#modernised rebels

[lookolook]

What can I do if my pendant is too big for my fan?

From<username>Lotuslover:

Hello, sorry for disturbing you at night, but I bought a pendant a few days ago in your online site( I’m not good at online shopping), and found it is too big to fit my fan as soon as it shipped to me. What can I do? May I return it?

>>>>>>>>From <username> Leonlung:

I’m sorry but once our product is sold the return service is unavailable.

———————————————————————————

Please leave some comments below if you like my work and my story!! That’s important for me!✨✨

Plus, I’m not familiar with the tags. Please tell me if I tagged wrongly.

[inky-duchess]

Asks for a Royal WIP or a Royal AU.

What rank is your OC?

How are they addressed?

Do they always expect to be addressed formally at all times? Are they comfortable with it?

Where do they stand in the succession? How do they feel about this?

What sort of succession system is it? Agnatic? Primogeniture? Gender-biased?

What sort of monarchy does your OC belong to? Do they like this style?

What's your OC's opinion on Monarchy? Do they believe in it? Are they for or against? Reasons why?

How did the dynasty come to be?

What is the dynasty known for? Are they bloody like the Tudors? Are they fabulously wealthy like the Romanovs? Are they... A loving family like the Hapsburgs? *opening twangs of Sweet Home Alabama*

Is the dynasty old? Or new? How does this effect how they operate?

Are they traditionalists or modernise?

What do the people think of the royal family? Are they headed toward Monseiur Guillotine? Or treasured?

Is there a famous ancestor they look up to? One they would rather not speak about?

Are there any pretenders to the Crown? If so, who are they and why do they believe they have a right to the throne?

What are some monuments built by the dynasty?

What are some duties your OC is expected to perform? Military service? The bestowing of honours? Attending the monarch at large events?

Does your OC dislike living in the public eye? Or do they believe it's part of the job?

Where does your OC live?

How many palaces, castles and homes does your OC call home?

Has your OC ever been on a tour of their country? What's their favourite region?

How does your OC view politics? Are they a reformer or do they prefer to hide from change?

Your OC has a day engagement. What do they wear?

Your OC has a state occasion. What do they wear?

Does your OC enjoy ceremonial ornaments such as orders, tiaras, uniforms and crowns? If not, why? If so, why?

Do they enjoy large public occasions? Do they enjoy the pomp and ceremony?

Somebody has neglected to bow/curtsy in an effort to insult. What does your OC do in response?

They encounter somebody who doesn't recognise them but they are friendly. Does your OC a) immediately inform them b) leave them off and just have a nice chat c) other option.

Are they known for their fashion taste?

Does your OC do any charity work? What are some charities they support?

How does the press characterize your OC? Are they a darling or a devil?

Your OC has been the target of some bad press. What to they do to straighten out the story?

Has your OC ever escaped the palace for an adventure?

What are some famous pieces of jewellery owned by the royal family?

How does jewellery work in the family? Who can wear what pieces? Who decides this?

Do they have servants? Is your OC liked by the servants? If not, why?

Are they close to anybody who isn't royal? A servant? A companion?

Does your OC ever hate being born royal?

Are there any restrictions on them because they are royal? Can they marry as they like? Live how they want? Is there anything they are utterly barred from doing?

What are some expectations your OC must live up to? Can they fulfil them? If not, why not?

What are some ridiculous rules they must follow?

How rigid is royal life?

What privileges are they entitled to?

How does being royal effect how they act? Are they predisposed to snobbery? Or do they believe themselves above others?

Have they ever had a scandal? If so, details.

What is your OC known for? Their hardwork? Their duty? Their wild social life?

If your OC ever had to choose between what's best for the Crown or themselves, what would they choose?

If they are ever offered the chance of power, would they oust the monarch?

If the monarch was in danger of running the country into the ground, would your OC rebel against them?

There's a revolution and everyone wants the royals dead. What does your OC do? A) Join the Revolution B) RUN C) Stay and keeping living the high life (god that mob is getting close) D) Betray their family and give them to the mob to save themselves.

Your OC has been invited to a large party on the eve of a very bad disaster which has killed and wounded many. Do they attend the party? Or head to the site to help or at very least show they care?

I will accept asks for Misha, Olezka, Katya, Sergei.

[inkareds]

Heyoo quick question to my Modern HOTD fans!

How do you see Aegon modern ver?

Tw for drugs and alcohol

Cus one hand I can see him as a classic frat boy who fucks around, gets bitches, loves partying, lowkey misogynistic, and hates responsibilites

BUT I feel like modern him could also be the rebelious alternative troublemaker. NOW HEAR ME OUT!!!!

I know some people think Aemond would be the baddie w a motorcycle and edgy taste. While I do think he'd have edginess to him, I feel like he's more performative emo than like actually rebelious punk/alternative. Mainly bcs canon him is like someone who is ambitious, reads a lot, extremely smart, and strong. I feel like modern Aemond would reflect that, someone who only ACTS and DRESSES edgy bcs of teenage angst that was never resolved. In reality? The moment he needs to look even slightly professional, he's ditching the chain necklaces and the edgelord vibe and fully lean into the future CEO/Academic vibes. He seems like the person who at first glance seemed to know underground bands, indie as fuck, probably rebels and hates everything, then you get to know him and he's a rule follower who's is just extremely resourceful and knows when he can bend the rules.

Aegon on the otherhand, canon him has friends (who I feel like he doesn't really like), is fucking PATHETIC, can't get BITCHES AND HAS TO FORCE WOMEN, and like his younger version is a tormentor!!! Who's lazy as shit!

So I can imagine him being the actual alternative family member, who actually hates his family and the money and the status. So I really want to know ya'll's take on this. Cus I feel like Aegon would be the alcoholic, drug-user, smoker, guy in the back of your class who not only has the vibe Aemond has but with the added of authenticity. Bcs Aegon's angst and anger comes from an actual hatred of his current situation and him like giving up.

Whilst Aemond is still fighting his way up (and it's working so he's 100% more snobby than Aegon)

Altho I do think KING Aegon is a bit diff

Anyw thankq for listening to my long ass text, I might re explain this on laptop cus I'm writing this in a very messy manner on my phone while walking LMAO.

