass: Heidi Allen proved to be an incompetent acting head; the party failed to brand itself a “Remain party” but instead dithered around trying to reinvent the centre; it called itself Change but demanded that, as far as Europe was concerned, things stayed the same. But the biggest reason of all was the results of the council elections at the beginning of May, in which Change did not take part. There was only room for one anti-Leave party in the middle ground of British politics, and the Liberal Democrats’ strong council-election performance ensured that it would be that party. From that point on people who felt as strongly about remaining in the European Union as Nigel Farage’s supporters felt about leaving gravitated to the Liberal Democrats.

Though exceedingly brief, the Change UK episode is nevertheless significant because it resolves a long-standing debate in the Labour Party. Ever since the Corbyn coup in 2015, members of the parliamentary party have been arguing about whether they should stay and fight or leave en masse. For a while it looked as if Tom Watson might follow Chukka Umunna and others out of the party. Change’s implosion has settled the argument in favour of stay-and-fight, even if, unfortunately, it doesn’t look as if the stay-and-fighters have much chance of winning. Mr Corbyn’s decision to humiliate Emily Thornberry by, for example, dropping her as his stand-in at Prime Minister’s Questions, is designed to demonstrate that he has the support of 80% of the party’s members whereas she is basically on her own.

It’s also significant because it provides an important lesson about the nature of modern parties. Change UK was an attempt to create a party from the top down. MPs from both Labour and the Conservatives abandoned their ancestral parties and focused on attracting more MPs to their cause. But the days when politics was mainly fought between professional politicians in Westminster have disappeared along with Francis Fukuyama’s essay on “The End of History”. The Labour Party is now a movement as well as a party, thanks to the arrival of several hundred thousand committed Corbynistas. The same thing is happening on the right: the Brexit Party can draw on dozens of pro-Leave movements that have grown from the bottom up and are driven by genuine anger about the status quo. Centrists don’t just need to build a traditional party infrastructure, with MPs, local offices and dutiful but tame members. They need to create all the accoutrements of a mass-movement: think-tanks to provide a constant source of ideas, foot soldiers to campaign on the ground, keyboard warriors to fight the Twitter war.

The obvious kernel for such a movement is the People’s Vote campaign, but it is intertwined with the Labour Party. Many of the People’s Vote campaign’s leading figures are Blairites who are continuing to fight a Labour civil war, not least Alastair Campbell, Tony Blair’s chief spin-doctor. He was expelled from the Labour Party for acknowledging that he had voted for the Liberal Democrats but is nevertheless still a member of Labour’s squabbling tribe.

****

Another lot trying to shake things up are the so-called new progressives—the broad collection of people who embrace the politics of social justice and identity. I can understand why young people are attracted to the social-justice movement. They are the victims of one of the greatest acts of intergenerational justice for decades: the fact that the baby-boom generation has gobbled up the fruits of post-war prosperity (free university education, second homes, generous pensions) then discovered fiscal rectitude when it comes to designing policies for their successors (student loans, defined contributions, green taxes). But the social-justice movement certainly has not produced a compelling text comparable with the liberal classics produced by the same sense of injustice in the mid-Victorian era such as John Stuart Mill’s “On Liberty” or Matthew Arnold’s “Culture and Anarchy”.

One reason for this is that the new progressives seem to be determined to drive down the intellectual blind alley of identity politics. Identity politics seems to be confused about the very thing at its heart—identity. Some of the time identity seems to be socially constructed: hence the preoccupation with gender fluidity, for example. We are told that gender is a social construct and people can jump from one gender to another according to choice. Some of the time identity seems to be taken as an adamantine fact: a person’s identity as a woman or a member of an ethnic minority seems to trump all other considerations. Thus Catharine MacKinnon, a leading feminist theorist at the University of Michigan, has argued that members of each ethnic, gender or cultural group have their own distinct moral and intellectual norms. “The white man’s standard for equality is: Are you equal to him?”, she argues. “That is hardly a neutral standard. It is a racist, sexist standard…But if you present yourself as affirmatively and self-respectingly a member of your own culture or sex…if you insist that your cultural diversity be affirmatively accommodated and recognised in ways equal to the ways theirs has been, that’s not seen as an equality challenge at all.” This sounds a little like the social biologists of the late 19th and early 20th century who argued that the world is divided into various racial-cultural groups that are locked in an inevitable struggle for dominance and that each group uses epiphenomena such as truth and morality as instruments of group power.

