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of issue 1 articles","Issue 001|2025",[3152,4006,4333,4982,5560,6683,6996,7844,7865,8146,8918,9545],{"metadata":3153,"sys":3160,"fields":3171},{"tags":3154,"concepts":3159},[3155],{"sys":3156},{"type":14,"linkType":3157,"id":3158},"Tag","locationTokyo",[],{"space":3161,"id":3163,"type":18,"createdAt":3164,"updatedAt":3165,"environment":3166,"publishedVersion":1280,"revision":679,"contentType":3168,"locale":31},{"sys":3162},{"type":14,"linkType":15,"id":16},"4plPeIZeMNlKajmu0vOfu2","2024-10-21T09:10:00.202Z","2024-11-28T15:52:54.996Z",{"sys":3167},{"id":23,"type":14,"linkType":24},{"sys":3169},{"type":14,"linkType":29,"id":3170},"entryArticle",{"name":3172,"slug":3173,"issue":3174,"title":3175,"author":3176,"locationName":3177,"hero":3178,"sections":3234,"thumbnailImage":3992,"tagLocation":4005},"From Exotic to Hip by W David Marx","from-exotic-to-hip-the-new-predominance-of-asian-style-in-global-culture","Issue 1","From Exotic to Hip: The New Predominance of Asian Style in Global Culture","W. David Marx","Tokyo, Seoul",{"metadata":3179,"sys":3184,"fields":3195},{"tags":3180,"concepts":3183},[3181],{"sys":3182},{"type":14,"linkType":3157,"id":3158},[],{"space":3185,"id":3187,"type":18,"createdAt":3188,"updatedAt":3189,"environment":3190,"publishedVersion":2968,"revision":90,"contentType":3192,"locale":31},{"sys":3186},{"type":14,"linkType":15,"id":16},"1BxmnpAXEU98uqPX4vJXgt","2024-11-25T02:22:40.778Z","2024-11-27T05:26:40.701Z",{"sys":3191},{"id":23,"type":14,"linkType":24},{"sys":3193},{"type":14,"linkType":29,"id":3194},"componentArticleHero",{"name":3196,"title":3197,"excerpt":3198,"author":3176,"location":3177,"image":3199,"imageMobile":3221},"David Marx (hero)","From Exotic to Hip:","The New Predominance of Asian Style in Global Culture",{"metadata":3200,"sys":3203,"fields":3211},{"tags":3201,"concepts":3202},[],[],{"space":3204,"id":3206,"type":212,"createdAt":3207,"updatedAt":3208,"environment":3209,"publishedVersion":90,"revision":1123,"locale":31},{"sys":3205},{"type":14,"linkType":15,"id":16},"3a4F2GlSkokdUh96OAtmDM","2024-11-25T02:22:24.796Z","2024-11-25T02:35:42.047Z",{"sys":3210},{"id":23,"type":14,"linkType":24},{"title":3212,"description":3212,"file":3213},"Photo collage of an ukiyo-e woodblock print by Katsushika Hokusai and a tunic by Rei Kawakubo from 1983.",{"url":3214,"details":3215,"fileName":3220,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3a4F2GlSkokdUh96OAtmDM\u002F33fe4646fed56f21c6b8d317eaca0bb0\u002Fp._7_Collage_COLOR-BW.png",{"size":3216,"image":3217},5197167,{"width":3218,"height":3219},2100,2800,"p. 7 Collage_COLOR-BW.png",{"metadata":3222,"sys":3225,"fields":3230},{"tags":3223,"concepts":3224},[],[],{"space":3226,"id":3206,"type":212,"createdAt":3207,"updatedAt":3208,"environment":3228,"publishedVersion":90,"revision":1123,"locale":31},{"sys":3227},{"type":14,"linkType":15,"id":16},{"sys":3229},{"id":23,"type":14,"linkType":24},{"title":3212,"description":3212,"file":3231},{"url":3214,"details":3232,"fileName":3220,"contentType":228},{"size":3216,"image":3233},{"width":3218,"height":3219},[3235],{"metadata":3236,"sys":3241,"fields":3253},{"tags":3237,"concepts":3240},[3238],{"sys":3239},{"type":14,"linkType":3157,"id":3158},[],{"space":3242,"id":3244,"type":18,"createdAt":3245,"updatedAt":3246,"environment":3247,"publishedVersion":3249,"revision":2912,"contentType":3250,"locale":31},{"sys":3243},{"type":14,"linkType":15,"id":16},"1E0ndLBXe4SifbMH6BuKpN","2024-11-25T02:25:26.184Z","2024-11-27T05:26:50.547Z",{"sys":3248},{"id":23,"type":14,"linkType":24},104,{"sys":3251},{"type":14,"linkType":29,"id":3252},"component_text",{"title":3254,"text":3255},"David Marx Copy",{"nodeType":139,"data":3256,"content":3257},{},[3258,3281,3303,3310,3317,3324,3340,3347,3354,3370,3377,3402,3427,3470,3497,3503,3510,3517,3533,3581,3602,3609,3625,3632,3657,3682,3706,3712,3719,3744,3751,3758,3782,3788,3813,3844,3860,3867,3909,3932,3939,3946,3953,3969,3985],{"nodeType":3259,"data":3260,"content":3261},"heading-1",{},[3262,3268,3276],{"nodeType":147,"value":3263,"marks":3264,"data":3267},"‘Culture’, famously wrote the Welsh literary critic and cultural theorist Raymond Williams, is ‘one of the two or three most complicated words in the English language’.",[3265,3266],{"type":290},{"type":808},{},{"nodeType":147,"value":3269,"marks":3270,"data":3275},"1",[3271,3272,3273],{"type":290},{"type":808},{"type":3274},"superscript",{},{"nodeType":147,"value":3277,"marks":3278,"data":3280}," ",[3279],{"type":808},{},{"nodeType":3282,"data":3283,"content":3284},"heading-6",{},[3285,3290,3294,3299],{"nodeType":147,"value":3286,"marks":3287,"data":3289},"1 ",[3288],{"type":3274},{},{"nodeType":147,"value":3291,"marks":3292,"data":3293},"Raymond Williams, ",[],{},{"nodeType":147,"value":3295,"marks":3296,"data":3298},"Keywords: A Vocabulary of Culture and Society ",[3297],{"type":808},{},{"nodeType":147,"value":3300,"marks":3301,"data":3302},"(London: Croon Helm, 1976), p. 76.",[],{},{"nodeType":143,"data":3304,"content":3305},{},[3306],{"nodeType":147,"value":3307,"marks":3308,"data":3309},"In the ensuing half-century since this declaration, the term has expanded in its polysemy. In the 21st century, ‘culture’ means at least four things: (1) the so-called ‘high’ culture of museums and symphony halls, (2) folk customs, (3) pop culture, and, most recently, (4) the workplace norms inside of large corporations. The rapid democratization of our late capitalist world has made the first meaning – ‘high culture’ – feel dated, verging on bigotry. Only an unreformed elitist would claim that one set of cultural practices should be levated over others. ",[],{},{"nodeType":143,"data":3311,"content":3312},{},[3313],{"nodeType":147,"value":3314,"marks":3315,"data":3316},"Yet ‘high culture’ best approximates the original meaning of the word, which arrived from Latin as an agricultural metaphor. Just as we cultivate barren fields to bear fruit, we cultivate our minds with arts and letters. Key to this idea during the Enlightenment was the presupposition that only the Europe had real ‘culture’, in that only the West had classical music, philosophy, and oil paintings. The term only began to mean more once anthropologists applied, as a metaphor, the word ‘culture’ to the practices of people in faraway lands. They had their own ‘versions’ of culture – but not forms competitive with European culture with a capital ‘C’.",[],{},{"nodeType":143,"data":3318,"content":3319},{},[3320],{"nodeType":147,"value":3321,"marks":3322,"data":3323},"The last century saw a steady erosion of the idea that a group of educated elites have the sole claim on cultural production, especially with the success of American ‘coolness’ in promoting individualized consumerism across the globe. There are only vestigial traces of the old, formalized hierarchy of high and low cultures. The marketplace, of course, welcomed such flattening, as it is much easier to mass-produce formulaic kitsch than original art. Moreover, culture today is fundamentally consumer culture, or in the case of fine art, inexorably tied up in the question of market value. ",[],{},{"nodeType":143,"data":3325,"content":3326},{},[3327,3331,3336],{"nodeType":147,"value":3328,"marks":3329,"data":3330},"As much as elitists complain that this shift brought a subsequent decline in the quality of culture, there is no question that a more inclusive concept of culture opened the door to a greater diversity of practices and more international hybridization. Into this opening, we have watched East Asia emerge as the next important hub for global culture in ways both obvious and subtle, decentralizing the West’s monopoly on cultural production and valorisation. Japanese, Korean, and Chinese artists and creatives stand as equals to their global peers. This is a different state of affairs from the 19th century, when Western connoisseurs derived inspiration from the ‘Orient’ for their own purposes. French Impressionists adored ",[],{},{"nodeType":147,"value":3332,"marks":3333,"data":3335},"ukiyo-e",[3334],{"type":808},{},{"nodeType":147,"value":3337,"marks":3338,"data":3339}," woodblock prints, not for their place in Japanese art history, but because the art form bolstered their own mission to abandon naturalistic conventions. Exoticization, however, is ultimately ostracization. In the 19th century, no Japanese artist could bend the arc of cultural history toward themselves in the manner of Monet and Cézanne. The wealthiest people collected ‘china’ and ‘japan’ – as ceramics and lacquerware were often referred to – without having any desire to be Chinese or Japanese.",[],{},{"nodeType":143,"data":3341,"content":3342},{},[3343],{"nodeType":147,"value":3344,"marks":3345,"data":3346},"Today, the reverse is true: Western youth seek to bolster their status by imitating East Asian lifestyles, and they show little interest in the exotic orientalist crafts. The 21st century, then, offers a new paradigm for Asia’s place in culture. ‘Asia’ was always a continent, but now it has also become an interconnected network of cultural fields. This transcends the individual successes of individual Asian artists on the global stage into a broader categorical respect for entire industries and fields: Japanese fashion, architecture, design, and crafts; Korean music, drama, and beauty; and Hong Kong films. Even behind-the-scenes, the Western luxury industryis positioning its aesthetic decisions to meet the tastes of Chinese consumers. ",[],{},{"nodeType":143,"data":3348,"content":3349},{},[3350],{"nodeType":147,"value":3351,"marks":3352,"data":3353},"By examining the causes of this dramatic reversal, we can understand not just the current dynamics of cultural flows in the postmodern 21st century, but also how nations build cachet at a country-wide level.",[],{},{"nodeType":143,"data":3355,"content":3356},{},[3357,3361,3366],{"nodeType":147,"value":3358,"marks":3359,"data":3360},"In October 1964, Tokyo hosted the Summer Olympics – a momentous occasion for Japan that symbolised the country’s reintegration into the global order after its defeat in World War II. The Olympics would serve as a showcase for how the city was rebuilt after the March 1945 firebombing. A public works project aimed to create a ‘city of the future’ with the construction of new highways and a Shinkansen bullet train to Osaka, as well as the erasure of older elements, such as wooden garbage cans and trolley lines. (Andrei Tarkovsky later filmed the new Shuto Expressway as part of his 1972 science-fictional epic, ",[],{},{"nodeType":147,"value":3362,"marks":3363,"data":3365},"Solaris",[3364],{"type":808},{},{"nodeType":147,"value":3367,"marks":3368,"data":3369},".) The centrepiece of the Olympic Village – architect Kenzō Tange’s spiralling modernist Yoyogi Gymnasium – embodied this vision of Japan as a cutting-edge nation. Over the next two decades, this 1964 techno-optimism would find additional data points in the nation’s booming economy and recognized prowess for high-quality, low-price cars and electronics. Japan’s resurgence was a ‘miracle’: a phoenix of universalist peace born from the ashes of its chauvinistic death-cult imperialist past.",[],{},{"nodeType":143,"data":3371,"content":3372},{},[3373],{"nodeType":147,"value":3374,"marks":3375,"data":3376},"Japanese artists began to work in Western artistic mediums during the Meiji period, and as the country opened up in the late 1950s, the most talented youth rushed overseas to compete on the global stage. Borrowing money from a family friend, the aspiring young conductor Seiji Ozawa travelled to Europe and won the 1959 Besançon competition. This opened up opportunities for him to study directly under Herbert von Karajan and Leonard Bernstein. Yayoi Kusama and Yoko Ono escaped the stifling misogyny of Japanese society and buried themselves in the New York avant-garde. In the mid-1960s, Kenzō Takada and Issey Miyake moved to Paris to make their names in fashion design. At first, their Western peers viewed their presence with curiosity – and often in an exoticist framing. Ono’s association with John Lennon was a double-edged sword: everyone knew that she had baptized Lennon in avant-garde techniques, yet she also served as the master villain in the Beatles’ denouement.",[],{},{"nodeType":143,"data":3378,"content":3379},{},[3380,3384,3389,3393,3398],{"nodeType":147,"value":3381,"marks":3382,"data":3383},"This early generation of Japanese artists attempted to compete as universalists rather than as representatives of ‘Japan’, but by the 1970s, musicians had found a foothold in Western culture by tapping into the idea of a techno-utopian Japan. The musical trio Yellow Magic Orchestra (YMO) began as folk and exotica musician Haruomi Hosono’s side project; he wanted to use the latest instruments from domestic electronics companies Korg and Roland to create disco floor-ready versions of fauxoriental melodies à la Martin Denny. YMO’s first album would be released in the United States as part of the disco boom, and their successful overseas tour won them accolades back home. Their second album, ",[],{},{"nodeType":147,"value":3385,"marks":3386,"data":3388},"Solid State Survivor",[3387],{"type":808},{},{"nodeType":147,"value":3390,"marks":3391,"data":3392},", offered young Japanese boys a sonic parallel to their obsession with electronic gadgets and video games, and the group’s Maoist automaton aesthetics gave Japan a guiding look for its posthippie moment. (Their short haircuts, styled after frumpy Chinese traditional musicians, became known in Japan as ‘techno-cuts’.) Keyboardist Ryūichi Sakamoto broke out as a star composer and model in his own right, especially after a glammy performance in 1983’s ",[],{},{"nodeType":147,"value":3394,"marks":3395,"data":3397},"Merry Christmas, Mr. Lawrence",[3396],{"type":808},{},{"nodeType":147,"value":3399,"marks":3400,"data":3401}," alongside David Bowie. (Bowie was an important vehicle for the export of Japanese culture; unbeknownst to the majority of his fans, his most sensational looks often came from designer Kansai Yamamoto.)",[],{},{"nodeType":143,"data":3403,"content":3404},{},[3405,3409,3414,3418,3423],{"nodeType":147,"value":3406,"marks":3407,"data":3408},"YMO’s use of electronics inspired a generation of younger Japanese bands, and one act, the Plastics, won over New York and London with an odd combination of New Wave guitars, primitive drum machines, and robotic lyrics. They would be filmed as part of the footage for Glenn O’Brien and Jean-Michel Basquiat’s unreleased movie that was recut in 2000 as ",[],{},{"nodeType":147,"value":3410,"marks":3411,"data":3413},"Downtown 81",[3412],{"type":808},{},{"nodeType":147,"value":3415,"marks":3416,"data":3417},". In cases of both YMO and the Plastics, however, Japanese bands had to break into global cool through an immediate admission that Japanese society was inherently ",[],{},{"nodeType":147,"value":3419,"marks":3420,"data":3422},"uncool",[3421],{"type":808},{},{"nodeType":147,"value":3424,"marks":3425,"data":3426},". Like Kraftwerk’s critique of German industrialism, techno-pop offered a dystopian artistic vision, and it basked in the irony that rigid bureaucratic organizations could operate machines with computer precision to create futuristic versions of ‘culture’. While this certainly internalized too much of the Western critique of Japan, it opened the door for cool to come from Asia.",[],{},{"nodeType":143,"data":3428,"content":3429},{},[3430,3434,3439,3443,3448,3452,3457,3461,3466],{"nodeType":147,"value":3431,"marks":3432,"data":3433},"Music was an easier field for Japanese artists in which to compete, as listeners aggressively desired novelty and transgression. Fashion was harder to break into, since the industry must sell status symbols anchored in the Western aristocratic ideas of elegance and grace. Music could come from Liverpool or Mississippi; ",[],{},{"nodeType":147,"value":3435,"marks":3436,"data":3438},"real",[3437],{"type":808},{},{"nodeType":147,"value":3440,"marks":3441,"data":3442}," fashion only came from Paris. Kenzō Takada was the first to succeed in France, opening a curious store called Jungle Jap in the early 1970s. The major turning point, however, was the 1981 Parisian joint fashion show from Yohji Yamamoto and Rei Kawakubo’s Comme des Garçons. Their use of tattered industrial fabrics in various shades of black was a radical avant-garde break from Western clothing traditions – in fact, the supportive critics understood the looks as a step ",[],{},{"nodeType":147,"value":3444,"marks":3445,"data":3447},"beyond",[3446],{"type":808},{},{"nodeType":147,"value":3449,"marks":3450,"data":3451}," contemporary trends. Yamamoto and Kawakubo suffered an ignoble and merciless backlash (",[],{},{"nodeType":147,"value":3453,"marks":3454,"data":3456},"Women’s Wear Daily",[3455],{"type":808},{},{"nodeType":147,"value":3458,"marks":3459,"data":3460}," labelled the clothes in the autumn-winter 1982 collection as a ‘Hiroshima bag-lady look’), but the world’s top fine artists became loyal customers. Famed film director Wim Wenders made a documentary on Yamamoto as a traditional genius artist, ",[],{},{"nodeType":147,"value":3462,"marks":3463,"data":3465},"Notebook on Cities and Clothes",[3464],{"type":808},{},{"nodeType":147,"value":3467,"marks":3468,"data":3469}," (1989), while Comme des Garçons moved forward year after year to become one of the world’s most respected fashion brands.",[],{},{"nodeType":3471,"data":3472,"content":3496},"embedded-asset-block",{"target":3473},{"metadata":3474,"sys":3477,"fields":3485},{"tags":3475,"concepts":3476},[],[],{"space":3478,"id":3480,"type":212,"createdAt":3481,"updatedAt":3482,"environment":3483,"publishedVersion":50,"revision":1123,"locale":31},{"sys":3479},{"type":14,"linkType":15,"id":16},"JJE8kjmvUkvfBQu5RRQf6","2024-11-25T07:22:48.953Z","2024-11-25T07:25:15.954Z",{"sys":3484},{"id":23,"type":14,"linkType":24},{"title":3486,"description":3487,"file":3488},"Tokyo’s fashionable district of Harajuku in 2018. Photo by Dick Thomas Johnson. Creative Commons License 2.0 via Flickr.","Tokyo’s fashionable district of Harajuku in 2018. Photo by Dick Thomas Johnson.\nCreative Commons License 2.0 via Flickr.",{"url":3489,"details":3490,"fileName":3495,"contentType":228},"\u002F\u002Fdownloads.ctfassets.net\u002F2urh0izv0sep\u002FJJE8kjmvUkvfBQu5RRQf6\u002Fa5856e6807f1aa3bbf91565b3da0958e\u002Fp._11_NEW.png",{"size":3491,"image":3492},22049766,{"width":3493,"height":3494},4617,3078,"p. 11_NEW.png",[],{"nodeType":3282,"data":3498,"content":3499},{},[3500],{"nodeType":147,"value":3487,"marks":3501,"data":3502},[],{},{"nodeType":143,"data":3504,"content":3505},{},[3506],{"nodeType":147,"value":3507,"marks":3508,"data":3509},"The vanguard spirit of these brands in the mid-1980s dovetailed with an emerging national narrative: ‘Japan as number one’, from the title of a book by Harvard professor Ezra Vogel. With the financial growth during the years of the Japanese bubble economy, the country seemed poised to leapfrog the West. To critics and philosophers, Japan also appeared to embody ‘postmodernism’ like no other place on earth. Japanese consumers mixed and matched Western references with no constraints of ‘authenticity’. Everything was ‘flat’ and available for ‘play’.",[],{},{"nodeType":143,"data":3511,"content":3512},{},[3513],{"nodeType":147,"value":3514,"marks":3515,"data":3516},"French philosopher Jean Baudrillard’s idea that late capitalist culture was a ‘simulation’ of reality appeared to have come true first in Japan. French mesdames bought Louis Vuitton bags as part of a class uniform; in the late 1980s, Japanese consumers, with no connection at all to this class milieu, made up 90 percent of the brand’s sales.",[],{},{"nodeType":143,"data":3518,"content":3519},{},[3520,3524,3529],{"nodeType":147,"value":3521,"marks":3522,"data":3523},"Japan’s economic success would trigger much anxiety in the US, which pounced on the country for its success despite a fundamental and inhuman rigidity. Culture was supposed to appear from humans longing to express their individuality; in other words, the Japanese could never compete. In his 1992 book,",[],{},{"nodeType":147,"value":3525,"marks":3526,"data":3528}," Dave Barry Does Japan",[3527],{"type":808},{},{"nodeType":147,"value":3530,"marks":3531,"data":3532},", the American humourist Dave Barry complained that Japanese teens in rock bands seemed to miss the entire point of rock ‘n’ roll:",[],{},{"nodeType":143,"data":3534,"content":3535},{},[3536,3540,3545,3549,3554,3558,3563,3567,3572,3576],{"nodeType":147,"value":3537,"marks":3538,"data":3539},"‘What was really pathetic about them was their desperately misguided effort to be ",[],{},{"nodeType":147,"value":3541,"marks":3542,"data":3544},"different",[3543],{"type":808},{},{"nodeType":147,"value":3546,"marks":3547,"data":3548},". For example, you don’t see a lot of tie-dyed T-shirts in Japan, and there was one band whose members all wore tie-dyed T-shirts, which I guess made them different by Japanese standards, but they all wore virtually the ",[],{},{"nodeType":147,"value":3550,"marks":3551,"data":3553},"same",[3552],{"type":808},{},{"nodeType":147,"value":3555,"marks":3556,"data":3557}," T-shirt. And dancing in front of them was a crowd of groupies – all teenage girls, and ",[],{},{"nodeType":147,"value":3559,"marks":3560,"data":3562},"they",[3561],{"type":808},{},{"nodeType":147,"value":3564,"marks":3565,"data":3566}," all wore the same shirt, on top of which they were all doing the ",[],{},{"nodeType":147,"value":3568,"marks":3569,"data":3571},"same dance step",[3570],{"type":808},{},{"nodeType":147,"value":3573,"marks":3574,"data":3575},", which I assume they thought was cool, but which I swear looked exactly like the Hokey Pokey’.",[],{},{"nodeType":147,"value":3577,"marks":3578,"data":3580},"2",[3579],{"type":3274},{},{"nodeType":3282,"data":3582,"content":3583},{},[3584,3589,3593,3598],{"nodeType":147,"value":3585,"marks":3586,"data":3588},"2 ",[3587],{"type":3274},{},{"nodeType":147,"value":3590,"marks":3591,"data":3592},"Dave Barry, ",[],{},{"nodeType":147,"value":3594,"marks":3595,"data":3597},"Dave Barry Does Japan",[3596],{"type":808},{},{"nodeType":147,"value":3599,"marks":3600,"data":3601}," (New York: Random House, 1992), p. 119.",[],{},{"nodeType":143,"data":3603,"content":3604},{},[3605],{"nodeType":147,"value":3606,"marks":3607,"data":3608},"Coolness required a rebellious detachment from social convention, and therefore, Japan could not possibly be ‘cool’. ",[],{},{"nodeType":143,"data":3610,"content":3611},{},[3612,3616,3621],{"nodeType":147,"value":3613,"marks":3614,"data":3615},"Americans of this era could only see the surface culture of the bubble period: mass-market tastes that reflected conservative values of the previous decades. The global future was being invented in the underground. Higher incomes created a more robust consumer market, which in turn increased the Japanese individuals at the margins attempting to outdo each other in global knowledge. The isolation of Japan created amazing opportunities for ",[],{},{"nodeType":147,"value":3617,"marks":3618,"data":3620},"cultural arbitrage",[3619],{"type":808},{},{"nodeType":147,"value":3622,"marks":3623,"data":3624}," – just knowing about a new trend in the US or the UK before one’s peers would be valuable in elite social circles and lead to respect and career success.",[],{},{"nodeType":143,"data":3626,"content":3627},{},[3628],{"nodeType":147,"value":3629,"marks":3630,"data":3631},"There is no better example of this than Hiroshi Fujiwara. In 1982, he arrived in Tokyo from Mie prefecture as a fashion design student obsessed with London counterculture icons Malcolm McLaren and Vivienne Westwood. He had enough pocket money from his parents to buy up the few secondhand Seditionaries garments that existed in Japan. Fujiwara soon flew to England, where he befriended his heroes, and while there, McLaren encouraged him to abandon his interest in punk rock for a new sound emerging from New York’s South Bronx: hip-hop. Back in New York, Fujiwara bought up the few 12-inch rap records in existence, and returned to Japan to become the country’s first hip-hop DJ. He would later become the Japanese ambassador for the American skate-surf label Stüssy – the first brand in a new genre of urban clothing called ‘streetwear’. In 1991, Fujiwara founded Japan’s first streetwear brand, GOODENOUGH. ",[],{},{"nodeType":143,"data":3633,"content":3634},{},[3635,3639,3644,3648,3653],{"nodeType":147,"value":3636,"marks":3637,"data":3638},"The bubble economy burst that same year, and yet, Japanese youth consumption continued to increase until 1996. What changed, however, were its core aesthetics; Fujiwara’s brand of street culture outmoded the gaudy tastes of the nouveau riche. GOODENOUGH became a cult hit, and with it, Fujiwara encouraged his protégés to start their own brands: UNDERCOVER, A BATHING APE®, NEIGHBORHOOD, and Real Mad Hectic. These would coalesce into a casual clothing movement called ",[],{},{"nodeType":147,"value":3640,"marks":3641,"data":3643},"Ura-Harajuku-kei",[3642],{"type":808},{},{"nodeType":147,"value":3645,"marks":3646,"data":3647}," that dominated late-1990s Japanese fashion and began to be sold at the hippest boutiques in London. There was an allied movement in music as well. Postmodern collage artists, such as Cornelius and Pizzicato Five – known under the loose genre name ",[],{},{"nodeType":147,"value":3649,"marks":3650,"data":3652},"Shibuya-kei",[3651],{"type":808},{},{"nodeType":147,"value":3654,"marks":3655,"data":3656}," – impressed Western cognoscenti with their encyclopedic knowledge of rare grooves and independent acts. (Ultra-hip New York label Matador Records released both of their key work in the late 1990s.) Keigō Oyamada of Cornelius equally referenced Michael Jackson and J.S. Bach with obscure bands Orange Juice, Microdisney, and Count Five. ",[],{},{"nodeType":143,"data":3658,"content":3659},{},[3660,3664,3669,3673,3678],{"nodeType":147,"value":3661,"marks":3662,"data":3663},"While Rei Kawakubo and Ryūichi Sakamoto were seen as inscrutable gods, the 1990s generation of Japanese creatives were connecting with their global peers at an authentic community level. Neither high culture nor pop culture, this was ",[],{},{"nodeType":147,"value":3665,"marks":3666,"data":3668},"street",[3667],{"type":808},{},{"nodeType":147,"value":3670,"marks":3671,"data":3672}," culture – a reflection of what was authentically happening among cutting-edge youth. This found an expression among both genders as well; Japanese female teenage photographers Hiromix, Yurie Nagashima, and Mika Ninagawa gave the culture its own unique visual quality. The self-published magazine ",[],{},{"nodeType":147,"value":3674,"marks":3675,"data":3677},"FRUiTS",[3676],{"type":808},{},{"nodeType":147,"value":3679,"marks":3680,"data":3681}," offered street snaps of the most creatively dressed Japanese youth, and its foreign distribution turned from the West to Japan as a fashion centre.",[],{},{"nodeType":3471,"data":3683,"content":3705},{"target":3684},{"metadata":3685,"sys":3688,"fields":3695},{"tags":3686,"concepts":3687},[],[],{"space":3689,"id":3691,"type":212,"createdAt":3692,"updatedAt":3692,"environment":3693,"publishedVersion":26,"revision":216,"locale":31},{"sys":3690},{"type":14,"linkType":15,"id":16},"2WLUhMih7dOyv8bTEqbm0q","2024-11-25T07:37:35.509Z",{"sys":3694},{"id":23,"type":14,"linkType":24},{"title":3696,"description":3696,"file":3697},"Portrait of Ryūichi Sakamoto. Photo by Joi Ito. CC 2.0 via Flickr.",{"url":3698,"details":3699,"fileName":3704,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2WLUhMih7dOyv8bTEqbm0q\u002Ff36d2b7fae683cdb73c68696dc85f18f\u002Fp._21_RyuichiSakamotoJI4-BW.png",{"size":3700,"image":3701},7964128,{"width":3702,"height":3703},3772,2537,"p. 21 RyuichiSakamotoJI4-BW.png",[],{"nodeType":3282,"data":3707,"content":3708},{},[3709],{"nodeType":147,"value":3696,"marks":3710,"data":3711},[],{},{"nodeType":143,"data":3713,"content":3714},{},[3715],{"nodeType":147,"value":3716,"marks":3717,"data":3718},"This ’90s reverence for Japanese alternative culture would spearhead a broader cultural movement that was later coopted by the government as ‘Cool Japan’. By the early 2000s, Western appreciation for Japanese creators spanned from the highest museum art to the lowest kitsch. The older millennial generation had grown up on Nintendo, Sega, and other Japanese video games, and by the early 2000s, Barnes & Noble bookstores across the US were stocking their shelves with translated mangas. Interest in this otaku nerd culture made the Japanese Neo-Pop artistic movement from Takashi Murakami and Yoshitomo Nara easy to understand.",[],{},{"nodeType":143,"data":3720,"content":3721},{},[3722,3726,3731,3735,3740],{"nodeType":147,"value":3723,"marks":3724,"data":3725},"By this point, the sheer scale and scope of the Japanese culture industry had given Japan a privileged position over other countries in East Asia. At the end of the 20th century, South Korea and Taiwan were completely off the cultural map, still recovering from their years under repressive dictatorship. The American understanding of Korea is well represented by a 1992 episode of ",[],{},{"nodeType":147,"value":3727,"marks":3728,"data":3730},"The Simpsons",[3729],{"type":808},{},{"nodeType":147,"value":3732,"marks":3733,"data":3734}," featuring a scene of the show’s own South Korean animators toiling in a dungeonlike environment with soldiers bayonetting them in the back to prod them into labour. (The actual South Korean animators, who took pride in working on a popular American TV show in comfortable middleclass jobs, protested the inclusion of this scene.) Hong Kong and Chinese filmmakers began to win over Hollywood in the 1990s, and with Quentin Tarantino’s endorsement, Wong Kar-wai became a darling of independent cinema. Between Hong Kong, Japan, Asian-American cultural icons such as Gregg Araki, and Asian-American media including ",[],{},{"nodeType":147,"value":3736,"marks":3737,"data":3739},"Giant Robot",[3738],{"type":808},{},{"nodeType":147,"value":3741,"marks":3742,"data":3743},", there seemed to be an emerging ‘Asian pop culture’.",[],{},{"nodeType":143,"data":3745,"content":3746},{},[3747],{"nodeType":147,"value":3748,"marks":3749,"data":3750},"Hong Kong would end up being important for far more than its cinema. In the 1990s, Japanese streetwear reached its peak of vibrancy, yet it was more or less stuck inside Japan. Sitting between the East and the West, the city would be critical for bridging Asian culture with the rest of the planet. In 1999, the Japanese label A BATHING APE (BAPE) worked with two local Hong Kong rappers, Eric Kot and Jan Lamb of Softhard, to open its first VIP-only boutique in a Hong Kong office building. The media attention for its exclusive T-shirts spurred counterfeiters into action, and soon the world was flooded with fake BAPE. This, ironically, helped to promote the brand across Asia, and over the next five years, Hong Kong became one of the world’s most devoted consumer groups for BAPE, Supreme, and other core streetwear brands. ",[],{},{"nodeType":143,"data":3752,"content":3753},{},[3754],{"nodeType":147,"value":3755,"marks":3756,"data":3757},"Young men who took too much interest in limited-edition sneakers and apparel became pejoratively known as ‘hypebeasts’, and in 2005, former Hong Kong banker Kevin Ma launched a website dedicated to this culture called Hypebeast. Meanwhile, Japanese fashion brands spent little time considering their export businesses, and the existing info-rich Japanese magazines published nothing in English. Hypebeast played a crucial role here: it was an English-language site based in Asia with an eye on Japan whose editors and writers provided the world with realtime updates on Japanese fashion. As Hypebeast and its imitators gained readers in the millions, Hong Kong became an important silent broadcaster and translator for the latest in Asia.",[],{},{"nodeType":3471,"data":3759,"content":3781},{"target":3760},{"metadata":3761,"sys":3764,"fields":3771},{"tags":3762,"concepts":3763},[],[],{"space":3765,"id":3767,"type":212,"createdAt":3768,"updatedAt":3768,"environment":3769,"publishedVersion":51,"revision":216,"locale":31},{"sys":3766},{"type":14,"linkType":15,"id":16},"4YqR0o3lIXLXPB1cYBjVmY","2024-11-25T07:46:38.542Z",{"sys":3770},{"id":23,"type":14,"linkType":24},{"title":3772,"description":3772,"file":3773},"Pharrell Williams performing at Coachella on April 19, 2014. Photo by Thomas Hawk. CC 2.0 via Flickr.",{"url":3774,"details":3775,"fileName":3780,"contentType":228},"\u002F\u002Fdownloads.ctfassets.net\u002F2urh0izv0sep\u002F4YqR0o3lIXLXPB1cYBjVmY\u002Fa3715dfd415270b91733f353d6d252f8\u002Fp.25_Pharrell-BW.png",{"size":3776,"image":3777},28225174,{"width":3778,"height":3779},5760,3840,"p.25 Pharrell-BW.png",[],{"nodeType":3282,"data":3783,"content":3784},{},[3785],{"nodeType":147,"value":3772,"marks":3786,"data":3787},[],{},{"nodeType":143,"data":3789,"content":3790},{},[3791,3795,3800,3804,3809],{"nodeType":147,"value":3792,"marks":3793,"data":3794},"The other important ambassador for Japanese fashion would be music producer Pharrell Williams. In April 2003, Williams and his rock unit, N.E.R.D., visited Tokyo, where he met Nigo of BAPE. ‘When I went to his showroom’, Williams recalled, ‘it was the most amazing thing I had ever seen, ever. I just went crazy’.",[],{},{"nodeType":147,"value":3796,"marks":3797,"data":3799},"3",[3798],{"type":3274},{},{"nodeType":147,"value":3801,"marks":3802,"data":3803}," BAPE agreed to manufacture the clothing for Williams’s new clothing line, Billionaire Boys Club. In return, Williams helped BAPE open its first American store in New York at the end of 2004. This put Japanese streetwear at the centre of American