"I was not very long there until, like water, I found my own level. ‘My people’ — the people who know about oppression, discrimination, prejudice, poverty and the frustration and despair that they produce — were not Irish Americans. They were black, Puerto Rican, Chicano. And those who were supposed to be ‘my people’, the Irish Americans who know about English misrule and the Famine and supported the civil-rights movement at home, and knew that Partition and England were the cause of the problem, looked and sounded to me like Orangemen. They said exactly the same things about blacks that the loyalists said about us at home. In New York, I was given the key to the city by the mayor, an honour not to be sneezed at. I gave it to the Black Panthers."-Bernadette Devlin (via tiocfaidharlulz)
"We are born into an unjust system; we are not prepared to grow old in it."-Bernadette Devlin (via daughterofzami)
Rabih Alameddine: We pick one writer from every country and think that’s what that literature is. Colombia—Gabriel García Márquez—yay! Chile—Roberto Bolaño—yay! One writer from each country begins to represent an entire worldview. I should tell you now, I represent all Lebanese. No—all Arabs. Read my books and you’ll understand what all Arabs are like. [a thoughtful pause] If I am supposed to represent the Arabs, we’re in deep shit.
“It is a condition of Arts Council funding that you remunerate any artists that you engage appropriately, and that you reflect this in your revised plans and programme for the period of the funding offered”
In 2013, after a year long research and consultation process, Visual Artists Ireland launched the Payment Guidelines for Professional Visual Artists. For the first time in Ireland, venues and artists could properly calculate equitable levels of payments, accurately budget for their programmes and for the variety of work that professional artists undertake in not for profit spaces.
The Arts Council’s stipulation that organisations must now pay artists as a condition of funding is a major endorsement of our research and a big step towards the development of a sustainable model for best practice between artists and the institutions that contract their work.
"The Industrial Revolution, misleadingly figuring in popular consciousness as an autochthonous metropolitan phenomenon, required colonial land and labour to produce its raw materials just as centrally as it required metropolitan factories and an industrial proletariat to process them, whereupon the colonies were again required as a market. The expropriated Aboriginal, enslaved African American, or indentured Asian is as thoroughly modern as the factory worker, bureaucrat, or flâneur of the metropolitan centre. The fact that the slave may be in chains does not make him or her medieval."-Patrick Wolfe (2006), from “Settler colonialism and the elimination of the native” (via neeta-inari)
This is the Flodden Peace Garden and it is part of the Flodden Ecomuseum, a collection of heritage sites and museums. It is made initially in commemoration of the battle of Flodden in 1513 between the Kingdom of Scotland and the Kingdom of England. The battle resulted in the deaths of hundreds of thousands and was an example of the power of (what was at the time) modern military technology such as artillery designed to work against infantry rather than walls and the hindrance armour was playing on the battlefield.
The battle is often compared to the First World War in its effect on Scotland. The majority of men who died on the Scottish side were from villages and had joined up because king and country demanded it. Their deaths devastated these villages and this garden was made to commemorate their deaths and those died defending England.
The garden also commemorates those who have died in more recent conflicts such as the innocents who were killed when atomic bombs were cropped and Hiroshima and Nagasaki.
If you are ever visiting Flodden please take a moment to visit the garden as it is lovely to see the commemoration rather than celebration of Medieval battles which we often see.
Drive That Fast by Kitchens Of Distinction / Strange Free World / One Little Indian / 1991 / UK
Nina Auerbach | Our Vampires, Ourselves