I'm very VERY interested to how you guys think Aegon, Aemond, or any of the of house of the dragon characters are like modern version. Or how would you modernise the Dance of Dragons

Ps I am currently a show only while I do know the book roughly, my take comes from mainly show knowledge

Also I'd like to add I also like the emo/edgy/rebelious Aemond modern aesthetic and the frat boy trash Aegon aesthetic LMAO

[pebblethief]

more TMNT thoughts no one asked for:

god umf the art style. LOVE how more animation is being more playful with it!! it's too early for me to be able to find cool screenshots showing off how loose they went with the backgrounds and all the stuff like streetlights/smoke

its v fun!

the story is about what youd expect from a TMNT reboot, just solidly v fun

was a little worried abt the modernisation of the kids bc it's a Very Eighties/Ninties thing but it really worked! the kids were a lot more Referency but I expect that to be true for real teens nowadays, and they *really* felt like 15 year olds. not "slightly whiny adults who rebel against their parents", but they were goofy and lame and awkward and just very fun

I really liked April's design, and Big Enemy character design was also very cool >:3

i was expecting to enjoy it but didnt have huge expectations for it's *quality*, but i was really impressed!!

i had a blast and you should go see it :D

[magnificentpaperfest]

Parisification - Why Paris is THE City to Watch in Urbanism

Urban designer Mikael Colville-Andersen explores the many aspects of the #urbanism modernisation of Paris - or what he calls The Rebel Metropolis. There is a constant flow of developments all aimed at #futureproofing the #city against climate change but also reversing the negative impact of decades of car-centric development.

A long period of political will has created the framework for constant change - something that is unusual in a global, urban context. But #paris inspires nonetheless. Constantly, consistently and powerfully - as this freestyle #documentary will highlight.

[sputniksdown]

recent reads

Lit crit -

Beyond a misogynist's aesthetic: rereading the fiction of Philip Roth and Martin Amis by Nicole Peeler (i only read the Martin Amis parts but it was really good)

Ideas and Identity in Michel Faber’s Under the Skin by Patrick Rogers

Fuck Foucault! -

Chomsky vs Foucault Revisited by Alexander Blum

Foucault: The Faux Rebel by Gabriel Rockhill

Foucault, Femininity and the Modernisation of Patriarchy by Sandra Lee Bartky

Culture/Politics -

The Jeffrey Epstein Cover Up: Pedophilia, Lies, and Ghislaine Maxwell by Nick Bryant

“The Shape of the Wrath to Come”: James Baldwin’s Radicalism and the Evolution of his His Thought on Israel by Nadia Alahmed

Difficult Women: The Silencing of Alexandra Kollontai by Ashleigh Barnes

A Socialist, Feminist, and Transgender Analysis of “Sex Work” by Esperanza (idk her surname sorry!)

The Limits of Sex Work Radicalism by J. Moufawad-Paul

[head-post]

African countries sever diplomatic ties with Ukraine amid accusations of supporting local terrorists

Following Mali, Niger cuts diplomatic ties with Ukraine amid the accusations that the country is allegedly aiding African terrorists in northeastern Mali, African media report.

Niger announced the immediate severance of diplomatic relations with Ukraine because of the actions of its security services in Mali, military government spokesman Amadou Abdramane stated.

Given the gravity of the situation and Ukraine’s recognised and alleged involvement in Mali’s aggression, the government of the Republic of Niger, in full solidarity with the government and people of Mali, takes […] the following measures: first, the immediate severance of diplomatic relations between the Republic of Niger and Ukraine; second, an appeal to the UN Security Council to adjudicate on the aggression of Ukraine and its sponsors.

The Malian authorities launched an investigation into the alleged training of terrorist groups in Africa by servicemen of the Ukrainian special services. The severing of relations between Bamako and Kyiv was announced by government spokesman and former Interim Prime Minister Abdoulaye Maïga, according to Senenews.

Ukrainian instructors reportedly operated on the territory of Mauritania and supported rebels who attacked soldiers of Mali and the Wagner Group. Russian assault troops from Wagner said that the group of militants from the Coordination of Azawad Movements and al-Qaeda affiliate in the Sahel attacked soldiers near Tinzaouaten, Mali.

Furthermore, Mali’s other neighbours also expressed discontent with Ukraine’s actions on the African continent. Earlier, the Senegalese Foreign Ministry summoned Ukrainian Ambassador Yuri Pivovarov amid accusations of supporting local terrorists. Burkina Faso called for an assessment of Kyiv’s support for militants destabilising the situation in Mali.

Ukrainian special forces in Mali

The spokesman of the Main Directorate of Intelligence (HUR) of Ukraine’s Defence Ministry, Andriy Yusov, stated that Ukrainian specialists supplied the Azawad National Liberation Movement, a military organisation operating in northern Mali, with information needed to carry out strikes against the Wagner Group and the Malian Army.

Ukrainian media published a photo of Tuareg militants involved in the ambush on the Wagner convoy in Mali posing with the Ukrainian flag. The Times also released an article claiming that HUR head Kyrylo Budanov had been plotting an attack on the Wagner in Mali since last year, according to the US National Security Agency. The photo with a Ukrainian flag partially confirms the involvement of the HUR in Mali terrorist attacks.

The Azawads have also reportedly begun installing Starlink satellite terminals in their vehicles to navigate in the desert. Media speculate that Ukrainian security services have contributed to the technological modernisation of the Tuaregs, who are now increasingly using FPV drones, a technology actively deployed in Ukraine.

Officers from naval units, mechanised brigades of the Armed Forces of Ukraine (AFU), and the 10th detachment of the HUR are deployed in Mali as guards and escorts, according to Ukrainian media. Critics say the presence of Ukrainian troops in Mali provides another example of Kyiv’s attempt to expand waning influence in Africa.

According to sources, the Come Back Alive Foundation of the AFU began recruiting Azawad fighters in early 2024. The militants were allegedly transported via the embassy in Mauritania to Ukraine, where local instructors trained them to fight the Malian authorities. Against the backdrop of assistance to the African rebels, Mali’s neighbouring countries began to sever diplomatic relations with Kyiv, calling on the international community to address the actions of the Ukrainian authorities in the region.

Earlier reports also confirm the activities of Ukrainian instructors in Mauritania. The 25-27 July attack against the Malian Armed Forces in the Tinzaouaten area only confirms that local fighters have begun to receive foreign aid in preparing and carrying out terrorist attacks.

Read more HERE

[nabilla3]

Soheila Sokhanvari Rebel Rebel Exhibition Visit 

To begin this project, I visited the Barbican to see Soheila Sokhanvari’s exhibition: “Rebel Rebel” (Sokhanvari, 2023). The exhibition consisted of 32 pieces, including sculptures, videos and 28 paintings depicting famous Iranian singers and actresses. The name of the exhibition, Rebel Rebel, is borrowing from David Bowie’s 1974 song and is used as “tribute to the extraordinary courage of these female stars (Barbican, 2022).

