by Laura Potts
Artistic culture and practice has changed drastically over the past few centuries. From Renaissance painting and its high-minded focus on aesthetic and documentary purpose, to the eruption of absurdist Dada work in 1915, to the stark political statements of much modern art. The aesthetics of art and its chosen themes are not the only thing that has changed though; the spaces where we encounter art have also transformed.
by James Anthony
It has been suggested that the world famous Colman’s brand may soon break with a tradition more than 200 years old, of producing mustard and other products here in Norwich. Make no mistake – this is not nearly as trivial as it sounds, and would be nothing short of a local tragedy.
This may seem exceptionally daft, but Colman’s has so much history here in Norwich, it is tough not to be upset by this news. Colman’s Mustard has been based in Norfolk since 1814 when Jeremiah Colman formally set up his mustard and flour business in Stoke Holy Cross, just outside of the current Norwich city boundary. Later, Jeremiah Colman’s great-nephew Jeremiah James Colman established the production factory in Norwich in 1858, which still exists today. With business booming, royal approval was gained in 1866 with the granting of a Special Warrant as manufacturers to ‘Her Majesty the Queen Victoria’, helping our local mustard gain a global reputation and put Norwich on the culinary world stage.Continue Reading
by Laura Potts
‘If anything, art is…about morals, about our belief in humanity.
Without that, there simply is no art’
Norwich’s own Space Studios hosted Bridges, a fascinating exhibition by artists Marcia X and Karis Upton, earlier this month. Entering through a small alley, I climb stairs up to the first few works, which I find in a dark setting, immersing me in the exhibition. Up another staircase, long enough for me to begin reflecting on what I’ve seen, is a much lighter space, with works hung from the sloped ceiling. Afterward, I’ll go on reflecting for some time – the themes and issues that Bridges explores are of such magnitude that every viewer is forced to sit up and listen.
by Rob Harding
Let’s leave the sordid world of Earth behind for a bit, and explore the potential of a concept that’s kind of easy to dismiss out of hand.
In his venerable Culture series, Iain M Banks describes a future society based around Minds, unimaginably super-intelligent AIs that control vast ships and space-going habitats, on which a massive collection of alternately hedonistic and depressed lesser-biological beings (assumed to be human, although it’s never made explicit) live pampered and comfortable lives. The Culture is semi-utopian, although, if it resembles any society, it resembles the US in its relations with other civilisations, The books frequently focus on both the skulduggery necessary to keep the civilisation running and the injustice of being born outside it. Nonetheless, it is a portrait of a society in which humans (probably) are protected, cared for and treated equally through advanced technology.
Because utopias aren’t easy or fun to write, few societies like the Culture have appeared in fiction before or since. There is one notable version, however, in the form of an oddly idealistic leftie meme: Fully Automated Luxury Gay Space Communism.Continue Reading
by Bradley Allsop
We live in turbulent times. The political establishment has been rocked again and again this last year. The government is embattled in a way it hasn’t been for 7 years and that rarest of things in British politics, change, is peeking its head above the parapet. What’s more, for the first time in my lifetime, it seems my generation is willing to be an active participant in all this. June’s election saw the highest rise in youth turnout in British political history – it reached its highest absolute level since 1992. It falls to those of us already engaged to fan this flame and help it spread beyond the ballot box, building the political courage and competencies of our fellows. Nowhere offers a better opportunity for us to do this than on university campuses.
by Gunnar Eigener and Rowan Gavin
CW: mentions misogyny, anti-feminism, neo-nazism
Earlier this month, a writer and an editor from the Radical took part in the Amiel & Melburn Trust’s annual residential seminar. The Trust’s aims are “to advance public education, learning and knowledge in all aspects of the philosophy of Marxism, the history of socialism, and the working-class movement’. This year, the topic of the seminar was ‘Politics & Culture’, and the various intertwinings and intersections thereof. What follows are thoughts and reactions about the seminar from our contributors.
by Chris Jarvis
Culture and politics are inseparable. Culture is more than mere entertainment, more than escapism. Culture is central to how we understand the world, build our value sets and perceive our fellow people. It stirs human emotion in unique ways, pulling different levers in the brain. Sometimes overtly, sometimes with subtlety, the dominant cultural practices, institutions, icons and outputs are used to reinforce the dominant political system and defend the status quo. Establishment weaponise culture as a means of influence.
But this isn’t the sole preserve of the political right.
Looking through history, many of the most important moments of popular revolt have an accompanying soundtrack. The resistance to the Vietnam War had the protest folk singers. Rage Against the Machine were agitators of the US anti-globalisation movement. Riot Grrrl acts built feminist infrastructure, led pro-choice campaigns and brought ‘the personal is political’ sentiments to the fore of a cultural phenomenon. And so on, and so on.
This isn’t coincidental.Continue Reading