Showing posts with label politics. Show all posts
Showing posts with label politics. Show all posts

Monday 28 October 2019

The Politics of the Bridge


Posted by Martin Cohen

Bridges are the stuff of superlatives and parlour games. Which is the longest bridge in the world? The tallest? The most expensive? And then there's also a prize which few seem to compete for - the prize for being the most political. The British Prime Minister, Boris Johnson’s. surprise proposal in September for a feasibility study for a bridge to Ireland threatens to scoop the pot.

But then, what is it about bridges and Mr. Johnson? Fresh from the disaster, at least in public relations terms, of his ‘Garden bridge’ (pictured above) over the river Thames, the one that Joanna Lumley said would be a “floating paradise”, the “tiara on the head of our fabulous city” and was forecast to cost £200 million before the plug was pulled on it (leaving Londoners with bills of £48 million for nothing), he announces a new bridge - this time connecting Northern Ireland across seas a thousand feet deep to Stranraer in Scotland. This one would cost a bit too - albeit Johnson suggests it would be value for money at no more than £15 billion.

If Londoners choked on a minuscule fraction of that for their new bridge, it is hard to see how exactly this new one could have been afforded. Particularly as costs of large-scale public works don't exactly have a good reputation in terms of coming in within budget.
The 55-kilometre bridge–tunnel system of the Hong Kong-Zhuhai-Macau bridge that opened last year was constructed only after delays, corruption and accidents had put its cost up to 48 billion Yuan (about £5.4 billion).

When wear and tear to the eastern span of the iconic San Francisco Bay bridge became too bad to keep patching, an entirely new bridge was built to replace it, at a final price tag of $6.5 billion (about £5.2 billion), a remarkable sum in its own right but all more indigestible because it represented a 2,500% cost overrun from the original estimate of $250 million.
Grand public works are always political. For a start, there is the money to be made on the contract, but there is also the money to be made from interest on the loans obtained. Money borrowed at a low rate from governments, can be relent at a higher rate. Even when they are run scrupulously, bridges are, like so many large construction projects, moneygorounds.

And yet, bridges have a good image, certainly compared to walls. They are said to unite, where barriers divide. "Praise the bridge that carried you safe over" says Lady Duberly at breakfast, in George Colman's play The Heir at Law. But surface appearances can be deceptive. Bridges, as recent history has shown, have a special power to divide.

That Hong Kong bridge is also a way of projecting mainland Chinese power onto its fractious new family member. President Putin's $3.7 billion Kerch Strait Bridge joining Crimea to Russia was hardly likely, as he put it, to bring “all of us closer together”. Ukrainians and the wider international community considered Russia's the bridge to be reinforcing Russian annexation of the peninsula. And if bridges are often favourably contrasted with walls, this one, it soon emerged, functioned as both: no sooner was the bridge completed than shipping trying to sail under it began to be obstructed. No wonder that Ukraine believes that there was an entirely negative and carefully secret political rationale for the bridge: to impose an economic stranglehold over Ukraine and cripple its commercial shipping industry in the Azov Sea.

In this sense, a bridge to Northern Ireland seems anything but a friendly gesture by the British, rather it smacks of old-style colonialism.

But perhaps the saddest bridge of them all was the sixteenth century Old Bridge at Mostar, commissioned by Suleiman the Magnificent in 1557 and connecting the two sides of the old city. Upon its completion it was the widest man-made arch in the world, towering forty meters (130 feet) over the river. Yet it was constructed and bound not with cement but with egg whites. No wonder, according to legend, the builder, Mimar Hayruddin, whose conditions of employment apparently included his being hanged if the bridge collapsed, carefully prepared for his own funeral on the day the scaffolding was finally removed from the completed structure.

In fact, the bridge was a fantastic piece of engineering and stood proud - until that is, in 1993 when Croatian nationalists, intent on dividing the communities either side of the river, collapsed it in a barrage of artillery shells. Thus the bridge once compared with a ‘rainbow rising up to the Milky Way’ became instead a tragic monument to hatred.

Monday 5 February 2018

Picture Post #33: Bourgeois Reminiscence








'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen


Mercato di Sant'Ambrogio . Florence . Italy
 Picture credit: Antonio Borrani, 2017
  
Fragments of appearance are offered in the form of leftovers, sold at a market stall by the ounce. Not by the weight per square metre, as used by some manufactures, or by the linear yard. In any case, most likely these surplus fabrics, extras left over after use, could not reach those required measurements.

So instead here we find the evidence of what is left. Fragments not big enough to decorate an entire sofa, but maybe for a cushion it will do. Limited quantities for limited decoration.

The leftover fabric is a measured out merchandise until complete exhaustion. An excess to be sold anew. But this is not the defence of the poor, but rather of a poverty that, solely by its unoffending presence (when permitted) constitutes a critique of possession -- respects the form of private property.

Making such sense of self through this projection into an external referent is a form of psychosis, or to use a Lacanian term, foreclosure. The relation of the subject to the Other is one of dialectic exclusion. Is aspiring to images that offer a make-believe form of prestige a way to enhance an illusion, or to add to alienation?

For sure, we do not find cushions cut from this cloth in the iconic depiction of The Potato Eaters by Van Gogh…

Picture Post #33: Bourgeois Reminiscence








'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen


Mercato di Sant'Ambrogio . Florence . Italy
 Picture credit: Antonio Borrani, 2017
  
Fragments of appearance are offered in the form of leftovers, sold at a market stall by the ounce. Not by the weight per square metre, as used by some manufactures, or by the linear yard. In any case, most likely these surplus fabrics, extras left over after use, could not reach those required measurements.

So instead here we find the evidence of what is left. Fragments not big enough to decorate an entire sofa, but maybe for a cushion it will do. Limited quantities for limited decoration.

The leftover fabric is a measured out merchandise until complete exhaustion. An excess to be sold anew. But this is not the defence of the poor, but rather of a poverty that, solely by its unoffending presence (when permitted) constitutes a critique of possession -- respects the form of private property.

Making such sense of self through this projection into an external referent is a form of psychosis, or to use a Lacanian term, foreclosure. The relation of the subject to the Other is one of dialectic exclusion. Is aspiring to images that offer a make-believe form of prestige a way to enhance an illusion, or to add to alienation?

For sure, we do not find cushions cut from this cloth in the iconic depiction of The Potato Eaters by Van Gogh…