Hypebeast culture, and more critically, deep into the heart of the hip-hop world. Rapper-producer Kanye West was an early fan of BAPE, and in 2007, he asked Takashi Murakami to illustrate the cover of his third album, ",[],{},{"nodeType":147,"value":3805,"marks":3806,"data":3808},"Graduation",[3807],{"type":808},{},{"nodeType":147,"value":3810,"marks":3811,"data":3812},". Here, Japanese pop culture broke out of its popularity with nerds and cultural elites, and it exploded into mainstream America.",[],{},{"nodeType":3282,"data":3814,"content":3815},{},[3816,3821,3825,3830,3834,3841],{"nodeType":147,"value":3817,"marks":3818,"data":3820},"3 ",[3819],{"type":3274},{},{"nodeType":147,"value":3822,"marks":3823,"data":3824},"Pharrell Williams in Kadia Blagrove, Joe La Puma, Jian DeLeon, ‘The Oral History of Billionaire Boys Club and Icecream’, ",[],{},{"nodeType":147,"value":3826,"marks":3827,"data":3829},"Complex",[3828],{"type":808},{},{"nodeType":147,"value":3831,"marks":3832,"data":3833},", December 3, 2013. ",[],{},{"nodeType":865,"data":3835,"content":3837},{"uri":3836},"https:\u002F\u002Fwww.complex.com\u002Fstyle\u002Fa\u002Fkadia-blagrove\u002Foral-history-bbc-icecream",[3838],{"nodeType":147,"value":3836,"marks":3839,"data":3840},[],{},{"nodeType":147,"value":822,"marks":3842,"data":3843},[],{},{"nodeType":143,"data":3845,"content":3846},{},[3847,3851,3856],{"nodeType":147,"value":3848,"marks":3849,"data":3850},"During these years, the Japanese content industry did not globalise – it was ",[],{},{"nodeType":147,"value":3852,"marks":3853,"data":3855},"globalised",[3854],{"type":808},{},{"nodeType":147,"value":3857,"marks":3858,"data":3859},". In the spirit of crowdsourcing, young fans and websites stepped in to facilitate the export of culture out of Japan, often without formal permission. Whether out of a lack of ambition, snobbery, self-doubt, or short-sightedness, most Japanese brands and creators took little interest in the export of their brands. Moreover, the Japanese domestic market, in a country of more than 125 million, was so big that there was not much need to go abroad.",[],{},{"nodeType":143,"data":3861,"content":3862},{},[3863],{"nodeType":147,"value":3864,"marks":3865,"data":3866},"South Korea had the opposite problem: its relatively smaller population of 50 million resulted in a crowded domestic market, and with an explosion of Korean pop music, films, and TV, this market quickly became saturated. In search of further growth, South Korean entertainment companies adopted explicit global strategies. They trained their talent to speak multiple languages, hired foreign producers, and tapped the knowledge of the Korean diaspora that had grown up overseas. K-pop management groups first launched their stars in Asia, getting early traction with the girl group S.E.S. and singer BoA. With the birth of YouTube in the late 2000s, these musicians now had the perfect platform for reaching everywhere in the world with a few clicks of a mouse. While Japanese record labels refused to upload their full videos to YouTube to preserve lucrative DVD sales, Korean entertainment companies SM, YG, and JYP offered all of their videos for free viewing, often with foreign subtitles. This maximized their surface area for potentially creating global hits. The industry assumed that entertainment company JYP would be the first to create a global K-pop star in its push of girl group Wonder Girls into the US market.",[],{},{"nodeType":143,"data":3868,"content":3869},{},[3870,3874,3879,3883,3888,3892,3896,3900,3905],{"nodeType":147,"value":3871,"marks":3872,"data":3873},"Global K-pop domination happened much faster than anyone would have anticipated – but not in the way anyone expected. On July 15, 2012, the middling 34-year-old rapper Psy (Jae-sang Park) uploaded his latest video ",[],{},{"nodeType":147,"value":3875,"marks":3876,"data":3878},"Gangnam Style",[3877],{"type":808},{},{"nodeType":147,"value":3880,"marks":3881,"data":3882}," to YouTube. American rapper T-Pain tweeted two weeks later, ‘Words cannot even describe how amazing this video is ... ’ It went viral and became a sprawling pop culture moment. Just as Japan felt fresh in the 1980s, Korea offered new visual novelties for the 2010s; few were familiar with K-pop’s high-production values, Day-Glo aesthetics, and machine-precise dance sequences. In September 2012, Justin Bieber’s manager Scooter Braun signed Psy to his label, explaining: ‘There is one reason... to be a part of history, to do something no one has ever done before. Psy is a guy you want to root for’.",[],{},{"nodeType":147,"value":3884,"marks":3885,"data":3887},"4",[3886],{"type":3274},{},{"nodeType":147,"value":3889,"marks":3890,"data":3891}," At the end of 2012, Korea’s Ministry of Culture bestowed Google with a formal award recognizing its role in assisting the global spread of K-pop. ",[],{},{"nodeType":147,"value":3875,"marks":3893,"data":3895},[3894],{"type":808},{},{"nodeType":147,"value":3897,"marks":3898,"data":3899}," – not Justin Bieber’s ",[],{},{"nodeType":147,"value":3901,"marks":3902,"data":3904},"Baby",[3903],{"type":808},{},{"nodeType":147,"value":3906,"marks":3907,"data":3908},", or any other American production – would be the first video on YouTube to hit two billion views.",[],{},{"nodeType":3282,"data":3910,"content":3911},{},[3912,3917,3921,3928],{"nodeType":147,"value":3913,"marks":3914,"data":3916},"4 ",[3915],{"type":3274},{},{"nodeType":147,"value":3918,"marks":3919,"data":3920},"Scooter Braun in Alex Marin, ‘Justin Bieber Manager Boards the Gangman Style Bandwagon, Signs Korean Pop Viral Sensation’, MIC, September 6, 2012. ",[],{},{"nodeType":865,"data":3922,"content":3924},{"uri":3923},"https:\u002F\u002Fwww.mic.com\u002Farticles\u002F14269\u002Fjustin-bieber-manager-boards-the-gangmanstyle-bandwagon-signs-korean-pop-viral-sensation",[3925],{"nodeType":147,"value":3923,"marks":3926,"data":3927},[],{},{"nodeType":147,"value":3929,"marks":3930,"data":3931},". ",[],{},{"nodeType":143,"data":3933,"content":3934},{},[3935],{"nodeType":147,"value":3936,"marks":3937,"data":3938},"Alongside K-pop and Samsung smartphones, Korean cosmetics (‘K-beauty’) and TV programs (‘K-drama’) also won over global consumers of the 2010s beyond the US. Across Southeast Asia, Korea replaced Japan as a model of emulation – mostly as Korean clothing and beauty trends were inexpensive to buy (or copy) and mapped well to the flashy goods preferred in societies with high income inequality. Korean ‘influencers’ found a global broadcasting platform in Instagram, and Southeast Asian women could tune in to mimic their style choices in real time. ",[],{},{"nodeType":143,"data":3940,"content":3941},{},[3942],{"nodeType":147,"value":3943,"marks":3944,"data":3945},"With the fully globalised, internet-based culture of the 2010s, Asian culture enjoyed a new conspicuous dominance in setting the directions of cutting-edge culture – not just as the hub for new worldwide trends, but a respected influencer in the most Western areas of Western culture. Kanye West’s design protégé, Virgil Abloh, took the helm of Louis Vuitton Men’s in 2018, and he quickly brought on his personal hero, Nigo (who had sold BAPE to a Hong Kong company), to make a capsule collection. LVMH then tapped Nigo to be the head designer of KENZO, the namesake brand of Kenzō Takada. After Abloh’s sudden death in 2021, Louis Vuitton gave the creative director role to Nigo’s other close confidant, Pharrell Williams.",[],{},{"nodeType":143,"data":3947,"content":3948},{},[3949],{"nodeType":147,"value":3950,"marks":3951,"data":3952},"European luxury brands once commercialised the very idea of culture with a capital ‘C’ – the apparel and accessories key to imaginary aristocratic lifestyles of horseback riding and safaris. In the 21st century, these brands offered clothing in their stores best characterized as ‘elevated streetwear’. This would be a rational strategy – and yet another effect of Asia. Mainland Chinese customers comprise at least one-third of the market for luxury goods, and their fundamental instincts for fashion came from the influence of Hong Kong, which had long taken direction from 1990s Japan. For European brands to create additional value for shareholders, they would need to create products that spoke to their growth market of wealthy Chinese youth. Yet this group had no need for ball gowns; they wanted chunky sneakers and logo T-shirts. High-end apparel lines also began to sell their clothing through marketing techniques pioneered in Ura-Harajuku: namely, ‘drops’ of limited-edition items, often collaborations between two brands. They continued to sell clothes through celebrity associations, but in the 21st century, this meant K-pop stars, such as BTS and BLACKPINK, alongside Hollywood actors. ",[],{},{"nodeType":143,"data":3954,"content":3955},{},[3956,3960,3965],{"nodeType":147,"value":3957,"marks":3958,"data":3959},"These concrete moments demonstrate the rolling momentum that allowed Asian creators to penetrate the Western cultural fortress and change the world’s aspirations and desires. This required an interconnected Asia: Western fashion conglomerates relied on Chinese consumers for their customer base, which necessitated borrowing design and marketing ideas from Japanese streetwear and partnering with K-pop stars for promotion. Japanese companies embraced their position in Asia; with the decline in youth consumption, their streetwear brands now rely on Korean, Hong Kong, and Taiwanese shoppers to stay afloat. This is quite easy, as the Japanese cultural explosion has snowballed into record tourist numbers. Travellers in Tokyo don’t just go to kabuki and eat sushi: they visit Akihabara for its ",[],{},{"nodeType":147,"value":3961,"marks":3962,"data":3964},"otaku",[3963],{"type":808},{},{"nodeType":147,"value":3966,"marks":3967,"data":3968}," culture, Harajuku for its youth fashion, and Ginza for its cocktail bars. Even Japan’s derided pre- 1990s culture is aspirational – the cheesy ‘city pop’ fusion music of the bubble period is having a moment on mobile video sites.",[],{},{"nodeType":143,"data":3970,"content":3971},{},[3972,3976,3981],{"nodeType":147,"value":3973,"marks":3974,"data":3975},"We should expect further intra-Asian cross-pollination. Japan’s early-20th-century colonisation of Korea made the two countries rivals after the war, but the political reconciliation of recent years has seen a parallel phenomenon in pop culture. In 2023, hip Japanese men’s magazine ",[],{},{"nodeType":147,"value":3977,"marks":3978,"data":3980},"Popeye",[3979],{"type":808},{},{"nodeType":147,"value":3982,"marks":3983,"data":3984}," published its first-ever issue on Seoul travel, offering a guide to trendy stores and restaurants without any exoticism or condescension. Meanwhile, Tokyo’s Shin-Ōkubo neighbourhood – once racistly derided as a ‘dangerous’ area because of its ethnic Korean community – is now popular with young Japanese women thanks to its confectionery and beauty shops.",[],{},{"nodeType":143,"data":3986,"content":3987},{},[3988],{"nodeType":147,"value":3989,"marks":3990,"data":3991},"Cultural creations from the East will further penetrate into the West to the degree that these geographical terms are beginning to lose their meaning. Ultimately, Western consumer culture requires Asian influences for its novelty. The looming question is whether or not mainland China can translate its vast consumer power into creative influence. Japan needed decades, if not a full century, to make this jump. Perhaps it will happen faster for China. TikTok has demonstrated that Chinese mobile technology has the potential to shape global culture, but the split between the global and Chinese versions of the app – often with very different worldviews – prevented clear crossovers or the creation of universally beloved content. 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This has contributed to a new wave of activism in Black communities globally, which has impacted everything from politics in the United States to the contemporary art market in London. Look at the rise of Athens-Clarke County Commissioner Mariah Parker, who was sworn into office in the southern state of Georgia at the age of 26 with her hand on a copy of ",[],{},{"nodeType":147,"value":4471,"marks":4472,"data":4474},"The Autobiography of Malcolm X ",[4473],{"type":808},{},{"nodeType":147,"value":4476,"marks":4477,"data":4478},"(1965), or at the young artists featured in ‘Before Yesterday We Could Fly: An Afrofuturist Period Room’ at the Metropolitan Museum of Art in New York. The exhibition, launched in 2021 and curated by Hannah Beachler (the first African-American to win an Oscar in production design for Black Panther), recreated and reimagined life at Seneca Village, a Black community in 19th-century Manhattan.",[],{},{"nodeType":143,"data":4480,"content":4481},{},[4482],{"nodeType":147,"value":4483,"marks":4484,"data":4485},"As with Black communities globally, futurism is an especially valuable tool in Southeast Asia, where societies across a divided and contested region struggle with deep-rooted identity complexes, worries over geopolitical balances of power, censorship, and postcolonial anxieties. Through books, music, paintings, and disruptive technologies, contemporary creatives are using fictional worlds to probe Southeast Asia’s past, present, and unknown future. Southeast Asian futurism is essentially ‘priorities and concerns that examine traditions, histories, aesthetics, and epistemologies to be brought into the future, in interaction with the current global trends’, Goh said in our interview. ‘It’s a love letter to the ancestors, telling them that their presence will be felt in the future’. ",[],{},{"nodeType":143,"data":4487,"content":4488},{},[4489],{"nodeType":147,"value":4490,"marks":4491,"data":4492},"The region is diverse from literally every angle – linguistically, ethnically, socioeconomically –so each country has its own distinct take on futurism based on its particular relationship with colonialism, the rest of the world, and each other. Despite these nuances, Southeast Asian interpretations of futurism share one common trait: they explore sensitive political and sociocultural issues through fiction. With freedom of expression stifled by many governments, explosive urban growth, and the region’s sensitivity to erratic weather patterns and threats to food security, the arts offer a rare outlet for locals to subtly comment on current policies. ‘By fictionalising events, censorship can be circumvented’, Jerrine Tan, an assistant professor in the English department at City University of Hong Kong, told me. ",[],{},{"nodeType":143,"data":4494,"content":4495},{},[4496,4500,4505],{"nodeType":147,"value":4497,"marks":4498,"data":4499},"In Singapore’s version of futurism, the tone is often darkly comical across contemporary cinema, fiction and other mediums. It tends to have ‘a more insidiously negative effect, where inequality and racism are sanitised or erased through a facade of a techno-utopia’, Tan explained. That is because the wealthy city-state is a technocracy ‘whose cyberpunk skyline has come to serve as a synecdoche for successful late-stage capitalism and neoliberalism through Hollywood films such as ",[],{},{"nodeType":147,"value":4501,"marks":4502,"data":4504},"Crazy Rich Asians",[4503],{"type":808},{},{"nodeType":147,"value":4506,"marks":4507,"data":4508},"’, she adds.",[],{},{"nodeType":143,"data":4510,"content":4511},{},[4512,4517,4521,4525],{"nodeType":147,"value":4513,"marks":4514,"data":4516},"Geylang Crunk ",[4515],{"type":808},{},{"nodeType":147,"value":4518,"marks":4519,"data":4520},"is a video game, audiovisual installation, toy collection and soon to be music album that nods to Singapore’s obsession with smart technology and its long history of censorship and surveillance. Using virtual reality, augmented reality, projection mapping, 3D printing, and other tools, ",[],{},{"nodeType":147,"value":4513,"marks":4522,"data":4524},[4523],{"type":808},{},{"nodeType":147,"value":4526,"marks":4527,"data":4528},"offers a tongue-in-cheek look at what it means to be creative in the age of artificial intelligence. The story, set in 2065, follows the beat duo O$P$ and friends in the city-state of Neo-Santara (a play on ‘Nusantara’, a Javanese term for the Indo-Malaysian archipelago) where a centralised AI automates daily life. In the game, players are tasked with delivering precious cargo without alerting the AI. Traversing brutalist architecture and street markets via parkour and hoverboards, the goal is to unleash a creative revolution and fight back against the algorithmic overlords by completing delivery missions and finding hidden musical relics.",[],{},{"nodeType":3471,"data":4530,"content":4552},{"target":4531},{"metadata":4532,"sys":4535,"fields":4542},{"tags":4533,"concepts":4534},[],[],{"space":4536,"id":4538,"type":212,"createdAt":4539,"updatedAt":4539,"environment":4540,"publishedVersion":51,"revision":216,"locale":31},{"sys":4537},{"type":14,"linkType":15,"id":16},"2Uwsv9NHiev7ihoOh0VD2m","2024-11-25T08:35:29.870Z",{"sys":4541},{"id":23,"type":14,"linkType":24},{"title":4543,"description":4543,"file":4544},"Still image from Geylang Crunk by Metamo Industries, an immersive music virtual reality experience. Courtesy Owe Money Pay Money aka O$P$.",{"url":4545,"details":4546,"fileName":4551,"contentType":228},"\u002F\u002Fdownloads.ctfassets.net\u002F2urh0izv0sep\u002F2Uwsv9NHiev7ihoOh0VD2m\u002F8bb7ed10e902b7422bae5108d9fb245c\u002FZadonSS_4_large.png",{"size":4547,"image":4548},27153039,{"width":4549,"height":4550},8000,4500,"ZadonSS_4 large.png",[],{"nodeType":3282,"data":4554,"content":4555},{},[4556,4560,4564],{"nodeType":147,"value":4557,"marks":4558,"data":4559},"Still image from ",[],{},{"nodeType":147,"value":4513,"marks":4561,"data":4563},[4562],{"type":808},{},{"nodeType":147,"value":4565,"marks":4566,"data":4567},"by Metamo Industries, an immersive music virtual reality experience. Courtesy Owe Money Pay Money aka O$P$.",[],{},{"nodeType":143,"data":4569,"content":4570},{},[4571,4575,4579],{"nodeType":147,"value":4572,"marks":4573,"data":4574},"‘Real-world Singapore skirts the line between a techno-dystopian vs techno-utopian society unlike anywhere else on Earth’, ",[],{},{"nodeType":147,"value":4513,"marks":4576,"data":4578},[4577],{"type":808},{},{"nodeType":147,"value":4580,"marks":4581,"data":4582},"cofounder Race Krehel told me. He’s onehalf of the IRL version of O$P$, a veteran player in Singapore’s underground electronic music scene whose name means ‘Owe Money, Pay Money’– a common phrase used by loan sharks. Krehel and his team want to document the Lion City’s quirks and eccentricities before generative AI actually takes over the world. ‘There is a sense of urgency to stay ahead of the curve and to tell more of our story before it is no longer novel and raise awareness of the realities of living in an augmented world, rather than just contributing to the firehose of procedurally generated content that we find ourselves in presently’, he said in our conversation.",[],{},{"nodeType":143,"data":4584,"content":4585},{},[4586,4590,4594],{"nodeType":147,"value":4587,"marks":4588,"data":4589},"Named after Singapore’s infamous eastern neighbourhood – famous for its red-light district and claypot rice – ",[],{},{"nodeType":147,"value":4513,"marks":4591,"data":4593},[4592],{"type":808},{},{"nodeType":147,"value":4595,"marks":4596,"data":4597},"captures the country’s gritty underbelly of society. Just as in real life, back-alley businesses, counterfeit markets and late-night parties thrive behind closed doors while ubiquitous surveillance cameras scour the streets. ‘I find so much of daily life in Singapore to be comically counter-intuitive, where everyone knows what the rules are and how to play just loose enough with them that you don’t get in trouble so long as you aren’t causing a scene’, Krehel continued. ‘Everyone knows what’s going on, but everyone also knows to keep it hush-hush, or you might ruin the party for everyone else. We’re trying to show that juxtaposition’.",[],{},{"nodeType":143,"data":4599,"content":4600},{},[4601,4605,4610,4614,4619,4623,4628],{"nodeType":147,"value":4602,"marks":4603,"data":4604},"The quirks of the Singaporean consciousness are fertile ground for dystopian universes. In ",[],{},{"nodeType":147,"value":4606,"marks":4607,"data":4609},"Lion City",[4608],{"type":808},{},{"nodeType":147,"value":4611,"marks":4612,"data":4613},", a delightful collection of short stories from 2018, Singaporean author and queer activist Ng Yi-Sheng, co-organiser of the country’s first-ever Pride festival, IndigNation, applies absurdist humour to unsettling situations in a likely attempt to poke fun at his country’s underlying issues. In one story, the entire island of Singapore disappears, leaving the country’s legacy in the memories of remaining residents. It’s a scenario that speaks to the present-day government’s obsession with economic development rather than identity-building – an area of society that isn’t as supported as material gains, according to critics. What happens when the ports, luxury hotels and efficient transportation vanishes, leaving people with just the idea of being Singaporean? The titular story, meanwhile, recounts the story of a man who discovers that all the animals at the zoo are robots – a reference to the androids in Philip K. Dick’s sci-fi classic ",[],{},{"nodeType":147,"value":4615,"marks":4616,"data":4618},"Do Androids Dream of Electric Sheep? ",[4617],{"type":808},{},{"nodeType":147,"value":4620,"marks":4621,"data":4622},"(1968) and, potentially, a sly observation of Singapore’s law-abiding culture. Another story, ",[],{},{"nodeType":147,"value":4624,"marks":4625,"data":4627},"Suburbia",[4626],{"type":808},{},{"nodeType":147,"value":4629,"marks":4630,"data":4631},", is told entirely in the form of a government report, mocking the country’s entrenched bureaucracy.",[],{},{"nodeType":143,"data":4633,"content":4634},{},[4635,4639,4644],{"nodeType":147,"value":4636,"marks":4637,"data":4638},"Across the water, Malaysian authors are also using futurism as a form of critique. Jaymee Goh’s ",[],{},{"nodeType":147,"value":4640,"marks":4641,"data":4643},"Farid Out At Sea ",[4642],{"type":808},{},{"nodeType":147,"value":4645,"marks":4646,"data":4647},"is a utopian tale about a floating city called Marinajaya that embraces universal design, an urban planning concept that prioritises easy access to cities for all residents, particularly the disabled community. Buildings and public spaces in Malaysia’s real-life capital city are meant to follow a universal design code of practice known as MS1184, but wheelchair users often complain about inaccessibility. Marinajaya’s accessibility thus serves as a welcome respite from reality – a utopian work in which the most vulnerable populations are prioritised rather than marginalised.",[],{},{"nodeType":143,"data":4649,"content":4650},{},[4651,4655],{"nodeType":147,"value":4640,"marks":4652,"data":4654},[4653],{"type":808},{},{"nodeType":147,"value":4656,"marks":4657,"data":4658},"was part of a project by Project Future Malaysia, a non-profit that encourages Malaysian creatives to design ‘an equitable, fair and sustainable’ country through fiction and art, according to the platform’s website. In 2021, they commissioned writers to imagine Malaysia fifty years out. In the brief, published online, they provided the following prompts: ‘What would Malaysia be like if we were still ruled by the British empire? What would Malaysia be like if we were never invaded? How inclusive will the future be for Malaysians of all colours and creeds? Where will Malaysia’s future food source come from?’ These kinds of questions, according to the organisation, are crucial for nation-building and national identity, helping to push policymakers and citizens into collective action.",[],{},{"nodeType":3471,"data":4660,"content":4681},{"target":4661},{"metadata":4662,"sys":4665,"fields":4672},{"tags":4663,"concepts":4664},[],[],{"space":4666,"id":4668,"type":212,"createdAt":4669,"updatedAt":4669,"environment":4670,"publishedVersion":51,"revision":216,"locale":31},{"sys":4667},{"type":14,"linkType":15,"id":16},"LNh1X1u9yPoZwBI5ham0v","2024-11-25T08:56:14.034Z",{"sys":4671},{"id":23,"type":14,"linkType":24},{"title":4673,"description":4673,"file":4674},"Still image from Ben Rivers and Anocha Suwichakornpong, Krabi 2562, 2019, feature film, 90 min. Courtesy the artists.",{"url":4675,"details":4676,"fileName":4680,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FLNh1X1u9yPoZwBI5ham0v\u002Fa69d09a0bf828e1a11f199ec69b3f36d\u002FKrabi_4.png",{"size":4677,"image":4678},2126637,{"width":1217,"height":4679},900,"Krabi+4.png",[],{"nodeType":3282,"data":4683,"content":4684},{},[4685,4689,4694],{"nodeType":147,"value":4686,"marks":4687,"data":4688},"Still image from Ben Rivers and Anocha Suwichakornpong, ",[],{},{"nodeType":147,"value":4690,"marks":4691,"data":4693},"Krabi 2562",[4692],{"type":808},{},{"nodeType":147,"value":4695,"marks":4696,"data":4697},", 2019, feature film, 90 min. Courtesy the artists.",[],{},{"nodeType":143,"data":4699,"content":4700},{},[4701,4705,4710],{"nodeType":147,"value":4702,"marks":4703,"data":4704},"In the film ",[],{},{"nodeType":147,"value":4706,"marks":4707,"data":4709},"Krabi, 2562",[4708],{"type":808},{},{"nodeType":147,"value":4711,"marks":4712,"data":4713},", directors Anocha Suwichakornpong and Ben Rivers ask: How will one of Thailand’s most famous islands handle mass tourism? The film’s title doesn’t refer to the year 2562 but rather Thailand’s calendar year of 2019 – the Southeast Asian country uses the Buddhist calendar, which is 543 years ahead of the Christian one. This subtle reference to the (Thai) present and (Western) future is mirrored in the film’s surrealist plot. Time is fluid here as various eras and locations simultaneously merge in a mystical amalgam within one scene. Local characters are often pushed aside (one even disappears in thin air), while animals are turned into statues –indications that local culture is disappearing as an influx of foreign visitors pushes local officials to adopt outward-oriented policies rather than focus domestically.",[],{},{"nodeType":143,"data":4715,"content":4716},{},[4717],{"nodeType":147,"value":4718,"marks":4719,"data":4720},"‘One of the things that I tried to do with this film is to explore this idea of the local community’, Suwichakornpong tells me, who teaches film at New York’s Columbia University. ‘Krabi’s tourism industry started to develop decades ago. Individual tourists come and go, but the “community” of tourists form a significant part of the town – whether or not you like it. In this sense, the tourists (again, not as individuals but as a collective) are part of the “local community”. It is not a binary’. While she agrees that Krabi is growing increasingly homogenised, she doesn’t see her film as a cautionary tale. ‘We don’t have to wait to see what the future holds, the same thing is happening everywhere’, she explained in our chat, referring to tourism-related gentrification as a universal process. ‘It is a question of capitalism’.",[],{},{"nodeType":143,"data":4722,"content":4723},{},[4724,4728,4733,4737,4741,4745],{"nodeType":147,"value":4725,"marks":4726,"data":4727},"How outsiders consume a particular culture is also the topic of ",[],{},{"nodeType":147,"value":4729,"marks":4730,"data":4732},"The Tree House",[4731],{"type":808},{},{"nodeType":147,"value":4734,"marks":4735,"data":4736},", a 2019 meta masterpiece by Vietnamese filmmaker Truong Minh Quy. The narrator is a film director living on Mars in the year 2045 who watches his own footage of Vietnam’s Hmong, Kor, and Ruc indigenous groups. In an emotional voiceover, the character draws similarities to himself and US soldiers who filmed their destruction of Vietnamese towns during the American War in Vietnam. He sends some of his dialogues via transmissions to his father on Earth. Delving into the longterm impacts of displacement on ancestral knowledge, Quy uses the past to analyse his protagonist’s present. In an article for the streaming platform MUBI’s website, the director explained the inspiration for ",[],{},{"nodeType":147,"value":4729,"marks":4738,"data":4740},[4739],{"type":808},{},{"nodeType":147,"value":4742,"marks":4743,"data":4744},": ‘to search for a house that has receded so far in the deep holes of memory, but whose afterglow still lingers in one’s body’.",[],{},{"nodeType":147,"value":3269,"marks":4746,"data":4748},[4747],{"type":3274},{},{"nodeType":3282,"data":4750,"content":4751},{},[4752,4756,4760,4767],{"nodeType":147,"value":3269,"marks":4753,"data":4755},[4754],{"type":3274},{},{"nodeType":147,"value":4757,"marks":4758,"data":4759}," ‘Truong Minh Quy Introduces His Film “The Tree House”’, MUBI, 13 August 2020, ",[],{},{"nodeType":865,"data":4761,"content":4763},{"uri":4762},"https:\u002F\u002Fmubi.com\u002Fen\u002Fnotebook\u002Fposts\u002Ftruong-minh-quy-introduces-his-film-the-tree-house",[4764],{"nodeType":147,"value":4762,"marks":4765,"data":4766},[],{},{"nodeType":147,"value":822,"marks":4768,"data":4769},[],{},{"nodeType":143,"data":4771,"content":4772},{},[4773,4777,4782],{"nodeType":147,"value":4774,"marks":4775,"data":4776},"Music, particularly experimental electronics, is also a vehicle for world-building. The abstract nature of synthesised melodies and infinite combinations of distorted effects with samples are especially conducive to presenting alternative lifestyles that shape social possibility. Whether it’s pounding bass or serpentine drum loops, the sheer range of textures and moods in avantgarde electronic music is ideal for creating new environments. In his now-cult 1998 book, ",[],{},{"nodeType":147,"value":4778,"marks":4779,"data":4781},"More Brilliant Than the Sun: Adventures in Sonic Fiction",[4780],{"type":808},{},{"nodeType":147,"value":4783,"marks":4784,"data":4785},", British writer and filmmaker Kodwo Eshun explains how jazz, dub, funk, and hip-hop used Black diasporic culture and experiences to craft a soundtrack for the future. The genre known as techno, born in Detroit, exemplified that idea in the 1980s. Using novel synthesisers and drum machines, pioneers such as Underground Resistance and AUX88 created icy, skeletal rhythms that challenged conventional notions of dance music at the time.",[],{},{"nodeType":143,"data":4787,"content":4788},{},[4789],{"nodeType":147,"value":4790,"marks":4791,"data":4792},"Similarly, Southeast Asian musicians are revisiting their regional realities to conceive new histories. Java Futurism, a concept coined by Indonesian instrument-builder and analogue synth musician Lintang Radittya, refers to the use of sound art and sound activism among Indonesia’s experimental artists. Sanne Krogh Groth, a music historian from Lund University, and Nils Bubandt, an anthropologist from Aarhus University, have researched the practice heavily. On their joint website Java-Futurism they describe the phenomenon as a means ‘to investigate a past that might have been, in order to imagine and define a future that might be’. Here, Java isn’t ‘so much a place as an imaginary that is at once political, aesthetic, and cosmological’, the duo’s website states. ",[],{},{"nodeType":143,"data":4794,"content":4795},{},[4796,4800],{"nodeType":147,"value":4797,"marks":4798,"data":4799},"The Indonesian band Zoo does exactly that with their mind-melting blend of post-punk, experimental rock, noise, and elements of Balinese trance ceremonies. The four-piece ensemble, consisting of Rully Shabara, Bhakti Prasetyo, Ramberto Agozalie, and Dimas Budi Satya, created an ancient civilisation called Samasthamarta that influences their music. They even formed an entire alphabet called Zugrafi and an oral language system called Zufrasi. ‘The scriptures of this lost fictional civilisation tell of a time of impending doom – a lost historical apocalypse that looks very much like our own’, write Groth and Bubandt.",[],{},{"nodeType":147,"value":3577,"marks":4801,"data":4803},[4802],{"type":3274},{},{"nodeType":3282,"data":4805,"content":4806},{},[4807,4811,4815,4822],{"nodeType":147,"value":3577,"marks":4808,"data":4810},[4809],{"type":3274},{},{"nodeType":147,"value":4812,"marks":4813,"data":4814}," Sanne Krogh Groth and Nils Bubandt, Java-Futurism: Experimental Music and Sonic Activism in Indonesia, ",[],{},{"nodeType":865,"data":4816,"content":4818},{"uri":4817},"https:\u002F\u002Fjavafuturism.blogg.lu.se\u002F",[4819],{"nodeType":147,"value":4817,"marks":4820,"data":4821},[],{},{"nodeType":147,"value":822,"marks":4823,"data":4824},[],{},{"nodeType":143,"data":4826,"content":4827},{},[4828,4832,4837],{"nodeType":147,"value":4829,"marks":4830,"data":4831},"The debut solo album of Bali-based Kasimyn, one-half of the acclaimed rave duo Gabber Modus Operandi, presents an often-sidelined perspective on Indonesia’s violent Dutch colonisation. Released last year under the alias Hulubalang, Kasimyn’s 2023 album ",[],{},{"nodeType":147,"value":4833,"marks":4834,"data":4836},"BUNYI BUNYI TUMBAL",[4835],{"type":808},{},{"nodeType":147,"value":4838,"marks":4839,"data":4840},", which the artist translates as ‘Synthetic Feeling for Anonymous Sacrifice’, was inspired by a deep dive into his home country’s war archives, which feature photographs taken by the Dutch. Kasimyn was particularly drawn to the peripheral figures in those historical records – ordinary villagers and working-class families. ‘These secondary characters, devoid of individual significance, bear no names, receive no recognition, and serve as props in the broader narrative of history’, the album’s official description states. Through a lens of skittery percussion, deconstructed noises, and swung rhythms, the record immerses listeners into the world of these