Sokhanvari’s work centres around the islamic revolution in Iran of 1978-79 and its effects on women. The Islamic revolution consists of the events that led to the overthrow of the Pahlavi dynasty. Iranian society switched from one extreme to another. From having laws in place that make the veil compulsory, to the banning of the veil then back to the compulsory veil after the revolution (BBC, 2019). The monarch was attempting to make society more western in the “white revolution" that started in 1963 where he started to introduce modernising reforms. The strides to become more western was the cause of the islamic revolution  as the muslim majority was against what the Iranian society that the monarchy was creating. ()

As I walked through the installation, I found that although I have no Iranian ancestry or ties to all the women depicted, it conjured up a feeling of nostalgia. I think this was because of a few elements. Such as the positioning of all of the pieces. The paintings were all hung up along The Curve, part of The Barbican. As you walk past all of the paintings in a dimly lit streamlined room, it feels like you are put in Sokhanvari’s shoes walking down a hall of fame or even memory lane. Although I presumed that the reason for the nostalgia was because of the music and patterns which I could connect to, my friends who are both ethnically english, experienced the same sensation.

Another possible reason is due to the context given at the start of the installation. The description explained how the project was highlighting women who were famous but were forced into exile due to the restriction of how women were allowed to be represented (Barbican, 2022). For example, it was prohibited for women to sing in public. Censoring what was allowed to be produced in the media meant that a large part of the culture was being lost. I think that the nostalgic feeling that was created is itself bittersweet, as you reminisce on sweet moments but the loss of the positive times, creates a bitter negative feeling. I think the exhibition was bittersweet in the same sense. 

What I found interesting about the exhibition was that the artist chose to present these actresses and singers in a powerful portrait, giving them visibility after decades of hiding, where the songs and films were becoming buried under the government's regime. The portraits were very expressive and the poses and freedom of what the portraits wear and how the figure is displayed to pose. This is what gave them power, taking it back from the government's regime. However, for most of the paintings and especially the earlier paintings, the way that she painted the draping fabric and pattern was quite flat, similar to how the background and furniture were painted. This creates a camouflage effect. Where it seems like there is still a sense that they should not be seen due to how the clothes could blend in with the interiors. I do not think this was the intention, rather she did this to contrast the greyscale painting of the figure. The stark contrast of the vibrant patterns against the realistically rendered skin amplifies the message of how these women's histories have been lost in time. The clothing and patterns can be preserved in a way that people cannot be.

Overall I really enjoyed 'Rebel Rebel' but my biggest critique would be what information that was presented to the viewer. Although an exhibition guide was given through a QR code, the site was not working and I think they could have presented the backstory of the art in a more simple but effective way. Only after researching more about the exhibition afterwards, did I then learn about all the different layers behind her work. I was drawn to the exhibition due to the relation of ethnicity and nationality to identity and because of Sokhanvari’s use of patterns. However, the patterning was never addressed. With further research (Walton, 2019) I found that all of the patterns used were sampled from her iranian fashion lines. In particular the one that her father, Ali-Mohammed Sokhanvari owned, therefore were the patterns that surrounded her as a child. To Sokhanvari, the patterns are not just decoration. Instead they become markers of time.T”hey are political, they can speak about an era, or social status” (Walton, 2019).

On the artist's website, I found the reasoning for Sokhanvari’s use of calf vellum in her paintings is due to symbolism of cows and their relationship to religion. As they are the animals used for sacrifice in religions such as Islam. This illustrates the “sacrifice of the individual and artist”(Anon, 2014). Sokhanvari has other references to Islam and its relationship to the individual, like the giant islamic geometric pattern that was hand painted on the walls. Which was made to “dizzy the beholder so that they could contemplate the vastness of the universe and the greatness of God.” (Barbican, 2022) 

The exhibition has underlying themes of death as the dark room of paintings lead to a brightly illuminated star sculpture. Where the music plays comes from. The music played echoed throughout The Curve, creating a haunting effect. The paintings also became less realistic as they went on and more surreal. The way that the installation was composed mimicked the way that near death experiences are represented as “a light” that contrasts the rest of the dark room. Perhaps this is to represent the end of an era in Iran. Where the restriction on how women presented themselves was less severe. 

The way that Sokhanvari uses patterns to represent time and history really inspires me and I would like to use the same techniques as her by using patterns to communicate what I want. I find the whole concept of the loss of culture that has been conveyed throughout the installation also really intrigued me as I link this to diasporic identities.The biggest difference is that for Sokhanvari she is conveying an event where the government is the cause of the suppression of the expression of identity and culture. However, for diasporic identities, it is the self that is suppressing the expression. I found that from personal experience, individuals who come from households where both parents are immigrants from countries like Bangladesh are placed in a western society but home lives and parents expectations of them are still very much Bangladeshi. To avoid being alienated and singled out, the individual has to assimilate into western culture and eradicate traces of their diasporic ethnicity in order to fit in.

Anon, 2014, About Soheila Sokhanvari, Available at: https://www.soheila-sokhanvari.com/about/ Last Accessed: March 2023

Barbican, Soheila Sokhanvari Rebel Rebel Exhibition Guide, Available at: https://sites.barbican.org.uk/soheila-sokhanvari-rebel-rebel/index.html#group-section-List-of-Works-CLWzm4clrY Last Accessed: March 2023

BBC, 2019, Iranian Women: Before and After the Islamic Revolution, Available at: https://www.bbc.co.uk/news/world-middle-east-47032829 Last Accessed: March 2023

Walton, E, 2019, Soheila Sokhanvari Places Iran’s Forgotten Female Pop Stars in the Spotlight, Available at: https://elephant.art/soheila-sokhanvari-iran-portraits-painting-women-kristin-hjellegjerde/ Last Accessed: March 2023

Sokhanvari, S, 2023, Rebel Rebel, The Barbican, Date Visited: 25/02/2023

[sw1mmingfoolz]

BITE ME : profiles 2

synopsis: you're more than familiar with the concept of 'beards' - you've been one for a few of your gay friends to protect them from the suspicious glares of their families within the horribly conservative korean society. however when lee felix - infamous at yonsei for breaking men's hearts - asks you, someone he has spoken to maybe twice, to pretend to date him so he can shake the rumours and prove he really isn't gay, you find yourself caught up in a very complex situation, a mild identity crisis and... wait - are those fangs???

