Thursday, January 03, 2008

Solastalgia...or how our minds will be victims to climate change (WN0008)

The threats posed to the planet and its environment by human-induced climate change are now well documented. Rising sea levels leading to the disappearance of many coastal cities and nations, vast numbers of environmental refugees and mass extinctions are amongst the many perils we are said to be facing.

Wired magazine today reports on another danger to add to the pile-up: 'Solastalgia', or a form of homesickness that one gets when one is still at home.

Coined by Australian philosopher Glenn Albrecht and identified from the scores of interviews conducted with fellow Australians who have described 'their deep, wrenching sense of loss as they watch the landscape around them change', Albrecht believes that he has identified a new type of sadness.

Wired goes on to postulate:

'People are feeling displaced. They're suffering symptoms eerily similar to those of indigenous populations that are forcibly removed from their traditional homelands. But nobody is being relocated; they haven't moved anywhere. It's just that the familiar markers of their area, the physical and sensory signals that define home, are vanishing. Their environment is moving away from them, and they miss it terribly.'

For so long, humankind has distinguished itself from other species by adapting the environment to suit itself, unlike other species that adapt themselves to suit their environment. However, we mess with Mother Nature at our peril. Perhaps this is an indication of one of her means of fighting back - by attacking the Achilles Heel of our emotional responses to stimuli.

The rest of the article can be read here.

Illustration: Brandon Kavulla


Wednesday, January 02, 2008

Back in the UK...for Xmas

Like old British buses, you wait for ages for one to come along and then two come at once - here we go, two blog posts in one day!

Here follows a small selection of pictures taken from a trip back to the UK over the festive season - some wintry, some funky, all Blighty.

These along with many others can be viewed in the 'Images Of Britain' set at my Flickr site.

Interior at Moshi Moshi, Brighton sushi restaurant

Brighton's Royal Pavilion at night

Brighton Pier sign

Tribute to The Godfather, on a Brighton wall

Original Banksy, on a Brighton pub wall

Village wall complete with lichen, Scarborough

Garden ice in winter

Dusk at Throxenby Mere, Scarborough

Tuesday, January 01, 2008

'No Man's Land'...and 'avoiding ourselves'

Although I seem to spend little time reading books these days, preferring to get most of my text from a screen instead, a stack of international flights over the past few months has provided me with a little space to wade through some of the backlist of titles awaiting reading on my book shelves.

One such tome, left in Tokyo by my mother when she visited last year, was George Monbiot's 'No Man's Land', which I managed to get through over the New Year break.

I know Monbiot more as a Guardian columnist than as a travel writer, but have read (and been inspired by) his manifesto for a world government for the people rather than against them, published as 'The Age Of Consent'.

Having been reading his columns for a number of years and traced some of his development as a writer, it was a pleasure to go back and check out one of his earlier works that was significant in establishing his reputation.

'No Man's Land' was a fascinating read for a number of reasons. Although it focuses much more on Kenya, a country that I have never visited other than a touchdown at Nairobi airport, it does cover quite a bit about Tanzania too, the country where I first came face to face with Maasai people whom are among the subjects of the book. It seems ironic timing to have picked this book up given that Kenya is experiencing extreme strife this week.

First published in 1994, the book is subtitled as 'an investigative journey through Kenya and Tanzania' and exposes how the nomadic peoples of East Africa are being systematically driven off their lands and forced to abandon their lifestyles, even being murdered simply for continuing their non-sedentary ways of life.

It shows how the nation state model does not allow some of the oldest cultures on earth to continue to exist as they have for thousands of years. Shockingly, it also uncovers the fact of conservation and the creation of Africa's great National Parks as having deeply racist undertones, excluding the very people that live in harmony amongst the wildlife.

Aside from the journalistic qualities of the book, I also found it very interesting from the point of view of the writer surrounding himself with people very different from those of his own culture and immersing himself in what he finds.

