Author: Christa Dee

  • Writer and activist Achal Prabhala on expanding the parameters for what is considered knowledge

    Writer and activist Achal Prabhala on expanding the parameters for what is considered knowledge

    “When books are scarce, people are knowledge”

    This is a quote from an email interview I had with Bangalore-based writer and activist Achal Prabhala. It is an introduction to the thinking behind the Oral Citations Project – a project he was involved in which explored alternative methods of citation for Wikipedia and ways to redefine who or what is understood to be a knowledge source.

    As a writer, the majority of his work focuses on race and pop culture. However what ties his writing together is his accumulated work in small publications, which he describes as “beautiful, odd magazines” in our exchanges via email. These include Bidoun, Chimurenga, Transition and African Is A Country. As an activist, he currently works on increasing access to medicines for life-threatening conditions like AIDS, cancer and Hepatitis C in India, Brazil and South Africa.

    The Oral Citations Project aimed to bring the periphery to the centre, and simultaneously expand on the way in which knowledge is defined. However, before unpacking the project it is necessary to contextualize its presence.

    Wikipedia has been criticized as a site for reflecting a Western, male-dominated mindset. This is translated into the way in which knowledge sources used for Wikipedia articles are framed, mimicking the old encyclopedias it is supposed to replace. Some critics have stressed the tradition of footnotes and sourced articles as references and citations needs to be re-thought. This is relevant as there is an abundance of knowledge that exists outside of books and the internet that cannot be present on Wikipedia because it cannot be sourced and referenced within the package that Wikipedia requires. Following on from this critique, Achal, who was an adviser to the Wikimedia Foundation at the time of the project, embarked on unpicking this policy and finding a way to present information that did not fit into that mould. This resulted in a short film titled “People are Knowledge“, which demonstrated how much knowledge is lost due to Wikipedia’s citation and verification policy, as well as provided an opening to be able to allow the site to be more inclusive of other knowledge sources.

    The project was planned with three Wikipedia languages in mind – Malayalam, Hindi and Sepedi – and took place across various places in South Africa and India. It involved interviews with academics and ordinary people to document everyday practices that had not been shared on Wikipedia before due to the limitations mentioned above.

    I had an interview with Achal to find out more about the project and if it has assisted in expanding Wikipedia’s knowledge base.

    When conducting interviews, how did you explain what Wikipedia is to the people who had never heard of the site before?

    This is a great question. Let me start by explaining who we interviewed and how. I interviewed people along with Wikipedians who knew them; for instance, in South Africa, we interviewed people in Ga-Sebotlane, a remote rural location in Limpopo, and I was guided by Mohau Monaledi, who lives in Pretoria, but is from Limpopo, and speaks Sepedi. Mohau is a prolific Wikipedian, and founded the Northern Sotho Wikipedia project, which is now a little gem of the Internet: it went from 500 articles in 2011 to over 8000 currently. It is the largest South African Wikipedia after Afrikaans. I was one of the people who helped get it off the ground, and I’m enormously proud of where it is today, way ahead of larger language groups in the country like Zulu, and even on the continent, like Igbo.

    The people we spoke to were working women who were fluent in Sepedi, but not English. They were women who worked in their houses and on the land, and had been doing it for years. Cellphones were common, but none of them had heard of Wikipedia. So, we explained what we were doing, explained what Wikipedia was, and why we wanted to talk to them. They got it immediately. It’s important to note that we weren’t asking the women we interviewed to part with family secrets or private historical memories: we were talking to them about how they prepared Mokgope (a fermented drink made with Marula fruit), and how they played popular village games such as Kgati and Tshere-tshere. In other words, we were interested in bringing everyday aspects of their lives to Wikipedia, and they liked the idea.

    How do you explain the importance of documenting everyday practices to the people you interviewed who fell outside of the academic space? What were their reactions?

    I will confess, wherever we went – from Limpopo in South Africa, to Kerala and Haryana in India – we were met with enthusiasm, but also puzzlement. A number of people I met in Ga-Sebotlane and Thrissur were just flat-out amused that anyone would be interested in documenting the most mundane aspects of their existence. I am almost as much a foreigner in rural India as in rural South Africa, and I suspect they thought of me as some crazy guy who had to be indulged. But once we started asking questions, and they could see our intent was serious, I think they were quite thrilled that someone was showing interest. It’s been beaten into our heads that we have a lot to learn from Professor Humdrum at Harvard, but not so much from Ms Moremi in the field under the Marula tree in Limpopo. And by us I mean not just you and me, but also the people under the Marula tree.

    Speaking for myself, the moment I flipped that ridiculous assumption within my own head, and treated the people I was talking to as important people with important things to say, they saw themselves that way as well. The mere act of listening made it easy for people to see themselves as repositories of knowledge – and this switch was a joy to watch, like a light being turned on.

    Unpack the importance of inserting underrepresented people, practices and languages online, particularly on a site associated with the collation of knowledge sources such as Wikipedia?