****

But I suspect the problem is more general than this: we’re suffering from a general atrophy of political thinking not just in political parties and movements but across the board. Academics have either been captured by identity politics or else have chosen to retreat into tiny specialisms. In America in particular the noble science of politics has been captured by political scientists who are deploying ever more powerful quantitative techniques to ever more trivial ends. The most interesting political theorists writing for the general public today are still Isaiah Berlin’s (somewhat aged) pupils such as Sir Larry Siedentop and John Gray. The chair that Mr Berlin once graced at Oxford lies empty. Public authorities in general, encouraged by pressure groups but also, I suspect, driven by their natural sympathies, have taken to closing down debates on subjects that are deemed too controversial such as diversity (which has been built into social policy without any serious debate about its advantages versus its disadvantages), and, increasingly, various aspects of sexual mores.

How long will this great stagnation of political debate last? In fact, I suspect that we could actually be on the verge of a golden period of political thinking. The collapse of the neo-liberal hegemony, the rise of a raw but sometimes exciting populism, the growing revolt against progressive totalitarianism on campus and, increasingly, in corporations… All this will lead to a recrudescence of interesting political theory. The human mind is too fertile to be tamed by high priests of various kinds—in the parties, media and the corporations—trying to enforce yesterday’s tired orthodoxies.

I suspect that this recrudescence will come from the peripheries of today’s established political and intellectual empires (it’s a long time since I’ve read anything thought-provoking or original from publications with “New York” in their titles or from professors with chairs in the world’s ancient universities). It will come from repentant liberals and conservatives who want to understand why the great intellectual traditions that they once embraced degenerated so rapidly over the past couple of decades. I’m particularly struck by the mea culpas about (neo)conservative over-reach that regularly appear in the American Conservative and the Claremont Review of Books.

It will come from the collision between different intellectual traditions. Conservatism has always been at its most exciting when it tries to tame the individualistic excesses of liberalism (Walter Bagehot liked to say that he was as liberal as it was possible to be while still being a conservative and as conservative as it is possible to be while still being a liberal). I’d also hope that the collision between progressivism and older traditions will also be fruitful. Gay marriage, one of the most sensible social reforms of the past couple of decades, was produced by conservatives such as the British-born American journalist Andrew Sullivan who wanted to provide a conservative solution (marriage) to a progressive question (why shouldn’t I be allowed to express my sexuality in the public sphere?)

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Archisle: The Jersey Contemporary Photography Programme 2015

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Archisle:
The Jersey Contemporary Photography Programme
,
hosted by the Société Jersiaise (Jersey Society) in the British Channel Island
of Jersey promotes contemporary photography through an ongoing programme of
exhibitions, education and commissions. The Archisle project connects
photographic archives, contemporary practice and experiences of island cultures
and geographies through the development of a space for creative discourse
between Jersey and international practitioners.      
Archisle is currently inviting
applications for the position of Photographer in Residence 2015. This is an
exciting post in its third year commencing in April running for six months
through to September 2015. The residency provides the following key benefits
and opportunities:
- £10,000 award for the commission/production
of a body of work and solo exhibition
- Studio space with access to inkjet printing
and office/internet resources 
- Living accommodation and stipend  
- Travel costs
A key focus of the Archisle project is
to engage the residency programme with Jersey culture and community through
audience and participatory involvement. In addition to the production and solo
exhibition of new work responding to the cultural context of the island of
Jersey, the resident will be contracted to teach photography one day per week
(or equivalent) over the six-month duration of the project. This teaching will
be delivered in a workshop format to a range of educational and community
groups. Applications are therefore encouraged from practitioners possessing the
desire, enthusiasm and a proven ability to impart technical skills and develop
critical understanding of contemporary photography across a diverse range of
participants.
Applicants
are requested to submit:
- Examples of recent work (min 10/max 20
images)
- Statement describing current practice
- Statement of objectives for the residency
including an outline commission/exhibition proposal 
- A current CV including details of past
exhibitions/publications
- An estimate of travel costs to Jersey
For further background on the Archisle
Residency see:
www.archisle.org.je
Applications
may be made by post or email to:
Archisle Photographer in Residence
Programme 2015
Société Jersiaise
7 Pier Road
St Helier
Jersey, Channel Islands
JE2 4XW
Email: archisle@societe-jersiaise.org For email applications total file size must be no larger than 5 MB.
Any enquiries/questions about the residency
should be sent to the above email address. 
CLOSING
DATE: 15 October 2014

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Art Photo Collector, “New York

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“New York - I’m connected. This is my core. I feel like if I’m not connected to New York, then I don’t even know what to do with myself.”Jay-Z

This is the 100th year of the Museum of the City of New York. Tucked away in East Harlem next to El Museo del Barrio, the museum has always housed an impressive collection of photography. For New Yorkers, especially, the museum has held a treasure-trove of our history and culture. Not always given the wider attention it deserves, the MCNY has always been a powerhouse.

Marking its inaugural photography triennial, “New York Now: Home,” the curatorial team solicited images from over a 1000 artists, and found its way down to 33 individuals whom they chose to represent “home” in all of its fluid manifestations. Some of the artists are established and known, while others are emerging. The curators Sean Corcoran and Thea Quiray Tagle have presented us with an array of representation, as diverse and innovative as the city itself.