bystanders. Recreating the sounds of traditional drums and woodwinds on electronic tools, Kasimyn delivers moments of ecstasy, anger, and victory, as he platforms these forgotten voices.",[],{},{"nodeType":143,"data":4842,"content":4843},{},[4844],{"nodeType":147,"value":4845,"marks":4846,"data":4847},"Ideas of control and power, whether in the context of colonialism or capitalism, tend to be pervasive in most futurist movements. Researcher and Filipino native Chris-Jean Fussner sought to dismantle that trend in 2015 when he launched the Tropical Futures Institute (TFI), a collective that platforms disruptive technologies and design in Southeast Asia. Inspired by a now-famous quote popularly attributed to Canadian-American writer William Gibson – ‘The future is already here – it’s just not evenly distributed’ – TFI aims to connect like-minded thinkers as a means of decentralising futurism. Supporting early-stage Web3 start-ups and artists, they have helped to put together art shows and fashion collections, as well as a zine festival in Cebu. Fussner, alongside Manila-based electronic music producer Jorge Wieneke, also recently co-developed a compilation of budots, a style of fast-paced dance music that fuses trance, hyperpop, jungle, and gabber, among other high-energy styles. Fussner sees the region’s demographics as a crucial element in the futurist puzzle. ‘Younger populations with access to a plethora of technologies are creating the perfect recipe for continued growth and innovation coming out of Southeast Asia’, he asserted in our interview. ‘The coming years we will see cities, countries, and people transform their realities around them as we leapfrog from technology to technology’. This could produce full-fledged industries and cultures, ‘whether it’s modifying speedboats to race or developing new models of community-positive agritourism’, he told me.",[],{},{"nodeType":3471,"data":4849,"content":4870},{"target":4850},{"metadata":4851,"sys":4854,"fields":4861},{"tags":4852,"concepts":4853},[],[],{"space":4855,"id":4857,"type":212,"createdAt":4858,"updatedAt":4858,"environment":4859,"publishedVersion":51,"revision":216,"locale":31},{"sys":4856},{"type":14,"linkType":15,"id":16},"4DI7q5ThOVCNH9S5clNsKR","2024-11-25T09:05:39.861Z",{"sys":4860},{"id":23,"type":14,"linkType":24},{"title":4862,"description":4862,"file":4863},"Album cover of Kasimyn, Bunyi Bunyi Tumbal, 2023. Courtesy the artist.",{"url":4864,"details":4865,"fileName":4869,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4DI7q5ThOVCNH9S5clNsKR\u002Fb4d0a920c6de13418a8830665bd57662\u002FBack-1230x1230.jpg",{"size":4866,"image":4867},395878,{"width":4868,"height":4868},1230,"Back-1230x1230.jpg",[],{"nodeType":3282,"data":4872,"content":4873},{},[4874,4878,4883],{"nodeType":147,"value":4875,"marks":4876,"data":4877},"Album cover of ",[],{},{"nodeType":147,"value":4879,"marks":4880,"data":4882},"Kasimyn, Bunyi Bunyi Tumbal",[4881],{"type":808},{},{"nodeType":147,"value":4884,"marks":4885,"data":4886},", 2023. Courtesy the artist.",[],{},{"nodeType":3471,"data":4888,"content":4909},{"target":4889},{"metadata":4890,"sys":4893,"fields":4900},{"tags":4891,"concepts":4892},[],[],{"space":4894,"id":4896,"type":212,"createdAt":4897,"updatedAt":4897,"environment":4898,"publishedVersion":51,"revision":216,"locale":31},{"sys":4895},{"type":14,"linkType":15,"id":16},"3eP6itTsam0DuPyrZMFnwB","2025-01-06T02:35:42.651Z",{"sys":4899},{"id":23,"type":14,"linkType":24},{"title":4729,"description":4729,"file":4901},{"url":4902,"details":4903,"fileName":4908,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3eP6itTsam0DuPyrZMFnwB\u002Fd06072afd709b49902b67b38137b1455\u002FThe_Tree_House.jpg",{"size":4904,"image":4905},262026,{"width":4906,"height":4907},1296,729,"The Tree House.jpg",[],{"nodeType":3282,"data":4911,"content":4912},{},[4913,4917,4921],{"nodeType":147,"value":4914,"marks":4915,"data":4916},"Still image from Truong Minh Quy, ",[],{},{"nodeType":147,"value":4729,"marks":4918,"data":4920},[4919],{"type":808},{},{"nodeType":147,"value":4922,"marks":4923,"data":4924},", 2019, feature film, 84 min. Courtesy the artist and MUBI.",[],{},{"nodeType":143,"data":4926,"content":4927},{},[4928,4932,4937],{"nodeType":147,"value":4929,"marks":4930,"data":4931},"In this sense, futurism can also be seen as moving out of the speculative realm and into adjacent industries looking to revive traditional or long overlooked practices. In the fashion realm, Southeast Asia’s designers have long embraced this kind of thinking. A 2021 collaboration between contemporary Indonesian brand Aksu and cutting-edge electronic music label DIVISI62 revised the ",[],{},{"nodeType":147,"value":4933,"marks":4934,"data":4936},"silang",[4935],{"type":808},{},{"nodeType":147,"value":4938,"marks":4939,"data":4940},", a traditional Indonesian wrap garment, into rave-ready attire thanks to a sharper silhouette and elongated structure.",[],{},{"nodeType":143,"data":4942,"content":4943},{},[4944],{"nodeType":147,"value":4945,"marks":4946,"data":4947},"Fussner pointed to Manila-headquartered Kalsada Coffee as another example. Kalsada works with Filipino farmers with the aim of integrating local beans into the global economy. Founder Carmel Laurino ‘is reactivating the historic coffee trade of the Philippines by teaching farmers world-class techniques that are now getting their beans into places like Blue Bottle Coffee and innovating migrant labour across global supply chains’, Fussner explains.",[],{},{"nodeType":143,"data":4949,"content":4950},{},[4951],{"nodeType":147,"value":4952,"marks":4953,"data":4954},"Far from being a new trend, Southeast Asia has a long history with futurism. At the Fourth World Futures Conference in 1973, Indonesian intellectual Sutan Takdir Alisjahbana highlighted how the arts were critical to building a post-Cold War world, yet there remains heavy mistrust surrounding the term. Techno-orientalism in Hollywood and science fiction literature have intrinsically embedded Western notions of the future as highly industrialised and dystopian into pop culture, which hinders the creative process of envisioning innovative narratives for non-Western countries. ‘If you cannot break free of the norms set by coloniser forces, then you’re not really trying to imagine a future’, Goh warned in our conversation. ‘You’ll simply recreate the present and may inadvertently recreate the historical conditions that allowed the long period of colonisation to happen’. Goh added: ‘If you fail to take your local identities into consideration, you’ve essentially recreated Western futurism and Western speculative fiction, simply with local names’. ",[],{},{"nodeType":143,"data":4956,"content":4957},{},[4958],{"nodeType":147,"value":4959,"marks":4960,"data":4961},"That’s why Southeast Asian futurism often combines indigenous crafts, local mythologies, and revivals of artisanal projects into new contexts, ensuring that Western tropes don’t override the region’s culture. Futurism, in the non-Western context, is precisely the possibility of defying the replication of values and structures that globalisation has circulated as universal visions for the 21st century and beyond.",[],{},{"metadata":4963,"sys":4966,"fields":4971},{"tags":4964,"concepts":4965},[],[],{"space":4967,"id":4392,"type":212,"createdAt":4393,"updatedAt":4393,"environment":4969,"publishedVersion":51,"revision":216,"locale":31},{"sys":4968},{"type":14,"linkType":15,"id":16},{"sys":4970},{"id":23,"type":14,"linkType":24},{"title":4397,"description":4397,"file":4972},{"url":4399,"details":4973,"fileName":4405,"contentType":228},{"size":4401,"image":4974},{"width":4403,"height":4404},[4976,4977,4978,4979],"Bangkok","Singapore","Manila","Yogyakarta",[4981],"Artists’ Pages",{"metadata":4983,"sys":4986,"fields":4997},{"tags":4984,"concepts":4985},[],[],{"space":4987,"id":4989,"type":18,"createdAt":4990,"updatedAt":4991,"environment":4992,"publishedVersion":4994,"revision":1078,"contentType":4995,"locale":31},{"sys":4988},{"type":14,"linkType":15,"id":16},"3PuW8LWRCMCtYYcandPkjr","2024-10-21T09:12:35.612Z","2025-10-16T02:44:33.045Z",{"sys":4993},{"id":23,"type":14,"linkType":24},29,{"sys":4996},{"type":14,"linkType":29,"id":3170},{"name":4998,"slug":4999,"title":5000,"author":5001,"hero":5002,"sections":5040,"thumbnailImage":5547},"In Defence of Technological Pluralism by Yuk Hui","in-defence-of-technological-pluralism","In Defence of Technological Pluralism","Yuk Hui",{"metadata":5003,"sys":5006,"fields":5016},{"tags":5004,"concepts":5005},[],[],{"space":5007,"id":5009,"type":18,"createdAt":5010,"updatedAt":5011,"environment":5012,"publishedVersion":90,"revision":1123,"contentType":5014,"locale":31},{"sys":5008},{"type":14,"linkType":15,"id":16},"5J4j9VioZiTjt5igcfR1UH","2025-09-18T02:30:49.115Z","2025-09-18T04:50:55.742Z",{"sys":5013},{"id":23,"type":14,"linkType":24},{"sys":5015},{"type":14,"linkType":29,"id":3194},{"name":5001,"title":5017,"excerpt":5018,"author":5001,"image":5019,"imageOption":4082},"In Defence of Technological Pluralism ","An Argument for How to Escape the Inevitability of the Future",{"metadata":5020,"sys":5023,"fields":5030},{"tags":5021,"concepts":5022},[],[],{"space":5024,"id":5026,"type":212,"createdAt":5027,"updatedAt":5027,"environment":5028,"publishedVersion":91,"revision":216,"locale":31},{"sys":5025},{"type":14,"linkType":15,"id":16},"7BRgxqu36rNRM96Qj9tpPp","2025-09-18T02:30:27.592Z",{"sys":5029},{"id":23,"type":14,"linkType":24},{"title":5031,"description":219,"file":5032},"CONG POST2",{"url":5033,"details":5034,"fileName":5039,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7BRgxqu36rNRM96Qj9tpPp\u002F675bb9164073ef466dadabf562f9c14e\u002FCONG_POST2.png",{"size":5035,"image":5036},110744,{"width":5037,"height":5038},4082,5102,"CONG POST2.png",[5041],{"metadata":5042,"sys":5045,"fields":5056},{"tags":5043,"concepts":5044},[],[],{"space":5046,"id":5048,"type":18,"createdAt":5049,"updatedAt":5050,"environment":5051,"publishedVersion":5053,"revision":2418,"contentType":5054,"locale":31},{"sys":5047},{"type":14,"linkType":15,"id":16},"6JoNcduvqXP2cKTZuBBpR0","2025-09-18T02:51:30.101Z","2025-09-22T04:48:08.939Z",{"sys":5052},{"id":23,"type":14,"linkType":24},108,{"sys":5055},{"type":14,"linkType":29,"id":3252},{"title":5017,"text":5057},{"nodeType":139,"data":5058,"content":5059},{},[5060,5080,5087,5102,5109,5124,5145,5179,5183,5190,5218,5237,5256,5278,5285,5333,5340,5347,5378,5430,5449,5452,5459,5466,5473,5507,5514,5521,5528],{"nodeType":143,"data":5061,"content":5062},{},[5063,5069,5075],{"nodeType":147,"value":5064,"marks":5065,"data":5068},"In September 2023, Michiaki Matsushima, head of editorial content at ",[5066],{"type":5067},"subscript",{},{"nodeType":147,"value":5070,"marks":5071,"data":5074},"Wired Japan",[5072,5073],{"type":808},{"type":5067},{},{"nodeType":147,"value":5076,"marks":5077,"data":5079},", asked me to talk about the year 2050. He was convinced that what is happening now in the 2020s is going to shape what is to come in the next 30 years. However, it is a very dif!icult task to anticipate the future. First of all, we are not sure if we will actually live until then in order to verify our predictions, because even though 2050 falls in the not-too-distant future, life is full of uncertainty. Within the first 24 years of the 21st century, we have already come under the threat of wars, nuclear meltdowns, ecological crises, and, more recently, AI apocalypses. This is not a prophecy we are all witnessing — it is the reality. ",[5078],{"type":5067},{},{"nodeType":143,"data":5081,"content":5082},{},[5083],{"nodeType":147,"value":5084,"marks":5085,"data":5086},"If it is true that the inventions of the mid-20th century shaped the following 70 years, then how can we really predict what is to come in the next decades? It is not that we lack imagination; indeed, we can imagine many things to come. For example, Mars could be transformed into a habitable planet for humans or Elon Musk could invite us to live among the stars. We could download our memories to a machine in order to realise immortality, as Ray Kurzweil suggested, or achieve full automation in all areas, from autopiloting to medical surgery. It is also possible that we could also fabricate the first synthetic embryo, legalise marriage between humans and robots, and so on. ",[],{},{"nodeType":143,"data":5088,"content":5089},{},[5090,5094,5098],{"nodeType":147,"value":5091,"marks":5092,"data":5093},"Yet it is difficult to reflect on such a future without too great a dose of optimism or pessimism, if what we are really trying to achieve is a planet that is favourable for the coexistence of different cultures, as well as humans and nonhumans, where a universal happiness (‘allgemeine Glückseligkeit’, as Immanuel Kant put it) can flourish. Regarding the aforementioned technological inventions, could they become possible in the next 30 years—if not earlier? (Didn’t Kurzweil already announce that immortality will be possible by 2045?",[],{},{"nodeType":147,"value":3269,"marks":5095,"data":5097},[5096],{"type":3274},{},{"nodeType":147,"value":5099,"marks":5100,"data":5101},") Today, it is indeed more and more difficult to discern reality from science fiction. However, most science fictions don’t really grant us the power to dream. They either offer us a dystopia, where the human species is going to end, or a ‘chicken soup of humanity’, in which love is the last resort. Pessimistically, we know that all of this progress will demand us to pay a huge price. We have already seen the ramifications of such a demand in past decades, in terms of the imminent climate collapse, the so-called ‘sixth extinction’, mass unemployment due to automation, and, most horrifying, a Third World War. We moderns have been facing a dilemma: a decision has to be made to affirm or change the direction of our civilisation. We can imagine a response to it, but does it involve deceleration or acceleration? ",[],{},{"nodeType":143,"data":5103,"content":5104},{},[5105],{"nodeType":147,"value":5106,"marks":5107,"data":5108},"We must discern whether or not the deceleration of technological progress is a solution to our dilemma. Recently, there has been a lot of discussion regarding degrowth or even a so-called ‘degrowth communism’. I am not sure if degrowth is a solution: if our understanding of and relation to technology will remain the same, degrowth will be only a transitionary stage toward something even worse. Even if we take degrowth seriously, then all countries will have to synchronise their degrowth; otherwise, those that refuse to degrow will remain the strongest in terms of military and economic power. It is hard to imagine how this could happen without the climate collapse occurring first. But by then, it will already have been too late. ",[],{},{"nodeType":143,"data":5110,"content":5111},{},[5112,5116,5120],{"nodeType":147,"value":5113,"marks":5114,"data":5115},"The other option would be to accelerate toward full automation, under which wage labour would disappear, and again, we would arrive at Communism. The automation of one area would lead to the creation of another that produces worse alienation. What happened, for instance, in China, where so many factories in Shenzhen became automatised? The former factory workers today are neither unemployed nor enjoying paid retirements. They submit themselves to platforms of ride-hailing and food delivery. In other words, they are commanded by algorithms that want to maximise their income and optimise their services. Therefore, there has been no unemployment and no liberation. The seemingly more flexible jobs, such as car hailing or food delivery services, require that one is subordinated to the control of algorithms, whose rules are determined by facts that conform to the interest of profit-making. This can be seen, for example, in an award-winning report titled ‘Takeout Delivery Drivers: Caught in the System’, which went viral in 2020.",[],{},{"nodeType":147,"value":3577,"marks":5117,"data":5119},[5118],{"type":3274},{},{"nodeType":147,"value":5121,"marks":5122,"data":5123}," The article details the experience of a rider who discovered that the time allowed to deliver food within a three-kilometre area could be reduced from 32 to 30 minutes. (On one of the food-delivery platforms, the time allowed for delivery within a three-kilometre area was one hour in 2016, then 45 minutes in 2017, and 38 minutes in 2018.) Apparently, there is no longer any room for negotiation, and there is no way to add it back. Acceleration or deceleration may not really give us a desirable future; instead for such a future to be thinkable, it will demand a radical change of our relationship to technology. Of what does this radical change consist? ",[],{},{"nodeType":143,"data":5125,"content":5126},{},[5127,5132,5141],{"nodeType":147,"value":5128,"marks":5129,"data":5131},"1 ‘Ray Kurzweil – Immortality by 2045, 2045 Initiative, uploaded to YouTube on 4 March 2013,",[5130],{"type":5067},{},{"nodeType":865,"data":5133,"content":5135},{"uri":5134},"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=f28LPwR8BdY.",[5136],{"nodeType":147,"value":5137,"marks":5138,"data":5140}," https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=f28LPwR8BdY.",[5139],{"type":5067},{},{"nodeType":147,"value":219,"marks":5142,"data":5144},[5143],{"type":5067},{},{"nodeType":143,"data":5146,"content":5147},{},[5148,5153,5159,5164,5175],{"nodeType":147,"value":5149,"marks":5150,"data":5152}," 2 Youxuan Lai, ‘Takeout Delivery Drivers: Caught in the System’, ",[5151],{"type":5067},{},{"nodeType":147,"value":5154,"marks":5155,"data":5158},"People Magazine",[5156,5157],{"type":808},{"type":5067},{},{"nodeType":147,"value":5160,"marks":5161,"data":5163},", China, 8 August 2020, ",[5162],{"type":5067},{},{"nodeType":865,"data":5165,"content":5167},{"uri":5166},"https:\u002F\u002Ftruestoryaward.org\u002Fstory\u002F222",[5168],{"nodeType":147,"value":5169,"marks":5170,"data":5174},"https:\u002F\u002Ftruestoryaward.org\u002Fstory\u002F222.",[5171,5173],{"type":5172},"underline",{"type":5067},{},{"nodeType":147,"value":219,"marks":5176,"data":5178},[5177],{"type":5067},{},{"nodeType":5180,"data":5181,"content":5182},"hr",{},[],{"nodeType":143,"data":5184,"content":5185},{},[5186],{"nodeType":147,"value":5187,"marks":5188,"data":5189},"In the past one hundred years of modernisation, technology has not only become the medium of synchronisation of both time and space, but it has also pervaded our everyday lives. As we have seen, this omnipresence of modern technology is the source of the social, economic, and political problems that can lead to a devastating war. We may recall that on 1 September 2017, Vladimir Putin told Russian children that ‘whoever leads in AI will dominate the world’. This message becomes very clear when we think of the current war on microchips, which are essential for the development of artificial intelligence. If we limit our imaginations to the efficiency, speed, and pervasiveness of technology, then we will only be speeding toward this impasse. The technological competition imposes a uniformity, not only on technology itself, but also on the imagination of technologies. ",[],{},{"nodeType":143,"data":5191,"content":5192},{},[5193,5197,5201,5205,5210,5214],{"nodeType":147,"value":5194,"marks":5195,"data":5196},"This uniformity is precisely what prevents our imagination from reaching out too far. In December 1914, during the outbreak of the First World War, Henri Bergson gave an inaugural speech as the newly elected president of the Académie des Sciences Morales et Politiques at the Institut de France. Titled ‘Meaning of the War’, it identified the development of mechanical science and technology as the source of the war. It also noted that the 19th century had given ‘a wholly unforeseen extension to the mechanical arts and had equipped man in less than fifty years with more tools than he had made during the past thousands of years he had lived on the earth’.",[],{},{"nodeType":147,"value":3796,"marks":5198,"data":5200},[5199],{"type":3274},{},{"nodeType":147,"value":5202,"marks":5203,"data":5204}," Each new machine, Bergson proposed, thus became like a new human organ; the soul could no longer accommodate the dilating body. Bergson expressed his anger in a long list of questions, including: ‘What kind of a world would it become if this mechanism should seize the entire human race [",[],{},{"nodeType":147,"value":5206,"marks":5207,"data":5209},"humanité entière",[5208],{"type":808},{},{"nodeType":147,"value":5211,"marks":5212,"data":5213},"], and if the peoples, instead of elevating themselves to a richer and more harmonious diversity, as persons may do, were to fall into the uniformity of things?’",[],{},{"nodeType":147,"value":3884,"marks":5215,"data":5217},[5216],{"type":3274},{},{"nodeType":143,"data":5219,"content":5220},{},[5221,5226,5232],{"nodeType":147,"value":5222,"marks":5223,"data":5225},"3 Henri Bergson, ",[5224],{"type":5067},{},{"nodeType":147,"value":5227,"marks":5228,"data":5231},"The Meaning of the War: Life & Matter in Conflict",[5229,5230],{"type":5067},{"type":808},{},{"nodeType":147,"value":5233,"marks":5234,"data":5236}," (London: T. Fisher Unwin, 1915), p.34. ",[5235],{"type":5067},{},{"nodeType":143,"data":5238,"content":5239},{},[5240,5245,5251],{"nodeType":147,"value":5241,"marks":5242,"data":5244},"4 Bergson, ",[5243],{"type":5067},{},{"nodeType":147,"value":5246,"marks":5247,"data":5250},"The Meaning of the War",[5248,5249],{"type":808},{"type":5067},{},{"nodeType":147,"value":5252,"marks":5253,"data":5255},", p.36. ",[5254],{"type":5067},{},{"nodeType":3471,"data":5257,"content":5277},{"target":5258},{"metadata":5259,"sys":5262,"fields":5269},{"tags":5260,"concepts":5261},[],[],{"space":5263,"id":5265,"type":212,"createdAt":5266,"updatedAt":5266,"environment":5267,"publishedVersion":91,"revision":216,"locale":31},{"sys":5264},{"type":14,"linkType":15,"id":16},"68wMkKqHtmBODytHNijGYV","2025-09-18T09:45:29.790Z",{"sys":5268},{"id":23,"type":14,"linkType":24},{"title":5270,"description":219,"file":5271},"CONG POST",{"url":5272,"details":5273,"fileName":5276,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F68wMkKqHtmBODytHNijGYV\u002F828c56f8bb539a3d2a1c08c903cc8b7d\u002FCONG_POST.png",{"size":5274,"image":5275},17228320,{"width":5037,"height":5038},"CONG POST.png",[],{"nodeType":143,"data":5279,"content":5280},{},[5281],{"nodeType":147,"value":5282,"marks":5283,"data":5284},"If we agree with Bergson that the uniformity and the expansion of ‘organs’ were the sources of war, then it is clear that the technological progress we are now experiencing will inevitably lead to another large-scale war. Therefore, the challenge that we face does not involve how to invent a machine-learning algorithm to achieve 100 percent accuracy in facial recognition or to invent the most powerful weapon, but rather: How can we break this impasse? However, are we not demanding too much of engineers (because this is normally a question for politicians and diplomats)? I emphasise that it is a ‘technological challenge’ because now, more than ever, technology has become the substrate of our social, economic, political, and aesthetic lives. Also, in the future, the division of disciplines at universities, which we have adopted for centuries, will have to be reformed. However, since universities have a close connection to the industrial world, they will be reluctant to make any changes unless they will improve their ranking or bring in more funding. We must recognise that technological imagination is no longer only about improving an existing product or inventing a new one, but rather developing new nomos for the digital Earth. ",[],{},{"nodeType":143,"data":5286,"content":5287},{},[5288,5292,5297,5301,5306,5310,5315,5319,5324,5328],{"nodeType":147,"value":5289,"marks":5290,"data":5291},"The omnipresence of technologies connected by computer networks has provided us with a new concept of the Earth — a digital Earth that succeeds the concept of the ‘electrified Earth’ identified in 1920 by Vladimir Lenin. In 1995, ",[],{},{"nodeType":147,"value":5293,"marks":5294,"data":5296},"Wired",[5295],{"type":808},{},{"nodeType":147,"value":5298,"marks":5299,"data":5300}," dedicated an article to the work of the Jesuit palaeontologist, theologist, and visionary Pierre Teilhard de Chardin, in which the author named him as the philosopher who had anticipated the consciousness of the internet: ‘Teilhard imagined a stage of evolution characterised by a complex membrane of information enveloping the globe and fuelled by human consciousness. It sounds a little off-the-wall, until you think about the Net, that vast electronic web encircling the Earth, running point to point through a nerve-like constellation of wires.’",[],{},{"nodeType":147,"value":5302,"marks":5303,"data":5305},"5",[5304],{"type":3274},{},{"nodeType":147,"value":5307,"marks":5308,"data":5309}," What Teilhard de Chardin described in his seminal essay, written in the 1930s, ",[],{},{"nodeType":147,"value":5311,"marks":5312,"data":5314},"The Human Phenomenon,",[5313],{"type":808},{},{"nodeType":147,"value":5316,"marks":5317,"data":5318}," as the ‘noosphere’, which comes after geosphere and biosphere, best captures today’s technological convergence. What he called the ‘omega point’ or ‘noospheric reflection’ could be compared to technological singularity or the intelligence explosion.",[],{},{"nodeType":147,"value":5320,"marks":5321,"data":5323},"6",[5322],{"type":3274},{},{"nodeType":147,"value":5325,"marks":5326,"data":5327}," The noosphere is more than the technosphere, because the noosphere is the evolution of consciousness, while the technosphere is a geological concept proposed by geologist Peter K. Haff that describes the transformation of the Earth since the invention of transistors.",[],{},{"nodeType":147,"value":5329,"marks":5330,"data":5332},"7",[5331],{"type":3274},{},{"nodeType":143,"data":5334,"content":5335},{},[5336],{"nodeType":147,"value":5337,"marks":5338,"data":5339},"The formation of the noosphere indicates the evolution of the consciousness in general through the propagation and development of technologies. In the digital Earth, the noosphere becomes a battlefield as well as a place where old ideologies, such as race and domination, re-emerge. However, we must also recognise that the technological progress offers us a chance to reconstitute democracy — a reconstitution that allows us to negate the noospheric convergence itself. ",[],{},{"nodeType":143,"data":5341,"content":5342},{},[5343],{"nodeType":147,"value":5344,"marks":5345,"data":5346},"The relationship between democracy and technology has not been sufficiently addressed. Technology has only ever really been thought of as a tool for democracy—whether in the Greek kleroterion, the modern postal and ballot systems, or even today’s digital platforms— that could be used for voting or decision-making (for example, the direct digital democracy of the Five Star Movement in Italy), along with social media, to influence voters. In the 20th century, democracy was vulnerable to analogue technologies of marketing, such as television and radio, which used broadcasting to create and transmit patterns of information in the form of propaganda. Compared to information in its textual form, data in visual and audio forms opens up an intuitive means of communication: more direct and efficient, it can synchronise the audience’s consciousness. Thus far in the 21st century, the proliferation of digital technology has challenged the broadcasting model of mass media. Information is transmitted not only through successions of images and sound, but also via the direct processing of user data. Modern citizens are increasingly becoming both users and consumers, in the sense that they adapt to new interfaces and algorithms over which they have no control or influence. This has been the common experience of social media users over the past two and a half decades. ",[],{},{"nodeType":143,"data":5348,"content":5349},{},[5350,5355,5360,5365,5374],{"nodeType":147,"value":5351,"marks":5352,"data":5354},"5 Jennifer Cobb Kreisberg, ‘A Globe, Clothing Itself with a Brain: An obscure Jesuit priest, Pierre Teilhard de Chardin, set down the philosophical framework for planetary, Net-based consciousness 50 years ago’, ",[5353],{"type":5067},{},{"nodeType":147,"value":5293,"marks":5356,"data":5359},[5357,5358],{"type":808},{"type":5067},{},{"nodeType":147,"value":5361,"marks":5362,"data":5364},", 1 June 1995, ",[5363],{"type":5067},{},{"nodeType":865,"data":5366,"content":5368},{"uri":5367},"https:\u002F\u002Fwww.wired.com\u002F1995\u002F06\u002Fteilhard\u002F.",[5369],{"nodeType":147,"value":5367,"marks":5370,"data":5373},[5371,5372],{"type":5172},{"type":5067},{},{"nodeType":147,"value":219,"marks":5375,"data":5377},[5376],{"type":5067},{},{"nodeType":143,"data":5379,"content":5380},{},[5381,5386,5392,5397,5403,5408,5414,5419,5425],{"nodeType":147,"value":5382,"marks":5383,"data":5385},"6 Pierre Teilhard de Chardin, ",[5384],{"type":5067},{},{"nodeType":147,"value":5387,"marks":5388,"data":5391},"Le ph",[5389,5390],{"type":808},{"type":5067},{},{"nodeType":147,"value":5393,"marks":5394,"data":5396},"é",[5395],{"type":5067},{},{"nodeType":147,"value":5398,"marks":5399,"data":5402},"nom",[5400,5401],{"type":808},{"type":5067},{},{"nodeType":147,"value":5404,"marks":5405,"data":5407},"è",[5406],{"type":5067},{},{"nodeType":147,"value":5409,"marks":5410,"data":5413},"ne humain ",[5411,5412],{"type":808},{"type":5067},{},{"nodeType":147,"value":5415,"marks":5416,"data":5418},"(Paris: ",[5417],{"type":5067},{},{"nodeType":147,"value":5420,"marks":5421,"data":5424},"É",[5422,5423],{"type":808},{"type":5067},{},{"nodeType":147,"value":5426,"marks":5427,"data":5429},"ditions du Seuil, 1955). ",[5428],{"type":5067},{},{"nodeType":143,"data":5431,"content":5432},{},[5433,5438,5444],{"nodeType":147,"value":5434,"marks":5435,"data":5437},"7 Peter K. Haff, ‘Technology as a geological phenomenon: implications for human well-be-ing,’ in ",[5436],{"type":5067},{},{"nodeType":147,"value":5439,"marks":5440,"data":5443},"Geological Society Special Publication",[5441,5442],{"type":808},{"type":5067},{},{"nodeType":147,"value":5445,"marks":5446,"data":5448}," (vol. 395), eds. C.N. Waters, J.A. Zalasiewicz, M. Williams, M.A. Ellis and A.M. Snelling (London: Geological Society, 2014), pp. 301-9. ",[5447],{"type":5067},{},{"nodeType":5180,"data":5450,"content":5451},{},[],{"nodeType":143,"data":5453,"content":5454},{},[5455],{"nodeType":147,"value":5456,"marks":5457,"data":5458},"The democracy about which we are now talking is the democratisation of technology, which has been undermined by industrial capitalism and consumerism. This is why I propose to develop the concept of technodiversity: to imagine a possibility to renew our relationship with technologies and to fragment the noosphere. It is not a proposal to give up modern technologies— though it is imperative that we should abandon the atomic bomb and all kinds of weapons of mass destruction—but rather an attempt to diversify and transform these technologies beyond the shadow of industrial capitalism and consumerism. ",[],{},{"nodeType":143,"data":5460,"content":5461},{},[5462],{"nodeType":147,"value":5463,"marks":5464,"data":5465},"We could rethink the future according to a new vocabulary that includes technodiversity, noodiversity, and biodiversity. Technodiversity and noodiversity correlate, and in turn, they interfere with and maintain the biodiversity of their living environment. The invention of tools in order to adapt to and adopt the environment inevitably leads to the interference of biodiversity. Species without the mediation of technology will take a long time to adapt to changes in the environment. The problem, as E.O. Wilson and many others have pointed out, is that the destruction of the environment has accelerated to the extent that the damage has become irreversible. In other words, biodiversity and noodiversity have come to depend more and more on technodiversity — and without technodiversity, we will not be able to maintain and develop noodiversity and biodiversity. ",[],{},{"nodeType":143,"data":5467,"content":5468},{},[5469],{"nodeType":147,"value":5470,"marks":5471,"data":5472},"This will demand a new structuring of knowledge communities and public institutions. Therefore, the question that we are raising here concerning the future of technology is less about developing this or that machine — which could bring fundamental impact to human life, as we have seen with the invention of the computer — and more about fragmentation or diversification. So, we will have to provide some examples of technodiversity and ways to approach it. ",[],{},{"nodeType":143,"data":5474,"content":5475},{},[5476,5480,5485,5489,5494,5498,5503],{"nodeType":147,"value":5477,"marks":5478,"data":5479},"Joseph Needham, a British biochemist, historian of science, and sinologist, raised the haunting ‘Needham’s question’, which asks why modern science and technology appeared only in Europe, but not in China and India.",[],{},{"nodeType":147,"value":5481,"marks":5482,"data":5484},"8",[5483],{"type":3274},{},{"nodeType":147,"value":5486,"marks":5487,"data":5488}," Like many historians after him, one could, of course, argue that before the 16th century, many scientific discoveries and technological developments in China were more advanced than those in Europe. However, this betrayed what Needham was hinting at: for him, it is not legitimate to compare western science and technology directly with their Chinese counterparts, since they carry rather different ontological and epistemological assumptions. As an example, ontological entities, such as ",[],{},{"nodeType":147,"value":5490,"marks":5491,"data":5493},"qi",[5492],{"type":808},{},{"nodeType":147,"value":5495,"marks":5496,"data":5497}," (vital