    The answer to this question is important. The answer also makes me furious, so I’ll take a deep breath first.

    All right. Let’s take what we did in Limpopo. We created articles, based on our conversations with people, on Mokgope, Kgati, and Tshere-tshere. Until that point, these things did not exist as public knowledge on the internet, even as they had existed for decades as public knowledge in everyday life. Millions, if not all South Africans, know exactly what these things are. Let us consider their equivalents in France: Pastis (which should be a human rights violation) has a detailed Wikipedia article in 22 languages; Pétanque has a detailed Wikipedia article in 41 languages; Boules has a detailed Wikipedia article in 31 languages.

    At this time, because of the project we ran, Sepedi Wikipedia has one article each on Morula, Kgati and Tshere-tshere. Detailed articles, with interviews as citations, and pictures to go with words. No knowledge of these three things, however, exists in any other language; the articles have not been translated. Arguably, no one who speaks Sepedi needs reminding what Morula is. Just as, arguably, the English world would be expanded by a formal understanding of what Morula is. But that hasn’t happened, because English Wikipedia deems Sepedi knowledge unworthy, as well as suspect – since in the case of these three articles, it isn’t based on something published in a book – and we’ve given up holding our breath.

    France has 66 million people. South Africa has 56 million people. Person for person, they’re not that different. On Wikipedia, however, they’re worlds apart. One is a country with Human Beings who Know Things; the other is not. I recounted my experience of documenting village games in India and South Africa to a German scholar.

    He jokingly said, if these were village games in Germany, they would each be given a 7-volume manual to accompany them, and would have become Olympic sports by now. I laughed, but it’s true. I don’t think Mokgope, Kgati or Tshere-tshere are any less real because there’s no record of them in books or the Internet, or because Europeans have no idea what they are. But the legitimation, transmission and circulation of knowledge holds a unique power in the world: the power of universality, the power to render holders of that knowledge fully, equally and undeniably human.

    By far the most tiresome aspect of conducting the exercise was explaining it to Wikipedians. I had some really strange conversations on public mailing lists. The prevailing view on Wikipedia was best expressed by a German historian resident in the Netherlands called Ziko van Dijk. I explained my project. He replied with the condescension of a schoolteacher scolding a naughty child, and asked me to leave history to the historians. I tried to point out that documenting one beverage and two village games in Limpopo hardly constituted messing with history. He did not budge; he remained adamant that my secret agenda was to infect Wikipedia with mythological juju. He kept at it for years, advocating increasingly bizarre theories, such as that recognising oral traditions would, somehow, allow him to claim to be a descendant of Charlemagne. (For good measure, he also threw in an inexplicable incident about “a territory in Africa, occupied by the British” where some King was maybe thought to have had seven sons, and then maybe thought to have had only five, which was, in his view, conclusive proof that you must never trust anyone without a PhD in history).

    Unpack the title for the project and the film, People are Knowledge?

    When books are scarce, people are knowledge.

    I don’t think of this as a problem. It’s simply a fact. It would be nice to have more books, sure. But, as Geetha Narayanan says in the film, “Coming from a culture where so little is written down, do we then say we know nothing?” The assumption that people who don’t have books are dumb, is plainly preposterous. In the course of rearranging our ideas about books, knowledge and stupidity, however, there are some underlying conditions to consider.

    One: Rich countries produce plenty of books, poor countries do not. Every year, the UK produces 1 new book for every 300 people. In South Africa, however, the figure is 1 new book for every 7000 people, and in India, even worse, at 1 new book for every 11000 people. In historical absolutes, the number of books produced in the US and Europe outstrips every other country in the world. What this means is that the knowledge of South Africa and India is not in books.

    Two: Even when local books exist in poor countries, they’re inaccessible. Public library networks are weak, digitization and electronic access is almost non-existent, with the effect that if you live in a country like India and South Africa, and want to reference an existing book, it is frequently not available to you.

    Three: Even when there is media – books, periodicals, journals, newspapers – to cite, if the media comes from a country outside the US and Europe, it is suspect, at least on Wikipedia. Countries like South Africa and India may have huge newspapers that cater to millions of readers, but Wikipedia refuses to accept that something happened unless it happened in the New York Times. The most famous instance of this bias is with the fictional Kenyan phenomenon called Makmende, which, despite being written up in The Daily Nation and The Standard, two respected Kenyan newspapers with gigantic readerships, was refused a Wikipedia entry until the story merited a mention in a ‘real’ paper, the Wall Street Journal. We’re told the way to play the game is to catch up. Write more! Publish more! Then, when we do that, we’re told, umm hold on: that’s not good enough. Because, of course, nothing really happens unless it happens in a journal published out of Cambridge or a newspaper in Manhattan. And Wikipedia is passionately committed to this warped, outmoded, colonial view of the world. Instead of playing the imitation game, I thought, why not turn the tables?