The passage quoted below was redolent in some ways of my experiences in Tokyo:

'On the steps of the Alakara Hotel in Kitale, a city in Kenya's north-western highlands, was a plump, red-faced white man with brown hair and blue eyes. I was a little suspicious of other wazungu ('tourists' or 'white people' in Swahili, also known as mzungu) in Kenya and, perhaps through some strange inverted racism, kept away from them...Whenever I met a European in Africa, we tended warily to circle each other, like jealous dogs, and pass on without speaking. What wazungu miss by such evasions, at home or abroad, I do not know, but wherever I travel I am reminded that Europeans, myself included, are perhaps the most anti-social of all the world's people.'

There is a tendency when in a place so utterly different from one's own original culture that makes the kind of person Monbiot describes (I too have been guilty of the same thing in the past) purposefully avoid all contact with anyone that might bear some similarity to themselves.

Perhaps it is the desire to revel in one's own 'difference'. Maybe encountering others like us in alien cultures reminds us that we are not quite as special as we are led to feel in such places. It could be a European thing, as I know of many people of Asian origin that specifically seek out others like them when in different cultures, eg Japanese, Chinese or Koreans in the US.

Nevertheless, whatever the reasons behind it, I thought it was curious to see the same experiences encountered amongst the nomadic peoples of East Africa as I've witnessed 'foreigners' doing around the urban Japanese.

Monday, December 03, 2007

Shelf Life 'Endgame' video now online



'Endgame' is Shelf Life's first proper music video. As with the recording of the song, it was shot at Rubber Soul in Kokubunji, Tokyo, and features a cast of many. It also includes footage from a show we did in Ebisu in Central Tokyo, featuring cameo appearances from Ray Dorsey who has toured in a version of The Drifters and Tara Solheim of Taratula.

The song was written as a new anthem for peace, love and understanding in our troubled world. It was partly inspired by a meeting I had with a young Iraqi engineer. He had come to Tokyo to tell people about what was happening in his country and to show that despite all that was going on in Iraq, he still brought a message of peace with him. I was quite amazed that, even though he'd lost members of his family, his home and been taken hostage by both the Americans and 'Al-Qaeda', he was able to do that.

Borrowing vibes from 'Hey Jude' and 'We Are The World', 'Endgame' is a song that appeals to people to be the change they want to see in the world and to recognise their fellow humans as being part of the same family.

The lyrics were partly mine and partly pieced together from various other sources of inspiration, including 'To Kill A Mockingbird', Gandhi, Martin Luther King and some open source software.

The video was directed by esteemed Japanese music video director, Kazuyuki Akashi, who has also worked with the likes of Mika Nakashima and Kumi Koda.

It was quite a mad day, gathering everybody together at Rubber Soul for the shoot - my first time appearing in a pop video. While these things might sound quite exciting, they can end up being pretty tiring or boring too, as you hear your own song repeated ad finitum and you have to do take after take after take, to make sure the editor or director has enough material to choose from when cutting it together. It's all worth it when the finished article appears though.

The track also appears on Shelf Life's debut album release 'Best Before End'.

The video can also here at YouTube.

A huge thanks to everyone who was involved in the making of this film, many of whom gave up half of their day to be with us.


'Endgame'
(Pates/Cheryo)

You'll never know a man,
Until you step into his shoes.
Won't see what's goin' on,
Unless you look through another's eyes.

A friend of mine,
Told me of soldiers on his streets.
Home and family gone,
Yet he learned not to hate.

I am what I am,
Because of who we all are.
An eye for an eye,
Will make the whole world blind – so blind.

We all seek,
Yet rarely find our peace of mind.
We're still building walls,
We should be building bridges instead.

In the end,
It's not the words of our enemies,
We remember,
But the silence of our friends.

I am what I am,
Because of who we all are.
We are the ones,
That we've been waiting for – so long.

I am what I am,
Because of who we all are.
We are the ones,
That we've been waiting for – so long.

You'll never know
Without standing in his shoes
You'll never see
Better look through another's eyes

Yes, he told me
'Bout the soldiers on his streets
His family was gone
He turned his hate around

All looking for
That little piece of mind
Newer, higher walls
But a bridge brings us together

It's not the words
Of our enemies that last
But the silence
Of our friends, so shout it loud