breath) and ",[],{},{"nodeType":147,"value":5499,"marks":5500,"data":5502},"yin-yang",[5501],{"type":808},{},{"nodeType":147,"value":5504,"marks":5505,"data":5506}," in Chinese medicine, cannot be materially demonstrated in anatomy. Based on his own research in biology, Needham adopted the term ‘organicism’ to describe Chinese medicine and Chinese thought in general. ",[],{},{"nodeType":143,"data":5508,"content":5509},{},[5510],{"nodeType":147,"value":5511,"marks":5512,"data":5513},"Whether one should use the terms ‘organicism’ or ‘holism’ to characterise Chinese thought remains controversial. However, one could at least conclude that Chinese and Western cultures have had different ways of understanding and constructing technology, and this is what I term ‘technodiversity’. I think this might also be the case when we think about Japan, Korea, and India, as well as other non-Western territories. This seems self-evident, as the concept of technodiversity has been much discussed in Latin American countries over the past few years. Moreover, this diversity should not only be found in the past or treated as a subject of historical study; we can, and we need to, think about it today. ",[],{},{"nodeType":143,"data":5515,"content":5516},{},[5517],{"nodeType":147,"value":5518,"marks":5519,"data":5520},"We are surrounded by digital technologies, yet we rarely inquire about diversity beyond market niches. Consequently, we remain blind to the ontological and epistemological assumptions already made in these products. Take the example of social networks: they already presuppose that society is a collection of social atoms and that human relations can be known and studied via data connectivity. Once questioned, these presuppositions appear to be problematic, because they were developed in the 1930s by social psychologists such as Jacob Moreno and Kurt Lewin, and no anthropologist will agree that human society commenced with social atoms. However, this model has been imitated and amplified by almost all social network platforms in many different countries, whether via Facebook, VKontakte, or WeChat. This also shows the limits of innovation that we are talking about today, especially when the idea focuses only on market niches, efficiency, and speed. ",[],{},{"nodeType":143,"data":5522,"content":5523},{},[5524],{"nodeType":147,"value":5525,"marks":5526,"data":5527},"I feel that now, more than ever, we must come back to the question of technodiversity in view of the dilemma of our civilisation. This dilemma has been falsely described as a choice between acceleration and deceleration, growth and degrowth, optimism and pessimism. The quest for and promotion of technodiversity should be one of the core tasks for us today. This is the technological pluralism I would like to propose. I believe it will demand that all of us think collectively about how it could be possible. The year 2050 is not that far away, which also means that we are running out of time. ",[],{},{"nodeType":143,"data":5529,"content":5530},{},[5531,5536,5542],{"nodeType":147,"value":5532,"marks":5533,"data":5535},"8 Joseph Needham, ",[5534],{"type":5067},{},{"nodeType":147,"value":5537,"marks":5538,"data":5541},"The Grand Titration: Science and Society in East and West",[5539,5540],{"type":5067},{"type":808},{},{"nodeType":147,"value":5543,"marks":5544,"data":5546}," (London: Allen and Unwin, 1969). ",[5545],{"type":5067},{},{"metadata":5548,"sys":5551,"fields":5556},{"tags":5549,"concepts":5550},[],[],{"space":5552,"id":5026,"type":212,"createdAt":5027,"updatedAt":5027,"environment":5554,"publishedVersion":91,"revision":216,"locale":31},{"sys":5553},{"type":14,"linkType":15,"id":16},{"sys":5555},{"id":23,"type":14,"linkType":24},{"title":5031,"description":219,"file":5557},{"url":5033,"details":5558,"fileName":5039,"contentType":228},{"size":5035,"image":5559},{"width":5037,"height":5038},{"metadata":5561,"sys":5564,"fields":5574},{"tags":5562,"concepts":5563},[],[],{"space":5565,"id":5567,"type":18,"createdAt":5568,"updatedAt":5569,"environment":5570,"publishedVersion":112,"revision":71,"contentType":5572,"locale":31},{"sys":5566},{"type":14,"linkType":15,"id":16},"3EpqI4KVhM9eWNsQdWlGiG","2024-10-21T09:14:32.192Z","2025-09-15T03:13:27.544Z",{"sys":5571},{"id":23,"type":14,"linkType":24},{"sys":5573},{"type":14,"linkType":29,"id":3170},{"name":5575,"slug":5576,"issue":3174,"title":5577,"author":5578,"locationName":5579,"hero":5580,"sections":5631,"thumbnailImage":6669,"tagLocation":6682},"Guangzhou at Night by Dylan Levi King ","guangzhou-at-night","Guangzhou at Night","Dylan Levi King","Guangzhou",{"metadata":5581,"sys":5584,"fields":5594},{"tags":5582,"concepts":5583},[],[],{"space":5585,"id":5587,"type":18,"createdAt":5588,"updatedAt":5589,"environment":5590,"publishedVersion":25,"revision":1123,"contentType":5592,"locale":31},{"sys":5586},{"type":14,"linkType":15,"id":16},"2CbbZZ5mucQylfw7OwbFDK","2025-03-10T01:51:09.273Z","2025-03-10T08:31:43.846Z",{"sys":5591},{"id":23,"type":14,"linkType":24},{"sys":5593},{"type":14,"linkType":29,"id":3194},{"name":5595,"title":5577,"excerpt":5596,"author":5578,"location":5579,"image":5597,"imageMobile":5618,"imageOption":4082},"Dylan Levi King (Hero)","What it means to write about what it meant to go out.",{"metadata":5598,"sys":5601,"fields":5608},{"tags":5599,"concepts":5600},[],[],{"space":5602,"id":5604,"type":212,"createdAt":5605,"updatedAt":5605,"environment":5606,"publishedVersion":51,"revision":216,"locale":31},{"sys":5603},{"type":14,"linkType":15,"id":16},"4HNl7Exatg5yJ1bQemYiYX","2025-03-10T02:21:32.613Z",{"sys":5607},{"id":23,"type":14,"linkType":24},{"title":5609,"description":5609,"file":5610},"Dance Hall (Metal), 2013, archival inkjet print.",{"url":5611,"details":5612,"fileName":5617,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4HNl7Exatg5yJ1bQemYiYX\u002F57f7c2cc2c870249e08eb67cab13c2f8\u002FChen_Wei_Dance_Hall__metal__2013_150_x_187.5_cm_HR.jpg",{"size":5613,"image":5614},3381004,{"width":5615,"height":5616},3543,2835,"Chen Wei_Dance Hall (metal)_2013_150 x 187.5 cm HR.jpg",{"metadata":5619,"sys":5622,"fields":5627},{"tags":5620,"concepts":5621},[],[],{"space":5623,"id":5604,"type":212,"createdAt":5605,"updatedAt":5605,"environment":5625,"publishedVersion":51,"revision":216,"locale":31},{"sys":5624},{"type":14,"linkType":15,"id":16},{"sys":5626},{"id":23,"type":14,"linkType":24},{"title":5609,"description":5609,"file":5628},{"url":5611,"details":5629,"fileName":5617,"contentType":482},{"size":5613,"image":5630},{"width":5615,"height":5616},[5632],{"metadata":5633,"sys":5636,"fields":5647},{"tags":5634,"concepts":5635},[],[],{"space":5637,"id":5639,"type":18,"createdAt":5640,"updatedAt":5641,"environment":5642,"publishedVersion":3249,"revision":5644,"contentType":5645,"locale":31},{"sys":5638},{"type":14,"linkType":15,"id":16},"1NmuhF2qxLw3fGMQ8yX56E","2025-03-10T01:56:39.931Z","2025-03-10T09:54:58.197Z",{"sys":5643},{"id":23,"type":14,"linkType":24},15,{"sys":5646},{"type":14,"linkType":29,"id":3252},{"title":5648,"text":5649},"Guangzhou at Night (text)",{"nodeType":139,"data":5650,"content":5651},{},[5652,5658,5664,5689,5696,5704,5720,5727,5743,5762,5781,5793,5800,5807,5841,5849,5865,5873,5880,5888,5895,5903,5918,5925,5936,5959,5977,5999,6018,6024,6032,6039,6046,6061,6072,6079,6095,6102,6109,6115,6123,6134,6163,6170,6177,6184,6206,6224,6230,6238,6245,6252,6259,6266,6273,6280,6286,6294,6301,6308,6315,6337,6355,6361,6369,6376,6383,6390,6397,6412,6419,6426,6433,6439,6447,6454,6461,6467,6475,6482,6504,6522,6544,6562,6568,6576,6583,6589,6597,6604,6610,6618,6648,6655,6662],{"nodeType":143,"data":5653,"content":5654},{},[5655],{"nodeType":147,"value":219,"marks":5656,"data":5657},[],{},{"nodeType":143,"data":5659,"content":5660},{},[5661],{"nodeType":147,"value":219,"marks":5662,"data":5663},[],{},{"nodeType":3282,"data":5665,"content":5666},{},[5667,5671,5676,5680,5685],{"nodeType":147,"value":5668,"marks":5669,"data":5670},"Cover photo: ",[],{},{"nodeType":147,"value":5672,"marks":5673,"data":5675},"Chen Wei",[5674],{"type":290},{},{"nodeType":147,"value":5677,"marks":5678,"data":5679},", ",[],{},{"nodeType":147,"value":5681,"marks":5682,"data":5684},"Dance Hall (Metal)",[5683],{"type":808},{},{"nodeType":147,"value":5686,"marks":5687,"data":5688},", 2013. Image courtesy of artist and Blindspot Gallery.",[],{},{"nodeType":143,"data":5690,"content":5691},{},[5692],{"nodeType":147,"value":5693,"marks":5694,"data":5695},"Photographs by Chen Wei. Courtesy the artist and Blindspot, Hong Kong.",[],{},{"nodeType":5697,"data":5698,"content":5699},"heading-3",{},[5700],{"nodeType":147,"value":5701,"marks":5702,"data":5703},"I shall purloin no valuables, appropriate no ingenious formulations. But the rags, the refuse – these I will not inventory but allow, in the only way possible, to come into their own: by making use of them. ",[],{},{"nodeType":143,"data":5705,"content":5706},{},[5707,5711,5716],{"nodeType":147,"value":5708,"marks":5709,"data":5710},"– Walter Benjamin, ",[],{},{"nodeType":147,"value":5712,"marks":5713,"data":5715},"The Arcades Project",[5714],{"type":808},{},{"nodeType":147,"value":3269,"marks":5717,"data":5719},[5718],{"type":3274},{},{"nodeType":5697,"data":5721,"content":5722},{},[5723],{"nodeType":147,"value":5724,"marks":5725,"data":5726},"When in the depth of memory, some image of the past offers itself confusedly to the consciousness, there still remains a task to be accomplished . . . This task bears a name. It is called localisation.",[],{},{"nodeType":143,"data":5728,"content":5729},{},[5730,5734,5739],{"nodeType":147,"value":5731,"marks":5732,"data":5733},"– Georges Poulet, ",[],{},{"nodeType":147,"value":5735,"marks":5736,"data":5738},"Proustian Space",[5737],{"type":808},{},{"nodeType":147,"value":3577,"marks":5740,"data":5742},[5741],{"type":3274},{},{"nodeType":3282,"data":5744,"content":5745},{},[5746,5750,5754,5758],{"nodeType":147,"value":3286,"marks":5747,"data":5749},[5748],{"type":3274},{},{"nodeType":147,"value":5751,"marks":5752,"data":5753},"Walter Benjamin, ",[],{},{"nodeType":147,"value":5712,"marks":5755,"data":5757},[5756],{"type":808},{},{"nodeType":147,"value":5759,"marks":5760,"data":5761},", trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Belknap, 1999), p. 460.",[],{},{"nodeType":3282,"data":5763,"content":5764},{},[5765,5769,5773,5777],{"nodeType":147,"value":3585,"marks":5766,"data":5768},[5767],{"type":3274},{},{"nodeType":147,"value":5770,"marks":5771,"data":5772},"Georges Poulet, ",[],{},{"nodeType":147,"value":5735,"marks":5774,"data":5776},[5775],{"type":808},{},{"nodeType":147,"value":5778,"marks":5779,"data":5780},", trans. Elliott Coleman (London: Johns Hopkins University Press, 1977), p. 16.",[],{},{"nodeType":143,"data":5782,"content":5783},{},[5784,5788],{"nodeType":147,"value":5785,"marks":5786,"data":5787},"\n",[],{},{"nodeType":147,"value":5789,"marks":5790,"data":5792},"FIRST NOTE ON METHODS",[5791],{"type":290},{},{"nodeType":143,"data":5794,"content":5795},{},[5796],{"nodeType":147,"value":5797,"marks":5798,"data":5799},"There is nothing I would like to write about more than Guangzhou at night. But the city changes quickly. Some of the places I knew are gone, and some have been transformed, and some may never have existed; the places that I found to replace them, or to which I drifted, may, since I last saw them, have changed beyond recognition. ",[],{},{"nodeType":143,"data":5801,"content":5802},{},[5803],{"nodeType":147,"value":5804,"marks":5805,"data":5806},"To understand the process of creation and destruction and creation, we are usually forced to rely on the explanations of planners, economists, and developers, or, only slightly better, the critical interpretation of their statements by academics and journalists. The texts produced by these bureaucracies – municipal, corporate, or academic – will outlast the physical evidence of great changes. Modern cities don’t leave ruins. It seems impossible to defy official accounts when they overwhelm popular memory. It is tempting to be coerced – to line up one’s own conception of the city with those ready-made by someone else. This piece of writing about Guangzhou nightlife is a pathetic attempt to resist.",[],{},{"nodeType":143,"data":5808,"content":5809},{},[5810,5814,5819,5823,5828,5832,5837],{"nodeType":147,"value":5811,"marks":5812,"data":5813},"I am not sure how to do it, except to lift from Walter Benjamin his method – making use of the rags, like Baudelaire’s ",[],{},{"nodeType":147,"value":5815,"marks":5816,"data":5818},"chiffonniers ",[5817],{"type":808},{},{"nodeType":147,"value":5820,"marks":5821,"data":5822},"– to remember Paris before Baron Haussmann wrecked the arcades. These scraps to be recycled are ephemeral, unreliable, and composed of memories. I will not be as thorough as Benjamin, nor Baudelaire’s trash pickers. I could not even aspire to the methodical diligence of the recycling men that I watched many afternoons from the shade of the dark ravine between the Yangcheng Center’s two towers. They could reassemble the city from cardboard, newspaper, shredded paper, discarded clothes, wrecked plastic tools, cooking oil, and empty liquor bottles; I can only hope to construct a “beautiful ash heap” – as ",[],{},{"nodeType":147,"value":5824,"marks":5825,"data":5827},"j",[5826],{"type":808},{},{"nodeType":147,"value":5829,"marks":5830,"data":5831},"ǐ ",[],{},{"nodeType":147,"value":5833,"marks":5834,"data":5836},"nhuīduī ",[5835],{"type":808},{},{"nodeType":147,"value":5838,"marks":5839,"data":5840},"锦灰堆, the Qing-era sketches of personal and commercial refuse, is usually translated – that halfway resembles a few moments, a few places in a vast metropolis.",[],{},{"nodeType":143,"data":5842,"content":5843},{},[5844],{"nodeType":147,"value":5845,"marks":5846,"data":5848},"SECOND NOTE ON METHODS",[5847],{"type":290},{},{"nodeType":143,"data":5850,"content":5851},{},[5852,5856,5861],{"nodeType":147,"value":5853,"marks":5854,"data":5855},"The elementary particles of memory can be reconfigured infinitely. I might recollect a particular afternoon many years ago that logic and a glance at a map would determine to be irreplicable. I might tell you that Dan and I, on our way to take in the sleazy elegance of a Haizhu spa, got ",[],{},{"nodeType":147,"value":5857,"marks":5858,"data":5860},"sujuk ",[5859],{"type":808},{},{"nodeType":147,"value":5862,"marks":5863,"data":5864},"sandwiches from Chicken Express and ate them while teasing the dope dealers on Xiaobei Lu. That is fine. There are symphonies – the buzz of cicadas, car horns, the rush of wind across ears on a motorbike in Panyu, the patter of the girls in pink headscarves hustling phone cards on the overpass by the Garden Hotel, propane tanks being rolled across asphalt – that could never have been played simultaneously, that must be laid down together in my hippocampus. And in the end, whether it really took place in front of that dive by the Westin, or if the offering was, in fact, a piece of roasted duck, it seems right that my version of the story has a man feeding a pork cutlet sandwich from Queen’s Bakery to the busker who came each evening and stood on his head while playing guitar in front of the Grandview Mall.",[],{},{"nodeType":143,"data":5866,"content":5867},{},[5868],{"nodeType":147,"value":5869,"marks":5870,"data":5872},"THIRD NOTE ON METHODS",[5871],{"type":290},{},{"nodeType":143,"data":5874,"content":5875},{},[5876],{"nodeType":147,"value":5877,"marks":5878,"data":5879},"I will not flag any of the reminiscences below with dates. Some are from many years ago; some are from this year. It is important to note that they represent different approaches to the city’s nightlife. I would like to take the pandemic as the dividing line – the past is the decade before the pandemic, and the present is what has come after – but I am not sure lockdowns and quarantines are as important as the social and economic shifts brought about by technological changes. So, I will start in what I call the past and move forward to what I call the present.",[],{},{"nodeType":143,"data":5881,"content":5882},{},[5883],{"nodeType":147,"value":5884,"marks":5885,"data":5887},"IN HAIZHU, A MORNING AFTER",[5886],{"type":290},{},{"nodeType":143,"data":5889,"content":5890},{},[5891],{"nodeType":147,"value":5892,"marks":5893,"data":5894},"Whatever led us there, I am sure of this memory: we were directed to the expansive gallery to which everyone is dispatched after their baths. We joined the dozens of other souls unwilling or unable to go home. We lay in recliners, wearing paper-thin rented pyjamas, smoking cigarettes. We tuned the TVs mounted above us to a channel playing Tyson vs. Tucker, 1987. My ears were still ringing. I had sobered up in the baths. I was hung over by dawn. We went out, then, into the busy streets of the city. I can tell you that there is no shame like that felt when, after staying up all night, you are suddenly flushed out into a city full of good citizens beginning their day.",[],{},{"nodeType":143,"data":5896,"content":5897},{},[5898],{"nodeType":147,"value":5899,"marks":5900,"data":5902},"WINDOW ON THE WORLD",[5901],{"type":290},{},{"nodeType":143,"data":5904,"content":5905},{},[5906,5910,5914],{"nodeType":147,"value":5907,"marks":5908,"data":5909},"It is important to acknowledge biases. I approached Guangzhou in a particular way. I must admit that, to me, nightclubbing was never a liberatory experience. I believe it is the opposite. I mean that I believe in the distinctly Chinese approach to nightlife, which is to treat it as an activity for a brigade (arrive in a group, buy as a group, celebrate as a group, intimidate as a group), as a place to act out relatively ancient social rituals: as a ‘theme park of traditional gender roles’,",[],{},{"nodeType":147,"value":3796,"marks":5911,"data":5913},[5912],{"type":3274},{},{"nodeType":147,"value":5915,"marks":5916,"data":5917}," as a cover for prostitution, and as a venue for flaunting wealth. ",[],{},{"nodeType":143,"data":5919,"content":5920},{},[5921],{"nodeType":147,"value":5922,"marks":5923,"data":5924},"I was most satisfied at the rundown discotheques of Panyu, way out in the suburbs. My fondest nightlife memories were made in places like Dalian’s L■■ L■■ Ballroom, where working-class men, most of them itinerant construction laborers, paid ten yuan for three dances with one of the women on patrol in the main room. I wish I remembered more of those nights in Datong with N■■■■■■■, where it was so cold in the winter that the watermelon in the fruit plate that came with our Chivas started to freeze. And I would rather write an essay about T■■■■■ Pub, in a basement north of the intersection of Jiefang Lu and Huaihai Lu in Xuzhou, whose patrons seemed never to leave (their lifestyles tolerated, or maybe required, heroic ingestion of ketamine, as well as nightly attendance at wretched dive bars). However, here, I will continue to write about places to which cosmopolitan youngsters flock. That is a more marketable option, first of all, and second, it would be irresponsible to write about Guangzhou nightlife without acknowledging the centrality of that scene. The Panyu dive is not irrelevant, but it is not, after all, peculiar to Guangzhou.",[],{},{"nodeType":3282,"data":5926,"content":5927},{},[5928,5932],{"nodeType":147,"value":3796,"marks":5929,"data":5931},[5930],{"type":3274},{},{"nodeType":147,"value":5933,"marks":5934,"data":5935}," I am lifting here a description by Miura Atsushi of Japanese nightclubs – and cabaret clubs in particular – since I think it applies in the Chinese context, too. See W. David Marx, ‘Kyabajo Japan’, Neojapanisme, 11 August 2009, http:\u002F\u002Fneojaponisme.com\u002F2009\u002F08\u002F11\u002Fkyabajo-japan\u002FMiura Atsushi.",[],{},{"nodeType":3471,"data":5937,"content":5958},{"target":5938},{"metadata":5939,"sys":5942,"fields":5949},{"tags":5940,"concepts":5941},[],[],{"space":5943,"id":5945,"type":212,"createdAt":5946,"updatedAt":5946,"environment":5947,"publishedVersion":51,"revision":216,"locale":31},{"sys":5944},{"type":14,"linkType":15,"id":16},"5O1mIFRMm8RwopqPRSRUCn","2025-03-10T02:18:54.645Z",{"sys":5948},{"id":23,"type":14,"linkType":24},{"title":5950,"description":5950,"file":5951},"Entrance, 2013, archival inkjet print.",{"url":5952,"details":5953,"fileName":5957,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5O1mIFRMm8RwopqPRSRUCn\u002F1c423b068cc7e7cd457d9631db34f117\u002FChen_Wei_Entrance_2013_150_x_187.5_cm_HR.jpg",{"size":5954,"image":5955},3422063,{"width":5615,"height":5956},2834,"Chen Wei_Entrance_2013_150 x 187.5 cm HR.jpg",[],{"nodeType":3282,"data":5960,"content":5961},{},[5962,5966,5969,5974],{"nodeType":147,"value":5672,"marks":5963,"data":5965},[5964],{"type":290},{},{"nodeType":147,"value":5677,"marks":5967,"data":5968},[],{},{"nodeType":147,"value":5970,"marks":5971,"data":5973},"Entrance",[5972],{"type":808},{},{"nodeType":147,"value":5686,"marks":5975,"data":5976},[],{},{"nodeType":3471,"data":5978,"content":5998},{"target":5979},{"metadata":5980,"sys":5983,"fields":5990},{"tags":5981,"concepts":5982},[],[],{"space":5984,"id":5986,"type":212,"createdAt":5987,"updatedAt":5987,"environment":5988,"publishedVersion":51,"revision":216,"locale":31},{"sys":5985},{"type":14,"linkType":15,"id":16},"7C9nJQXl5IAgw6hFYuWa4s","2025-03-10T01:50:36.121Z",{"sys":5989},{"id":23,"type":14,"linkType":24},{"title":5991,"description":5991,"file":5992},"Chen Wei Colorful Wall",{"url":5993,"details":5994,"fileName":5997,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7C9nJQXl5IAgw6hFYuWa4s\u002F59025557d658aceed36f03b8953adca8\u002FChen_Wei_Colorful_Wall_2015_120_x_150_cm_HR.jpg",{"size":5995,"image":5996},3132320,{"width":5615,"height":5956},"Chen Wei_Colorful Wall_2015_120 x 150 cm HR.jpg",[],{"nodeType":3282,"data":6000,"content":6001},{},[6002,6006,6009,6014],{"nodeType":147,"value":5672,"marks":6003,"data":6005},[6004],{"type":290},{},{"nodeType":147,"value":5677,"marks":6007,"data":6008},[],{},{"nodeType":147,"value":6010,"marks":6011,"data":6013},"Colourful Wall",[6012],{"type":808},{},{"nodeType":147,"value":6015,"marks":6016,"data":6017},", 2015. Image courtesy of artist and Blindspot Gallery.",[],{},{"nodeType":143,"data":6019,"content":6020},{},[6021],{"nodeType":147,"value":219,"marks":6022,"data":6023},[],{},{"nodeType":143,"data":6025,"content":6026},{},[6027],{"nodeType":147,"value":6028,"marks":6029,"data":6031},"A NIGHT BEFORE (INTENDED AS A SURVEY OF NIGHTLIFE OPTIONS AT ONE TIME, A SURVEY OF NIGHTLIFE RESIDENTS AT ONE TIME)",[6030],{"type":290},{},{"nodeType":143,"data":6033,"content":6034},{},[6035],{"nodeType":147,"value":6036,"marks":6037,"data":6038},"I slept all day. I took a shower. I turned on my phone.",[],{},{"nodeType":143,"data":6040,"content":6041},{},[6042],{"nodeType":147,"value":6043,"marks":6044,"data":6045},"S■■■ sent out an SMS blast. He was playing a show in a dingy livehouse in the basement of a hotel in Tianhe. He was celebrating his engagement. We should have gone to support him. We could have learned from him. He was one of those good citizens of Guangzhou, after all. The son of a Syrian entrepreneur who began visiting the trade fairs in the 1980s, he represented the global citizen that the Pearl River Delta needed – a savvy, multilingual broker of trade deals that sent containers from factory towns to underserved global capitals, who, with his jazz band, contributed in a spiritually healthy way to the city’s cultural mosaic. He supported the local real estate market, too: he was set to move his Lebanese-Mexican bride into an apartment built on the ruins of an urban village.",[],{},{"nodeType":143,"data":6047,"content":6048},{},[6049,6053,6057],{"nodeType":147,"value":6050,"marks":6051,"data":6052},"Instead, we went to see Abby at L■■■■■■.",[],{},{"nodeType":147,"value":3884,"marks":6054,"data":6056},[6055],{"type":3274},{},{"nodeType":147,"value":6058,"marks":6059,"data":6060}," Unlike S■■■, she was not a model citizen. She was another American student, who – finding in those years most of the world hostile, culturally moribund, or too expensive – had settled on China as the place to run through her Lost Generation fantasy. She was sleeping with a sculptor – Hu X■■■■■ – who worked out of a studio that ran up to the bar on the second floor of L■■■■■■. Although he would someday become a model citizen, helping turn L■■■■■■ from a place that housed deadbeats into a destination for cultural speculators, and no longer sleeping with American students, he was not yet one.",[],{},{"nodeType":3282,"data":6062,"content":6063},{},[6064,6068],{"nodeType":147,"value":3884,"marks":6065,"data":6067},[6066],{"type":3274},{},{"nodeType":147,"value":6069,"marks":6070,"data":6071}," I think it would be wise to redact the name of this place, a combination artist’s colony–student tavern that is still operating. The current patrons and residents don’t need their reputations blackened by the misbehaviour of people they don’t even know. I would have taken the same approach with some of the people who appear in this piece. I expect some of them would prefer anonymity. Sometimes, I have even redacted names that I have changed. Take this as thoroughness.",[],{},{"nodeType":143,"data":6073,"content":6074},{},[6075],{"nodeType":147,"value":6076,"marks":6077,"data":6078},"I know it wasn’t Abby who first brought us to L■■■■■■ first. I might have gone there to look for Liz, an androgynous teenaged model whom I might have met at T-union, a livehouse that brought in underground diehards and strivers for mainstream success. I spent two nights with her. There is a picture of the two of us on that second night, on the road out of Party Pier, drinking a bottle of gin that she lifted from behind the bar of the last open club that we could find. I was obsessed with her. A friend told me that she might hang out at L■■■■■■. I never saw Liz there. I never saw Liz again. But I liked that the music was usually quiet enough to talk over. I liked talking to artists.",[],{},{"nodeType":143,"data":6080,"content":6081},{},[6082,6086,6091],{"nodeType":147,"value":6083,"marks":6084,"data":6085},"On the wall of the bar that night, the staff – a rotating team of residents earning reduced rent – was projecting Emir Kusturica’s ",[],{},{"nodeType":147,"value":6087,"marks":6088,"data":6090},"Black Cat, White Cat ",[6089],{"type":808},{},{"nodeType":147,"value":6092,"marks":6093,"data":6094},"(1998). The music was a Eurobeat mix on the bartender’s iPod. Abby took us out to a balcony where her boyfriend produced a joint. We smoked it and stared into the bathtub that one of the artists had dragged out there. It reminded me of the first scent of Guangzhou, coming in on the train from Shaoguan, of air perfumed with moist flowers and stagnant ponds. Abby stayed behind to watch Eastern European films, drink imported beer, and argue about human rights, and Hu X■■■■■ took us to K■■■.",[],{},{"nodeType":143,"data":6096,"content":6097},{},[6098],{"nodeType":147,"value":6099,"marks":6100,"data":6101},"He was paying. He needed foreign friends to get him in the door. While the doormen would not have turned him away, he found it uncomfortable to be the only Chinese patron, and to be assumed to be either a cop or an informant. He might have found it difficult to put into words his more complicated need to get inside. He was a hedonistic cosmopolitan of the sort that Guangzhou sheltered. He liked shaking his head to the stomping Eurobeat mixes of Arabic ballads and filmi songs. He liked the overpowering aroma of Sauvage and oud, menthol cigarettes, and body odour. And he especially liked watching the Russian and Uzbek women who patrolled the bar, even if they would never go home with him. The working girls were worried, too, that he was a cop.",[],{},{"nodeType":143,"data":6103,"content":6104},{},[6105],{"nodeType":147,"value":6106,"marks":6107,"data":6108},"When his money ran out, he went home. Dan and I walked to a Lebanese restaurant whose lights were turned off and drank beer until early in the morning.",[],{},{"nodeType":143,"data":6110,"content":6111},{},[6112],{"nodeType":147,"value":219,"marks":6113,"data":6114},[],{},{"nodeType":143,"data":6116,"content":6117},{},[6118],{"nodeType":147,"value":6119,"marks":6120,"data":6122},"THEME PARKS AND THE UNPLANNED",[6121],{"type":290},{},{"nodeType":143,"data":6124,"content":6125},{},[6126,6130],{"nodeType":147,"value":6127,"marks":6128,"data":6129},"I must acknowledge that I am not writing about prehistory. There are no true, authentic public spaces left. There are only theme parks. There is only sneaking a cigarette on the dark side of the Tilt-A-Whirl. Even the ageographical city might have a few unique landmarks.",[],{},{"nodeType":147,"value":5302,"marks":6131,"data":6133},[6132],{"type":3274},{},{"nodeType":3282,"data":6135,"content":6136},{},[6137,6142,6146,6151,6155,6159],{"nodeType":147,"value":6138,"marks":6139,"data":6141},"5 ",[6140],{"type":3274},{},{"nodeType":147,"value":6143,"marks":6144,"data":6145},"The ‘ageographical city’ as described by Michael Sorkin in the introduction to ",[],{},{"nodeType":147,"value":6147,"marks":6148,"data":6150},"Variations on a Theme Park: The New American City and the End of Public Space ",[6149],{"type":808},{},{"nodeType":147,"value":6152,"marks":6153,"data":6154},"(‘clumps of skyscrapers rising from well-wired fields next to the Interstate . . . huge shopping malls, anchored by swarms of cars . . . uniform “historic” gentrifications and festive markets . . . endless new suburbs’) is slightly out of date, but the idea still works, especially in contemporary South China. Michael Sorkin, ",[],{},{"nodeType":147,"value":6147,"marks":6156,"data":6158},[6157],{"type":808},{},{"nodeType":147,"value":6160,"marks":6161,"data":6162},"(New York: Hill and Wang, 1992), xi.",[],{},{"nodeType":143,"data":6164,"content":6165},{},[6166],{"nodeType":147,"value":6167,"marks":6168,"data":6169},"With that in mind, it would help to put the practices and places of the nightlife into two categories. I am not sure what to call them, except the planned and the unplanned. The latter includes externalities not officially planned for, like a bathtub, abandoned on a balcony, whose only remaining utility – accidentally, unintentionally – is to evoke for a stoned writer the scent of coastal plains; this is the category that includes the dangerous sort of cosmopolitanism to which Hu X■■■■■ fell prey, which meant funding Central Asian sex workers and consorting with European artists and chattering on midnight walks with American slackers. ",[],{},{"nodeType":143,"data":6171,"content":6172},{},[6173],{"nodeType":147,"value":6174,"marks":6175,"data":6176},"The former category are things detailed in the plans drawn up by bureaucrats at all levels – to turn the Pearl River Delta into a window on the world, to create a reserve army of labour, to draw from around the nation those whose fingers and minds were nimble enough for a new kind of manufacturing, and, much later, to reorient the axis of the city, to reform the administration of urban land use, to bring in artists to replace the cultural resources lost from the demolition of formerly peripheral villages, to develop the tertiary sector by turning ruined factories into restaurants and galleries. The unplanned creates the necessary romance and energy for the planned to proceed. The unplanned is harder to apprehend. Most participants do not read through the bureaucracy’s multiyear plans, nor would they be invited to analyse the prospectuses and pamphlets of developers. ",[],{},{"nodeType":143,"data":6178,"content":6179},{},[6180],{"nodeType":147,"value":6181,"marks":6182,"data":6183},"Nightlife will not always be incorporated into the theme park. The themed city exists as much online as off. I will arrive there in a moment.",[],{},{"nodeType":3471,"data":6185,"content":6205},{"target":6186},{"metadata":6187,"sys":6190,"fields":6197},{"tags":6188,"concepts":6189},[],[],{"space":6191,"id":6193,"type":212,"createdAt":6194,"updatedAt":6194,"environment":6195,"publishedVersion":71,"revision":216,"locale":31},{"sys":6192},{"type":14,"linkType":15,"id":16},"46UmEGHTdPYKxTemc3e6c","2025-03-10T08:19:57.319Z",{"sys":6196},{"id":23,"type":14,"linkType":24},{"title":6198,"description":6198,"file":6199},"Night Paris, 2015, archival inkjet print.",{"url":6200,"details":6201,"fileName":6204,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F46UmEGHTdPYKxTemc3e6c\u002F4fb3939daff873dc573f8fc72211ab3d\u002FChen_Wei_Night_Paris_2015_150_x_187.5_cm_HR.jpg",{"size":6202,"image":6203},3304505,{"width":5615,"height":5616},"Chen Wei_Night Paris_2015_150 x 187.5 cm HR.jpg",[],{"nodeType":3282,"data":6207,"content":6208},{},[6209,6213,6216,6221],{"nodeType":147,"value":5672,"marks":6210,"data":6212},[6211],{"type":290},{},{"nodeType":147,"value":5677,"marks":6214,"data":6215},[],{},{"nodeType":147,"value":6217,"marks":6218,"data":6220},"Night Paris",[6219],{"type":808},{},{"nodeType":147,"value":6015,"marks":6222,"data":6223},[],{},{"nodeType":143,"data":6225,"content":6226},{},[6227],{"nodeType":147,"value":219,"marks":6228,"data":6229},[],{},{"nodeType":143,"data":6231,"content":6232},{},[6233],{"nodeType":147,"value":6234,"marks":6235,"data":6237},"LOVE IS AN EXTERNALITY",[6236],{"type":290},{},{"nodeType":143,"data":6239,"content":6240},{},[6241],{"nodeType":147,"value":6242,"marks":6243,"data":6244},"Read one more happy story first.",[],{},{"nodeType":143,"data":6246,"content":6247},{},[6248],{"nodeType":147,"value":6249,"marks":6250,"data":6251},"There is so much solipsism in this. That is the problem with this method. Is there any sense in telling you about W■■■■? I hope she can stand-in for the young people of the city.",[],{},{"nodeType":143,"data":6253,"content":6254},{},[6255],{"nodeType":147,"value":6256,"marks":6257,"data":6258},"I met her at an Irish bar in Zhujiang. We walked one night across Liede Bridge as the sun came up, so we could catch the first trains out of Chigang Pagoda. The last time I’d seen her was by chance. I was walking out of the Lujiang metro station. ",[],{},{"nodeType":143,"data":6260,"content":6261},{},[6262],{"nodeType":147,"value":6263,"marks":6264,"data":6265},"She told me to come visit her in Sanyuanli. She had a rented room above a clothing wholesaler. She was studying design. She had an allowance. She only pretended to need to live in a slum. After a while, she invited me to her parents’ apartment in Xiguan. Her father wanted to serve us dinner. He was progressive. The apartment was small. I got the sense that it could not be sold, even if her parents wanted to sell it. They were not willing to leave Xiguan. In the entryway, I saw layers of pasted-up protest fliers, arguing for and against particular modes of collaboration with the developers and the bureaucracy. The address meant something.",[],{},{"nodeType":143,"data":6267,"content":6268},{},[6269],{"nodeType":147,"value":6270,"marks":6271,"data":6272},"Her room had been given away to her sister, who had only recently come in from the village. W■■■■ was pale and plump; her sister was dark and skinny. W■■■■ was registered as an urban resident; her sister’s status was explained only in euphemisms. I understood very little. The family spoke Cantonese. I did not want to know more about W■■■■. I stopped taking her calls. I pretended I had been sick. She lured me to Liwan Park and served me an elixir of pear and honey from a thermos.",[],{},{"nodeType":143,"data":6274,"content":6275},{},[6276],{"nodeType":147,"value":6277,"marks":6278,"data":6279},"I went back to ignoring her calls and text messages. I saw her again at that dive near the Westin. She was celebrating her birthday. I was already drunk. She called me to sit beside her. The music was making me sick. She pulled me to dance. In a bathroom stall, she asked me, ‘Does this mean you’re my boyfriend?’ The next day, I felt guilty, but I found out that she had decided to ignore my messages.",[],{},{"nodeType":143,"data":6281,"content":6282},{},[6283],{"nodeType":147,"value":219,"marks":6284,"data":6285},[],{},{"nodeType":143,"data":6287,"content":6288},{},[6289],{"nodeType":147,"value":6290,"marks":6291,"data":6293},"DEATH IS AN EXTERNALITY",[6292],{"type":290},{},{"nodeType":143,"data":6295,"content":6296},{},[6297],{"nodeType":147,"value":6298,"marks":6299,"data":6300},"But there are already too many happy stories. The story of my friend N■■■■■■■ won’t be one of them.",[],{},{"nodeType":143,"data":6302,"content":6303},{},[6304],{"nodeType":147,"value":6305,"marks":6306,"data":6307},"It was through him that I experienced another side of the Guangzhou nightlife. I was not in the city anymore. I experienced Guangzhou as you are experiencing it now, through the solipsistic, unreliable account of a participant. He sent me text messages and emails. We had once shared so much, including a cell in a detention facility, where we spent hours entertaining each other with stories of our adolescence, that there were no barriers between us. He freely confessed to me his addiction to methamphetamine. He had stories about clubs, but more often of private parties held by hosts who wanted to avoid prying eyes. He slept most nights in the beds of men who were strangers to him. For a time, he stopped drinking only on Friday mornings, when he prepared for prayers at the mosque.",[],{},{"nodeType":143,"data":6309,"content":6310},{},[6311],{"nodeType":147,"value":6312,"marks":6313,"data":6314},"Even with his name redacted, I can’t bear to tell the rest of his story. Even if the city has become a theme park, with perfect surveillance, it can still tolerate a dangerous amount of bad behaviour.",[],{},{"nodeType":3471,"data":6316,"content":6336},{"target":6317},{"metadata":6318,"sys":6321,"fields":6328},{"tags":6319,"concepts":6320},[],[],{"space":6322,"id":6324,"type":212,"createdAt":6325,"updatedAt":6325,"environment":6326,"publishedVersion":51,"revision":216,"locale":31},{"sys":6323},{"type":14,"linkType":15,"id":16},"72KZpHENkj1UaPKX39zYEk","2025-03-10T08:23:53.167Z",{"sys":6327},{"id":23,"type":14,"linkType":24},{"title":6329,"description":6329,"file":6330},"Dance Hall (Blueness), 2013, archival inkjet print.",{"url":6331,"details":6332,"fileName":6335,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F72KZpHENkj1UaPKX39zYEk\u002F994598b971fce459e9ce4f19d680f48c\u002FChen_Wei_Dance_Hall__Blueness__2013_150_x_187.5_cm_HR.jpg",{"size":6333,"image":6334},5392028,{"width":5615,"height":5956},"Chen Wei_Dance Hall (Blueness)_2013_150 x 187.5 cm HR.jpg",[],{"nodeType":3282,"data":6338,"content":6339},{},[6340,6344,6347,6352],{"nodeType":147,"value":5672,"marks":6341,"data":6343},[6342],{"type":290},{},{"nodeType":147,"value":5677,"marks":6345,"data":6346},[],{},{"nodeType":147,"value":6348,"marks":6349,"data":6351},"Dance Hall (Blueness)",[6350],{"type":808},{},{"nodeType":147,"value":5686,"marks":6353,"data":6354},[],{},{"nodeType":143,"data":6356,"content":6357},{},[6358],{"nodeType":147,"value":219,"marks":6359,"data":6360},[],{},{"nodeType":143,"data":6362,"content":6363},{},[6364],{"nodeType":147,"value":6365,"marks":6366,"data":6368},"FIRST INTERRUPTION FROM THE PRESENT",[6367],{"type":290},{},{"nodeType":143,"data":6370,"content":6371},{},[6372],{"nodeType":147,"value":6373,"marks":6374,"data":6375},"I got lost exiting Dongshankou Station. Since I navigated Guangzhou most often at night, my mental maps of the city were never reliable. On the surface, not much had changed. Familiar things appeared. I sent a message to M■■■■■■■ to meet me at the KFC across from the library. She told me how to recognize her.",[],{},{"nodeType":143,"data":6377,"content":6378},{},[6379],{"nodeType":147,"value":6380,"marks":6381,"data":6382},"I barely knew M■■■■■■■. She had been, at one time, a friend of N■■■■■■■’s. That was our connection. She met him under a neon tunnel at Party Pier. I was already back in Vancouver. M■■■■■■■ was there on the worst days after N■■■■■■■ arrived from Datong, via Hong Kong, after his brother found out about his habit and tossed him out. He asked her for money. He was charming, so she gave it to him, taking him at his word that he wouldn’t spend it on ice. She sent me a text message from his phone when it seemed like he wasn’t going to make it. ",[],{},{"nodeType":143,"data":6384,"content":6385},{},[6386],{"nodeType":147,"value":6387,"marks":6388,"data":6389},"When I needed to go back, everyone I knew in Guangzhou had moved away. I sent a message to M■■■■■■■.",[],{},{"nodeType":143,"data":6391,"content":6392},{},[6393],{"nodeType":147,"value":6394,"marks":6395,"data":6396},"She no longer matched N■■■■■■■’s description of a mousy music student. She wore a pale pink minidress, a dose of Gabrielle, and white combat boots with gold zippers. She talked about the business she ran with her husband. When it was late enough, she led me to a club named A■■■■■. That was my idea. I had read about it on Douban. I wanted her to show me what I might have missed. I was sure something must have changed.",[],{},{"nodeType":143,"data":6398,"content":6399},{},[6400,6404,6409],{"nodeType":147,"value":6401,"marks":6402,"data":6403},"It was bright enough in the main room to snap pictures. Everyone waved phones. That was new. M■■■■■■■ and I observed the scene. She was young enough to fit in. I wondered if I could spin anything out of the fact that young people seemed to have forgotten how to dance. There were few that did anything but sway. I wondered if the omnipresent click of phone cameras had made everyone self-conscious. I wondered if it had anything to do with the fact that young adults reportedly no longer indulged in as much casual sex as a generation before. I wondered if it was attributable to a change in the consumption of illicit drugs. I wondered if everyone was too healthy to drink enough. I decided it was only because the DJ at A■■■■■ was playing spacey breaks that built to nothing. The bathrooms reeked of vomit. The stench was only barely tempered by the disinfectant laid down by the middleaged, uniformed attendant. Having given up my tenuous theory on the decline of dancing, I considered the marketability of an oral history of the nightclub ",[],{},{"nodeType":147,"value":6405,"marks":6406,"data":6408},"ayi",[6407],{"type":808},{},{"nodeType":147,"value":822,"marks":6410,"data":6411},[],{},{"nodeType":143,"data":6413,"content":6414},{},[6415],{"nodeType":147,"value":6416,"marks":6417,"data":6418},"M■■■■■■■ texted me to say that she was outside. It was too loud for her. She wanted to take me to a cocktail bar around the corner.",[],{},{"nodeType":143,"data":6420,"content":6421},{},[6422],{"nodeType":147,"value":6423,"marks":6424,"data":6425},"With her iPhone, she snapped a picture of the crystalised lavender on the foam of her cocktail. ",[],{},{"nodeType":143,"data":6427,"content":6428},{},[6429],{"nodeType":147,"value":6430,"marks":6431,"data":6432},"I returned to my hotel long before dawn.",[],{},{"nodeType":143,"data":6434,"content":6435},{},[6436],{"nodeType":147,"value":219,"marks":6437,"data":6438},[],{},{"nodeType":143,"data":6440,"content":6441},{},[6442],{"nodeType":147,"value":6443,"marks":6444,"data":6446},"SECOND INTERRUPTION FROM THE PRESENT",[6445],{"type":290},{},{"nodeType":143,"data":6448,"content":6449},{},[6450],{"nodeType":147,"value":6451,"marks":6452,"data":6453},"In my notes from a few days later, after visiting an Irish pub on the gentrified, renovated wharf, I wrote some version of this:",[],{},{"nodeType":143,"data":6455,"content":6456},{},[6457],{"nodeType":147,"value":6458,"marks":6459,"data":6460},"In other cities, the marketing of cultural nostalgia is focused on the resurrection of high imperial romanticism; in Guangzhou, a port town, it is based on reimagining in a way more favourable to local players than the Century of Humiliation. This is a fantasy of the ugly days of the city, seen through the experience of Reform and Opening. It must make sense to bureaucrats and developers looking for a unique angle. But nobody here is fantasizing about the interactions of Hong merchants and East Indiamen. Given the age of most patrons, they must be, like me, nostalgic for some period in the early-to-mid-2000s. They are remembering the days of evading police urine checks outside of C■■■■■■. Those were the glory days. It’s no wonder the late Swedish house DJ Avicii’s biography is a bestseller here. 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article text",{"nodeType":139,"data":7097,"content":7098},{},[7099,7123,7145,7167,7186,7199,7215,7221,7228,7235,7242,7265,7289,7307,7323,7348,7390,7405,7421,7432,7439,7456,7480,7488,7504,7511,7518,7525,7532,7539,7546,7553,7560,7576,7600,7619,7643,7661,7677,7701,7720,7727,7752,7775],{"nodeType":3471,"data":7100,"content":7122},{"target":7101},{"metadata":7102,"sys":7105,"fields":7112},{"tags":7103,"concepts":7104},[],[],{"space":7106,"id":7108,"type":212,"createdAt":7109,"updatedAt":7109,"environment":7110,"publishedVersion":91,"revision":216,"locale":31},{"sys":7107},{"type":14,"linkType":15,"id":16},"qMHYS1Oc3GExCJJqgNkgO","2025-09-19T02:48:38.064Z",{"sys":7111},{"id":23,"type":14,"linkType":24},{"title":7113,"description":219,"file":7114},"Thailand Biennale 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Courtesy the artist and Thailand Biennale.",[7184],{"type":5067},{},{"nodeType":3259,"data":7187,"content":7188},{},[7189,7194],{"nodeType":147,"value":7190,"marks":7191,"data":7193},"'",[7192],{"type":808},{},{"nodeType":147,"value":7195,"marks":7196,"data":7198},"I would like to thank all the spirits and all the ghosts in Thailand who made it possible for me to be here'.",[7197],{"type":808},{},{"nodeType":3282,"data":7200,"content":7201},{},[7202,7206,7211],{"nodeType":147,"value":7203,"marks":7204,"data":7205},"– Thai film director Apichatpong Weerasethakul, as he accepted the Palme d’Or at the Cannes Film Festival in 2010 for his film ",[],{},{"nodeType":147,"value":7207,"marks":7208,"data":7210},"Uncle Boonmee Who Can Recall His Past Lives",[7209],{"type":808},{},{"nodeType":147,"value":7212,"marks":7213,"data":7214}," (2010).",[],{},{"nodeType":143,"data":7216,"content":7217},{},[7218],{"nodeType":147,"value":219,"marks":7219,"data":7220},[],{},{"nodeType":143,"data":7222,"content":7223},{},[7224],{"nodeType":147,"value":7225,"marks":7226,"data":7227},"For years, the art circle in Bangkok has witnessed a range of strange goings-on. One local artist is said to have worn the finger bones of legendary late artists around his neck so he could create paintings that sold at sky-high prices. Before that, a former singer told the media that the ghost of a world-renowned artist who had passed away more than a hundred years ago had visited her — and he came to tell her that she owned one of his paintings.",[],{},{"nodeType":143,"data":7229,"content":7230},{},[7231],{"nodeType":147,"value":7232,"marks":7233,"data":7234},"At first, stories such as these sound like superstitious nonsense with no tangible evidence to back them up. However, they reflect the real beliefs of people in Thailand, along with the larger region of Southeast Asia, people whose daily lives were never fully cut off from the spiritual realm and magic by modernisation. This seems to hold true even in the most avant-garde of creative industries, such as the Thai contemporary art scene, which is deeply intertwined with these folkloric beliefs.",[],{},{"nodeType":143,"data":7236,"content":7237},{},[7238],{"nodeType":147,"value":7239,"marks":7240,"data":7241},"Apichatpong Weerasethakul (b. 1970) is one of the first Thai filmmakers who, unlike his contemporaries, made movies outside of the studio system. His films are thus experimental in nature, and they challenge, tease, and put a twist on the traditions of Thai filmmaking. Drawing on the plots of classic Thai movies, radio and TV dramas, and even old comic books that used to be sold for one Baht a copy, Apichatpong combines these plotlines with folk beliefs, local legends, and fairy tales. He also derives inspiration from Thai cloak-and-sword dramas, endowing the stories of ordinary or marginalised people in small rural towns with social significance. Using simple yet powerful storytelling techniques, his films break down the division between the realms of truth and fiction. Yet their understated style constantly reminds the audience that what they are watching is imaginary and unreal.",[],{},{"nodeType":143,"data":7243,"content":7244},{},[7245,7249,7253,7257,7261],{"nodeType":147,"value":7246,"marks":7247,"data":7248},"His film ",[],{},{"nodeType":147,"value":7207,"marks":7250,"data":7252},[7251],{"type":808},{},{"nodeType":147,"value":7254,"marks":7255,"data":7256}," (2010)",[],{},{"nodeType":147,"value":3277,"marks":7258,"data":7260},[7259],{"type":808},{},{"nodeType":147,"value":7262,"marks":7263,"data":7264},"not only recalls the eponymous character’s countless previous incarnations, but it also features ghostly beings. These include the red-eyed monkey ghost, which was Boonmee’s long-lost son who vanished for years only to return in a monstrous, inhuman form, and the spirit of his wife who passed away more than a decade ago. These entities appear before the family in a mysterious and inexplicable manner.",[],{},{"nodeType":3471,"data":7266,"content":7288},{"target":7267},{"metadata":7268,"sys":7271,"fields":7278},{"tags":7269,"concepts":7270},[],[],{"space":7272,"id":7274,"type":212,"createdAt":7275,"updatedAt":7275,"environment":7276,"publishedVersion":91,"revision":216,"locale":31},{"sys":7273},{"type":14,"linkType":15,"id":16},"2dsedYoayyV2Urm0euJOJi","2025-09-19T03:25:00.323Z",{"sys":7277},{"id":23,"type":14,"linkType":24},{"title":7279,"description":219,"file":7280},"IMG 8121",{"url":7281,"details":7282,"fileName":7287,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2dsedYoayyV2Urm0euJOJi\u002Faa0abd25e3b1f9eb6c772647b6400f7a\u002FIMG_8121.jpg",{"size":7283,"image":7284},1234726,{"width":7285,"height":7286},3662,2442,"IMG_8121.jpg",[],{"nodeType":143,"data":7290,"content":7291},{},[7292,7297,7302],{"nodeType":147,"value":7293,"marks":7294,"data":7296},"Still image of Apichatpong Weerasethakul, ",[7295],{"type":5067},{},{"nodeType":147,"value":7207,"marks":7298,"data":7301},[7299,7300],{"type":808},{"type":5067},{},{"nodeType":147,"value":7303,"marks":7304,"data":7306},", 2010, 114 mins. Courtesy the artist and Kiang Malingue, Hong Kong.",[7305],{"type":5067},{},{"nodeType":143,"data":7308,"content":7309},{},[7310,7314,7319],{"nodeType":147,"value":7311,"marks":7312,"data":7313},"An earlier film by Apichatpong, ",[],{},{"nodeType":147,"value":7315,"marks":7316,"data":7318},"Tropical Malady",[7317],{"type":808},{},{"nodeType":147,"value":7320,"marks":7321,"data":7322}," (2004), also draws inspiration from folk legends. It depicts tiger-men, which are creatures that Thai and Karen people believe inhabit the forest, into whose depths they drag and devour humans. The tiger-men are believed to be the result of either black magic or actual tigers that devoured so many humans that the spirits of their victims turned their bodies into those of tiger-men. These creatures usually maintain human forms, but they can shift into tigers in order to hunt at night. During these times, they may revert to human form to lure new victims, taking on the appearance of a spouse, child, or even a Dhutanga monk who meditates in the forest. ",[],{},{"nodeType":143,"data":7324,"content":7325},{},[7326,7330,7335,7339,7344],{"nodeType":147,"value":7327,"marks":7328,"data":7329},"Apichatpong’s later film ",[],{},{"nodeType":147,"value":7331,"marks":7332,"data":7334},"Cemetery of Splendour",[7333],{"type":808},{},{"nodeType":147,"value":7336,"marks":7337,"data":7338}," (2015) also explores themes of mysteries, ghosts, and reincarnations as it tells the story of a group of young soldiers afflicted by a mysterious sleeping sickness. The cause of the ailment is revealed to be the possession of their bodies by a powerful female spirit who has conscripted their souls to serve long-deceased kings from centuries past in their kingdom of dreams. The film was originally titled ",[],{},{"nodeType":147,"value":7340,"marks":7341,"data":7343},"Cemetery of Kings ",[7342],{"type":808},{},{"nodeType":147,"value":7345,"marks":7346,"data":7347},"before it was given its current title. ",[],{},{"nodeType":143,"data":7349,"content":7350},{},[7351,7355,7359,7363,7368,7372,7377,7381,7386],{"nodeType":147,"value":7352,"marks":7353,"data":7354},"Apichatpong’s contemporary art practice is concerned with the supernatural as well. One of his recent works, ",[],{},{"nodeType":147,"value":7176,"marks":7356,"data":7358},[7357],{"type":808},{},{"nodeType":147,"value":7360,"marks":7361,"data":7362},"(2023) — featured at the Thailand Biennale, Chiang Rai 2023: ",[],{},{"nodeType":147,"value":7364,"marks":7365,"data":7367},"The Open World ",[7366],{"type":808},{},{"nodeType":147,"value":7369,"marks":7370,"data":7371},"— reimagines the hollow-eyed ghost, or Phee Ta Boh, from a 1981 Thai film of the same name by director Nappon Gomarachun. The installation re-created a screening room for the movie ",[],{},{"nodeType":147,"value":7373,"marks":7374,"data":7376},"Phee Ta Boh",[7375],{"type":808},{},{"nodeType":147,"value":7378,"marks":7379,"data":7380},", which was projected onto a pane of glass (a technique Apichatpong previously used with ",[],{},{"nodeType":147,"value":7382,"marks":7383,"data":7385},"Uncle Boonmee",[7384],{"type":808},{},{"nodeType":147,"value":7387,"marks":7388,"data":7389},"). The resulting images were hauntingly beautiful. The soundtrack, belted out of loudspeakers, additionally shook the wooden structure of the school building, creating creaking sounds like those heard in old Thai ghost films. In addition, the installation space was divided into a Side A and Side B, with Side B designated as an observatory area behind the glass screen, where audience members appeared to become ghostly apparitions from the other side.",[],{},{"nodeType":143,"data":7391,"content":7392},{},[7393,7397,7401],{"nodeType":147,"value":7394,"marks":7395,"data":7396},"Apart from the installation itself, the exhibition space — the former Mae Ma School, a deserted building in the Chiang Saen district, Chiang Rai province — along with other props, such as a curtain painted with a landscape, further evoked a sense of being enveloped in the fantastical world of Apichatpong’s films. He later revealed that he had been trying to re-create the set of his 2015 film ",[],{},{"nodeType":147,"value":7331,"marks":7398,"data":7400},[7399],{"type":808},{},{"nodeType":147,"value":7402,"marks":7403,"data":7404}," in the room.",[],{},{"nodeType":143,"data":7406,"content":7407},{},[7408,7412,7417],{"nodeType":147,"value":7409,"marks":7410,"data":7411},"In addition to his films and artistic expressions, Apichatpong’s supernatural references also stem from real life experiences. In an interview with ",[],{},{"nodeType":147,"value":7413,"marks":7414,"data":7416},"Freeform",[7415],{"type":808},{},{"nodeType":147,"value":7418,"marks":7419,"data":7420}," magazine in 2007, Apichatpong discussed how he views the spiritual realm as natural rather than supernatural, sharing his direct encounters with ghosts both in Thailand and abroad:",[],{},{"nodeType":7422,"data":7423,"content":7424},"blockquote",{},[7425],{"nodeType":143,"data":7426,"content":7427},{},[7428],{"nodeType":147,"value":7429,"marks":7430,"data":7431},"‘Once it came as a smell. I was working in an air-conditioned room on the second floor of my house when I smelled incense, which was preceded by dogs howling — you know, like they do when they see ghosts. First the neighbours’ dogs started barking, and when they stopped, my own dogs picked up. Then suddenly, there was a waft of incense in that closed air-conditioned room even though all the curtains were still. I turned around right away. Then, my dogs stopped barking and [the] next-door dogs began howling instead. I think it must have been a ghost because I couldn’t explain it any other way. And I also saw a ghost when I was in France. It was a translucent female ghost who stood at the foot of my bed. Being in a foreign country, I didn’t feel scared. I simply asked her what she wanted in English, but she faded out like in the movies.'",[],{},{"nodeType":143,"data":7433,"content":7434},{},[7435],{"nodeType":147,"value":7436,"marks":7437,"data":7438},"Even during shoots for his modern art-house films, Apichatpong performs ritualistic offerings to spirits and higher powers. This is a common practice on film sets in Thailand and other Asian countries with similar beliefs. As he explained in the same interview:",[],{},{"nodeType":7422,"data":7440,"content":7441},{},[7442,7449],{"nodeType":143,"data":7443,"content":7444},{},[7445],{"nodeType":147,"value":7446,"marks":7447,"data":7448},"'When I shoot at a new location, I light incense sticks and ask for permission first. This ritual is especially important on film sets, at least to boost morale. It’s for the same reasons that I pay respect to Lord Buddha every night. I don’t do this to receive anything in return; I do it to calm my mind and stay focused during the shoot. Once, something strange happened at the Chao Por Khao Yai Shrine in Khao Kheow. We were using fortune-telling sticks there to check our luck, and we kept getting this really bad telling that nothing would work out. Despite trying several times, we kept getting the same number, and that day turned out to be a disaster for real — we couldn’t shoot anything at all.",[],{},{"nodeType":143,"data":7450,"content":7451},{},[7452],{"nodeType":147,"value":7453,"marks":7454,"data":7455},"I don’t believe in ghosts in the traditional sense, but I do see them as a form of energy. I also believe in reincarnation, which is why this theme appears in many of my films’.",[],{},{"nodeType":3471,"data":7457,"content":7479},{"target":7458},{"metadata":7459,"sys":7462,"fields":7469},{"tags":7460,"concepts":7461},[],[],{"space":7463,"id":7465,"type":212,"createdAt":7466,"updatedAt":7466,"environment":7467,"publishedVersion":91,"revision":216,"locale":31},{"sys":7464},{"type":14,"linkType":15,"id":16},"fgeE3YhBzgNfGsSHW3K8W","2025-09-19T03:44:02.133Z",{"sys":7468},{"id":23,"type":14,"linkType":24},{"title":7470,"description":219,"file":7471},"12361780756855",{"url":7472,"details":7473,"fileName":7478,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FfgeE3YhBzgNfGsSHW3K8W\u002Fc2e09fad833fb22bae77bf33629e2de5\u002F12361780756855.jpg",{"size":7474,"image":7475},530551,{"width":7476,"height":7477},880,1858,"12361780756855.jpg",[],{"nodeType":143,"data":7481,"content":7482},{},[7483],{"nodeType":147,"value":7484,"marks":7485,"data":7487},"Site visit by artistic director of the Bangkok Art Biennale, professor Dr. Apinan Poshyananda. Courtesy the Bangkok Art Biennale.",[7486],{"type":5067},{},{"nodeType":143,"data":7489,"content":7490},{},[7491,7495,7500],{"nodeType":147,"value":7492,"marks":7493,"data":7494},"Apichatpong’s ghosts simultaneously serve as metaphors for the Thai political system that suppresses its people through fear. He once described his native country as one that operates on the currency of fear, where the state exploits the animism deeply rooted in Thai society to keep its people ignorant. According to state-sponsored logic, all of our actions require assistance from higher powers. Therefore, to do anything, we feel that we must consult fortune-tellers or mediums to get advice or find out an auspicious time to start an activity or event. As a result, the Thai people have become increasingly indecisive — and dependent on these sources. Apichatpong says that cinema is like a mirror reflecting who we are, as well as a tool that is used to dispel at least some of our fears. He has further admitted that in his most recent film, ",[],{},{"nodeType":147,"value":7496,"marks":7497,"data":7499},"Memoria ",[7498],{"type":808},{},{"nodeType":147,"value":7501,"marks":7502,"data":7503},"(2021), no sacrificial rituals were involved.",[],{},{"nodeType":143,"data":7505,"content":7506},{},[7507],{"nodeType":147,"value":7508,"marks":7509,"data":7510},"Even at the international contemporary art festival, the Thailand Biennale, Chiang Rai 2023, there was considerable attention and respect paid to the supernatural. This was especially evident in the exhibition spaces of the Chiang Saen district, whose history as a town of the Lan Na Kingdom dates back almost 700 years. The location is rich in otherworldly stories, and many rituals were performed during the installation of the festival’s artworks around town. At historic sites, in particular, experts were consulted out of fear that the installations would encounter problems with the local spirits and not otherwise be successful.",[],{},{"nodeType":143,"data":7512,"content":7513},{},[7514],{"nodeType":147,"value":7515,"marks":7516,"data":7517},"I can personally attest to this practice, as I was present at one of the exhibition spaces in Chiang Saen, which shall remain nameless. At the time, several artists were encountering numerous difficulties during their installations, especially those involving video or multimedia elements. The caretaker of the place suggested to the organisers that these persistent problems could be due to them not paying proper respect to a guardian spirit residing in a large banyan tree, a long-standing feature of the location for decades. A story also circulated that, ten years earlier, there had been a notorious incident in the area where ten people were killed during a robbery on a boat in the Mekong River. Locals believe that the vengeful spirits of the victims still haunt the area to this day.",[],{},{"nodeType":143,"data":7519,"content":7520},{},[7521],{"nodeType":147,"value":7522,"marks":7523,"data":7524},"In the metropolitan city of Bangkok, a similar belief persists. A gallerist working at a space in the heart of the city (who shall also remain nameless) shared with me that without proper offerings being made to the spirits and higher powers at the location, the installation process often runs into problems—and that videos and multimedia works are particularly vulnerable. They believe that these entities possibly emit a certain energy that can affect electrical devices.",[],{},{"nodeType":143,"data":7526,"content":7527},{},[7528],{"nodeType":147,"value":7529,"marks":7530,"data":7531},"Rituals involving supernatural powers played an important part at the Bangkok Art Biennale since its debut in 2018, especially at sacred sites such as Buddhist temples, which have been used at each edition since its debut in 2018. Apinan Poshyananda, the festival’s artistic director and chief executive, told me that a Brahmin master of ceremonies was officially brought on board to lead an opening ritual at each sacred site.",[],{},{"nodeType":143,"data":7533,"content":7534},{},[7535],{"nodeType":147,"value":7536,"marks":7537,"data":7538},"These occurrences have made me aware of what I consider to be the most startling paradox of the Thai contemporary art world. The realization came to me in 2022, when I had the opportunity to attend a lecture-performance by Hito Steyerl (b. 1966), a German artist known for her progressive and modern ideas. Working with moving images, installations, and performance art, the internationally recognized filmmaker, writer, and art critic incorporates cutting-edge technology to explore today’s digital age in extraordinary and unique ways. Her works are in a vein similar to those of the 1960s and ’70s Italian Arte Povera movement, artists who used old, broken, cheap, or seemingly worthless objects found anywhere to create art. The movement was a protest against the state-sanctioned standards of beauty and value, as well as a critique of the unchecked industrial and technological developments in Italy at the time.",[],{},{"nodeType":143,"data":7540,"content":7541},{},[7542],{"nodeType":147,"value":7543,"marks":7544,"data":7545},"Similarly, Steyerl creates art out of the seemingly worthless, low-quality digital photos she finds littering the internet — doctored images, mundane screenshots from people’s computers and smartphones, and viral online visuals. Her works therefore adopt a Pop aesthetic that references selfie culture and social media. Perhaps we could term this style ‘Digital Povera’.",[],{},{"nodeType":143,"data":7547,"content":7548},{},[7549],{"nodeType":147,"value":7550,"marks":7551,"data":7552},"Steyerl is fascinated by the digital images and information that bombard us daily, as well as the technology behind their production and circulation. ‘Poor, pixelated images are all over the Internet’, she notes. ‘They are easy to digest and considered good value. If we look closely enough, they even reveal certain secrets’. Her works examine these low-quality images and the information found across the digital landscape to explore their origins, meanings, and impact on human thoughts and worldviews in an era overwhelmed by information. She thus poses a poignant question: How we can assign value or even create art in a world where everything is digitalised?",[],{},{"nodeType":143,"data":7554,"content":7555},{},[7556],{"nodeType":147,"value":7557,"marks":7558,"data":7559},"In 2018 Steyerl held an exhibition in Thailand as part of the Ghost:2561 festival, which explored the concept of ghosts and spirits in multicultural and contemporary societies worldwide. Although different cultures have distinctive ideas about what ghosts are, they share the underlying belief that ghosts exist in a realm beyond human sight. Our collective sense of their existence thus unites us through a shared inner experience. These ideas were presented at the event through video installations and performance art that were innovative, fresh and avant-garde, with Bangkok, serving as the series’ first stop.",[],{},{"nodeType":143,"data":7561,"content":7562},{},[7563,7567,7572],{"nodeType":147,"value":7564,"marks":7565,"data":7566},"Shown at 100 Tonson Gallery during Ghost:2561, the video installation by Steyerl, titled ",[],{},{"nodeType":147,"value":7568,"marks":7569,"data":7571},"Liquidity, Inc.",[7570],{"type":808},{},{"nodeType":147,"value":7573,"marks":7574,"data":7575}," (2014) used the motif of flowing water to tell the story of Jacob Wood, a Vietnamese refugee adopted by an American family who became a financial analyst and then lost his job during the 2008 recession. He then turned his mixed martial art (MMA) hobby into a career. The installation depicted his story by interspersing it with various representations of flowing water, from literal clips of water to the overflowing of online information, to artistic representations like Hokusai’s famous ocean waves (which also exist on Wikipedia), and the metaphorical flow of information and assets in capitalist societies. A YouTube clip of Bruce Lee, one of Jacob’s heroes, sharing his motto ‘Be formless, shapeless, like water’ was also included. Steyerl created this collage from low-resolution, low-quality information that floods the Internet, turning it into a work that is quick-paced, exciting, exhilarating, sarcastic, as well as thought-provoking. The video was projected onto a screen facing a blue styrofoam structure resembling stadium seats or a skateboarding rink, so that it seemed as if the audience were riding this massive wave of information that was about to crash into the