pairing: felix x fem!reader

felix's friend group (aka bang chan's coven)

felix: dance major and the youngest member of the coven, turned at the age of 19 in 2019 after being attacked in the street. has to help the other members with modern life and has a mild tiktok obsession. has a long list of things he wants to do with eternal life blu-tacked to his dorm room wall. roommates with chan. a shy but incredibly friendly dork. spends his nights baking since he doesn't need to sleep anymore. has seen what we do in the shadows (the movie, not the show) millions of times. has a reputation for breaking men's hearts despite never having dated anyone properly and has no idea why :(

chan: leader of the chan coven at yonsei, having turned all of them himself while they were dying. was turned in the mid 1700s at the age of 21 by a doctor he never met again and has constantly struggled to adjust to modernising life. had to teach himself how to adjust to being a vampire and carries a lot of guilt over mistakes he made at the beginning; and as such takes it upon himself to train the vampires he turns. started his musical career as a violinist and still thinks classical music is superior, but has grown to like hip hop and edm. music major who can play most instruments in an orchestra (living hundreds of years gives you a lot of time to practice!) and is a great producer even though he needs help with technology sometimes. felix's best friend, treats him like a younger brother.

changbin: another member of 3racha, changed in 1935 at the age of 20. lived in america for a while after being changed due to conflict between japan and korea. has the largest apartment and lives alone - is also constantly throwing parties. music major often found in the studio with chan and very protective over the younger members. one of the strongest vampires in korea alongside chan and one of the fastest in seoul. had a decade long period in the 70s where he rebelled against chan due to him feeling overly restricted, which chan is still salty about to this day.

minho: second oldest member of the covern turned at 21 in 1842. dance major who performed in theatres across the country through the late 1800s and 1900s. jisung's very affectionate (with him only) best friend and roommate - everyone thinks they're gay and they play into it to fuck with them. constantly needs felix's help with technology but learns extremely fast. has 3 cats and would die for them. closest in the coven to jeongin as they're both into literature, and constantly trying to get him to keep quiet about their existence.

jisung: turned in 2006 at the age of 19 and is pretty good with the modern age (although he misses myspace and aol lmao). immediately became close with minho and often produces music for him to choreograph to. music major, the other third of 3racha and, like seungmin, hates what he is and pushes it away as much as possible. minho is constantly trying to make him accept himself since he doesn't have much choice anyway. allergic to human blood (none of them know why) and lives off animal blood. hates the twilight comparisons this gets him from felix and jeongin.

+lix's priv :)

<-prev | masterlist | next->

a/n: first chapter will be up either tonight or tuesday morning :') fun fact: felix made and chose chan's twitter header. also convinced him it means 'man i love frogs' for a good 2 years back when they first met. feedback is as always extremely appreciated, asks comments n rbs with tags always really make my day :)

[ihopesocomic]

I know u already did the mp analysis video but like... Honestly u could make an entire video on why hover sucks.

Some of the points brought up on this blog were very powerful and concerning ones. Ie hypocritically expecting nothing to support her while not offering the same, her belittling nothing's disability and abuse faced from her pride, and the most damning thing of all just straight up being okay with nothing dying? Despite joining the pride for her.

It really makes hovers big "redemption moment" devoid of any genuine emotion. She claims to all she loves nothing and this is supposed to be their coming out but... Its not. It really does read like abuser trying to convince their victim or the people around them that their desire to control and own their victim is love.

Itd be one thing if it were an ashfur type esque situation in which Hover does get called out imo the only way to start to salvage that whole plot point in the show, but i doubt itll happen.

Anyways reading the points made on the blog really emphasized how hover and her relationship with nothing never felt right to me.

Sorry for the long rant but you had some very good points and i have feelings on this.

If we hadn't talked about MP already for nearly 3 hours, a Hover-focused video would certainly be tempting.

The thing is that we've stated these points in the review and we've also stated them up and down the comments section of the review a dozen times. Hover fans still think we don't like Hover because of a single argument (which, let's be real, was still pretty shitty on its own?? lol) she had with Nothing.

Because this is what happens when you relate to a character to such an unhealthy degree. You take any kind of shade directed at them as an attack on your character and rather than idk just finding a better and more decent character to relate to, you're just in complete denial that you looked up to a character who is fundamentally a towering, uncaring bitch.

Hover actually serves as a fine example of how messed up the characterisation is in MP. She's presented as radically different from Nothing and her family so people automatically like her because she's a breath of fresh air. In reality, the reason she's radically different is because - basically - she's an unfunny edgelord character in the midst of characters we're meant to feel for and relate to, because we're meant to feel empowered by them. She doesn't fit.

In fact, this is how Hover started out: as an uncaring, aggressive edgy DeviantART OC from the late 2000s, where her crowning moment was throwing the c slur at Hobblestep (Nothing) for simply sharing her oxygen. Unfortunately, she was barely modernised in the rebooted series and this is why she comes across as an asshole. Her creator fell into the age-old trap of thinking that a character being a cool rebel comic relief means being a bitch to everyone in the vicinity. Including her girlfriend. It's a very common issue and is one I've fallen into in the past with previous works but ultimately realised it was a form of bad characterisation.

What's incredibly funny is that the creator tried to humanise Hover and tone her down later on… by having her not be a bitch and be sensitive with the WRONG characters. Like Farleap. She never criticises her for her treatment of Nothing once and, not only that, she sympathises with her and doesn't even bat an eyelid when she bitches about her dead girlfriend. What decent person does that? If anybody shit talked anyone I cared about if they went missing, I'd smack them in the mouth.

And this is why Episode 7 falls flat on its ass so heavily. It’s just trying to humanise Hover by… making her awkwardly bond with her girlfriend’s abusers and - scarily enough - actually making the audience feel they had legit chemistry. Which is all sorts of fucking yikes. lol - RJ

[anonymoushouseplantfan]

Plant, I agree with several of your points regarding the heir/spare power struggle. However, surely those who seek to modernise the monarchy see that it’s not wanted? It will never work, for a plethora of reasons. The people don’t want a modern monarchy. Just puzzles me that they continue to flail against a system that will never acquiesce to their demands. (They meaning royal rebels,past & present.)Why can't they see the futility?

As that anon noted, some modernization (Victoria’s wedding and Christmas celebrations, Alexandra’s photography, the video broadcast of HM’s coronation, Diana’s emoting, Kate’s middle class background) is welcomed. Other modernizations (divorce, broadcasting private life, racy portraits, informality, celebrities) not so much.

So it’s a tough balance. That’s why it’s noteworthy when it’s done well. We could spend years dissecting it (and people have). For example, why was the “private life” broadcast in the 60s such a flop when family photographs are such a success?

[thetypologymodel-archived]

DOWNTON ABBEY

by @foolofatook9​

{ UPSTAIRS PART II }

Mary Crawley - ENTJ

"Haven't you heard? I don't have a heart. Everyone knows that."

Functional order: Te-Ni-Se-Fi

The eldest daughter of Robert and Cora has a reputation for being direct, brutally honest and lets her rationality guide her to the point that she can appear cold-hearted. Her abrasive personality shows itself in the form of sarcastic and mean comments especially towards Edith. She is extremely competent and hates that her father won't let her inherit Downton because she's a woman.