    On your project site, I read the argument that Wikipedia does not take advantage of “internet objects”. Can you share why this is an important statement when thinking about expanding citations on Wikipedia?

    Wikipedia is a publisher on the Internet, but it is deeply suspicious of the Internet. This is a fundamental fault line, and it is already fracturing Wikipedia. When you have a new system of publishing, one that is non-profit, public, and supposedly revolutionary, a system that was made by the Internet and that could only exist on the Internet and moreover, relies on the anonymous labour of crowds to work, in that case, to exclusively rely on words printed on paper for authority is ludicrous.

    Wikipedia is an open platform that is made entirely by user contributions. But it disallows citations from IMDB (the Internet Movie Database) and classifies it as an unreliable source, because, wait for it, IMDB is an open platform that is made entirely by user contributions.

    In the early years of Wikipedia, in 2005, Jimmy Wales (the founder of Wikipedia) was fond of saying “We help the Internet not suck.” That was then, before blogging became legit, before the smartphone was invented, before social media took over our lives. Now, in 2018, thanks to the combined force of cheap data, cheap Android phones and social media, we have infinite choices. There are many ways in which social media sucks, but one way it definitely does not is in being a fairly democratic global force in which anyone can participate.

    In 2005, Wikipedia was pitched in a fierce battle for legitimacy against the print edition of Encyclopedia Britannica, and it was arguably better than anything on the Internet. In 2018, Britannica is dead, Wikipedia reigns supreme, and, I would argue, it has become considerably less democratic, less open, less global, less diverse and less inclusive than anything else on the Internet. Everything on Wikipedia says 2001, especially its deliberately maddening interface, but nothing says ‘hello yesterday!’ as much as its refusal to treat the Internet as a place of knowledge, or its refusal to learn the one useful lesson social media can teach us, which is that projects prosper by inviting people in, not by keeping most of the world out. Let me put this more simply. If I wish to learn about French food, which I can’t eat, because I’m lactose intolerant, I’ll go to Wikipedia, but if I wish to learn about South Indian cuisine, which I can eat, and love, I’ll go to YouTube.

    In a New York Times article on your project, you mention that publishing is a system of power. Could you please unpack this, and how this fits into the foundation for People are Knowledge?

    I’m from Bangalore, in India. I studied in the US, but haven’t worked there. The only countries I have  lived and worked in outside my home are South Africa and Brazil. Currently, my work is spread across Bangalore, Johannesburg and Rio de Janeiro. So I know what unequal geography looks like, and I am intimately aware of how colonialism lingers in the mind long after it’s officially gone. I knew a whole lot about Manhattan before I stepped foot in it; I knew very little of Johannesburg before I got there. I knew that words said in London were meaningful; I knew that words said in Bangalore were kind of meaningless.

    One of the nice things about becoming an adult was becoming confident enough to challenge this idiocy. And because the Internet existed when I grew up, and especially because Wikipedia existed, I believed, naively, that this was our great opportunity to rewrite the world. Let’s face it: we will never catch up with the accumulated mass of formal knowledge produced by Europe and the US. Not going to happen.But in the digital world? I did think it was the one place where we could have a kind of equality; new rules for a new world. Every movement in the last 20 years signaled that equality was near: the invention of Wikipedia, the drop in telecom prices, the proliferation of cheap Chinese smart phones, the millions of people coming online in places like India, Indonesia, Brazil and South Africa.

    And yet, it did not work out that way. Publishing has always been about power.

    In the 14th century, you could be killed for translating the Bible into languages people actually spoke. In the 15th century, the printing press gave rise to new anxieties, and for several centuries thereafter, printers in Europe were only permitted to operate with the approval of their monarchs. Things may seem to be completely different now, but a deep dive into the political economy of the book will make it clear we are still operating with a command-and-control version of knowledge. The colony may have come and gone, but knowledge remains a thing produced in the centre – and consumed in the periphery.

    Wikipedia’s lamentable dependency on the book, continuing in this long, grand, and incredibly racist European tradition, is why we in the periphery are avid consumers of Wikipedia, but not producers. Publishing is a system of power, and so is Wikipedia. You look at Wikipedia, and think, hey, it’s on the Internet, it’s made by volunteers, it’s got pop singers and porn stars, anyone can contribute, it must be revolutionary. But don’t be fooled: it’s merely the old system of power, wrapped in a dazzling gauze of technological emancipation and repackaged with a benevolent liberal bow. Don’t take my word for it. Instead, take just one of Wikipedia’s own published statistics: there are more producers of Wikipedia in the Netherlands (population 17 million) than the entire continent of Africa (population 1.2 billion).

    Are you still connected to the Wikimedia Foundation?