screen.",[],{},{"nodeType":3471,"data":7577,"content":7599},{"target":7578},{"metadata":7579,"sys":7582,"fields":7589},{"tags":7580,"concepts":7581},[],[],{"space":7583,"id":7585,"type":212,"createdAt":7586,"updatedAt":7586,"environment":7587,"publishedVersion":91,"revision":216,"locale":31},{"sys":7584},{"type":14,"linkType":15,"id":16},"1yWqCmbXCMvygiDx05m4nH","2025-09-19T03:56:16.159Z",{"sys":7588},{"id":23,"type":14,"linkType":24},{"title":7590,"description":219,"file":7591},"HS14-005.27",{"url":7592,"details":7593,"fileName":7598,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1yWqCmbXCMvygiDx05m4nH\u002F1f9df15acfd7c0876ed1f9f8dcf19047\u002FHS14-005.27.jpg",{"size":7594,"image":7595},1015017,{"width":7596,"height":7597},1800,1013,"HS14-005.27.jpg",[],{"nodeType":143,"data":7601,"content":7602},{},[7603,7608,7614],{"nodeType":147,"value":7604,"marks":7605,"data":7607},"Still image from Hito Steyerl, ",[7606],{"type":5067},{},{"nodeType":147,"value":7609,"marks":7610,"data":7613},"Liquidity Inc.",[7611,7612],{"type":5067},{"type":808},{},{"nodeType":147,"value":7615,"marks":7616,"data":7618},", 2014, video, 30 min. Courtesy the artist and Esther Schipper, Berlin.",[7617],{"type":5067},{},{"nodeType":3471,"data":7620,"content":7642},{"target":7621},{"metadata":7622,"sys":7625,"fields":7632},{"tags":7623,"concepts":7624},[],[],{"space":7626,"id":7628,"type":212,"createdAt":7629,"updatedAt":7629,"environment":7630,"publishedVersion":91,"revision":216,"locale":31},{"sys":7627},{"type":14,"linkType":15,"id":16},"5jK2WpdC2IPBCfIGhefCCi","2025-09-19T04:19:49.338Z",{"sys":7631},{"id":23,"type":14,"linkType":24},{"title":7633,"description":219,"file":7634},"MITI MIT9628-scaled",{"url":7635,"details":7636,"fileName":7641,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5jK2WpdC2IPBCfIGhefCCi\u002F4e5d73a0bcc8bb34aacc415d7a68d3aa\u002FMITI__MIT9628-scaled.jpg",{"size":7637,"image":7638},2987412,{"width":7639,"height":7640},2560,1708,"MITI__MIT9628-scaled.jpg",[],{"nodeType":143,"data":7644,"content":7645},{},[7646,7651,7656],{"nodeType":147,"value":7647,"marks":7648,"data":7650},"Installation view of from Hito Steyerl, ",[7649],{"type":5067},{},{"nodeType":147,"value":7609,"marks":7652,"data":7655},[7653,7654],{"type":5067},{"type":808},{},{"nodeType":147,"value":7657,"marks":7658,"data":7660},", 2014, video, 30 min, at 100 Tonson Gallery at Ghost:2561, 2018, Bangkok. Courtesy the artist.",[7659],{"type":5067},{},{"nodeType":143,"data":7662,"content":7663},{},[7664,7668,7673],{"nodeType":147,"value":7665,"marks":7666,"data":7667},"In 2022, this same artist came to Bangkok again for the second edition of Ghost 2565: ",[],{},{"nodeType":147,"value":7669,"marks":7670,"data":7672},"Live Without Dead Time",[7671],{"type":808},{},{"nodeType":147,"value":7674,"marks":7675,"data":7676},", to deliver a lecture performance titled ‘Probable Title: Zero Probability, 2012’. The performance was ultra-modern and profoundly insightful. She also courageously criticizes the trend of NFTs and AI-generated images with which everyone seems to be enamoured, dismissing them as merely ‘a great PR move by the big corporations’.",[],{},{"nodeType":3471,"data":7678,"content":7700},{"target":7679},{"metadata":7680,"sys":7683,"fields":7690},{"tags":7681,"concepts":7682},[],[],{"space":7684,"id":7686,"type":212,"createdAt":7687,"updatedAt":7687,"environment":7688,"publishedVersion":91,"revision":216,"locale":31},{"sys":7685},{"type":14,"linkType":15,"id":16},"1TE0iwKDCc0nY7jTaIFGG1","2025-09-19T04:02:30.260Z",{"sys":7689},{"id":23,"type":14,"linkType":24},{"title":7691,"description":219,"file":7692},"Hito Steyer and Rabih Mroué Performance 1",{"url":7693,"details":7694,"fileName":7699,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1TE0iwKDCc0nY7jTaIFGG1\u002Fd465e70e11c6e299c95950c73dc1689c\u002FHito_Steyer_and_Rabih_MrouÃ__Performance_1.jpg",{"size":7695,"image":7696},3645287,{"width":7697,"height":7698},4961,3299,"Hito Steyer and Rabih Mroué_Performance_1.jpg",[],{"nodeType":143,"data":7702,"content":7703},{},[7704,7709,7715],{"nodeType":147,"value":7705,"marks":7706,"data":7708},"Hito Steyerl and Rabih Mroué, ",[7707],{"type":5067},{},{"nodeType":147,"value":7710,"marks":7711,"data":7714},"Probable Title: Zero Probability, 2012",[7712,7713],{"type":808},{"type":5067},{},{"nodeType":147,"value":7716,"marks":7717,"data":7719},", 2022, performance at Ghost 2565: Live Without Dead Time, 2022, Bangkok. Courtesy the artists.",[7718],{"type":5067},{},{"nodeType":143,"data":7721,"content":7722},{},[7723],{"nodeType":147,"value":7724,"marks":7725,"data":7726},"Yet, shortly before the show began, I saw the artist standing with incense sticks in hand, solemnly praying to the house spirits of the exhibition space. The sight was such a stark contrast to her public image that I chalked it up to a case of ‘when in Bangkok, do as the Bangkokians do’. Nonetheless, I could not help but think to myself that even the formidable power of NFTs and AI pales in comparison to the spirits and higher powers residing in that building. Even Steyerl (and the organizers) did not dare to test their power for fear of electrical failures or other unexpected events. It was a reminder that we were working in a land with deeply rooted respect for the spirits.",[],{},{"nodeType":143,"data":7728,"content":7729},{},[7730,7734,7739,7743,7748],{"nodeType":147,"value":7731,"marks":7732,"data":7733},"Another work in the same ",[],{},{"nodeType":147,"value":7735,"marks":7736,"data":7738},"Ghost 2565",[7737],{"type":808},{},{"nodeType":147,"value":7740,"marks":7741,"data":7742}," series, titled ",[],{},{"nodeType":147,"value":7744,"marks":7745,"data":7747},"SOO-KWAN2022",[7746],{"type":808},{},{"nodeType":147,"value":7749,"marks":7750,"data":7751}," (2022) by Chantana Tiprachart, was inspired by an auspicious local Isan ritual, the Sookwan ritual. However, the artist depicted it within an atmosphere of desolation, darkness and fear. Glowing light occasionally filled the space, symbolizing an authoritarian political regime that suppresses people by shackling them with irrational beliefs within an oppressive system. It seems as if this regime is a ghost that constantly haunts and feeds off the living population. This piece serves as yet another reminder that this land has always been under the influence of ghostly spirits.",[],{},{"nodeType":3471,"data":7753,"content":7774},{"target":7754},{"metadata":7755,"sys":7758,"fields":7765},{"tags":7756,"concepts":7757},[],[],{"space":7759,"id":7761,"type":212,"createdAt":7762,"updatedAt":7762,"environment":7763,"publishedVersion":91,"revision":216,"locale":31},{"sys":7760},{"type":14,"linkType":15,"id":16},"Y5NGJIHd4fz1S9ie1Ufm4","2024-10-21T14:16:54.103Z",{"sys":7764},{"id":23,"type":14,"linkType":24},{"title":7766,"description":219,"file":7767},"Chantana Tiprachart SOO-KWAN2022 1",{"url":7768,"details":7769,"fileName":7773,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FY5NGJIHd4fz1S9ie1Ufm4\u002F621d1ea8ce00dc47242d6bbc8f3084e2\u002FChantana_Tiprachart_SOO-KWAN2022_1.png",{"size":7770,"image":7771},6461606,{"width":7772,"height":7596},2880,"Chantana Tiprachart_SOO-KWAN2022_1.png",[],{"nodeType":143,"data":7776,"content":7777},{},[7778,7783,7789],{"nodeType":147,"value":7779,"marks":7780,"data":7782},"Chantana Tiprachart, ",[7781],{"type":5067},{},{"nodeType":147,"value":7784,"marks":7785,"data":7788},"SOO-KWAN2022, ",[7786,7787],{"type":808},{"type":5067},{},{"nodeType":147,"value":7790,"marks":7791,"data":7793},"2022, video installation, 20 min, at Nova Contemporary for  Ghost 2565: Live Without Dead Time, 2022, Bangkok. Courtesy the artist and Nova Contemporary, Bangkok.",[7792],{"type":5067},{},{"metadata":7795,"sys":7798,"fields":7803},{"tags":7796,"concepts":7797},[],[],{"space":7799,"id":7154,"type":212,"createdAt":7155,"updatedAt":7155,"environment":7801,"publishedVersion":91,"revision":216,"locale":31},{"sys":7800},{"type":14,"linkType":15,"id":16},{"sys":7802},{"id":23,"type":14,"linkType":24},{"title":7159,"description":219,"file":7804},{"url":7161,"details":7805,"fileName":7165,"contentType":482},{"size":7163,"image":7806},{"width":7119,"height":7120},{"metadata":7808,"sys":7811,"fields":7821},{"tags":7809,"concepts":7810},[],[],{"space":7812,"id":7814,"type":18,"createdAt":7815,"updatedAt":7816,"environment":7817,"publishedVersion":90,"revision":1123,"contentType":7819,"locale":31},{"sys":7813},{"type":14,"linkType":15,"id":16},"7dZSN9LFvffMSIeTPRqIxc","2024-10-18T11:36:23.676Z","2024-10-18T15:28:40.202Z",{"sys":7818},{"id":23,"type":14,"linkType":24},{"sys":7820},{"type":14,"linkType":29,"id":1241},{"name":7822,"title":7823,"description":7020,"no_index":389,"no_follow":389},"Ghostly 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Kong","yes",{"metadata":7866,"sys":7869,"fields":7879},{"tags":7867,"concepts":7868},[],[],{"space":7870,"id":7872,"type":18,"createdAt":7873,"updatedAt":7874,"environment":7875,"publishedVersion":2912,"revision":90,"contentType":7877,"locale":31},{"sys":7871},{"type":14,"linkType":15,"id":16},"1ncPXtw6aN5UR9WnMwMNtP","2024-10-21T09:26:05.767Z","2025-10-21T08:00:51.109Z",{"sys":7876},{"id":23,"type":14,"linkType":24},{"sys":7878},{"type":14,"linkType":29,"id":3170},{"name":7880,"slug":7881,"title":7882,"author":7883,"locationName":137,"hero":7884,"sections":7918,"thumbnailImage":8133},"Dream Property by Cui Jie","dream-property-by-cui-jie","Dream Property","Cui Jie",{"metadata":7885,"sys":7888,"fields":7898},{"tags":7886,"concepts":7887},[],[],{"space":7889,"id":7891,"type":18,"createdAt":7892,"updatedAt":7893,"environment":7894,"publishedVersion":90,"revision":1123,"contentType":7896,"locale":31},{"sys":7890},{"type":14,"linkType":15,"id":16},"4rABwmbikbYVzlu1io2oZ1","2025-09-30T06:09:07.012Z","2025-09-30T06:12:36.058Z",{"sys":7895},{"id":23,"type":14,"linkType":24},{"sys":7897},{"type":14,"linkType":29,"id":3194},{"name":7882,"title":7882,"author":7883,"image":7899,"imageOption":4082},{"metadata":7900,"sys":7903,"fields":7910},{"tags":7901,"concepts":7902},[],[],{"space":7904,"id":7906,"type":212,"createdAt":7907,"updatedAt":7907,"environment":7908,"publishedVersion":91,"revision":216,"locale":31},{"sys":7905},{"type":14,"linkType":15,"id":16},"6b3HGc1Cpf7Q41dJS9U8Go","2025-09-30T06:12:26.520Z",{"sys":7909},{"id":23,"type":14,"linkType":24},{"title":7911,"description":219,"file":7912},"Cui Jie Untitled -2(Project Japan) front view hr",{"url":7913,"details":7914,"fileName":7917,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6b3HGc1Cpf7Q41dJS9U8Go\u002F2ba163e15196922e835d7e776b55a52a\u002FCui_Jie_Untitled_-2_Project_Japan__front_view_hr.jpg",{"size":7915,"image":7916},17872050,{"width":7119,"height":7120},"Cui Jie_Untitled -2(Project Japan)_front view_hr.jpg",[7919],{"metadata":7920,"sys":7923,"fields":7933},{"tags":7921,"concepts":7922},[],[],{"space":7924,"id":7926,"type":18,"createdAt":7927,"updatedAt":7928,"environment":7929,"publishedVersion":112,"revision":26,"contentType":7931,"locale":31},{"sys":7925},{"type":14,"linkType":15,"id":16},"34RczB7B4gztkHQd8EsPrI","2025-09-30T06:09:27.669Z","2025-10-21T07:52:19.623Z",{"sys":7930},{"id":23,"type":14,"linkType":24},{"sys":7932},{"type":14,"linkType":29,"id":3252},{"title":7882,"text":7934},{"data":7935,"content":7936,"nodeType":139},{},[7937,7945,7977,7998,8019,8040,8061,8083,8105,8127],{"data":7938,"content":7939,"nodeType":143},{},[7940],{"data":7941,"marks":7942,"value":7944,"nodeType":147},{},[7943],{"type":290},"Untitled (Project Japan). Medium: Inkjet print on book pages. ",{"data":7946,"content":7947,"nodeType":143},{},[7948,7952,7957,7961,7965,7969,7973],{"data":7949,"marks":7950,"value":7951,"nodeType":147},{},[],"This series are made possible by printer. I chose some of my architectural landscape paintings of Chinese urban architecture influenced by Japanese Metabolism, and printed them onto a selection of pages from the book ",{"data":7953,"marks":7954,"value":7956,"nodeType":147},{},[7955],{"type":290},"\"Project Japan: An Oral History of Metabolists\" ",{"data":7958,"marks":7959,"value":7960,"nodeType":147},{},[],"(which features the dialogues between architect Koolhaas, curator Hans Ulrich Obrist, and members of Japanese Metabolism school, which is an important architectural thinking in Japan",{"data":7962,"marks":7963,"value":3277,"nodeType":147},{},[7964],{"type":290},{"data":7966,"marks":7967,"value":7968,"nodeType":147},{},[],"after WWII and also the first global architectural movement initiated in Asia). The idea for this set originated in my interest in the \"stacked paintings\" tactic often employed in Orson Welles's films, wherein two scenes overlap, slowly fading and emerging simultaneously. But",{"data":7970,"marks":7971,"value":3277,"nodeType":147},{},[7972],{"type":290},{"data":7974,"marks":7975,"value":7976,"nodeType":147},{},[],"in the process of doing so, comes about a new retrospective understanding, and thus I create a type of understanding of the past. 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to Tokyo: Water Business","letter-to-tokyo-water-business","東京に贈る言葉：商いは水物","Andrew Maerkle アンドリュー・マークル",{"metadata":8167,"sys":8170,"fields":8179},{"tags":8168,"concepts":8169},[],[],{"space":8171,"id":8173,"type":18,"createdAt":8174,"updatedAt":8174,"environment":8175,"publishedVersion":90,"revision":216,"contentType":8177,"locale":31},{"sys":8172},{"type":14,"linkType":15,"id":16},"2TDqB22CIXm8vUJfmXRDDr","2025-10-02T07:33:02.115Z",{"sys":8176},{"id":23,"type":14,"linkType":24},{"sys":8178},{"type":14,"linkType":29,"id":3194},{"name":8180,"title":8180,"excerpt":8181,"author":8182,"image":8183,"imageMobile":8204,"imageOption":4082},"Letter to Tokyo: Water  Business","Remembrance of and resistance to  the city’s verticalised gentrification ","Andrew Maekle 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to Tokyo: Water Business ",{"nodeType":139,"data":8236,"content":8237},{},[8238,8258,8266,8273,8280,8287,8294,8301,8308,8332,8340,8348,8355,8362,8378,8385,8400,8407,8415,8437,8445,8454,8461,8476,8495,8503,8519,8526,8540,8554,8574,8590,8597,8605,8613,8621,8629,8636,8643,8650,8657,8673,8680,8696,8703,8710,8717,8724,8731,8738,8746,8754,8762,8770,8778,8785,8792,8799,8806,8813,8829,8836,8843,8859,8866,8873,8881],{"nodeType":3471,"data":8239,"content":8257},{"target":8240},{"metadata":8241,"sys":8244,"fields":8251},{"tags":8242,"concepts":8243},[],[],{"space":8245,"id":8247,"type":212,"createdAt":8248,"updatedAt":8248,"environment":8249,"publishedVersion":91,"revision":216,"locale":31},{"sys":8246},{"type":14,"linkType":15,"id":16},"qrlS0LlLZ03vMTBstrf5T","2025-10-02T07:40:11.929Z",{"sys":8250},{"id":23,"type":14,"linkType":24},{"title":5031,"description":219,"file":8252},{"url":8253,"details":8254,"fileName":5039,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FqrlS0LlLZ03vMTBstrf5T\u002F0543b0d205d9d476313c3e1bfef0e62f\u002FCONG_POST2.png",{"size":8255,"image":8256},1654454,{"width":5037,"height":5038},[],{"nodeType":3259,"data":8259,"content":8260},{},[8261],{"nodeType":147,"value":8262,"marks":8263,"data":8265},"1.",[8264],{"type":290},{},{"nodeType":143,"data":8267,"content":8268},{},[8269],{"nodeType":147,"value":8270,"marks":8271,"data":8272},"One of my favourite places in Tokyo is the outdoor pool at Aqua Field Shiba Park. The facility occupies a corner of the large, wooded park that surrounds Zojoji Temple in the shadow of Tokyo Tower. There’s a 50-metre pool with two lanes set aside for laps and the rest for free swim, a children’s pool equipped with small waterslides and a sunbathing deck. Entry is only 600 yen, not even the price of a latte at Starbucks in New York. ",[],{},{"nodeType":143,"data":8274,"content":8275},{},[8276],{"nodeType":147,"value":8277,"marks":8278,"data":8279},"All kinds of people show up at the pool during the three months when it is open, from July through September. (The rest of the year it is converted into a futsal field.) Young families splash around together. Preteens and teens meet up to have fun on their own. Many of the strongest lap swimmers are seniors, while people of all abilities come for various kinds of water therapy. There is always a mix of nationalities, so the ambient noise is layered with snippets of Chinese, English, Portuguese, Russian, and other languages, as well as exotically accented Japanese. For as long as I have been going, which is more than a decade now, the pool has been a low-key cruising ground. Groups of young gay men, usually so circumspect in mainstream Japanese society, stride up and down the length of the free-swim section. It is also a date spot for straight couples, who test the limits of public decency with their underwater embraces. Here and there, bikinied women of different shapes and sizes stretch out on the deck to sunbathe, as cohorts of leathery middle-aged men – whom I am convinced are mild-mannered office drones on the weekdays – cover themselves in little more than thongs for extreme tanning. ",[],{},{"nodeType":143,"data":8281,"content":8282},{},[8283],{"nodeType":147,"value":8284,"marks":8285,"data":8286},"During the summer, I make it to the pool once or twice a week, whether to swim laps or play with my daughters. It feels like an urban oasis to me, a rare pleasure zone that is not regulated by consumption or commercialisation. It is hard to think of many other places in Tokyo as intersectional as this. Maybe Yoyogi Park, the city’s favourite picnic grounds, which has also served as a staging point for demonstrations? Or Ueno Park, the Meiji-era cultural campus that attracts throngs of tourists to its museums and zoo and is also home to the Tokyo University of the Arts as well as a substantial unhoused population? But it is relatively easy to distance yourself from someone in a park. The pool involves a higher degree of intimacy. With all the groups that use it, I am impressed that I have never witnessed any altercation or hateful act. In fact, everyone seems to share a loose sense of community. ",[],{},{"nodeType":143,"data":8288,"content":8289},{},[8290],{"nodeType":147,"value":8291,"marks":8292,"data":8293},"If you go there, you can expect to see young people flirting or you may end up with a locker next to a foreigner, and you will have to accommodate the presence of children. Rather than cancelling each other out, these conditions establish a base level of tolerance that visitors tacitly accept upon entering; once enough people agree to that customary usage, it becomes self-sustaining. ",[],{},{"nodeType":143,"data":8295,"content":8296},{},[8297],{"nodeType":147,"value":8298,"marks":8299,"data":8300},"To be sure, the pool is not an entirely inclusive space. Signs warn that the showers are for ‘showering only’, and frequent sweeps of the locker room by security guards have a homophobic undertone. The pool has attracted salacious coverage in blogs and on social media, and ‘concerned citizens’ have sent petitions to the municipal government to complain, in coded language, about the facility not being used as intended for health purposes. Every year, it feels like there are more warning signs. For my part, sweeping policies seek to ostracise members of the yakuza from mainstream society, meaning that I am not allowed in unless I wear a hot and cumbersome rash guard to cover the tattoos on my upper body. (This is one of the reasons I no longer go to traditional bathhouses.) ",[],{},{"nodeType":143,"data":8302,"content":8303},{},[8304],{"nodeType":147,"value":8305,"marks":8306,"data":8307},"Tenuous though it may be, the pool is nevertheless an alternate model of commons in a city that is notorious for its lack of public space. Once, I happened to be there with my older daughter on the last day before it shut down for the year. At 5pm, when the announcement came over the PA system that it was time to close, everyone – the young and the old, the queer and the heteronormative – stood still, faced each other and started to applaud. ",[],{},{"nodeType":3471,"data":8309,"content":8331},{"target":8310},{"metadata":8311,"sys":8314,"fields":8321},{"tags":8312,"concepts":8313},[],[],{"space":8315,"id":8317,"type":212,"createdAt":8318,"updatedAt":8318,"environment":8319,"publishedVersion":91,"revision":216,"locale":31},{"sys":8316},{"type":14,"linkType":15,"id":16},"3ofiWvHWc2twcSKNumzQRv","2025-10-02T07:38:32.362Z",{"sys":8320},{"id":23,"type":14,"linkType":24},{"title":8322,"description":219,"file":8323},"image",{"url":8324,"details":8325,"fileName":8330,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3ofiWvHWc2twcSKNumzQRv\u002F9516d2b45d5c649e6b64146dc2407e87\u002Fimage.png",{"size":8326,"image":8327},1242583,{"width":8328,"height":8329},1097,679,"image.png",[],{"nodeType":143,"data":8333,"content":8334},{},[8335],{"nodeType":147,"value":8336,"marks":8337,"data":8339},"View of Tokyo Tower and Azabudai Hills, Tokyo. Photo by Andrew Maerkle.",[8338],{"type":5067},{},{"nodeType":3259,"data":8341,"content":8342},{},[8343],{"nodeType":147,"value":8344,"marks":8345,"data":8347},"2.",[8346],{"type":290},{},{"nodeType":143,"data":8349,"content":8350},{},[8351],{"nodeType":147,"value":8352,"marks":8353,"data":8354},"When I look up from the spot where I stretch after a swim, I have a clear view of the Mori JP Tower rising in the haze beyond Tokyo Tower on the other side of the park. The centrepiece of Mori Building Company’s latest development, Azabudai Hills, which opened in November 2023, the Mori JP Tower is a surprisingly demure building for one that is billed as the tallest in the land, at 325 metres high. In a sometimes-a-cigar-is-just-a-cigar kind of way, the tower barely even registers as a phallic symbol. The design by Pelli Clarke & Partners has an oddly squat, slightly bowed silhouette that seems content to fade into the background. It mirrors the look of the nearby Ark Hills Sengokuyama Mori Tower, completed in 2012, which I somehow never noticed before. At a loss for a more technical description of the tower during an earlier draft of this text, I hit upon the image of a suited salaryman. As it happens, the Japanese architecture community had already coined the term ‘business-suit building’ some years ago to refer to just this kind of situation: ‘high spec, no style’. ",[],{},{"nodeType":143,"data":8356,"content":8357},{},[8358],{"nodeType":147,"value":8359,"marks":8360,"data":8361},"Yet I can’t help but see something else in the tower. The land that Azabudai Hills occupies used to be a sleepy neighbourhood of small homes. Where the tower now stands, there was a historic post office built in 1930 in distinctive yellow brick. My older daughter walked by the post office every day on her way to Azabu Elementary School, which abuts part of the sprawling, 8.1-hectare Azabudai Hills site. One of my daughter’s friends lived in a house down the hill from there. After school functions, the kids would scamper off to play in a small park around the corner. ",[],{},{"nodeType":143,"data":8363,"content":8364},{},[8365,8369,8374],{"nodeType":147,"value":8366,"marks":8367,"data":8368},"All of that is gone now. Despite the promotional spin about it being a ‘modern urban village’, Azabudai Hills is, in effect, a gated community. Until construction work is completed on the residential block overlooking the school, there are essentially two main routes into the grounds from the street level: either passing through the monolithic Mori JP Tower or climbing a hill that leads up from Sakurada-dori on the backside of the site, which is lined with luxury shops ensconced in pods designed by Heatherwick Studio. The heavily manicured green space at the heart of the development is nestled in a plateau in between them. The harsh summer sun sweeps down the exposed sidewalk on the hill. The complex is really meant to be navigated indoors, where a pay-to-play logic reigns. At first, Heatherwick Studio’s pods – with their sloped, topographical forms lashed together by sand-coloured concrete webbing – invited fanciful associations with the cartoon dwellings of the Smurfs or Barbapapa, but now I realise that they bear resemblance to the collapsed fortifications in Paul Virilio’s ",[],{},{"nodeType":147,"value":8370,"marks":8371,"data":8373},"Bunker Archaeology ",[8372],{"type":808},{},{"nodeType":147,"value":8375,"marks":8376,"data":8377},"(1958-65) photographs. ",[],{},{"nodeType":143,"data":8379,"content":8380},{},[8381],{"nodeType":147,"value":8382,"marks":8383,"data":8384},"Still, it is not like the neighbourhood’s original residents were summarily dispossessed. As with the company’s other developments, such as Roppongi Hills, unveiled in 2003, and Ark Hills, which opened in 1986, Mori Building spent decades painstakingly buying up individual plots or convincing rights holders to convert their property into a unit with a comparable value in the new development. The press around Azabudai Hills has been pretty clean. Maybe it is irrational to feel antagonism towards a development when the land was acquired by fair trade, as it were. ",[],{},{"nodeType":143,"data":8386,"content":8387},{},[8388,8392,8396],{"nodeType":147,"value":8389,"marks":8390,"data":8391},"Then again, money is its own coercive mechanism. Originally intended to redistribute wealth, Japan’s steep inheritance tax laws can charge survivors up to 55 per cent of the value of inherited assets, with the full amount to be paid up front. In central Tokyo, where, according to the latest annual survey by the Ministry of Land, Infrastructure, Transport and Tourism, the price of residential land currently goes for as much as USD 39,000 per square metre (and rising), few families have the means to keep their property intact. Identified by the architectural firm Atelier Bow-Wow in an eponymous book published in 2001, the ‘pet architecture’ phenomenon of eccentric buildings crammed into ridiculously small or contorted plots can be seen as one response to this situation.",[],{},{"nodeType":147,"value":3269,"marks":8393,"data":8395},[8394],{"type":3274},{},{"nodeType":147,"value":8397,"marks":8398,"data":8399}," In recent years, it has felt like more people chose to sell the whole thing to developers. Even when a piece of land doesn’t end up consolidated into a massive project, plot after plot is being turned into tacky multistorey apartment towers. ",[],{},{"nodeType":143,"data":8401,"content":8402},{},[8403],{"nodeType":147,"value":8404,"marks":8405,"data":8406},"Accelerating the metabolisation of the city by capital, the inheritance tax has had the unintended effect of concentrating property in corporate hands. ",[],{},{"nodeType":143,"data":8408,"content":8409},{},[8410],{"nodeType":147,"value":8411,"marks":8412,"data":8414},"1 Tokyo Institute of Technology, Tsukamoto Architectural Lab and Atelier Bow-Wow, Pet Architecture Guide Book (Tokyo: World Photo Press, 2001). ",[8413],{"type":5067},{},{"nodeType":3471,"data":8416,"content":8436},{"target":8417},{"metadata":8418,"sys":8421,"fields":8428},{"tags":8419,"concepts":8420},[],[],{"space":8422,"id":8424,"type":212,"createdAt":8425,"updatedAt":8425,"environment":8426,"publishedVersion":91,"revision":216,"locale":31},{"sys":8423},{"type":14,"linkType":15,"id":16},"6zC4AeTsHcArBLWfntq2UP","2025-10-02T07:47:54.942Z",{"sys":8427},{"id":23,"type":14,"linkType":24},{"title":8322,"description":219,"file":8429},{"url":8430,"details":8431,"fileName":8330,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6zC4AeTsHcArBLWfntq2UP\u002Fa6d0172d18c0714dd7ffb82fd8336ec4\u002Fimage.png",{"size":8432,"image":8433},2146420,{"width":8434,"height":8435},1099,820,[],{"nodeType":143,"data":8438,"content":8439},{},[8440],{"nodeType":147,"value":8441,"marks":8442,"data":8444},"Construction at the Fudanotsuji intersection, Tokyo. Photo by Andrew Maerkle.",[8443],{"type":5067},{},{"nodeType":3259,"data":8446,"content":8447},{},[8448],{"nodeType":147,"value":8449,"marks":8450,"data":8453},"3.",[8451,8452],{"type":5067},{"type":290},{},{"nodeType":143,"data":8455,"content":8456},{},[8457],{"nodeType":147,"value":8458,"marks":8459,"data":8460},"If the pool represents a somewhat idealised vision of how a simple, flexible programme with broad accessibility can become a vital communal meeting point, Azabudai Hills is a harbinger of where Tokyo really seems to be headed. The city is now in the midst of so-called ‘once-in-a-century redevelopment’, with 2030 being the year that many developers have circled on their calendars. A corridor stretching from Shinagawa Station in the south to Tokyo Station in the north has been turned into what amounts to one big construction site. Major hubs linking the city centre to the suburbs, namely Shinjuku and Shibuya, are also getting revamped. ",[],{},{"nodeType":143,"data":8462,"content":8463},{},[8464,8468,8472],{"nodeType":147,"value":8465,"marks":8466,"data":8467},"The website of the Tokyo Metropolitan Government’s Bureau of Urban Development, which devises urban planning policy and manages roadworks, railways, land readjustment, housing and other infrastructure, lists 60 redevelopment projects currently underway in the metropolitan area, with an additional 21 in the planning stages.",[],{},{"nodeType":147,"value":3577,"marks":8469,"data":8471},[8470],{"type":3274},{},{"nodeType":147,"value":8473,"marks":8474,"data":8475}," The majority of these projects are corporate led. Supported by government subsidies, they promise to boost the efficiency of urban space, improve disaster preparedness by replacing aging buildings that are vulnerable to collapse or fire and make the city more globally competitive by attracting multinational corporations and expatriates. (It all looks convincing in a PowerPoint presentation. One of the slogans that Mori Building came up with for promoting the Roppongi Hills development loosely translates to ‘Hope in the sky. Green on the ground. Joy underground’.) Yet most of the projects take the form of cookie-cutter steel-and-glass towers combining retail, dining, office, housing and luxury hotel functions, sometimes with a school or an art space thrown in. The designs lack the sense of material play and variation that even many otherwise unremarkable high-rises from the early 21st century express. They are the architectural equivalent of the Marvel Cinematic Universe or the Hollywood franchise reboot. ",[],{},{"nodeType":143,"data":8477,"content":8478},{},[8479,8484,8490],{"nodeType":147,"value":8480,"marks":8481,"data":8483},"2  Shigaichi Saikaihatsu Jigyô ni Tsuite, Bureau of Urban Development, Tokyo Metropolitan Govern-ment, ",[8482],{"type":5067},{},{"nodeType":147,"value":8485,"marks":8486,"data":8489},"https:\u002F\u002Fwww.toshiseibi.metro.tokyo.lg.jp\u002Fbosai\u002Fsai-kai.htm",[8487,8488],{"type":5172},{"type":5067},{},{"nodeType":147,"value":8491,"marks":8492,"data":8494},". The current listing is dated 31 Oc-tober 2023. ",[8493],{"type":5067},{},{"nodeType":143,"data":8496,"content":8497},{},[8498],{"nodeType":147,"value":8499,"marks":8500,"data":8502},"3 ‘Sora ni kibô o. Chijô ni midori o. Chika ni yorokobi o’. ",[8501],{"type":5067},{},{"nodeType":143,"data":8504,"content":8505},{},[8506,8510,8515],{"nodeType":147,"value":8507,"marks":8508,"data":8509},"But who is it all for? In the wake of the COVID-19 pandemic, these developments embody the contradiction of architecture predicated on a growth economy being built under austerity conditions at a time when social indicators around the world are pointing to an inevitable era of degrowth. Office vacancy rates have shot up everywhere, while fertility continues to decline in developed countries. It’s hard not to see the construction as a desperate Potemkin scheme to keep big business afloat. Analysing the situation in London, Reinier de Graaf, an associate of the Dutch provocateur Rem Koolhaas, already saw it coming in 2015. In a polemic in ",[],{},{"nodeType":147,"value":8511,"marks":8512,"data":8514},"Architectural Review",[8513],{"type":808},{},{"nodeType":147,"value":8516,"marks":8517,"data":8518},", he argued that most architecture today offers no new ideas about how to make space liveable. Instead, it stands as a lacklustre monument to the capitalist imperative of producing cheaply and selling dear. ‘After the conservative revolution, the built environment and particularly housing acquired a fundamentally new role. From a means to provide shelter it becomes a means to generate financial returns’, De Graaf charges. ‘The logic of a building no longer primarily reflects its intended use but instead serves mostly to promote a “generic” desirability in economic terms’. ",[],{},{"nodeType":143,"data":8520,"content":8521},{},[8522],{"nodeType":147,"value":8523,"marks":8524,"data":8525},"It is one thing when these developments take over reclaimed or repurposed land, like the Harumi Flag residential complex in Tokyo Bay (retrofitted from the Olympic Village of the 2020 Tokyo Games) or the former railway depot near Shinagawa Station, where the massive Takanawa Gateway City plan is now rising. It is another when they wipe out whole neighbourhoods or historic sites. Famously, the Dojunkai Aoyama Apartments - built in 1926-27 as some of the first modernist housing in Japan and later used as a seedbed for emerging fashion designers who set up shops and ateliers in the old apartment units – were replaced in 2005 by another Mori development, the Tadao Ando–designed Omotesando Hills. Long at the centre of discussions around preservation in Tokyo, Kisho Kurokawa’s Metabolist masterpiece, the Nakagin Capsule Tower, situated on the edges of the Ginza commercial district, is in the process of being demolished. Meanwhile, Shibuya’s Miyashita Park, formerly a haven for the area’s unhoused community, is now an insipid shopping mall and hotel complex; it opened in 2020 at the height of the COVID-19 pandemic. The situation repeated itself in late 2022, when unhoused people were evicted from nearby Mitake Park to make way for yet another mixed-use development with residences targeting the creative class. ",[],{},{"nodeType":143,"data":8527,"content":8528},{},[8529,8534],{"nodeType":147,"value":8530,"marks":8531,"data":8533},"4 A 14 May 2024 report by the New York City Comptroller states that ‘Manhattan’s office vacancy rate has more than doubled from under 8% at the start of the pandemic to 16%’. The OECD report from