Mary doesn't care much for morals or the details as long as things are running smoothly. She knows what she wants and will do anything to get it. She fails to understand Matthew's refusal to accept Reggie Swire's huge fortune out of guilt and tries to make him see the practical side of it. After Matthew's death, she isolates herself for almost half a year and chooses to deal with her emotional loss by herself, completely shutting out everything else and even leaves her son under the care of the nanny.

Mary has a futuristic focus and a specific vision for the kind of life she wants to lead. She's concerned with the big picture and adapts to change in fashion, hairstyle and ideas. She is quite angered by her lack of control over her own future.

She is open-minded and progressive despite her upbringing and environment, supportive of her cousin Rose's decision to marry a Jewish man and Tom's decision to baptise Sybbie Catholic. She sees the need to modernise Downton.

Mary sometimes makes impulsive decisions one of which resulted in Pamuk ending up dead in her bed. She enjoys hunting, riding and indulges in the 'finer things in life' like wining, dining and fashion, making it easy for her to socialise and interact with the aristocratic crowd.

Matthew Crawley - INFP

"I feel like I swallowed a box of fireworks!" (to Mary after their son is born.)

Functional Order: Fi-Ne-Si-Te

Matthew wants the decisions he makes to align with his personal values and identity and "how he feels about it". Due to his middle-class upbringing and independent nature, he finds it uncomfortable and unnecessary when Mosely tries to help him get dressed but gives in when he realises it provides employment for some people.

The Crawleys at Downton abbey think Matthew's profession as a lawyer is 'too menial' a job for the Heir of Lord Grantham but Matthew is determined to stay true to himself and tells his mother he won't let them (the Crawleys) change who he is. He initially doesn't want to accept the inheritance from Reggie Swire because he believed he had a part to play in Lavinia's death and was so caught up in trying to do the right thing that he failed to see that the money would save Downton from it's financial crisis.

Matthew admires fine architecture and enjoys touring churches. He comes up with many ideas to run Downton more efficiently and modernise it. He is extremely accepting and forgiving of people, especially Mary, and truly believes that she can be a better person. However, he is not forgiving of himself and finds it hard to let go of his mistakes and past errors. He has a hard time adjusting to Downton's lavish lifestyle but eventually makes the adjustment.

Edith Crawley - ISFP

"I know now, I need a purpose."

Functional Order: Fi-Se-Ni-Te

Edith is reserved, emotional and easily affected by Mary's mean-spirited remarks. She is often overshadowed by her two sisters, especially Mary. She is sweet and caring but feels misunderstood and unwanted in her family. Edith doesn't show her feelings, but prefers to act on them.

She develops the much needed structure and order in her life after starting to work at the newspaper in London as an editor. Edith can be blunt and harsh under pressure or emotional stress, evident when she finally lashes out at Mary, calling her a bitch.

"I want to be useful." Edith is good at getting easily bored and dislikes being idle. Her hands-on nature propels her to learn to drive the truck and help with farm chores. She also helps around the house, taking care of the wounded soldiers during the war. Edith can also be impulsive at times (revealing Mary's scandal and kissing a married man.) Even her plans to hide the truth about Marigold were not properly thought out and her attempts ultimately failed.

She is envious of her sisters and wants to find some purpose in her life. This is Edith's biggest challenge. She desperately wants a life outside Downton and to do something meaningful.

Sybil Crawley - INFP

"I'm interested, I'm political, I have opinions!"

Functional order: Fi-Ne-Si-Te

As the 'rebel' of Downton Abbey, Sybil is idealistic and dedicated to doing good in the world even if it means to go against her family's values. She sees everybody as her equal, even the servants. She goes out of her way to help Gwen get a job as a secretary. Nobody has a bad word to say about her, even Thomas. She is not afraid to stand up for what she believes in (women's rights, feminism) and dedicates herself to anything she commits to (nursing wounded soldiers during the war, involving herself in political movements)

Sybil is good at being assertive when she needs to get a point across. However, her plan to run away with Tom was not well thought out and failed when her sisters found her. She remains stubborn about marrying Tom but isn't able to execute her plan effectively.

Sybil is eager to embrace the world and all it has to offer. She's not concerned with money or big houses and is clearly not affected by what is expected of her. While she is very excited about new ideas and possibilities for the future (" I think it's terrific that people make their own lives, especially women!"), she takes a considerable amount of time to accept Tom's proposal and break away from a familiar environment.

Tom Branson - ENTP

"I'm not sure what I am except a man in search of a better world."

Functional Order: Ne-Ti-Fe-Si

Harbouring strong political views, Tom is confident, unapologetic but also respectful. He doesn't tailor his message to cater to the audience, especially if it is the rich aristocrats. "I'm a socialist, not a revolutionary. And I won't always be a chauffeur." He advocates Irish freedom, women's rights and wants to close the gap between the rich and the poor.

He doesn't see the importance of tradition and refuses to buy "proper dinner wear" for dinner with his in-laws. He wants reform and is eager to participate in political movements. Tom is also interested in history and believes the views and lessons of previous revolutionaries should be of importance. He is very attached and proud of his Irish heritage and culture and tries to teach his daughter all about it.

Tom is quick at pointing out illogical customs of aristocratic culture and doesn't hesitate to question established systems. He knows what to do to make Downton run more efficiently. Tom generally has a pleasant and friendly personality and after marrying Sybil, he develops a close relationship with the family as well as a friendship with Matthew, Mary and Edith. The Crawleys begin to get along with him despite their difference in views and beliefs. He maintains cordial relations with the staff and servants throughout the series. 

[havaforever]

LES INDES GALANTES - Documentaire sur l’Opéra mis en scène à la Bastille. 

En 2017, sur la foi d’une courte vidéo de six minutes interprétée par des danseurs de Krump, le jeune plasticien Clément Cogitore fut choisi par l’Opéra de Paris pour monter Les Indes Galantes. Il fit un pari en apparence audacieux (en effet, ce concept de l’opéra hybride a déjà largement été exploité) : mêler le hip-hop au baroque. 

Pour l’opéra de Rameau, datant de 1735, hymne au «Bon Sauvage», il opte pour une interprétation qui met en scène une jeunesse cosmopolite -des milieux défavorisés obviously-, dansant sur un cratère en ébullition, partant à l’assaut de la Bastille… 

Le spectacle fut ovationné parce qu’il n’y a pas de limite à la jouissance face à la “bousculade” de la bourgeoisie qui se rend à l’Opéra, mais cela ne suffit pas pour autant à faire de cette interprétation une œuvre d’art. Le film retrace la préparation de ce spectacle qui ressemble plus à un pamphlet politique et à un exercice d’expression corporelle sur le thème de l’oppression, qu’à un Opéra. 