    I’m not. I served on the Advisory Board of the Wikimedia Foundation from 2006 to 2018. I quit, or more accurately, I certainly quit a board that I’m not certain exists, since the Advisory Board has been in a Kafkaesque limbo for some years. I did some good during my term, as well as some things that did not turn out well. I’m proud of helping start the South African chapter, which is flourishing, and not so proud of helping the Indian chapter come into existence, since it blew up in a hot cloud of incompetence and ineptitude. I played a part  in pushing for the Wikimedia Foundation to directly intervene in stimulating producers in India, Brazil, and the Middle East, and I’m glad to have played an early role in pushing the Wikimedia movement to recognize affiliations from broad groups of people, like Catalan speakers, not just those from sovereign states.

    In the end, however, as a result of my work in India, and especially as a result of my work on oral citations, the trolling and harassment from other Wikipedians simply became too much. The hostility was insane: every discussion, every interaction online, was toxic. At the same time, the Wikimedia Foundation decided it had not much use for me. I’m not sure which was worse, being attacked by the community, or being ignored by the Foundation 🙂 Either way, I knew it was time to go.

    How has Wikipedia’s citation policy/strategy changed since the conceptualization of this project?

    The short answer is not one bit. In fact, it’s moved in the other direction, with the rules becoming even tighter. Wikipedia is now unapologetically hostile. If you came to Wikipedia in 2001 and put in some text, it would stay, as long as it was reasonable, and other Wikipedians would work with you to improve it, by adding citations and so on. Try that today, and you’ll be shut down immediately, then flamed, and then shamed into never contributing again. Every new contributor is essentially treated as a hostile vandal or a paid public relations agent until proven otherwise. Of course, it doesn’t help that many new contributors are, indeed, hostile vandals and paid public relations agents. It’s an impossible problem, and the encyclopedia anyone can contribute to has made no attempts to solve it, save for aiming a giant blowtorch at anyone who tries to contribute.

    But it’s not all bad. A few good things came out of the oral citations project. The first is a set of independent initiatives that sprung up, to work along similar lines. Peter Gallert, an academic in Namibia, is working on a project to bring indigenous knowledge to Wikipedia. In San Francisco, Anasuya Sengupta, Siko Bouterse and Adele Vrana, three former Wikimedia Foundation staffers, have launched a grand and exciting initiative to remake Wikipedia. (One of their campaigns is to pry Wikipedia away from the hands of young men, and reverse the giant tide of sexism within; you can help them by contributing images of women to Wikipedia). The second nice thing is that the Wikimedia Foundation finally seems to have figured it out: a key plank in its new strategy is to “focus…efforts on the knowledge and communities that have been left out by structures of power and privilege.” Given that it’s the community that decides policy, not the Foundation, I’m curious to see where this goes.

    How are you expanding on the project at the moment?

    Having burnt only some of my bridges with Wikipedia so far, I’m now working on ways to burn all my bridges with the community. I’m kidding. Seriously, though, I’m writing a short account of being the brown guy in the ring. I think Wikipedia has got away with intolerable amounts of racism, sexism and hostility just because most people only see it from the outside, slot it as a ‘good thing’, and don’t ever find out about what is going on inside.

    Having said all that, I should make a confession: I love Wikipedia. I loved it the moment I first saw it, and I’ll always love it. To me, Wikipedia is the public park of the Internet; a refuge from the relentless shopping-mall the Internet has turned into, the brave little non-profit in the oligopolistic dystopia that is our online landscape. When Wikipedia is good, it’s wonderful. When Wikipedians are good, they’re great. So I’m going to stick around for a bit, shout from the sidelines, and see if it has any effect. It’s ironic I spend so much time criticizing Wikipedia, because all I’ve ever wanted, really, is to be allowed inside. I’m not sure it’s entirely rational to want to enter a park run by confused white supremacists, but I’ve been going there for so long, I’ve become quite attached to it. Sure, Wikipedia is a racist, sexist and violent enterprise, but it’s my racist, sexist and violent enterprise, and I’ll figure out a way to deal with it.

    Further reading:

    A push to redefine knowledge at Wikipedia

    Lifting the lid on a Wikipedia crisis

    The Believer Interview with Achal Prabhala (The Believer)

    Is Wikipedia woke?

    We’re all connected now, so why is the Internet so white & western?

  • Artist and filmmaker Kitso Lynn Lelliott on disrupting knowledge hierarchies

    Artist and filmmaker Kitso Lynn Lelliott on disrupting knowledge hierarchies

    Michel-Rolph Trouillot in his book Silencing the Past: The Power and the Production of History interrogates ideas about the history and pastness, demonstrating how positions of power silence certain voices from History. He points to how oppressive, destructive and inhuman interpretations of people of colour led to colonial powers not being able to imagine histories or a History that could be animated, directed and authored by people of colour.

    The work of Kitso Lynn Lelliott also unpacks the philosophical and ontological constructions of race that emerged during European Imperialism, which resulted in multilayered tools and attitudes for ‘Othering’. One of the most important tool was that of hegemonic colonial languages; language as the foundation of these constructions, as well as what allows for these constructions to continue to have life. In this sense, Lelliott, similar to what Trouillot states, looks at pastness as a position as much as a temporal concept (Trouillot 1995: 15).

