dot sights

The rise of globalization and financialization as seen from a barge—one Swedish barge, to be exact, built in 1979 What do a barracks for British troops in the Falklands War, a floating jail off the Bronx, and temporary housing for VW factory workers in Germany have in common? The Balder Scapa: a single barge that served all three roles. Though the name would eventually change to Finnboda 12. And then to Safe Esperia. And later on, to the Bibby Resolution. And after that . . . in short, a vessel with so many names, and so many fates, that to keep it in our sights—as the protagonist of this fascinating economic parable—Ian Kumekawa has no choice but to call it, simply, the Vessel. Despite its sturdy steel structure, weighing 9,500 deadweight tons, the Vessel is a figure as elusive and abstract as the offshore market it comes to embody: a world of island tax havens, exploited labor forces, free banking zones, Thatcherism, Reaganomics, and mass incarceration, where even the prisoners are held offshore. Fitted with modular shipping containers, themselves the product of standardized global trade, the ship could become whatever the market demanded. Whether caught in an international dispute involving Hong Kong, Nigeria, Indonesia, and the Virgin Islands—to be settled in an English court of law—or flying yet another foreign “flag of convenience” to mask its ownership—the barge is ever a container for forces much larger than even its hulking self. Empty Vessel is a jaw-dropping microhistory that speaks volumes about the global economy as a whole. In following the Vessel—and its Sister Vessel, built alongside it in Stockholm—from one thankless task to the next, Kumekawa connects the dots of a neoliberal world order in the making, where regulation is for suckers and “Made in USA” feels almost quaint.

What if the world of childhood could be a gateway to understanding a different culture? "Our Little Dutch Cousin" by Blanche McManus invites readers to explore the charming and picturesque landscapes of the Netherlands through the eyes of a young protagonist. Set in the early 20th century, this delightful narrative captures the essence of Dutch life, from the bustling streets of Amsterdam to the serene canals and windmills that dot the countryside. The book serves as a cultural bridge, offering insights into the daily lives, traditions, and values of the Dutch people during this period. The story revolves around a young Dutch boy whose adventures and interactions with his family and friends provide a vivid portrayal of the customs and social norms of the time. Through his eyes, readers are introduced to the vibrant festivals, traditional clothing, and culinary delights that define Dutch culture. This exploration of everyday life is interwoven with themes of friendship, family, and the innocence of childhood, making it a heartwarming and educational journey for readers of all ages. Blanche McManus, known for her engaging storytelling and attention to detail, crafts a narrative that is both informative and entertaining. Her ability to paint a vivid picture of the Netherlands allows readers to feel as though they are walking alongside the characters, experiencing the sights and sounds of this fascinating country. By delving into the cultural nuances and historical context, the book offers a deeper understanding of the Dutch way of life. Through the lens of this young protagonist, "Our Little Dutch Cousin" provides readers with a new perspective on cultural diversity and the importance of understanding and appreciating different ways of life. The book not only entertains but also educates, leaving readers with a greater appreciation for the rich tapestry of human culture.

'An extraordinary intervention. If you want to understand the stakes and the limitations of contemporary conflict over culture and colonial history this bold, provocative book is an indispensable resource' Paul Gilroy, founding Director of the Sarah Parker Remond Centre for the Study of Race and Racism at UCL 'Hicks' must-read book describes how it was possible for a human skull to be made into a drinking cup and used in a genteel Oxford college, well into the 21st century, as if empire were an eternal state of nature . . . Read it to learn new ways to be anti-racist, abolitionist and to tell other stories than those commemorated by the monuments that surround us, from statues, to museums and the police' Nicholas Mirzoeff , author of White Sight 'Brave and clear-sighted. Hicks opens up an extraordinary conversation between the past and the present. This is a book about falling statues, but so much more. It's about how we've been lied to, and how we can approach the past with honesty. Hicks asks whether history and archaeology should be used to justify actions we know impinge on the rights of others - or to understand ourselves better' Alice Roberts , bestselling author of Crypt 'Dan Hicks writes with grace and fierce focus about what we choose to remember and why, in our patterns of thought, our institutions and the built environment in which we live' Eyal Weizman , director of Forensic Architecture The culture war is over. If you want it to be. It wasn't even a culture war; it was a war on culture. A sustained attack, Dan Hicks argues, in the form of the weaponisation of civic museums, public art, and even universities - and one that has a deeper history than you might think. Tracing the origins of contemporary conflicts over art, heritage, memory, and colonialism, Every Monument Will Fall joins the dots between the building of statues, the founding of academic disciplines like archaeology and anthropology, and the warehousing of stolen art and human skulls in museums - including the one in which he is a curator. Part history, part biography, part excavation, the story runs from the Yorkshire wolds to the Crimean War, from southern Ireland to the frontline of the American Civil War, from the City of London to the University of Oxford - revealing enduring legacies of militarism, slavery, racism and white supremacy hardwired into the heart of our cultural institutions. Every Monument Will Fall offers an urgent reappraisal of how we think about culture, and how to find hope, remembrance and reconciliation in the fragments of an unfinished violent past. Refusing to choose between pulling down every statue, or living in a past that we can never change, the book makes the case for allowing monuments to fall once in a while, even those that are hard to see as monuments, rebuilding a memory culture that is in step with our times.

'An extraordinary intervention. If you want to understand the stakes and the limitations of contemporary conflict over culture and colonial history this bold, provocative book is an indispensable resource' Paul Gilroy, founding Director of the Sarah Parker Remond Centre for the Study of Race and Racism at UCL 'Hicks' must-read book describes how it was possible for a human skull to be made into a drinking cup and used in a genteel Oxford college, well into the 21st century, as if empire were an eternal state of nature . . . Read it to learn new ways to be anti-racist, abolitionist and to tell other stories than those commemorated by the monuments that surround us, from statues, to museums and the police' Nicholas Mirzoeff , author of White Sight 'Brave and clear-sighted. Hicks opens up an extraordinary conversation between the past and the present. This is a book about falling statues, but so much more. It's about how we've been lied to, and how we can approach the past with honesty. Hicks asks whether history and archaeology should be used to justify actions we know impinge on the rights of others - or to understand ourselves better' Alice Roberts , bestselling author of Crypt 'Dan Hicks writes with grace and fierce focus about what we choose to remember and why, in our patterns of thought, our institutions and the built environment in which we live' Eyal Weizman , director of Forensic Architecture The culture war is over. If you want it to be. It wasn't even a culture war; it was a war on culture. A sustained attack, Dan Hicks argues, in the form of the weaponisation of civic museums, public art, and even universities - and one that has a deeper history than you might think. Tracing the origins of contemporary conflicts over art, heritage, memory, and colonialism, Every Monument Will Fall joins the dots between the building of statues, the founding of academic disciplines like archaeology and anthropology, and the warehousing of stolen art and human skulls in museums - including the one in which he is a curator. Part history, part biography, part excavation, the story runs from the Yorkshire wolds to the Crimean War, from southern Ireland to the frontline of the American Civil War, from the City of London to the University of Oxford - revealing enduring legacies of militarism, slavery, racism and white supremacy hardwired into the heart of our cultural institutions. Every Monument Will Fall offers an urgent reappraisal of how we think about culture, and how to find hope, remembrance and reconciliation in the fragments of an unfinished violent past. Refusing to choose between pulling down every statue, or living in a past that we can never change, the book makes the case for allowing monuments to fall once in a while, even those that are hard to see as monuments, rebuilding a memory culture that is in step with our times.