June 2024 stated, on average, the total fertility rate of its member countries was 1.5 children per wom-an as of 2022, less than half the rate of 1960 and well below the replacement level of 2.1 children per woman. ",[8532],{"type":5067},{},{"nodeType":147,"value":8535,"marks":8536,"data":8539},"https:\u002F\u002Fwww.oecd.org\u002Fen\u002Fpublications\u002F2024\u002F06\u002Fsociety-at-a-glance-2024_08001b73.html.",[8537,8538],{"type":5172},{"type":5067},{},{"nodeType":143,"data":8541,"content":8542},{},[8543,8548],{"nodeType":147,"value":8544,"marks":8545,"data":8547},"5 Reinier de Graaf, ‘Architecture is now a tool of capital, complicit in a purpose antithetical to its social mission’, The Architectural Review, 24 April 2024, ",[8546],{"type":5067},{},{"nodeType":147,"value":8549,"marks":8550,"data":8553},"https:\u002F\u002Fwww.architectural-review.com\u002Fessays\u002Far-chitecture-is-now-a-tool-of-capital-complicit-in-a-purpose-antithetical-to-its-social-mission.",[8551,8552],{"type":5172},{"type":5067},{},{"nodeType":3471,"data":8555,"content":8573},{"target":8556},{"metadata":8557,"sys":8560,"fields":8567},{"tags":8558,"concepts":8559},[],[],{"space":8561,"id":8563,"type":212,"createdAt":8564,"updatedAt":8564,"environment":8565,"publishedVersion":91,"revision":216,"locale":31},{"sys":8562},{"type":14,"linkType":15,"id":16},"1AZam76jHAzOZ3OcNrpn7w","2025-10-02T09:33:09.407Z",{"sys":8566},{"id":23,"type":14,"linkType":24},{"title":5270,"description":219,"file":8568},{"url":8569,"details":8570,"fileName":5276,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1AZam76jHAzOZ3OcNrpn7w\u002F2bc67e01565df7deca1eb6d8842ae6cf\u002FCONG_POST.png",{"size":8571,"image":8572},178052,{"width":5037,"height":5038},[],{"nodeType":143,"data":8575,"content":8576},{},[8577,8581,8586],{"nodeType":147,"value":8578,"marks":8579,"data":8580},"In his book ",[],{},{"nodeType":147,"value":8582,"marks":8583,"data":8585},"Kenchiku no Tokyo (Tokyo in Architecture)",[8584],{"type":808},{},{"nodeType":147,"value":8587,"marks":8588,"data":8589},", published in early 2020, the Japanese architecture critic Taro Igarashi refers to Tokyo’s relentless scrap-and-build cycle as an ‘invisible catastrophe’, likening its effects to the many earthquakes and fires that have periodically reshaped the city going back to the Edo period (1603-1867). The Tsukiji Market, built in 1935, would have made a great space for a cultural centre, he points out. Instead, it has been levelled for a development anchored by a new stadium. What’s more, Igarashi laments, Japan’s globally lauded architects are barely involved in the design of present-day Tokyo, as developers prefer to work with the in-house teams of the zenekon (derived from the English ‘general contractor’) – the conglomerates that run the construction business. All the major commissions for the likes of SANAA or Shigeru Ban come from regional cities or overseas. The closest thing to prestige architecture in Tokyo in recent decades has been the fashion boutiques clustered in Omotesando and Ginza, in which case the architect typically only handles the shell but not the interior. ",[],{},{"nodeType":143,"data":8591,"content":8592},{},[8593],{"nodeType":147,"value":8594,"marks":8595,"data":8596},"Igarashi identifies the exact moment when architecture in Tokyo went all-in on today’s prevailing normcore aesthetic. In 2012, Zaha Hadid won the competition for the New National Stadium (now called Japan National Stadium), which would be the centrepiece of the 2020 Tokyo Olympics and replace Mitsuo Katayama’s 1958 facility, the main venue of the city’s 1964 Games. Then public sentiment turned on her, with esteemed Japanese architects such as Fumihiko Maki and Toyo Ito leading the way. The design was too complex, costs were getting out of hand and the building would encroach on the outer gardens of Meiji Shrine. Adding to the scandal, a nearby public housing complex was slated for demolition, and its residents, many of them seniors who had lived their whole lives in the area, were designated for relocation. ",[],{},{"nodeType":143,"data":8598,"content":8599},{},[8600],{"nodeType":147,"value":8601,"marks":8602,"data":8604},"6 Taro Igarashi, Kenchiku no Tokyo (Tokyo in Architecture) (Tokyo: Misuzu-shobo, 2020), 18. The Japa-nese word Igarashi uses, shinsai, refers specifically to a ‘catastrophic earthquake’. ",[8603],{"type":5067},{},{"nodeType":143,"data":8606,"content":8607},{},[8608],{"nodeType":147,"value":8609,"marks":8610,"data":8612},"7 Ibid., 167-68. ",[8611],{"type":5067},{},{"nodeType":143,"data":8614,"content":8615},{},[8616],{"nodeType":147,"value":8617,"marks":8618,"data":8620},"8 Ibid., 11, 112-13. ",[8619],{"type":5067},{},{"nodeType":143,"data":8622,"content":8623},{},[8624],{"nodeType":147,"value":8625,"marks":8626,"data":8628},"9 Ibid., 49, 103. ",[8627],{"type":5067},{},{"nodeType":143,"data":8630,"content":8631},{},[8632],{"nodeType":147,"value":8633,"marks":8634,"data":8635},"The government tore up the commission and launched another competition (the housing complex was demolished anyway). The conditions for entry included already having a zenekon lined up as a partner, all but excluding any non-Japanese architects. Hadid could not even put together a new proposal. If the protests and petitions that led to the scrapping of Hadid’s plan initially suggest a triumph of civil society, Igarashi contends that it was a matter of political expedience for Prime Minister Shinzo Abe of the Liberal Democratic Party, who was seeking to mollify the public after having just rammed a series of contentious policies through legislation.10 These included reinterpreting the ‘peace clause’ of the Japanese postwar constitution’s Article 9 to allow for a degree of remilitarisation. ",[],{},{"nodeType":143,"data":8637,"content":8638},{},[8639],{"nodeType":147,"value":8640,"marks":8641,"data":8642},"This was in 2015, around the time De Graaf was composing his polemic. Hadid’s futuristic spaceship – or intergalactic yoni, as suggested by its sinewy, ridged flares enfolding a central oculus – was swapped for a hastily assembled design by Kengo Kuma that could have been picked out of a Muji catalogue; soon after, Hadid died of a heart attack. A new era of discreet and mediocre architecture was ushered in. ",[],{},{"nodeType":143,"data":8644,"content":8645},{},[8646],{"nodeType":147,"value":8647,"marks":8648,"data":8649},"My one consolation, in a city where the value of a building is said to depreciate to zero within 15 years (it used to be 25), is that I am already looking forward to when the new developments are torn down. ",[],{},{"nodeType":3259,"data":8651,"content":8652},{},[8653],{"nodeType":147,"value":8654,"marks":8655,"data":8656},"4.",[],{},{"nodeType":143,"data":8658,"content":8659},{},[8660,8664,8669],{"nodeType":147,"value":8661,"marks":8662,"data":8663},"The original idea was straightforward enough. I was going to write about the guerrilla art group ChimtPom from Smappa!Group in relation to urban redevelopment in Tokyo. The group, formed in 2005 by five men and a mononymed ‘frontwoman’ Ellie, gained notoriety in the early 2000s for conducting stunt-like interventions into urban space. Since then, the artists have managed to keep inserting themselves into the public consciousness through a savvy feel for hot-button social issues. This is exemplified by their daring incursion into the area around TEPCO’s Fukushima Daiichi Nuclear Power Plant to make videos and other works in the immediate aftermath of the March 2011 nuclear disaster, which they presented under the collective title ",[],{},{"nodeType":147,"value":8665,"marks":8666,"data":8668},"Real Times ",[8667],{"type":808},{},{"nodeType":147,"value":8670,"marks":8671,"data":8672},"(2011). ",[],{},{"nodeType":143,"data":8674,"content":8675},{},[8676],{"nodeType":147,"value":8677,"marks":8678,"data":8679},"Over the past decade or so, ChimtPom have not just intervened into urban space, but they have also started to work with urban space itself as a kind of material. For the 2016 ‘scrap-and-build’ exhibition ‘So see you again tomorrow, too?’, the group took over a building in the Kabukicho nightlife and adult entertainment area that was scheduled for demolition, filling it with works and installations, and then leaving it all to be scrapped after the exhibition’s conclusion. Owned by the Kabukicho Shopping District Promotion Association, the building was made for the 1964 Olympics. ChimtPom framed the appropriation as a direct comment on urban redevelopment in the run-up to the 2020 Olympics, which they saw as an attempt to paper over the protracted recovery process in Fukushima. As a counterpart to the ‘scrapping’ of their works in Kabukicho, the group then used the detritus to reconstruct a road that formerly ran through the ramshackle space they had turned into a studio in Koenji, a bohemian neighbourhood a few stops up the JR Chuo Line from Shinjuku and Kabukicho. Spotlighting Tokyo’s legacy of ad hoc construction and squatters’ rights, which grew out of the city’s wartime devastation, the action presented ‘building’ as a matter of negotiation between public and private interests, customary usage and government regulations. ",[],{},{"nodeType":143,"data":8681,"content":8682},{},[8683,8687,8692],{"nodeType":147,"value":8684,"marks":8685,"data":8686},"More recent projects combine an aspect of urban renewal with architectural preservation. In 2021, ChimtPom founded an alternative art space, Whitehouse, in the former studio and home of postwar-era Neo Dada artist Masunobu Yoshimura; the house was completed in 1957 as the first built project of architect Arata Isozaki. Now, they are preparing to launch a new alternative institution, the Kabukicho Art Center, in a garish brick, castle-like edifice, the Ohjo Building, which, like the Kabukicho Shopping District Promotion Association building, dates back to 1964. A fine example of Tokyo’s eccentric vernacular architecture, the Ohjo Building served as a classical music café, cabaret, karaoke hall and ",[],{},{"nodeType":147,"value":8688,"marks":8689,"data":8691},"izakaya ",[8690],{"type":808},{},{"nodeType":147,"value":8693,"marks":8694,"data":8695},"restaurant over the course of its life before briefly falling into disuse during the pandemic. It stands at the very heart of Kabukicho, next to the shrine that was established in 1913 when the original swampland was filled in, and it is surrounded by various sex establishments with colourful names such as Don Juan, Super Angel, Lucifer, and Strawberry Jam. An advance exhibition ChimtPom organised at the Ohjo Building in 2023, ‘Na-lucky’ attracted 18,000 visitors over the course of its six-week run. ",[],{},{"nodeType":143,"data":8697,"content":8698},{},[8699],{"nodeType":147,"value":8700,"marks":8701,"data":8702},"What would Chim↑Pom’s projects tell me about the city? Something happened when I tried to start writing. My mind went blank. I was stuck in the old, pre-Olympic critical framework, where a single building could be a plausible stand-in for broader issues. But after all the social distancing and brain fog of the pandemic years, I was overwhelmed to learn the full scale of redevelopment taking place right now, with its myriad contending agencies and agendas. It was an Urashima Taro or Rip Van Winkle moment: it felt, indeed, as though I had been living in a bubble while the rest of the city had transformed around me. How could I begin to contextualise it? And, if I wanted to gain a new critical standpoint, how could I account for all the microhistories that every neighbourhood and site carries with it? It seemed impossible to wade through the intricate layers of culture, policy, capital, class, utility, aesthetics, messaging and dissemblance that play into how the city constantly forms and reforms itself. ",[],{},{"nodeType":143,"data":8704,"content":8705},{},[8706],{"nodeType":147,"value":8707,"marks":8708,"data":8709},"I spoke with various members of Chim↑Pom and their associates, researched books and papers, poked through byzantine government databases, talked it out with friends. Unable to articulate the problem, I couldn’t even ask the right questions. Then, one day, when I was biking to the supermarket, I spotted a construction site along my path. As is typical, the site itself was screened from view by plastic white hoarding, but what caught my eye was the construction plan notice pasted in front of it. The large placard identified the project’s name, its intended programme, number of storeys, building area, total floor area, the expected date of completion, the commissioning entity, and other data. At the bottom of the placard was boilerplate stating that the notice had been posted in accordance with municipal regulations on the avoidance and resolution of disputes, followed by contact information anyone could reach out to if they had an issue with the project. ",[],{},{"nodeType":143,"data":8711,"content":8712},{},[8713],{"nodeType":147,"value":8714,"marks":8715,"data":8716},"Every construction project has to post one of these notices, along with other permissions, somewhere on the perimeter of the site. People pass by them all the time without bothering to look at them. But I had just been reading about how adjustments to the Building Standards Law in the 1980s and ’90s, including the relaxation of slant plane restrictions limiting building heights in proportion to street width, had facilitated a boom in high-rise condominium construction in formerly low-to-mid-rise residential areas. I stopped to check out the specs. The plan was for a 14-storey condominium with 30 single-occupancy units and eight other units, designed to maximise returns. I took a photo as a record. ",[],{},{"nodeType":143,"data":8718,"content":8719},{},[8720],{"nodeType":147,"value":8721,"marks":8722,"data":8723},"From then on, I started to document the construction plan notices whenever I passed a construction site. Since demolition sites also have to post a notice, I documented those, too. I didn’t have to try very hard to look for them. There’s a major development, Mita Garden Hills, going up right across from my apartment building, and another down the way, where the Koyamacho neighbourhood used to be. I came across a new construction site pretty much every time I left home. Within a month or two, and without straying very far from my immediate vicinity, I had documented more than 70 sites, ranging from the massive, multi-hectare corporate developments listed by the Bureau of Urban Development to modestly scaled private apartments nestled in quiet backstreets. ",[],{},{"nodeType":143,"data":8725,"content":8726},{},[8727],{"nodeType":147,"value":8728,"marks":8729,"data":8730},"This documentation has become a kind of trainspotting for me, a way to register my own physical index of a problem that initially seemed so vague and formless as to elude conceptualisation. The seriality of the information in the notices cuts through the corporate spin. Yet, each notice has its own idiosyncratic details. Some are printed out, others are scrawled in permanent marker. Some are posted on the typical white hoarding, others on chain-link fences or makeshift supports that reveal glimpses of the site behind. Some are lit up at night, others left in the dark. Sunlight, shadows, reflections, raindrops, and other elements play across their surfaces. ",[],{},{"nodeType":143,"data":8732,"content":8733},{},[8734],{"nodeType":147,"value":8735,"marks":8736,"data":8737},"To me, the notices stake out a liminal zone between presence and absence, writing and erasure. They both lock me out of my memories and recall them. ",[],{},{"nodeType":143,"data":8739,"content":8740},{},[8741],{"nodeType":147,"value":8742,"marks":8743,"data":8745},"That’s where Hiroshi Oe’s Sanuki Kaikan was, with its trad-modern wood furniture by George Nakashima and beer garden in the summer. ",[8744],{"type":808},{},{"nodeType":143,"data":8747,"content":8748},{},[8749],{"nodeType":147,"value":8750,"marks":8751,"data":8753},"This is where Super Deluxe used to be, in the basement, with its Pecha Kucha Nights. The last time I went was for a screening of Terre Thaemlitz’s multimedia manifesto critiquing the ideology of the nuclear family, Deproduction (2017). I was on the way home when my wife called to let me know we were having another baby. ",[8752],{"type":808},{},{"nodeType":143,"data":8755,"content":8756},{},[8757],{"nodeType":147,"value":8758,"marks":8759,"data":8761},"There’s the site of the gloomy old Azabu Police Station, always with a guard clutching a long staff out front. I still use it as a landmark with taxi drivers. ",[8760],{"type":808},{},{"nodeType":143,"data":8763,"content":8764},{},[8765],{"nodeType":147,"value":8766,"marks":8767,"data":8769},"Here we are at the void of the Nakagin Capsule Tower. I went inside once when one of the units was listed for rent. It was dilapidated and practically reeked of asbestos. I understood why some people felt it had to be torn down. ",[8768],{"type":808},{},{"nodeType":143,"data":8771,"content":8772},{},[8773],{"nodeType":147,"value":8774,"marks":8775,"data":8777},"I should know this place. I’ve walked by it a thousand times. ",[8776],{"type":808},{},{"nodeType":143,"data":8779,"content":8780},{},[8781],{"nodeType":147,"value":8782,"marks":8783,"data":8784},"Beyond memory, the notices are an ambivalent signifier of democratic government and the delicate interplay of rights and consent that sustain it. They gesture towards transparency, but, in a sleight of hand, simultaneously cloak any project in invisibility. All the construction simply blends into the city, until before you know it, there’s a building that looks as if it’s been there forever. ",[],{},{"nodeType":3259,"data":8786,"content":8787},{},[8788],{"nodeType":147,"value":8789,"marks":8790,"data":8791},"5.",[],{},{"nodeType":143,"data":8793,"content":8794},{},[8795],{"nodeType":147,"value":8796,"marks":8797,"data":8798},"Critics have been complaining about the development of Tokyo for as long as Tokyo has been Tokyo (which, admittedly, is not very long in the scheme of things). They say that the city is losing its heritage, that the people calling the shots lack foresight or reflection. Then, the next generation comes along and says the same thing about their version of the city. Tokyo, which has never followed a master plan, always seems to turn out fine in the end. It will probably do so again. Nobody is clamouring to restore the city of canals that once elicited comparisons to Venice. Nobody is calling for a return to the city of wood architecture that the American military so cruelly targeted in its fire-bombing campaigns during World War II. I have to keep reminding myself that the redevelopment zone is still a relative drop in the bucket of the metropolitan area, which administratively extends to the countryside, mountains, and sparsely populated islands. In a city this vast and internecine, it is impossible to account for everything that is going on. ",[],{},{"nodeType":143,"data":8800,"content":8801},{},[8802],{"nodeType":147,"value":8803,"marks":8804,"data":8805},"While transformation is inevitable, I have yet to come across anyone who is genuinely excited about the new development projects. When I tracked down the parents of my daughter’s friend to ask about their experience with Azabudai Hills, they told me that they never wanted to leave their home. But over the years as first the local grocer and butcher closed shop and then the neighbouring buildings emptied out and demolition work started up, it became untenable to raise a child there. They sold to Mori and moved to another part of town. Even if they had traded for an apartment in the complex, they said, they still wouldn’t have been able to afford the maintenance fees and other costs, which are set for high-end budgets. ",[],{},{"nodeType":143,"data":8807,"content":8808},{},[8809],{"nodeType":147,"value":8810,"marks":8811,"data":8812},"To that extent, Azabudai Hills can be read as a warning that if capital is allowed to dictate the metabolism of the city, we will end up witnessing the attrition of the mixed-class neighbourhoods, with their varying scales of buildings and businesses that give Tokyo its soul and support its creative industries, from cuisine to design and music to art. As space becomes increasingly monetised, the logic governing its use becomes more uniform. The effects can already be felt in the art world, where institutional programmes are under tremendous pressure to generate revenue or justify their activities in terms of economic impact. As with architectural style, the quality of the art no longer matters as long as it brings feet in the door. Anything challenging (or that takes time to appreciate) is finding itself marginalised in the very spaces that were set up for it. ",[],{},{"nodeType":143,"data":8814,"content":8815},{},[8816,8820,8825],{"nodeType":147,"value":8817,"marks":8818,"data":8819},"Solutions are not going to come down from on high. Chim↑Pom – whose practice has developed in tension with the exclusionary tendencies of art in Japan, and whose spirit animal is the resilient super rat that has developed a resistance to poison – represents one approach, which is for local actors to take the initiative to activate space on their own before someone else does. The group does not get enough credit for the behind-the-scenes lobbying and networking they put into each project. Requiring liaising with the municipal government and fire department as well as local stakeholders, the ‘scrap-and-build’ exhibition of 2016 showed that the same people green-lighting developments can be convinced to support more outlandish proposals. 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The challenge then is how to continue identifying such lacunae in the cycles of redevelopment and gradually stretch their limits further, until they start to take root and change the culture of the city. ",[],{},{"nodeType":143,"data":8860,"content":8861},{},[8862],{"nodeType":147,"value":8863,"marks":8864,"data":8865},"In that light the Kabukicho Art Center makes sense as the next provocation in Chim↑Pom’s practice. The centre will serve a locality where, in the words of Chim↑Pom’s Ryuta Ushiro, the main industry is selling ‘situations, services, and bodies’ and the community is bound by an ethos of ‘accident caused by performative fluidity’. As the city’s largest pleasure zone, Kabukicho is a natural point of convergence between the powerful and the downtrodden, the well-off and the desperate, the local and the foreign. It’s a good starting point for a bottom-up art initiative. But can the Kabukicho Art Center avoid the traps of exclusion that so many institutions inevitably wrestle with, or will it end up as a clubhouse-like domain for Chim↑Pom? Nor should we forget, in all the talk about serving communities, that art has its own indeterminate and constantly evolving needs. ",[],{},{"nodeType":143,"data":8867,"content":8868},{},[8869],{"nodeType":147,"value":8870,"marks":8871,"data":8872},"The problem of this contemporary moment in Tokyo’s development is not so much one of preservation as it is a contest over how to collectively imagine a better future in dialogue with the visions of the past. If I were to found my own art centre, I would look to the pool as a model, which might mean having no programme at all. 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Led by Serakai's CEO and Founder, ",[],{},{"nodeType":147,"value":9714,"marks":9715,"data":9717},"Benjamin Cha",[9716],{"type":290},{},{"nodeType":147,"value":9719,"marks":9720,"data":9721},", alongside Curatorial Director of Serakai Studio, ",[],{},{"nodeType":147,"value":9723,"marks":9724,"data":9726},"Tobias Berger",[9725],{"type":290},{},{"nodeType":147,"value":9728,"marks":9729,"data":9730},", the conversation covered the best attributes of Hong Kong's Central district, as well as ways that Central could evolve to retain its primacy into the future.",[],{},{"nodeType":5180,"data":9732,"content":9733},{},[],{"nodeType":143,"data":9735,"content":9736},{},[9737],{"nodeType":147,"value":9738,"marks":9739,"data":9741},"This conversation has been edited and condensed for clarity.",[9740],{"type":808},{},{"nodeType":9743,"data":9744,"content":9745},"heading-5",{},[9746],{"nodeType":147,"value":9747,"marks":9748,"data":9750},"ESSENTIAL CENTRAL ",[9749],{"type":290},{},{"nodeType":143,"data":9752,"content":9753},{},[9754],{"nodeType":147,"value":9755,"marks":9756,"data":9758},"Benjamin Cha ",[9757],{"type":290},{},{"nodeType":143,"data":9760,"content":9761},{},[9762],{"nodeType":147,"value":9763,"marks":9764,"data":9765},"What are the essential attributes of Central, and how did it become the place it is today? ",[],{},{"nodeType":3471,"data":9767,"content":9788},{"target":9768},{"metadata":9769,"sys":9772,"fields":9779},{"tags":9770,"concepts":9771},[],[],{"space":9773,"id":9775,"type":212,"createdAt":9776,"updatedAt":9776,"environment":9777,"publishedVersion":91,"revision":216,"locale":31},{"sys":9774},{"type":14,"linkType":15,"id":16},"59yyGQAPiRi5pruphjz6Za","2025-10-09T04:16:01.566Z",{"sys":9778},{"id":23,"type":14,"linkType":24},{"title":9780,"description":219,"file":9781},"3A 32 72",{"url":9782,"details":9783,"fileName":9787,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F59yyGQAPiRi5pruphjz6Za\u002F06758dd3d4093dac8635c1f6d1be1d6d\u002F3A_32_72.jpg",{"size":9784,"image":9785},340662,{"width":1261,"height":9786},849,"3A_32_72.jpg",[],{"nodeType":143,"data":9790,"content":9791},{},[9792],{"nodeType":147,"value":9793,"marks":9794,"data":9796},"View of Statue Square area of Central in 1972, with the third HSBC building (centre), the Court of Final Appeals (left), and the Prince's Building (right).  Courtesy Lands Department, the Government of Hong Kong SAR.",[9795],{"type":5067},{},{"nodeType":143,"data":9798,"content":9799},{},[9800],{"nodeType":147,"value":9801,"marks":9802,"data":9804},"Raymond Chow ",[9803],{"type":290},{},{"nodeType":143,"data":9806,"content":9807},{},[9808,9812,9816],{"nodeType":147,"value":9809,"marks":9810,"data":9811},"Partly it is the heritage. This is where it all started in Hong Kong. People think the tramline is the original shoreline, but actually it wasn’t – that was reclaimed land. After the tramline was built, the godowns [warehouses] were put in front of it. So, there’s the East-West corridor, from the godowns in Causeway Bay, where a lot of things were undocked – and that’s where the Noonday Gun was for Jardine’s",[],{},{"nodeType":147,"value":3269,"marks":9813,"data":9815},[9814],{"type":3274},{},{"nodeType":147,"value":9817,"marks":9818,"data":9819},"  – all the way to the wharfs in Sheung Wan. ",[],{},{"nodeType":143,"data":9821,"content":9822},{},[9823],{"nodeType":147,"value":9824,"marks":9825,"data":9826},"Along with the heritage, Central is such a unique district for Hong Kong overall. It is the postcard image of Hong Kong as a financial city. It is where, historically, all the institutions that control the finances were located. You have the old Legislative Council sitting right next to us here. That heritage piece in the financial district is so important. ",[],{},{"nodeType":143,"data":9828,"content":9829},{},[9830],{"nodeType":147,"value":9831,"marks":9832,"data":9833},"When that happens, the placemaking evolves over time. You’ve got the Hong Kong Club, the oldest social club in the heart of Central, which caters to that kind of evolution. Then the international community clustered around this. Central is the face of the international community. ",[],{},{"nodeType":143,"data":9835,"content":9836},{},[9837],{"nodeType":147,"value":9838,"marks":9839,"data":9841},"Michael Ng ",[9840],{"type":290},{},{"nodeType":143,"data":9843,"content":9844},{},[9845],{"nodeType":147,"value":9846,"marks":9847,"data":9848},"I agree. I always go back to the heritage and where Hong Kong started. The British always found the right place. Central is very unique location itself because apart from all the financial institutions headquarters, you also have the government bodies – and the law is there as well. It’s almost like the whole little mini society. Compared to London’s Square Mile, when you talk about a CBD, the trading is all within a walkable distance. That sort of concentration is quite unique, and Central in Hong Kong delivers that model. ",[],{},{"nodeType":3471,"data":9850,"content":9871},{"target":9851},{"metadata":9852,"sys":9855,"fields":9862},{"tags":9853,"concepts":9854},[],[],{"space":9856,"id":9858,"type":212,"createdAt":9859,"updatedAt":9859,"environment":9860,"publishedVersion":91,"revision":216,"locale":31},{"sys":9857},{"type":14,"linkType":15,"id":16},"7oMrGaM1vGHve9jrwM900o","2025-10-09T05:43:04.359Z",{"sys":9861},{"id":23,"type":14,"linkType":24},{"title":9863,"description":219,"file":9864},"QueensRoad Pedder Central36 35 61",{"url":9865,"details":9866,"fileName":9870,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7oMrGaM1vGHve9jrwM900o\u002Fef1b1ca76b60986600bf7b4f4b15d53f\u002FQueensRoad_Pedder_Central36_35_61.jpg",{"size":9867,"image":9868},386509,{"width":1261,"height":9869},850,"QueensRoad_Pedder_Central36_35_61.jpg",[],{"nodeType":143,"data":9873,"content":9874},{},[9875],{"nodeType":147,"value":9876,"marks":9877,"data":9879},"The intersection of Pedder Street and Queen's Road Central in 1961.  Courtesy Lands Department, the Government of Hong Kong SAR.",[9878],{"type":5067},{},{"nodeType":143,"data":9881,"content":9882},{},[9883],{"nodeType":147,"value":9884,"marks":9885,"data":9887},"Phil Kim ",[9886],{"type":290},{},{"nodeType":143,"data":9889,"content":9890},{},[9891],{"nodeType":147,"value":9892,"marks":9893,"data":9894},"It’s really postage stamp size – that’s really the benefit of Central Hong Kong. It is also the intersection of what is really beautiful about Hong Kong, with the hillside dropping down into the water. Then laterally, it provides connectivity to the rest of the neighbourhoods. So the connectivity part is what makes it such a powerful piece of urbanism. It probably also has one of the highest concentrations of Michelin-starred restaurants in the world. Central is almost a perfect microcosm of the way that you would design a city of the future, and it has been like this for 50 years. ",[],{},{"nodeType":143,"data":9896,"content":9897},{},[9898],{"nodeType":147,"value":9899,"marks":9900,"data":9902},"Kristine Li ",[9901],{"type":290},{},{"nodeType":143,"data":9904,"content":9905},{},[9906,9910,9914,9918,9922],{"nodeType":147,"value":9907,"marks":9908,"data":9909},"In addition to the government offices, the Post Office meant you had people who were doing their daily business here. There were also the cultural facilities in City Hall.",[],{},{"nodeType":147,"value":3577,"marks":9911,"data":9913},[9912],{"type":3274},{},{"nodeType":147,"value":9915,"marks":9916,"data":9917},"  It was very glamorous at the time. Philharmonics came from overseas to perform there. People had parties at Maxim’s. And the Hong Kong Club was there, for high-end society events. To Phil’s point about Central’s lateralism, besides the offices, there was a very interesting evolution of the streetscape, from the high streets such as Queen’s Road Central, all the way to Des Voeux Road in Sheung Wan. All those little alleyways are still here today. They really give the colour to pedestrian life. So it’s the variety of experiences in Central, from formal working life to, at night, Lang Kwai Fong",[],{},{"nodeType":147,"value":3796,"marks":9919,"data":9921},[9920],{"type":3274},{},{"nodeType":147,"value":9923,"marks":9924,"data":9925},". It’s so diverse. ",[],{},{"nodeType":143,"data":9927,"content":9928},{},[9929],{"nodeType":147,"value":9930,"marks":9931,"data":9933},"1 Owned by Jardine Matheson, the gun is fired every day at 12 o'clock, a ritual dating back to the 1860s when it was used for timekeeping.",[9932],{"type":5067},{},{"nodeType":143,"data":9935,"content":9936},{},[9937],{"nodeType":147,"value":9938,"marks":9939,"data":9941},"2 The Hong Kong City Wall Hall was re-opened in 1962 in a modernist complex designed to host cultural events and provide civic functions.",[9940],{"type":5067},{},{"nodeType":143,"data":9943,"content":9944},{},[9945],{"nodeType":147,"value":9946,"marks":9947,"data":9949},"3 Lan Kwai Fung is a nightclub district established in the 1980's.",[9948],{"type":5067},{},{"nodeType":5180,"data":9951,"content":9952},{},[],{"nodeType":9743,"data":9954,"content":9955},{},[9956],{"nodeType":147,"value":9957,"marks":9958,"data":9960},"CENTRAL'S NEWEST ARCHITECTURAL ADDITION",[9959],{"type":290},{},{"nodeType":143,"data":9962,"content":9963},{},[9964],{"nodeType":147,"value":9755,"marks":9965,"data":9967},[9966],{"type":290},{},{"nodeType":143,"data":9969,"content":9970},{},[9971],{"nodeType":147,"value":9972,"marks":9973,"data":9974},"Kristine, can you talk about the design of The Henderson, in terms of it responding to the strengths, weaknesses and overall built environment of Central? ",[],{},{"nodeType":143,"data":9976,"content":9977},{},[9978],{"nodeType":147,"value":9687,"marks":9979,"data":9981},[9980],{"type":290},{},{"nodeType":143,"data":9983,"content":9984},{},[9985],{"nodeType":147,"value":9986,"marks":9987,"data":9988},"One of the strengths that we all agree on is the connectivity of Central. We built the Henderson as an expansion of 'core Central'. It's something we thought hard about: given the landscape and the natural environment around this site, the proximity to Hongkong Land’s portfolio, and the MTR station, and how could we connect to those locations? The Zaha Hadid-designed skybridges connect into the Henderson and also into the Admiralty Station on the other side.",[],{},{"nodeType":143,"data":9990,"content":9991},{},[9992],{"nodeType":147,"value":9993,"marks":9994,"data":9995},"Another key point is greenery. Right now, greenery is a weakness for Central. But from the Statue Square to Chater Garden, there is actually a very beautiful garden - the plants are done really well.  