Oui, Clément Cogitore casse les codes, bien évidemment. Le réalisateur du documentaire sur le making off du spectacle s'est longuement attaché à montrer la modernisation de cette œuvre qui bénéficie d’une transgénèse hip hop, mais paradoxalement l'ensemble manque d'originalité et d’une sensibilité qui attaquerait avec plus de finesse. 

En effet, on partage l’enthousiasme de ces danseurs qui, souvent pour la première fois de leur vie, pénètrent dans un lieu qu’ils croyaient leur être interdit, domaine hors de prix de l’entre-soi et de la reproduction sociale. On partage aussi leur éblouissement devant l’immensité de la scène, l’énormité du plateau technique, le luxe des costumes dans lesquels ils ont le privilège de se glisser…

Et pourtant, le scénario de Cendrillon perd ici de sa magie. A bien y regarder il n’est pas forcément à l’avantage de ceux qui s’échappent de leur monde de “gueux” pour vivre la transformation qui fait des voyous Les Princes de la Bastille. C’est en définitive la générosité de l’Opéra de Paris à l’origine de cette métamorphose qui est mise en valeur. Et au détour, c'est aussi Clément Cogitore qui apparait comme le bienfaiteur de la banlieue en devant le prophète d'une immigration intégrée. Sa chorégraphie qui fait dialoguer l’Afrique et la France d’en haut lui donne l’occasion un peu facile, de briller en héro des temps modernes. 

L'époque de Rameau est celle du grand malentendu qui ne fera que s'aggraver, un clash qui perdure aujourd'hui au sein de sociétés qui continuent de renier leur diversité, alors que la rencontre et la réunion des talents est d'une incroyable créativité. Oui, cela va sans dire, mais en le soulignant de cette façon, il y a comme une insistance à faire accepter de force ce que le désir de fusion entre les cultures n’a pas encore consenti à dire par lui-même. 

Osons le dire, un parfum de haine et une certaine animalité se dégagent de cette partition plurielle. Le mouvement des corps littéralement déchainés au rythme assourdissant que l’adaptation de Cogitore impose, finit par ressembler à une réponse violente aussi, parfaitement symétrique, en miroir de l’oppression. On a le sentiment que la texture "très sauvage" de la danse alimente l’engrenage de l’incompréhension et des injustices plutôt que de casser le cercle infernal de la réponse identitaire (toujours inadéquate) face à l’exclusion. 

Le documentaire ne s’y trompe pas, en portant un regard éxotisant appuyé et dérangeant sur l’adaptation “ultra-rebelle” des Indes Galantes. La sauvagerie a changé de camp depuis Rousseau, elle appartient désormais aux “bons” sauvages. Les français colorés venus d’ailleurs peuvent être qualifiés de bons danseurs, de bons sportifs, et même de bons acteurs tant qu’ils restent bien accrochés à leurs origines “sauvages”… Tel serait le message en définitive complètement contre-productif que cette modernisation sans nuance génère.

C’est la résonnance (certainement) très subjective que ce film a renforcé dans mon esprit, après que le teaser disponible sur la scène finale ait déjà eu cet effet de façon confuse.

NOTE  10/20 - Un documentaire qui souligne le manque de pertinence et de sensibilité propre à l’adaptation de Clément Cogitore. Le film est souvent ennuyeux, mais il en devient même dérangeant à partir le moment où la dissonance du message se fait entendre. 

A vouloir imposer l’exotisme, on marque de façon exacerbée que l’on exclut la fusion des cultures comme potentiellement désirable. Mais plus encore, à montrer l’exotisme comme bon parce que sauvage, on est assurés de maintenir cette impossibilité; ce qui permet à tous les “bienfaiteurs” qui la dénoncent d’héroiser leur trajectoires. 

[pandemicblog]

Existentialism: Rick & Morty and Albert Camus (Melis)

Written by Melis Kolat

In this essay, I explore the question: “What are the complex ways in which Rick and Morty transforms and represents the Myth of Sisyphus to suit a different aesthetic?”

As with any area of knowledge, the study of philosophy is facing the emergence of mass media in a digital age.

 With media being considered a mediated culture, wherein the audience and the media networks have an interconnected relationship that accounts for the media’s reflection of reality and culture (1), the representation of philosophical viewpoints in outlets of media has become prevalent. This representation has become especially reccurent in video streaming entertainment services that allow the audience to view an array of TV shows and movies, and has synthesized an “intellectuall television niche” (2) that explores ideas of existential philosophers in a more modern context or aesthetic. Rick and Morty is an animated science fiction comedy series about the intergalactic adventures and mishaps of the genius yet cynical scientist and his well intended grandson with a seeming lack of intellectual ability. It is recognised for the all-knowing scientist Rick’s comments about the indifference of the universe, consisting of infinite dimensions and realities, towards the monotonous human life — a direct ideological parallelism to the works of French Algerian philosophist and author Albert Camus. Camus introduced Absurdism and the notion of “The Absurd” through his philosophical essay The Myth of Sisyphus which discusses individuals’ struggle against the lack of meaning in an essentially chaotic and indifferent universe. Dan Harmon and Justin Roiland’s Rick and Morty represents Albert Camus’ existentialist viewpoint in the Myth of Sisyphus in a comedic medium through transforming its context and purpose in order to adapt it to a modernized viewership.