    Her solo presentation of a multimedia body of work, titled I was her and she was me and those we might become, was born out her PhD research related to the perpetuation of the idea of “racially marked beings” and how this led to the erasure of knowledges held in diverse languages. This becomes more apparent when one thinks of language as more than sounds for communication. Language carries a particular imaginary of the world, a way to interpret the world and a way to describe the world.

    As a way to speak back to these dominant narratives, Lelliott uses the “language of the ghostly” to gesture towards the presence and absence of omitted knowledges and histories. This is incredibly powerful as it is a reminder of the conscious and active act of silencing, while simultaneously pointing out that the imaginaries, mythologies, memories and multitude of ancestral histories can never be silenced.

    About her installation Lelliott stated that, “It is a gesture to reclaim an agency to articulate the narratives that make us, through dialogue that is always in flux, so they might produce a shape we see fit for ourselves.” In this statement we can directly see interest in voicing from spaces beyond epistemic power, as well as how epistemic articulation that pushes against hegemonic forms of knowledge identification and construction offers avenues to break down these hegemonic practices and knowledge hierarchies. This is particularly relevant in a time when we are thinking about decolonial practices and how they can be played out in real life.

    “. . . But we may want to keep in mind that deeds and words are not as distinguishable as often we presume. History does not belong only to its narrators, professional or amateur. While some of us debate what history is or was, others take it into their own hands.” (Michel-Rolph TrouillotSilencing the Past 1995: 153)

  • Stiff Pap at the forefront of Future Kwaito

    Stiff Pap at the forefront of Future Kwaito

    Since dropping their debut EP ‘Based on A Qho Story’, Stiff Pap have consistently been thinking of different ways to push their sound and live performances, competing with previous versions of themselves. Their agility and future-oriented vision has seen their fan base growing exponentially, revealing how they are plugged into the direction fans want SA music to move.

    Being at the forefront of a new genre, Future Kwaito, Stiff Pap appreciate and embrace its current amorphous nature. This open-ended framing of the genre restricts sonic inhibitions, meaning that global sounds and styles can be combined freely. This demonstrates their understanding of the global music context, with a grounding in South African associations of rhythm and lyrical storytelling. In this way their offering is something familiar yet different.

    “I feel like we’ve gone beyond what people would traditionally understand not just as Kwaito, but even Future Kwaito…We took the sound in a different direction, it’s more industrial and dark,” one half of Stiif Pap, Jakinda explains.

    With their sonic roots in Kwaito, they manage to seamlessly combine this with hip hop and electronic sounds. “We [are] trying to take something which is abstract and European and make it ours. We call it Kwaito instead of hip hop because Kwaito is basically the Southern African version of hip hop. It is a perfect description of what we [are] doing right now, but we don’t want to be boxed [in],” Ayema explains.

    Stiff Pap look to past and present musical history to reinvent the familiar. Their injection into the industry opens up a new avenue of progress for hip hop and Kwaito. “Changing the scene and breaking boundaries is really important to us, we see ourselves as a beacon of hope for all the kids who want to do alternative music.”

    Drawing on the varied sounds of Kanye West, Christian Tiger School, Schoolboy Q, Vince Staples, Teargas and the gqom wave, collectively they continuously attempt to disrupt the musical status quo. “Production-wise, I listen to more electronica than hip hop. I don’t actually know how to make hip hop beats, but in a way we are hip hop artists. So I think we’re showing people that hip hop is a much broader genre than they thought, especially when it comes to South African hip hop,” Jakinda explains, “We’re showing that you don’t have to rap in English to be international. You don’t have to sound American.”

    Style and image play a role in how this is translated for audiences. “A lot of people really like us because they feel like we represent them. We’re young black kids doing left field electronic music. We basically represent the black kids that are weird and different and trying to find themselves.”

    As a duo Stiff Pap represent how disruption can arrive through simplicity.

  • INFINITY STUDIO Residency // unpacking privatization, militarization and escapism in South Africa’s urban landscape

    INFINITY STUDIO Residency // unpacking privatization, militarization and escapism in South Africa’s urban landscape

    “Militarized urbanism” – a term coined by geographer Stephan Graham. A term that describes the existence in South African cities, and is lived through the ubiquity and perceived necessity of concrete and electrified boundaries, pin codes, guard posts and CCTV.

    INFINITY STUDIO, a residency curated by Bubblegum Club and CUSS, will see invited artists from various disciplines explore the meaning and everyday operation of privatization, militarization and escapism in South Africa’s urban landscape. The residency taking place from 29 March to 2 April is the first step for the INFINITY STUDIO program at Kampnagel in Hamburg in the frame of the Live Art Festival #8: SUPERSPACES.