Featuring the work of established artists such as Anders JonesLinda TroellerMaureen Drennan  and Jamel Shabazz , New York: Home also shows younger artists like Cheryl Mukherji  and Diana Guerra  both of whom were new discoveries. The exhibition takes us on a wide-ranging experience through New York. We see it afresh through new eyes. While “home” has infinite meanings that transcend language and location, the representations we see in this inaugural triennial of our great city are as diverse and wonderful as the people who live here. In New York: Home we feel connected. –Lane Nevares

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And then there were two

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AFTER TWO days of voting Tory MPs have chosen two of their colleagues to go through to the next stage of the leadership election: a run-off when the party’s 160,000 members will choose the winner. They are Boris Johnson and Jeremy Hunt, the foreign secretary. Mr Johnson got more than half the votes with 160. Mr Hunt just pipped Michael Gove, the environment secretary, with 77 votes to 75.

Boris Johnson’s ascent to the prime ministership now looks even more likely than it was a week ago. Mr Johnson’s biggest problem was always winning over his fellow Conservative MPs. He’s never been much of a team player: he has devoted more time to lining his own pockets (in one year he earned £540,000 from journalism and public speaking) than to campaigning for his colleagues. He’s also been a lacklustre and lazy performer at the dispatch box in parliament. But he is adored by the party members in the country who cherish his Bertie Wooster-with-a-thesaurus speeches and flamboyant style. They also agree with him on Brexit.

Mr Hunt is unlikely to be able to slow down his momentum. The foreign secretary is in many ways an impressive figure. He inherited a marginal seat and turned it into a safe one. He was health secretary for six years—longer than anyone since the creation of the NHS. He has been a much better foreign secretary than Mr Johnson, his predecessor: foreign office insiders say that he inherited a demoralised and disoriented department and quickly reinvigorated it. But Mr Hunt is a sensible man who is trying to win the support of a party that has gone slightly bonkers: fixated on Brexit, furious about the way Britain has been treated by Brussels, and given to chasing unicorns. The majority of party members say that they support a no-deal Brexit despite overwhelming evidence about the damage that that would do to the economy. Mr Hunt also bears the Conservative Party’s equivalent of the mark of Cain: he voted Remain in 2016. Thus, although he claims that he’s now determined to deliver Brexit, he provokes comparisons with Theresa May who, according to hard-core Brexiteers, failed to deliver Brexit not because of an intractable problem and a hung parliament, but because she didn’t “believe”.

Mr Johnson would have faced a much tougher fight against Michael Gove. Mr Gove is one of the party’s most accomplished debaters—quick on his feet, frequently funny and, unlike Mr Johnson, steeped in policy details. He also has an appetite to go for the jugular. Mr Gove might have done real damage to Mr Johnson. By contrast Mr Hunt is too emollient a figure—his critics would call him “bland”—to burst the Boris balloon. Once more, luck is with the front- runner.

Tory MPs are also acting out of self-preservation in their choice of Messrs Hunt and Johnson to finish off the contest. MPs knew that a contest between Mr Johnson and Mr Gove could easily have degenerated into the modern equivalent of the contest between Polynices and Eteocles who murdered each other in their determination to rule over Thebes (Mr Johnson, who read classics at Oxford, is fond of classical references). The two men were close friends at Oxford and beyond, with Mr Johnson playing the senior role and Mr Gove being something of a courtier. Mr Johnson chose Mr Gove to run his campaign for the premiership in 2016. But then Mr Gove turned against his friend and former mentor and announced that he didn’t think that he was fit to be prime minister. By choosing Mr Hunt MPs have avoided a blood-letting, and distanced the their party from one of the great psycho-dramas of recent years.

The party may have limited the potential damage of the race but it certainly hasn’t escaped Scott free. The two surviving candidates are both products of private schools and Oxford University, Mr Johnson Eton and Balliol, Mr Hunt Charterhouse and Magdalen. Conservatives eliminated the son of a Pakistani bus driver who arrived in the country with £1 in his pocket (Sajid Javid), the adopted son of an Aberdeen fishmonger (Michael Gove) and a foreign office high flyer turned author turned academic who is brimming with original ideas (Rory Stewart). Mr Johnson refused to turn up to the first televised debate and the parliamentary lobby hustings. His team also reportedly used tactics worthy of the Oxford Union (of which he was once president) rather than parliament: “lending” votes to various runners up (by encouraging loyal supporters to vote for them) in order to eliminate candidates, such as Mr Stewart and Mr Gove, who might cause him the most trouble. “There have been lies and lies and lies and loads of pomposity” was one Tory MP’s summary of the race so far.