With all these parks, and with our building, we asked how then can we also create like a green travel path on the way to the office to work? We also elevated the lobby to the third floor, to give an appreciation to that oasis around us, and focused on the experience of the ground level and from the walkway of view of the greenery.",[],{},{"nodeType":143,"data":9997,"content":9998},{},[9999],{"nodeType":147,"value":10000,"marks":10001,"data":10002},"As for choosing Zaha Hadid as the building's architect, We had a vision that we needed someone very daring, and a female architect, whose use of curvy lines could infuse innovation into the Hong Kong cityscape. The curvy design really speaks to the lineage and heritage of all the star architects around us. IM Pei with the Bank of China,  Norman Foster with HSBC, Cesar Pelli with CKC (Cheung Kong Center), Paul Rudolph's Lippo Centre, and there's also the street from the old Bank of China that leads to the vista. And of course, there’s always a story behind the feng shui. From the company’s standpoint, we don’t always like talking about feng shui, but I think it’s such a beautiful story that connects into the heritage – that is why you have the Bank of China built like that, why HSBC has those features, and how, as the newest innovation we also respond to this constant dialogue with all these other stars. I think it’s a beautiful part of Hong Kong, and gives a wonderful message. Each corner, each curve - we thought about how they interact with the different spires and angles of the buildings around us. It speaks to how we use innovation with a strong Chinese cultural mindset and how we can fuse together the city's Western and then also the Chinese heritage. I think it’s beautiful. ",[],{},{"nodeType":3471,"data":10004,"content":10026},{"target":10005},{"metadata":10006,"sys":10009,"fields":10016},{"tags":10007,"concepts":10008},[],[],{"space":10010,"id":10012,"type":212,"createdAt":10013,"updatedAt":10013,"environment":10014,"publishedVersion":91,"revision":216,"locale":31},{"sys":10011},{"type":14,"linkType":15,"id":16},"30g0Bo1kLB7m3FWqPGWVFn","2025-10-09T07:47:00.949Z",{"sys":10015},{"id":23,"type":14,"linkType":24},{"title":10017,"description":219,"file":10018},"@factoryxii-Local Culture-Aberdeen Street-Central",{"url":10019,"details":10020,"fileName":10025,"contentType":482},"\u002F\u002Fdownloads.ctfassets.net\u002F2urh0izv0sep\u002F30g0Bo1kLB7m3FWqPGWVFn\u002F28b0906dccbb3d6e0652f7a8064f0165\u002F_factoryxii-Local_Culture-Aberdeen_Street-Central.jpg",{"size":10021,"image":10022},28422035,{"width":10023,"height":10024},5464,8192,"@factoryxii-Local Culture-Aberdeen Street-Central.jpg",[],{"nodeType":143,"data":10028,"content":10029},{},[10030],{"nodeType":147,"value":10031,"marks":10032,"data":10034},"Aberdeen Street in Central. Photo by Factory XII. Courtesy Hong Kong Tourism Board.",[10033],{"type":5067},{},{"nodeType":143,"data":10036,"content":10037},{},[10038],{"nodeType":147,"value":219,"marks":10039,"data":10041},[10040],{"type":290},{},{"nodeType":143,"data":10043,"content":10044},{},[10045],{"nodeType":147,"value":9838,"marks":10046,"data":10048},[10047],{"type":290},{},{"nodeType":143,"data":10050,"content":10051},{},[10052,10056,10060],{"nodeType":147,"value":10053,"marks":10054,"data":10055},"I think the building is very responsive to the only remaining open space right in the middle of Central. For the Henderson itself, the curvilinear form is very dynamic in response to the other buildings - each of which is standing on its own. I think the great success of this project is also how you integrated it with the ground plane, so it would be a great opportunity, then, if we could do even more in front of it with Chater Garden and all the way to HSBC. When we did the landscape for The Murray Hotel,",[],{},{"nodeType":147,"value":3913,"marks":10057,"data":10059},[10058],{"type":3274},{},{"nodeType":147,"value":10061,"marks":10062,"data":10063},"we studied all greenery around it and we insisted that the landscape be very natural in contrast to all the hard edges in the area.",[],{},{"nodeType":3471,"data":10065,"content":10082},{"target":10066},{"metadata":10067,"sys":10070,"fields":10077},{"tags":10068,"concepts":10069},[],[],{"space":10071,"id":10073,"type":212,"createdAt":10074,"updatedAt":10074,"environment":10075,"publishedVersion":91,"revision":216,"locale":31},{"sys":10072},{"type":14,"linkType":15,"id":16},"39nGEdJGnQy11SD1QkQ3bM","2025-10-09T08:01:34.679Z",{"sys":10076},{"id":23,"type":14,"linkType":24},{"title":9588,"description":219,"file":10078},{"url":10079,"details":10080,"fileName":9596,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F39nGEdJGnQy11SD1QkQ3bM\u002Feb578db666258dc41253df57d690cded\u002FPhotograph_of_The_Henderson_building__designed_by_Zaha_Hadid_Architects..jpg",{"size":9592,"image":10081},{"width":9594,"height":9595},[],{"nodeType":143,"data":10084,"content":10085},{},[10086],{"nodeType":147,"value":10087,"marks":10088,"data":10090},"The Henderson with Chater Garden in the foreground. Courtesy Henderson Land.",[10089],{"type":5067},{},{"nodeType":5180,"data":10092,"content":10093},{},[],{"nodeType":9743,"data":10095,"content":10096},{},[10097],{"nodeType":147,"value":10098,"marks":10099,"data":10101},"THE POWER OF A SINGLE BUILDING?",[10100],{"type":290},{},{"nodeType":143,"data":10103,"content":10104},{},[10105],{"nodeType":147,"value":10106,"marks":10107,"data":10109},"Tobias Berger ",[10108],{"type":290},{},{"nodeType":143,"data":10111,"content":10112},{},[10113],{"nodeType":147,"value":10114,"marks":10115,"data":10116},"The Henderson really shifts the whole idea of the centre of Central more to the east. My basic question is: does one building has the power to shift the neighbourhood or area, and what do we even define this 'shift'?",[],{},{"nodeType":143,"data":10118,"content":10119},{},[10120],{"nodeType":147,"value":9838,"marks":10121,"data":10123},[10122],{"type":290},{},{"nodeType":143,"data":10125,"content":10126},{},[10127],{"nodeType":147,"value":10128,"marks":10129,"data":10130},"There will be extension into the Admiralty and this area is a pivot between the two. The Admiralty as a whole will be coming up for redevelopment soon, and the Admiralty corridor will be extended. ",[],{},{"nodeType":143,"data":10132,"content":10133},{},[10134],{"nodeType":147,"value":9755,"marks":10135,"data":10137},[10136],{"type":290},{},{"nodeType":143,"data":10139,"content":10140},{},[10141],{"nodeType":147,"value":10142,"marks":10143,"data":10144},"How would you distinguish extending versus shifting? Can you elaborate?",[],{},{"nodeType":143,"data":10146,"content":10147},{},[10148],{"nodeType":147,"value":9884,"marks":10149,"data":10151},[10150],{"type":290},{},{"nodeType":143,"data":10153,"content":10154},{},[10155,10159,10163],{"nodeType":147,"value":10156,"marks":10157,"data":10158},"The Henderson is not re-centering of the ground zero of Central. I don't think that it is going to move from the Hongkong Land portfolio, IFC, and Site 3.",[],{},{"nodeType":147,"value":6138,"marks":10160,"data":10162},[10161],{"type":3274},{},{"nodeType":147,"value":10164,"marks":10165,"data":10166},"If we think about this collection of buildings that we see here, they're iconic, and in terms of design and aesthetics, they are pure pieces of sculpture, architecture and design.",[],{},{"nodeType":143,"data":10168,"content":10169},{},[10170],{"nodeType":147,"value":10171,"marks":10172,"data":10173},"But in terms of the life of the city and the life of Central, I don't think this area is very strong. You really lose the energy of what Central is when you get to the major roadway of Queensway and the Pacific Place mall, and even then, that is an island unto itself. It is not until you get to the Wan Chai neighbourhood again that you actually get back into the fabric of the city. So, I really strongly agree with Michael's point about essentially what are ground plane-based moves; to connect between activities, street life, the walkability of the city.",[],{},{"nodeType":143,"data":10175,"content":10176},{},[10177],{"nodeType":147,"value":9755,"marks":10178,"data":10180},[10179],{"type":290},{},{"nodeType":143,"data":10182,"content":10183},{},[10184],{"nodeType":147,"value":10185,"marks":10186,"data":10187},"I want to pick up on Tobias's question about the power of a single building, the power of a landmark, or a striking piece of architecture. How would you respond to that? What is the power of the architecture versus what goes on inside the building?",[],{},{"nodeType":3471,"data":10189,"content":10211},{"target":10190},{"metadata":10191,"sys":10194,"fields":10201},{"tags":10192,"concepts":10193},[],[],{"space":10195,"id":10197,"type":212,"createdAt":10198,"updatedAt":10198,"environment":10199,"publishedVersion":91,"revision":216,"locale":31},{"sys":10196},{"type":14,"linkType":15,"id":16},"ZJ2rQQwGpNiwWAWRpREll","2025-10-09T09:15:39.799Z",{"sys":10200},{"id":23,"type":14,"linkType":24},{"title":10202,"description":219,"file":10203},"0501 FP42799 indesign",{"url":10204,"details":10205,"fileName":10210,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FZJ2rQQwGpNiwWAWRpREll\u002Feb8be6620816d81a13e2cdb4791fb8cf\u002F0501_FP42799_indesign.jpg",{"size":10206,"image":10207},2279178,{"width":10208,"height":10209},2365,2976,"0501_FP42799_indesign.jpg",[],{"nodeType":143,"data":10213,"content":10214},{},[10215],{"nodeType":147,"value":10216,"marks":10217,"data":10219},"The fourth Hongkong and Shanghai Bank (HSBC) Headquarters designed by Foster Associates and completed in 1985. Photo by lan Lambot. Courtesy Foster + Partners.",[10218],{"type":5067},{},{"nodeType":143,"data":10221,"content":10222},{},[10223],{"nodeType":147,"value":10224,"marks":10225,"data":10227},"5 IFC is the International Financial Centre tower and mall. Site 3 is a new harbourfront development by Henderson Land next to the IFC location and facing the central Harbourfront.",[10226],{"type":5067},{},{"nodeType":143,"data":10229,"content":10230},{},[10231],{"nodeType":147,"value":9687,"marks":10232,"data":10234},[10233],{"type":290},{},{"nodeType":143,"data":10236,"content":10237},{},[10238],{"nodeType":147,"value":10239,"marks":10240,"data":10241},"For building to be an icon, it’s not about the number of people right, I think it’s about how the building presents itself and what it means for the city. And I think the visual form is extremely important because that’s 'what you see on the postcard' - look people see and like resonate with the architecture. I think that’s the power of having a star architect or someone really brilliant to be a designer. Because once you see it, it’s immediate, it’s immediate inspiration is immediate, that emotional response to something,that’s physical. When we have the link, it’s an art piece itself. ",[],{},{"nodeType":143,"data":10243,"content":10244},{},[10245,10249,10253,10257,10261],{"nodeType":147,"value":10246,"marks":10247,"data":10248},"And I think one of our ideas of creating the tenants is to really bring life and breathe life. And I think it goes back to kind of our successes from H Queens and H Code",[],{},{"nodeType":147,"value":5320,"marks":10250,"data":10252},[10251],{"type":3274},{},{"nodeType":147,"value":10254,"marks":10255,"data":10256}," and seeing and understanding the power of art, the power of having culture and having that additional layer of dialogue that brings excitement into the traditional business world. And I think you’ll be really happy to be able to, be able to align our vision with Christie’s",[],{},{"nodeType":147,"value":5329,"marks":10258,"data":10260},[10259],{"type":3274},{},{"nodeType":147,"value":10262,"marks":10263,"data":10264}," because they were actually struggling between moving on to West Kowloon or staying in Central. So it was a long conversation and negotiation that we had with them. And then they were persuaded that they need to be here where the collective and concentrated energy is, and where the clients are. ",[],{},{"nodeType":143,"data":10266,"content":10267},{},[10268],{"nodeType":147,"value":9755,"marks":10269,"data":10271},[10270],{"type":290},{},{"nodeType":143,"data":10273,"content":10274},{},[10275],{"nodeType":147,"value":10276,"marks":10277,"data":10278},"Do people underestimate the power of the architecture of a building? For example, one of the earlier icons from our generation, the Guggenheim museum in Bilbao, designed by Frank Gehry, drew people to a place that nobody wanted to go and it put the city on the map. ",[],{},{"nodeType":143,"data":10280,"content":10281},{},[10282],{"nodeType":147,"value":10106,"marks":10283,"data":10285},[10284],{"type":290},{},{"nodeType":143,"data":10287,"content":10288},{},[10289],{"nodeType":147,"value":10290,"marks":10291,"data":10292},"The Guggenheim Bilbao was the worst thing that happened to museums for 30 years. After Bilbao opened, everybody wanted a building that looked like an exploding pancake from the outside but they did not really care about whether it works inside. Taking an example from here in Hong Kong, namely, the competition for M+ which I co-administered; many people wanted a building that looked amazing from the outside but simply did not work for exhibiting art. To 'protect' ourselves, we had this one sentence in the competition paper that I think saved us: 'We want a building that works with straight white walls and space to exhibit paintings, objects and multimedia artworks.",[],{},{"nodeType":143,"data":10294,"content":10295},{},[10296],{"nodeType":147,"value":9687,"marks":10297,"data":10299},[10298],{"type":290},{},{"nodeType":143,"data":10301,"content":10302},{},[10303,10307,10312],{"nodeType":147,"value":10304,"marks":10305,"data":10306},"Success for a building depends on the programming, not just the iconic form. People can admire it from a distance, but if they can never participate in events there, it will not shift the gravity around it. That is why we have a ballroom facility in The Henderson, which will host social events and weddings. And we are also planning exciting exhibitions. For Art Basel Hong Kong",[],{},{"nodeType":147,"value":10308,"marks":10309,"data":10311},"8 ",[10310],{"type":3274},{},{"nodeType":147,"value":10313,"marks":10314,"data":10315},"we're planning a retrospective for one of the world's most famous contemporary artists. Programs like these can really transform and expand a person's relationship to a building.",[],{},{"nodeType":143,"data":10317,"content":10318},{},[10319],{"nodeType":147,"value":10320,"marks":10321,"data":10323},"6 H Queens and H Code are two Henderson Land developments in Central that feature entertainment and cultural destination alongside restaurants and bars.",[10322],{"type":5067},{},{"nodeType":143,"data":10325,"content":10326},{},[10327],{"nodeType":147,"value":10328,"marks":10329,"data":10331},"7 Christie's auction house opened its Asia headquarters in The Henderson in September 2024.",[10330],{"type":5067},{},{"nodeType":143,"data":10333,"content":10334},{},[10335],{"nodeType":147,"value":10336,"marks":10337,"data":10339},"8 Art Basel Hong Kong is the major international contemporary art event in Hong Kong and takes place annually in late March at the Hong Kong Convention and Exhibition Centre.",[10338],{"type":5067},{},{"nodeType":143,"data":10341,"content":10342},{},[10343],{"nodeType":147,"value":9884,"marks":10344,"data":10346},[10345],{"type":290},{},{"nodeType":143,"data":10348,"content":10349},{},[10350],{"nodeType":147,"value":10351,"marks":10352,"data":10353},"I respect Kristine’s focus on programming right now. The Guggenheim, of course, had that impact for Bilbao. It had that outsized effect on the region because there was very little in terms of culture or tourist attraction in Bilbao. In terms of Hong Kong,  I think the collection of these iconic buildings in Central does have an impact - but not because of one tower or piece of architecture on its own. ",[],{},{"nodeType":143,"data":10355,"content":10356},{},[10357],{"nodeType":147,"value":10106,"marks":10358,"data":10360},[10359],{"type":290},{},{"nodeType":143,"data":10362,"content":10363},{},[10364],{"nodeType":147,"value":10365,"marks":10366,"data":10367},"From a built environment point of view, what makes Central is actually the concentration of buildings. It's like Manhattan on speed. The question is, actually, why are there only six or seven iconic buildings in Central - it is very few given that total number of skyscrapers in Hong Kong. Like Phil, I think that intense concentration and urban density is what makes Central an amazing and iconic area, and not the individual buildings.",[],{},{"nodeType":143,"data":10369,"content":10370},{},[10371],{"nodeType":147,"value":9884,"marks":10372,"data":10374},[10373],{"type":290},{},{"nodeType":143,"data":10376,"content":10377},{},[10378],{"nodeType":147,"value":10379,"marks":10380,"data":10381},"I’m not saying that beautiful architecture doesn’t have power. But beautiful architecture on its own, is not of the time, because when you talk about program to me that it really resonates with me, because the two marry together so that the functionality of the building, that’s purpose, the way that the building unfolds to people actually coming in and using it, not just being sheltered, and inviting them, that that’s what I think makes it really powerful. ",[],{},{"nodeType":143,"data":10383,"content":10384},{},[10385],{"nodeType":147,"value":10106,"marks":10386,"data":10388},[10387],{"type":290},{},{"nodeType":143,"data":10390,"content":10391},{},[10392],{"nodeType":147,"value":10393,"marks":10394,"data":10395},"A city has to be programmed. That's why Central on Saturday is not exciting. And Cental on the Sunday becomes a very different place.",[],{},{"nodeType":143,"data":10397,"content":10398},{},[10399],{"nodeType":147,"value":9801,"marks":10400,"data":10402},[10401],{"type":290},{},{"nodeType":143,"data":10404,"content":10405},{},[10406],{"nodeType":147,"value":10407,"marks":10408,"data":10409},"The Henderson is a very important building for Hong Kong and Central as a whole. It reinforces Central as the core district for Hong Kong. To your earlier question, is it going to shift 'the core'? I don’t think so, because of the heritage. But what it does is gives another kind of opportunity to re-segment Hong Kong in a different way. With all these great buildings, and all these great things happening - Kristine is pulling us to the East and Wing Tai is trying to pull us to the west with their ecosystem - it reinforces Central as really the place to be. You're creating a lot more experiences in the core Central area.",[],{},{"nodeType":143,"data":10411,"content":10412},{},[10413],{"nodeType":147,"value":9838,"marks":10414,"data":10416},[10415],{"type":290},{},{"nodeType":143,"data":10418,"content":10419},{},[10420,10424,10429],{"nodeType":147,"value":10421,"marks":10422,"data":10423},"This project has really raised a certain bar. I think it’s also a bit of a prize for Hong Kong. Really, we have not seen necessarily the kind of star architects who actually deliver buildings in Hong Kong for many, many years. Yeah, so I think it is a kind of confidence. But I think I think Central is evolving, I think it will be an extension of many different interesting areas. I’m talking about what we’re doing now on the Wing Tai side, the Escalator, that’s another cluster.",[],{},{"nodeType":147,"value":10425,"marks":10426,"data":10428},"9",[10427],{"type":3274},{},{"nodeType":147,"value":10430,"marks":10431,"data":10432}," It’s gonna be a different kind of Central suddenly. So you have different characters in the makeup, which is interesting. ",[],{},{"nodeType":143,"data":10434,"content":10435},{},[10436],{"nodeType":147,"value":9801,"marks":10437,"data":10439},[10438],{"type":290},{},{"nodeType":143,"data":10441,"content":10442},{},[10443],{"nodeType":147,"value":10444,"marks":10445,"data":10446},"Central Hong Kong is going to be very interesting in five to ten year's time. Because it will be very differently segmented, with new and wonderful cultural things going on, with big event art spaces and the auction houses, luxury retail, culture, etcetera.",[],{},{"nodeType":143,"data":10448,"content":10449},{},[10450],{"nodeType":147,"value":10451,"marks":10452,"data":10454},"9 The real-estate developmentcompany Wing Tai Properties Limited is currently developing a project located on Wellington Street, in a neighborhood directly adjacent to core Central.",[10453],{"type":5067},{},{"nodeType":3471,"data":10456,"content":10478},{"target":10457},{"metadata":10458,"sys":10461,"fields":10468},{"tags":10459,"concepts":10460},[],[],{"space":10462,"id":10464,"type":212,"createdAt":10465,"updatedAt":10465,"environment":10466,"publishedVersion":91,"revision":216,"locale":31},{"sys":10463},{"type":14,"linkType":15,"id":16},"WgScBXOP563M51eE7YUA0","2025-10-10T03:12:05.937Z",{"sys":10467},{"id":23,"type":14,"linkType":24},{"title":10469,"description":219,"file":10470},"0501 FP205422 indesign",{"url":10471,"details":10472,"fileName":10477,"contentType":482},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FWgScBXOP563M51eE7YUA0\u002Fb481357b74bc8baa9f685eea4f6e3fd6\u002F0501_FP205422_indesign.jpg",{"size":10473,"image":10474},2295585,{"width":10475,"height":10476},2065,1399,"0501_FP205422_indesign.jpg",[],{"nodeType":143,"data":10480,"content":10481},{},[10482],{"nodeType":147,"value":10483,"marks":10484,"data":10486},"Street level view of Statue Square outside of the HSBC headquarters. Photo by Norman Foster. Courtesy Foster + Partners.",[10485],{"type":5067},{},{"nodeType":5180,"data":10488,"content":10489},{},[],{"nodeType":9743,"data":10491,"content":10492},{},[10493],{"nodeType":147,"value":10494,"marks":10495,"data":10497},"THE PROBLEM WITH (URBAN) PLANNING",[10496],{"type":290},{},{"nodeType":143,"data":10499,"content":10500},{},[10501],{"nodeType":147,"value":9755,"marks":10502,"data":10504},[10503],{"type":290},{},{"nodeType":143,"data":10506,"content":10507},{},[10508],{"nodeType":147,"value":10509,"marks":10510,"data":10511},"Do you think there needs to be more planning and regulation, or less, to make central even better? What about a more coordinated effort between landlords, planners and stakeholders?",[],{},{"nodeType":143,"data":10513,"content":10514},{},[10515],{"nodeType":147,"value":9687,"marks":10516,"data":10518},[10517],{"type":290},{},{"nodeType":143,"data":10520,"content":10521},{},[10522],{"nodeType":147,"value":10523,"marks":10524,"data":10525},"The government's vision for new developable land in and around Central is already legally stipulated before they sell the land, before they hold a tender. For Site 3, thirty percent of the site has to be used for green spaces. That connectivity to the harbourfront - how to activate, for example, the area around and in front of the HSBC building, Statue Square, and all the way out to the harbour - that's already in the government's new vision, to incorporate that for the newer sites. But the real issue is to also incentivise the older landlords and owners to contribute to this new 'bank', which would also bring up the value of their buidlings and their rents.",[],{},{"nodeType":143,"data":10527,"content":10528},{},[10529],{"nodeType":147,"value":9884,"marks":10530,"data":10532},[10531],{"type":290},{},{"nodeType":143,"data":10534,"content":10535},{},[10536],{"nodeType":147,"value":10537,"marks":10538,"data":10539},"On this point, it is an issue of cooperation. This has been a repeating conversation for consultants like Michael and I because when you talk to the individual landlords and developers, they want creativity and innovation within their borders. But the second you ask them to step outside their properties, they say 'I don't want to pay for it. I don't want to be the first to do this, like come back to me when ten others have come into it'.",[],{},{"nodeType":143,"data":10541,"content":10542},{},[10543],{"nodeType":147,"value":9801,"marks":10544,"data":10546},[10545],{"type":290},{},{"nodeType":143,"data":10548,"content":10549},{},[10550],{"nodeType":147,"value":10551,"marks":10552,"data":10553},"Phil is correct - and that is the physical side. But also if you could do a BID (business improvement district) concept, you would want to link it with digital connectivity as well, so that when you go into the 'zone', however it is defined, the BID reaches you. We need to remember the digital side. But wehn each individual developer is trying to do it on their own, it's almost impossible.",[],{},{"nodeType":143,"data":10555,"content":10556},{},[10557],{"nodeType":147,"value":9884,"marks":10558,"data":10560},[10559],{"type":290},{},{"nodeType":143,"data":10562,"content":10563},{},[10564],{"nodeType":147,"value":10565,"marks":10566,"data":10567},"We were just in Tokyo and we were very comfortable. I was with the same group of people five years ago and also ten years ago, but it was totally different then because of the incomprehensibility of Japanese to visitors - and the fact that it's not an English-friendly city. This time, of course, Tokyo has improved, and everybody was using their devices to navigate from point to point, so we could discover the tiniest little moments, the ones that are so rich and interesting.",[],{},{"nodeType":143,"data":10569,"content":10570},{},[10571],{"nodeType":147,"value":9801,"marks":10572,"data":10574},[10573],{"type":290},{},{"nodeType":143,"data":10576,"content":10577},{},[10578],{"nodeType":147,"value":10579,"marks":10580,"data":10581},"Historically, when the market was very good, basically everyone was on their own. But that mindset shifted, because the world has changed, the markets have changed. Now it's about susbstaining. The time to do a BID or an association among developers is now. People need to realise that those glory days of simply building 'boxes' and instantly filling them up with tenants is over. It is about personal relationships, too, but also having a bigger vision for Hong Kong as well.",[],{},{"nodeType":143,"data":10583,"content":10584},{},[10585],{"nodeType":147,"value":9687,"marks":10586,"data":10588},[10587],{"type":290},{},{"nodeType":143,"data":10590,"content":10591},{},[10592],{"nodeType":147,"value":10593,"marks":10594,"data":10595},"I find there's actually a genuine interest to collaborate, if there's enough incentive. But the issues come about because everyone has different commitments to the goal and how to sustain it. How much does each entity contribute? Is it the private sector's responsibility, the public's, or the government's? That balance and that execution is what people have issues agreeing to.",[],{},{"nodeType":143,"data":10597,"content":10598},{},[10599],{"nodeType":147,"value":9884,"marks":10600,"data":10602},[10601],{"type":290},{},{"nodeType":143,"data":10604,"content":10605},{},[10606],{"nodeType":147,"value":10607,"marks":10608,"data":10609},"There isn't a formal concept, but what Hong Kong really needs is a concept of 'blurring'. Everyone wants to protect their own territory, and their departments and professions. But it's really about integrating everything - because future cities will thrive on activation, and activation is a human issue. In order to create great cities, you have to go back 500 years. So, for example, we all go to tiny little Italian towns, where there's very little regulation, and we love those experiences. But if you really think about it, there are organic breakdowns between the various sectors and shops and tenants and grocer. They create a total environment that's actually human. That's really what we need to do.",[],{},{"nodeType":143,"data":10611,"content":10612},{},[10613],{"nodeType":147,"value":10106,"marks":10614,"data":10616},[10615],{"type":290},{},{"nodeType":143,"data":10618,"content":10619},{},[10620],{"nodeType":147,"value":10621,"marks":10622,"data":10623},"A lot of times the new ideas are coming from the architects, because they get asked the question, they have visions. Has that relationship changed in the last few years?",[],{},{"nodeType":143,"data":10625,"content":10626},{},[10627],{"nodeType":147,"value":9838,"marks":10628,"data":10630},[10629],{"type":290},{},{"nodeType":143,"data":10632,"content":10633},{},[10634],{"nodeType":147,"value":10635,"marks":10636,"data":10637},"I often find that when architects are asked to design or conceptualise a project, it's usually quite far down the line. Often times the rules have already been set - even if we would want to do something even different. It means you have to create good projects, and that the brief has to be really interesting. Then you start questioning the fundamentals of why we want to do this. But that kind of dialogue doesn't come in until really late in the process. 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These mutual interests are the catalyst for Serakai, a forward-thinking property investor and placemaking advocate. We position art and culture at the centre of all strategic decisions we make, as well as at the heart of our placemaking philosophy. Serakai is committed to extensively resourcing a creative approach to the built environment, and as part of that commitment independently produced and published CONG. ",{"data":16871,"content":16872,"nodeType":143},{},[16873],{"data":16874,"marks":16875,"value":16876,"nodeType":147},{},[],"We are producing a printed publication, with the belief that the texts, imagery and ideas generated by our contributors is best served in a tangible - printed, edited, sequenced - format. In short, CONG is a continuation of Serakai’s intention to set a new standard for curated placemaking and culturally driven urban interventions with generational impact. It is a space for long-read articles and specially commissioned photo spreads from critical thinkers, writers, artists and philosophers; each uniquely positioned to act as protagonists of creative exchange that has enduring influence.",{"data":16878,"content":16879,"nodeType":143},{},[16880,16884,16891],{"data":16881,"marks":16882,"value":16883,"nodeType":147},{},[],"We invite you to join us in this conversation. If you have enjoyed this unique journal, please do sign up for Serakai Studio’s newsletter and to receive the second edition, and follow us ",{"data":16885,"content":16886,"nodeType":865},{"uri":2423},[16887],{"data":16888,"marks":16889,"value":16890,"nodeType":147},{},[],"@serakai_studio",{"data":16892,"marks":16893,"value":16894,"nodeType":147},{},[]," to hear and see more throughout the year.",{"data":16896,"content":16897,"nodeType":143},{},[16898],{"data":16899,"marks":16900,"value":16901,"nodeType":147},{},[],"Yours sincerely,",{"data":16903,"content":16904,"nodeType":16940},{},[16905],{"data":16906,"content":16907,"nodeType":16939},{},[16908,16919,16929],{"data":16909,"content":16910,"nodeType":16918},{},[16911],{"data":16912,"content":16913,"nodeType":143},{},[16914],{"data":16915,"marks":16916,"value":16917,"nodeType":147},{},[],"Benjamin Cha \nCEO and Founder, Serakai\nExecutive Director, Serakai","table-cell",{"data":16920,"content":16921,"nodeType":16918},{},[16922],{"data":16923,"content":16924,"nodeType":143},{},[16925],{"data":16926,"marks":16927,"value":16928,"nodeType":147},{},[],"and",{"data":16930,"content":16931,"nodeType":16918},{},[16932],{"data":16933,"content":16934,"nodeType":143},{},[16935],{"data":16936,"marks":16937,"value":16938,"nodeType":147},{},[],"Tobias Berger\nCuratorial Director, Serakai Studio\nExecutive Director, Serakai","table-row","table",{"data":16942,"content":16943,"nodeType":143},{},[16944],{"data":16945,"marks":16946,"value":219,"nodeType":147},{},[],[16948,16949,16950,16951],"equal cell width","text align bottom","no cell padding","signature format",{"metadata":16953,"sys":16956,"fields":16961},{"tags":16954,"concepts":16955},[],[],{"space":16957,"id":16824,"type":212,"createdAt":16825,"updatedAt":16825,"environment":16959,"publishedVersion":26,"revision":216,"locale":31},{"sys":16958},{"type":14,"linkType":15,"id":16},{"sys":16960},{"id":23,"type":14,"linkType":24},{"title":16829,"description":1284,"file":16962},{"url":16831,"details":16963,"fileName":16835,"contentType":228},{"size":16833,"image":16964},{"width":4404,"height":4404},{"metadata":16966,"sys":16969,"fields":16976},{"tags":16967,"concepts":16968},[],[],{"space":16970,"id":7831,"type":18,"createdAt":7832,"updatedAt":7833,"environment":16972,"publishedVersion":901,"revision":26,"contentType":16974,"locale":31},{"sys":16971},{"type":14,"linkType":15,"id":16},{"sys":16973},{"id":23,"type":14,"linkType":24},{"sys":16975},{"type":14,"linkType":29,"id":2993},{"internalTitle":7839,"colour1":16977,"colour2":16978},{"id":2997,"name":2998,"value":2999},{"id":7842,"name":3002,"value":3003},{"metadata":16980,"sys":16983,"fields":16993},{"tags":16981,"concepts":16982},[],[],{"space":16984,"id":16986,"type":18,"createdAt":16987,"updatedAt":16988,"environment":16989,"publishedVersion":130,"revision":3144,"contentType":16991,"locale":31},{"sys":16985},{"type":14,"linkType":15,"id":16},"2hoZtHFFUX1IErxA60lIDJ","2024-12-02T13:24:54.814Z","2026-11-02T22:02:30.853Z",{"sys":16990},{"id":23,"type":14,"linkType":24},{"sys":16992},{"type":14,"linkType":29,"id":2487},{"title":16994,"heading":16995,"text":16996,"options":2811,"optionsLayout":17023,"optionsStyle":17026},"CONG Subscribe text","Get a copy of CONG",{"nodeType":139,"data":16997,"content":16998},{},[16999,17006],{"nodeType":143,"data":17000,"content":17001},{},[17002],{"nodeType":147,"value":17003,"marks":17004,"data":17005},"CONG is Serakai Studio’s annual journal of ideas, art, and urban imagination, exploring how culture and the built environment shape contemporary life across East and Southeast Asia. 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