    This residency is organized as a curated tour which will see participants travelling to various spaces and events around Johannesburg. It is treated as a form of fieldwork or immersive brainstorming, and real life critical engagement with ideas around enclave communities, boundaries and surveillance in relation to fears about real or imagined dangers in urban spaces.

    Participants include Bubblegum Club, Bogosi Sekhukhuni, CUSS, Daniel RautenbachFAKA, Hlasko, Kerry Chaloner, Michelle Son, Mona-Lisa Namér, PURE, Rich Mnisi, Rose Bonica and Zandi Tisani.

    INFINITY STUDIO is produced by Kampnagel and Bubblegum Club, with the support of TURN – Fund of the Federal Cultural Foundation of Germany as well as the Goethe Institute.

    Freedom Park- Here to Make Everything Perfect

    Freedom Park is a lifestyle experience unparalleled in the Gauteng city-region. An oasis of peace and community, our estate residents enjoy both easy access to the thriving financial and business center of Johannesburg, and complete security from the chaos of the urban environment.

    It is no secret that Johannesburg is dangerous, and that hard-working, decent citizens like yourself are threatened by depraved and squalid crimes. But it’s falsely believed that only the elite can afford total protection. At Freedom Park, we offer the complete security lifestyle experience at a competitive price. You and your family will wake up to the sounds of bird singing and go to bed smiling, safe in the knowledge that any dangers will be anticipated and removed with no mercy. You don’t need to be a multi-millionaire to enjoy multi-million peace of mind.

    Our beautiful facilities cater to all tastes, from the rustic to the modern. Housing units are designed to the utmost architectural standards, and you may never want to leave your home again.  But we hope you will come and enjoy our family restaurants, affordable mall space and driving range.

    Your children will love the dedicated play areas. And for those looking for adult playtime, our resident’s leisure committee organises discreet thrills, which push the boundaries of sanity and morality. You can even try on a new personality for size, with Freedom Park selected as one of the pilot sites for an experimental augmented reality center, offering experiences that are out of this world.

    Freedom Park enjoys guaranteed tranquility.  Our estate security committee is prepared to get their hands dirty when the police won’t. Onsite staff bring in a wealth of combat experience from their time in Iraq, Afghanistan, Somalia, Libya, Mexico, Nigeria and Syria. The recently opened community detention center is on offer to resolve family disputes. And as an exclusive service, our guards are happy to assist in aggressively resolving any offsite challenges.

    Freedom Park offers a complete lifestyle paradise, free of all anxiety. Why should you have to die to go to Heaven?

  • WE ARE ONE Music Festival // connecting people through music

    WE ARE ONE Music Festival // connecting people through music

    WE ARE ONE Music Festival is framed as an experience of “heritage, music and inevitably oneness”. Founders Tokoloho Booysen and Tshepang Mabizela explain that basing the festival on this idea came through reflecting on the fact that there are so many barriers in Johannesburg that divide people. Their intention was to create a platform that will allow people to engage with one another through music and other cultural experiences. “…the only way for us to [be] progressive and create the future we want is to band together, we need to develop a strong sense of community and we believe that comes by unity through diversity,” Tokoloho explains. He goes on to say that, “We [the festival] use music as a connecter because regardless of who you are, the music you like makes you feel a certain emotion and those emotions transcend genre.”

    WE ARE ONE also intends to provide a space where emerging artists can share the stage with well-known musicians. “We represent a bubbling underground, so this festival needs to showcase an unknown industry made of blood, sweat and tears,” Tshepang explains. By doing this they are hoping to contribute to the expansion of the South African music industry and introduce audiences to new faces and new sounds. With the aim of giving artists the recognition they deserve, the festival presents opportunities for future headliners and shifts in the music scene while still appreciating artists who have been in the game for a while. Artists included in the lineup are FAKA, DJ Doowap, Gyre, Langa Mavuso, Nonku Phiri and Rhea Blek, just to name a few.

    Outside of the music, there will also be food stalls, clothing stalls and a pop-up photographic exhibition to give attendees a well-rounded cultural experience. “We resonate with music but we know that music is not the only impactful art form, so fashion, visual artistry and food are art forms that can also help progressively push the artistic culture forward,” Tshepang states.

    WE ARE ONE will be taking place at 1 Fox on 31 March 2018. To find out more about who will be performing and how to buy tickets visit their Facebook page.

  • adidas Originals launches Deerupt // A new perspective on grid design

    adidas Originals launches Deerupt // A new perspective on grid design

    adidas Originals have brought out a new lifestyle option – the Deerupt. This completely new silhouette takes archival referencing to a higher level, resulting in a fresh take on grid design.

    The Deerupt holds the grid as a central design feature, initially brought to the public eye with 80s running styles such as the New Yorker runner and Marathon Training shoe. Taking inspiration from urban planning, architecture and natural phenomena, the Deerupt sees the grid design covering the entire shoe. The collapsible runner-inspired design features an ultra-lightweight construction with knit uppers covered in stretchable netting. It’s the perfect offering for adi fans seeking a look to the future and minimalist structure that is still undeniably adidas.