The series Rick and Morty refers to The Myth of Sisyphus by the aesthetic tranforsmation enabled by the contextual similarities. Ancient greek philosophers like Platon and Aristotle believed in the presence of an “essence”. They argued that every object, including humans, had pre- determined core properties that they needed to adhere to in order to fulfill their purpose of existing. This led to a new school of idea, called essentialism, that become the primary way in which 19th century individuals viewed the universe. (Green, 2016) As time progressed, the dialectic nature of philosophy led thinkers like J.P Sartre and Friedrich Nietzsche to argue against this viewpoint and suggest that it was up to humans to determine their own essences, that God did not have a particular purpose in mind while creating the universe. This idea that humans live in a universe that is indifferent to their purpose of living gave existentialism its fundamental framework. Albert Camus, one of the representatives of existentialist thought, gave birth to a new doctrine within existentialism, called “Absurdism”. Absurdism holds that there is conflict between the human desire to search for meaning and the actual lack of meaning in an irrational, chaotic universe. In his philosophical essay, the Myth of Sisyphus, Camus suggests that one should both accept and rebel against the indifference of the universe by finding enjoyment in what life has to offer. (Miessler, 2019) Although one might say that it is reductionist to comment on a literary work based on the biographical context of its writer, the circumstances that provided basis for Camus to come up with this notion of “The Absurd” is worth consideration. Camus wrote the Myth of Sisyphus at the initial stages of World War II, during which he served in the French Resistance movement and battled against the Nazi’s occupation of France. At the time, the violent atrocities induced by the holocaust challanged people’s beliefs that there was a sense of order in life: human life seemed meaningless and meagre. To struggle against it was futile. This point of view gave Albert Camus the circumstance which enabled him to develop an absurdist viewpoint and prompt the popularity of Absurdism. In fact, the reflection of the horrifying historical context in which Camus birthed his Absurdist viewpoint can be seen in the preface of the Myth of Sisyphus. He summarizes his essay as a “lucid invitation to live and to create, in the very midst of the desert.” (Camus, Preface). Similarly, Dan Harmon and Justin Roiland’s Rick and Morty transform and represent this notion of “the desert” by utilising an intergalactic setting in the series. The omniscent, alcoholic, and indifferent scientist Rick travels through a multitude of universes through intergalactic travel. It is acknowledged many times that Rick and Morty exist simultaneously in every single reality, which allows the show to depict switches between a regular family household in Seattle, Washington and countless universes such as Dimension 35C, Cronenberg Universe, Doopidoo, or even a dimension where pizzas eat people. This wide array of intergalactic dimensions in the series provides a base for Rick to stimulate thoughts regarding how small and unimportant the intricacies of daily human life are in relation to a grand universe that is essentially disorderly and deprived of any pre-determined meaning. In this sense, the intergalactic, interdimensional setting of the series directly represents the context of Camus’ the Myth of Sisyphus: both the aftermath of World War II and the innumerable misadventures accross galaxies position mankind in an environment where questioning the meaning of life becomes unavoidable. On a more detailed scale, Camus’ “desert” refers to a universe that isolates mankind due to its utter indifference and lack of inherent meaning. The setting itself connotes lack of fertility, hope and deficiency yet the use of the verbs “to live” and “to create” within the same sentence produce a sharp contrast in what initially seems to be a hopeless tone. The paradoxical statement powerfully demonstrates Camus’ solution about what humans should do about the lack of meaning in life — one should rebelliously face the indifference of the natural world and live a rich life focusing on things he actually enjoys. This can be compared to the scene in Season 1 Episode 6 of Rick & Morty, when Morty is confronted with his own disturbingly bloody, dead body from an alternative reality. He enters a state of extreme shock and agony, yelling in absolute terror. Rick responds by saying “Listen to me. It’s fine. Everything is fine. There is an infinite number of realities.” (Rick Potion #9) The contradiction between Morty’s suffering tone and Rick’s soothingly composed tone is representative of Camus’ aforementioned conflict regarding the meaning of life. Thus, it can be concluded that the setting of Rick and Morty, a universe consisting of infinite, equally indifferent realities, allows for the representation of Camus’ thoughts since it gives the Absurdist hero a reason to ponder about the irrational and careless nature of the universe, and since it allows for the demonstration of Camus’ idea that the carelesness of the universe shall be contradicted with a search for personal happiness. By transforming the context and setting of the Myth of Sisyphus, Rick and Morty is essentially able to represent and transform Camus' Absurdist ideologies into a suitable aesthetic for modernized viewership in which aspects of modern science fiction is included.

Rick and Morty also transforms the Myth of Sisyphus’s purpose by portraying it in a modernized aesthetic. In the Myth of Sisyphus, Albert Camus argues that all humans are like Sisyphus, who is condemned by the by the gods for eternity to repeatedly roll a boulder up a hill only to have it roll down again once he got it to the top, as a metaphor for the individual’s persistent struggle against the essential absurdity of life. (3) The part which interests Camus is the exact moment where the rock falls back down right when it was about to reach the summit. He believes that this moment is Sisyphus’ “hour of consciousness” and an instance that “crowns his victory,” (Camus, 121) since the realisation that his job is futile is what sets him free. Now that Sisyphus is aware of the emptiness of roling the rock up the hill, he will choose to pronounce it well and find peace in the abundance of freedom by behaving as he chooses. Rick and Morty transforms Camus’ purpose of demonstrating this philosophical viewpoint to a modernised aesthetic in a way that allows the modern viewer to see direct representations of Camus’ philosophy in real life. This transformation is most visibly seen in Season 1, Episode 8 of Rick and Morty. In the episode, Morty’s older sister Summer learns that she was an unwanted pregnancy, causing her to break down and produce profound questions regarding whether there is meaning to her life. Summer finding out she is an unwanted pregnancy is a transformaiton of Sisyphus’ moment of viewing the rock falling back the hill, because both of them act as a stimulating force for questioning of the meaning of life. Yet, in Rick and Morty, this stimulating force is communicated to the audience using a modernized aesthetic that gives them the opportunity to relate Camus’ philosophy into mundane events like that of Summer’s. The representation and transformation of Absurdism develops further when Morty then shares his traumatising yet cathartic experience of burying his own body from a different reality. He concludes by saying “Nobody exists on purpose, nobody belongs anywhere, everybody’s gonna die.” (Rick and Morty, Rixty Minutes), a sentence that directly reiterates Camus’ point that the universe has been created without any inherent meaning. The transformation of Camus’ viewpoint reaches its climax when Morty adds “Come watch TV?”. This stark change of seriousness in the tone reflects that even if we grow conscious of the lack of meaning in the universe, focusing on the things that lets us enjoy life is far more important than irresolvable questions regarding the futility of life. The use of T.V. as a method of coping is evidence for how Rick and Morty transforms Camus’ work into a different aesthetic wherein a modern viewer will be able to comprehend better due to increased correlations to real life. In addition, the use of TV is especially signifcant in transforming Camus’ message, since the TV in the context of the show uses interdimensional cable, giving access to shows across infinite dimensions, which has become an outlet that enables the family to bond with each other. The fact that Morty suggests Summer put existentialist brooding aside and deviate towards what would give her a chance to bond with her family, once again represents Camus’ invitation to seek happiness in an utterly irrational world. To sum up, Rick and Morty represents the work of Albert Camus in the Myth of Sisyphus by transforming it into a modern aesthetic which works to articulate the Absurdist viewpoint to a newer audience.

To have a deeper understanding of how Dan Harmon and Justin Roiland transform the philosophical argument regarding the Absurd, one must look at Rick and Morty on a larger scale. It is significant that Rick and Morty, out of all genres, is crafted to be a comedy series. The comedic aspect of the show essentialy sums up how it transforms the ideological framework behind Absurdism to a different aesthetic: it gives the audience something to smile after instilling the consciousness that the intergalactic universe lacks purpose. Thus, with this core aesthetic transformation in mind, it can be concluded that Rick and Morty represents Albert Camus’ Myth of Sisyphus by transforming its aesthetic through context and purpose to better suit a modernised viewpoint.