Whatever the truth of these rumours (and it’s impossible to know given the secrecy of the ballot box) it is important for the future of the Conservative Party that some of the personal damage that has been done during this leadership campaign and its predecessor is repaired. Messrs Johnson and Stewart need to make peace (and Mr Stewart needs to swallow his pride and rescind his promise that he won’t serve in a Johnson administration). Mr Stewart has demonstrated that a Conservative can still excite middle-of-the-road voters. He would also make a superb foreign secretary.

It is even more important, from the Conservative Party’s point of view, that Messrs Johnson and Gove bury the hatchet. Mr Gove is that rare thing—a Brexiteer who understands the dangers of a no-deal Brexit. He is also gifted with the very strengths that Mr Johnson lacks: an ability to re-energise government departments with conservative ideas, a broad interest in public policy and an impressive command of detail. In an ideal world Mr Gove would make an excellent CEO to Mr Johnson’s chairman of the board. But then in an ideal world Polynices and Eteocles would not have slaughtered each other.

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Are America’s wild horses the answer to wildfires? – a photo essay | California

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Since moving to a remote mountain region just south of Interstate 5 on the Oregon-California border in 2014, William Simpson, 70, has assumed responsibility for the care of 120 wild horses that roam his land. He has also adopted 60 more as part of an effort to study the effect that grazing has on managing grass, brush and other fuel for wildfires in the face of increasingly extreme blazes.

“I started watching the horses and seeing what they were doing,” says Simpson. “They were managing the fuel.”

He calls the project the Wild Horse Fire Brigade, and hopes the discoveries he makes from living among the animals will contribute to the debate around the role herbivores can play in wildfire mitigation.

Wild horses roam the dramatic mountain landscape of Simpson’s land on the Oregon-California border
Simpson socialises with one of the wild horses
Simpson found Ariel in 2021, and buried her body on a hilltop next to his home. Stones mark where she lies

  • Simpson socialises with his herd every day and has formed a strong bond with them. The stones (right) mark the spot where he buried one of them, Ariel, on a hilltop near his home

Simpson argues that the steep decline of herbivores in the region – the deer population in California has shrunk to less than 500,000 from an estimated peak of about 2m in 1960 – is a factor in the state’s overgrown forests and grasslands, which in turn feeds increasingly extreme wildfires.

“We’ve lost our herbivory so now we have abundant, abnormally high levels of vegetative materials – that is what’s driving the fires,” says Simpson.

One of the wild horses grazes

Federal protection was granted to wild horses and burros in 1971 in an effort to stop their decline. This quickly led to a population surge and a few years later the Bureau of Land Management (BLM), which has jurisdiction over most wild horse lands, was tasked with mitigating the rapid growth. The agency began removing wild horses from public lands in annual round-ups. Last year, 20,000 horses were removed from public lands. Nearly 8,000 of those were adopted or sold, and 1,622 were given fertility treatment.

Simpson flies a consumer drone to monitor the location of his herd
A wild horse’s droppings show that seeds can pass through the digestive tract of a horse intact, and help propagate the plant species.
Simpson examines wild horse droppings

  • Unlike cows and deer, horses are not ruminants, so lack the additional stomach that breaks down organic matter. This means some seeds can pass through the digestive tract intact, and help propagate some plant species

The agency spent more than $84m (£65m) on the long- and short-term care of the wild horses in 2022. Simpson believes that money doesn’t need to be spent. He is on a mission to prove these large herbivores should instead be strategically located in critical wilderness areas to manage wildfires. “That’s a win-win for everybody,” he says.

Simpson with his horses

Simpson describes his method as “Goodallian”, after the famed primatologist Jane Goodall. He spends every day among the animals, knows them by name and temperament, and is able to record novel behaviour within the species. He shares his findings with an array of niche industry publications and on his website, where he has published more than 150 articles in the past nine years.

Charred branches show the legacy of the 2018 Klamathon fire

  • The legacy of the 2018 Klamathon fire, which scorched 38,000 acres before being contained. Simpson’s home and immediate surroundings remained largely undamaged

“What I’ve been able to do is get so close to the horses I can smell them, I can touch them, I can look at their parasites, I can pull ticks off them,” he says. “There’s so much that’s unknown about wild horses and how they live.”

In 2018, a fire tore through Siskiyou county, where Simpson’s land is located. The Klamathon fire scorched 38,000 acres before it was contained. Simpson’s home and immediate surroundings remained largely undamaged. Simpson says that is down to the horses.

Night falls on the Oregon-California border as Simpson communes with the herd

As the frequency and intensity of wildfires have increased, Simpson says he is increasingly receiving inquiries – from fire departments, ranchers and insurance representatives – all curious to learn more about the role wild horses may play in reducing the risk of wildfire.

“People are finally starting to listen,” he says.

Find more age of extinction coverage here, and follow biodiversity reporters Phoebe Weston and Patrick Greenfield on Twitter for all the latest news and features



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