    The Deerupt silhouette drops worldwide on 22 March 2018.

    Deerupt – Disruptively Simple

  • Virtual worlds and their potential to affect real life attitudes towards environmental concerns

    Virtual worlds and their potential to affect real life attitudes towards environmental concerns

    Every fantasy world needs carefully-crafted environments for characters to roam. The art of envisioning a world that does not exist, and then making it appear real. It draws on the ability to understand movement, as well as how people, nature and man-made elements interact with each other in real life.

    Image from The Longest Journey

    In thinking about the creation of virtual worlds, specifically game worlds, Matt Barton (2008) makes an attempt to draw out the importance of simulating real-life weather conditions. Making players believe they are immersed in a coherent virtual world is a goal for the gaming industry, with new games in competition with previous versions of themselves to be able to render and compute changes in real time. However, there is a point that Barton makes in his paper How’s the Weather: Simulating Weather in Virtual Environments that goes beyond the idea of making the illusion of the game increasingly believable and making the screen or game world transparent. He suggests that game worlds offer the potential to effect or construct “players” perceptions of ecological concepts (Barton 2008: unknown page). It is contemplate of how games that are marketed for recreational purposes can present the possibility for ecological awareness related to real life environmental issues or concerns.

    Realistically portraying the effects of winds, clouds, rain, etc. creates the illusion of the game as a “living, dynamic, navigable space – in other words, an ecosphere”. This allows for the transformation of a game surface into a game world.

    Barton argues that it is important to view weather simulation in games as more than just ambiance, and that in these virtual worlds weather conditions having an effect on the landscape and game play can translate to real life shifts in awareness.

    Image from Metro: Last Night

    Having an effect on game play, or the way in which a player is able to move and interact in the game world, means that the player needs to take note of the weather and the way their actions affect and are affected by it. This attentiveness can be translated into the real world.In a world where the ubiquity of games is well-known, and the concerns about global warming and other forms of environmental damage of great concern, could the environmental concept art of games provide an avenue for understanding and connecting to nature once again?

    “Weather simply plays too important of a role in the real world to be ignored in virtual ones, particularly those that strive for realism-cinematic or otherwise. Perhaps we will also eventually see games taking a more environmentally responsible approach to representing weather-one imagines game worlds in which a player’s negligence could lead to acid rain and deadly global warming.”

    Image from Batman Arkham Knight
    Image from Final Fantasy XV
  • Ray-Ban Reinvention on Air campaign – The Clubmaster

    Ray-Ban Reinvention on Air campaign – The Clubmaster

    On the 7 March 2018, the first Ray-Ban Reinvention on Air performance and opinion platform for the future of South African music took place at Milk Bar, Keyes Avenue in Rosebank. For 4 consecutive weeks 8 artists will be celebrated over Thursdays and Fridays in conjunction with celebrating 4 of Ray-Ban’s iconic frames. The third week celebrated the Clubmaster.

    DJ, cinematographer and co-founder of weheartbeat Sims Phakisi joined host Reason in conversation and performance. When asked about our music industry Sims shared that, “South Africa is in an interesting time. One, everything in the world has been done except here. So everybody is trying to get here.”

    To catch up on the third conversation and performance at Milk Bar, have a listen to the podcast below.

  • New label Section 8 uses fashion as a medium for disruption and critique

    New label Section 8 uses fashion as a medium for disruption and critique

    For their first season in 2017, the new fashion label Section 8 was surrounded by a cloud of mystery, as the designers wanted to remain anonymous. However, Vogue managed to do some digging and found out that London designer Ryohei Kawanishi and stylist Akeem Smith are rumoured to be a part of the team. The decision for the team to remain anonymous is political. It is in reaction to the times we live in, where everyone is looking for large scale attention and influence. What did attract much attention, however, was having the models for their debut collection walk down the runway with dead koi fish in their mouths. The shock this raised in audiences resembled the reasoning behind the seemingly outrageous gesture. It was playing on the idiom ‘a fish out of water’, referencing the fact that the Section 8 team are exploring a new territory together.

    Image from 032c

    The garments were inspired by what the team imagined an intern working in the Trump campaign would have worn – making the collection a commentary on the increased conservatism in America guided by Donald Trump. The business casual, office-to-evening designs were reminders of 80s and 90s silhouettes which collapsed and gave way over the bodies of the models. Bland colours were combined with the combination of re-worked low fashion garments.

    Building on the curiosity and fascination engendered from last season, Section 8 shared their latest ready-to-wear collection in a secluded church yard in Paris earlier this month . Titled ‘Free, white, and 21’ the runway saw models of colour wearing blonde wigs and blue contact lenses. The title is a phrase that appeared in multiple movies in the 20s and 30s in America, relating to unchecked and untamed privilege. Section 8 provocatively use the term as a reflection on its relevance in America today.