Works Cited

(1) Dean, Gregory. “A Mediated Culture.” Marketography, 2010, https://marketography.com/ 2010/11/23/a-mediated-culture/

(2) Chaney, Jen. “Why Are So Many TV Comedies Pondering the Meaning of Life?” Vulture, Vulture, 10 Sept. 2018, www.vulture.com/2018/09/existential-comedies-on-tv.html.

(3) The Editors of Encyclopaedia Britannica. “The Myth of Sisyphus.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 22 Mar. 2016, www.britannica.com/topic/The-Myth-of- Sisyphus

Miessler, Daniel. “The Difference Between Existentialism, Nihilism, and Absurdism.” Daniel

Miessler, 19 Dec. 2019, danielmiessler.com/blog/difference-existentialism-nihilism-absurdism/

Green, John, director. Existentialism: Crash Course Philosophy #16. YouTube, YouTube, 2016,

www.youtube.com/watch?v=YaDvRdLMkHs.

Schoder, Will, director. Rick and Morty - Finding Meaning in Life. YouTube, YouTube, 2016,

www.youtube.com/watch?v=ez1rWBPznEc.

Studios, Marker, director. This Absurd Universe: Albert Camus' The Myth of Sisyphus. YouTube,

YouTube, 2015, www.youtube.com/watch?v=kINdkdNOKHo.

CAMUS, ALBERT. “Preface.” MYTH OF SISYPHUS, VINTAGE, 2018. CAMUS, ALBERT. MYTH OF SISYPHUS, VINTAGE, 2018.

“Rick Potion #9”, Rick and Morty, Season 1 Episode 6, Adult Swim, 27 Jan. 2014, Netflix “Rixty Minutes”, Rick and Morty, Season 1 Episode 8, Adult Swim, 17 Mar. 2014, Netflix

The youtube links to the cited sections from Rick and Morty if you want to see them: “Rixty Minutes”: https://www.youtube.com/watch?v=E_qvy82U4RE “Rick Potion #9”: https://www.youtube.com/watch?v=V0jm6C22LC0

[zhantesblog]

9) Group Task-1960′s

Image sourced: http://www.thepeoplehistory.com/1960s.html

Following on from the first part of the critical thinking lecture, as a group we looked into the influencing factors that impacted fashion in the 1960’s.

The invention of laser cutting machines, development of screen-printing machines, and the invention of tights were created during this time period. 

The Vietnam war, Martin Luther King’s famous speech and his assassination, LSD becoming illegal in the USA, the moon landing, and the start of the gay rights movement were amongst the most impactful invents during the 60′s.

Some of the most prominent social changes of the sixties are The Beatles, Woodstock Festival, Breakfast at Tiffany’s, Andy Warhol, Op Art, Audrey Hepburn, rebellion, and a growth in the hippie lifestyle.

Fashion changes that came from the different contributing factors of the 1960’s include hippie fashion which was ignited after the Vietnam War, Twiggy and Mary Quant who were catalyst for the mod trend and shorter hemlines, Ralf Lauren, and Yves Saint Laurent. 

In the 1960’s screen printing was completely modernised and used alongside a rotary machine for mass production of which helped drive the up-and-coming pop culture. Andy Warhol created pop art which is a very well-known style of art today. Warhol used bright and bold colours to glamorise the the fun and liveliness of the sixties. Screen printing has also enabled the fashion industry to be able to mass print textiles for colourfully printed garments.

The Woodstock Festival was popularised in the 60′s and promoted a sense of community and togetherness, love and peace, rebelling against capitalism and society, and protesting the ongoing Vietnam War. The impact Woodstock had on the fashion Industry was huge, with women no longer wanting to be restricted in their clothes and opted for a more loose fitting approach with free flowing garment styles and long hemlines- clothing was either recycled, thrifted or handmade. 

[cathkaesque]

The decision for those big state-run businesses to rebel against him was a turning point in a wave of popular unrest that began this month with protests over Mr Lukashenko’s disputed election victory. But if he is ousted, the future of many of them will be thrown into doubt. While many of the businesses are outdated, inefficient and would probably require more cash to modernise than they would pay out in returns, others could be ripe for private investment if a different administration took charge. 

 Belneftekhim, the sprawling state oil refiner, exports more than $7bn of petroleum products each year to some 70 countries, and is a critical part of the infrastructure that ensures the flow of crude from Russia to Europe. State-owned Belaruskali accounts for 20 per cent of the world’s production of potash, which is used to make fertiliser, and exports $2.75bn of it a year. Belaz is one of the world’s largest manufacturers of mining equipment and heavy-duty trucks, and the country is the world’s largest exporter of dairy products per capita. 

But for would-be western investors, there are two major competitors: Russia and China. Moscow in effect props up Mr Lukashenko’s regime with below-cost energy supplies that are then sold on to western buyers at market value. Minsk pockets the difference. Meanwhile, close ties between the two countries mean many Russian enterprises rely on Belarusian partners to build, buy or process their products. Russian investors are therefore likely to position themselves at the front of the queue if a new government seeks capital for industrial assets. 

 At the same time, China has become one of the largest investors in Belarus in the past decade, valuing its position as a bridge between Russia and Europe and a staging post in its “Belt and Road” infrastructure chain across Europe and Asia. Chinese technology groups such as Huawei and ZTE have invested in the country and about $8bn of loans tied to purchases of Chinese equipment have been provided by Beijing to Belarusian enterprises. Chinese carmaker Geely has an assembly plant in the country. 

However, some western investors have already jumped in. In 2017, supermarket chain Eurotorg became the first Belarusian company to issue a eurobond, raising $350m in a more than five-times oversubscribed sale. More than 90 per cent of the issue was bought by UK, US and European investors. In 2018, Eurotorg began talks about listing on the London Stock Exchange. 

But by far the best advert for investing in Belarus is the High-Tech Park on the outskirts of Minsk, 10km round the city’s outer ring road from the Minsk Wheel Tractor Plant and the kind of place where Mr Lukashenko would not come expecting a warm welcome. Established in 2005, it was designed to tap the country’s unusually large population of skilled technical graduates — a legacy of the Soviet Union’s decision to base engineering and science industries in Belarus — and give them a reason not to leave for job opportunities in the west. 

Porky hungers for more privatisation. If these industries are sold of they will be destroyed, their equipment spirited off by oligarchic looters and Belarus will probably become a potash extraction zone and a transmission belt for Russian oil. I suspect this to be the outcome of Lukashenko is ousted unless industrial workers are able to act independently from the liberal opposition.