    Image from 032c

    Addressing sociopolitical and economic issues is the name of the game with this new label, and this is evident right from the label’s conception. Section 8 refers to a the low-income housing program in the US. The idea behind this is that instead of money being spent to build public housing, families are given vouchers to cover part or all of their renting costs from private property owners.

    Section 8 is demonstrating the importance of using fashion as a medium for disruption and critique. The fashion world has its eye on the label to see what they will come up with for their next collection.

    Image from 032c
    Image from 032c
    AW18 lookbook from Vogue
    AW18 lookbook from Vogue
    AW18 lookbook from Vogue
    AW18 lookbook from Vogue
    AW18 lookbook from Vogue
  • Culturist Flows – an editorial appreciating mediums of cultural communication

    Culturist Flows – an editorial appreciating mediums of cultural communication

    Pale, rocky landscapes. Oversized garments gently hanging onto shoulders. Transparent fabrics floating in sync with the wind’s rhythm.  An arm outstretched, inviting viewers into a sandy dreamscape.

    The editorial ‘Culturist Flows’, conceptualised by writer and stylist Tina Tshangela, sees her taking on the role of the one in front of the lens. This allowed her to directly convert her vision into the soft placement of limbs and facial expressions present in the images. Her eyes interact with the camera as if turning to look at a friend, demonstrating an openness that complements the vastness of the outstretched beach behind her. Teaming up with Mandy Nash for photography and Megan Wridway  for hair and makeup, feminine energy filters into each image.Tina describes herself as a Culturist; an advocate of culture. By culture she refers to the DNA of societies that manifest in multiple ways, including hair, makeup and fashion. Considering this, Tina wanted to animate the different mediums of cultural communication while pointing to religious and traditional references that make up her own experiences. Her styling channels the spirit of Japanese designer Yohji Yamamoto.

    “Yohji Yamamoto is a big muse of mine because of the techniques he uses in his work, which mixes [the] traditional tailoring of garment construction [with] deconstructive design. I referenced these elements in the styling of the shoot by taking traditional tailored pieces and creating modern deconstructive silhouettes and shapes [for] complete looks. I fused these looks with Afrofuturistic movements and [an Afrofuturistic] mood to marry these influences together.”

    Movement, particularly movement that mimics water, is a strong element in the shoot. Having mentioned that the symbol for her star sign, Aquarius, is water, Mandy suggested this be translated into the images. This is made present directly with the beach in the background, as well as through the various fabrics drifting behind Tina. Her body suggests waters kinetic quality more indirectly. “I wanted my body to express the flow of the ocean tides which flow harmoniously connecting different parts of the world together without a beginning or end,” Tina expressed.

    Interludes in the editorial appear with images from a trip to Moonscape in Namibia that Mandy inserted between shots of Tina. “There was an incredible stillness, and standing so small and alone in front of such a vast landscape brought about much self-reflection. The stillness of the landscape creates ‘pause moments’ in the flow of the story to allow for moments of self-reflection between the flowing imagery of Tina.”

    Reflecting on the process for this editorial, Tina expressed that she was “stepping out of my comfort zone of styling and dressing other people…When I saw the final pictures it was like looking at my higher self and it was very empowering.”

    By combining movement, styling that plays on garment deconstruction and Tina’s own experiences, this editorial manages to communicate an appreciation for the cultural medium of fashion.

    Credits:

    Art direction and photography –  Mandy Nash

    Concept, stylist and model – Tina Tshangela

    Hair and Makeup – Megan Wridway

    Look 1
    Red Top H&M, Pants and Jacket Arhan Lindoor, Belt Markhams, Socks FentyXStance, Sandals Birkenstock.
     
    Look 2
    White oversized shirt Jet, Pants Arhan Lindoor, Bag Voom Voom Vintage, Socks FentyXStance.
     
    Look 3
    Underwear H&M, Coat Arhan Lindoor, Stockings Woolworths.
     
    Look 4
    Striped shirt and dress Arhan Lindoor, Socks FentyXStance, Shoes Zara.
     
    Look 5 
    T-shirt Arhan Lindoor, Black silk shirt Vintage and the City, Stockings Woolworths, Sandals Birkenstock.

  • Ray-Ban Reinvention on Air campaign –  The Wayfarer

    Ray-Ban Reinvention on Air campaign – The Wayfarer

    On 1 March 2018, Ray-Ban hosted their second week of Ray-Ban Reinvention on Air at Milk Bar, Keyes Avenue in Rosebank. This performance and opinion platform aims to celebrate 8 South African artists in conjunction with celebrating 4 of Ray-Ban’s iconic frames.

    Hosted by musician Reason, the second artists to join him in conversation and performance were Uncle Party Time and Sam Turpin. In thinking about the connection between Ray-Ban and artists, Uncle Party Time mentioned that, “Reinvention is important. You can’t do the same thing all the time.”

    To catch up on the conversation and performance at Milk Bar, have a listen to the podcast below.