When was the last time you yearned? Here at The Mag, we’ve all been thinking about what makes us pine, what makes our hearts ache, and what keeps us up at night unable to sleep for longing. Is it a lost love? A nostalgic time? A silent section in the library that is actually silent?
As ardently as we advocate for gratitude and respect for what we have, this issue we’re taking some time to think about what’s missing. Ready your wistful looks, gang, it’s time to yearn!
Much love,
Creative Directors
Hey everyone,
Spring is finally here! The days are getting longer, the sun is shining brighter (when it decides to show up) and there's a fresh energy in the air that makes everything feel a little more positive!
We know this time of year can be a mix of excitement and stress as exams and deadlines start to pile up. But as you push through, don't forget to take a breath, go outside, and soak in the sunlight.
Hannah and Arianna & &
We hope the nostalgic spring vibe of this issue cheers you up and we wish you all the best!
With love,
Heidi & Ayla
Is Tourism Driving Scots Out of Their Homes?
Every year, thousands of tourists come to Scotland to experience its beautiful scenery. While it is one of the most well-known places worldwide, and tourists enjoy it to the fullest, locals face quite the opposite reality: rising living costs, overcrowding, unemployment, and an identity crisis. Is tourism bringing Scotland prosperity and money, or is it slowly pushing the Scottish out?
Tourism is one of seven growth industries in Scotland, contributing more than £4 billion to the economy each year, more than the combined revenue of fishing, whiskey, and oil. Nature tourism alone supports 39,000 full-time equivalent jobs, as reported by the Scotland Nature Agency. Many small, rural communities have come to depend greatly on the tourist economy as they are usually quite out of the way, and there is not that much development and job opportunities in fancy offices or advanced technology companies. Tourism contributes more money than the passerby can imagine. Even though it seems that tourism brings only advantages to the country, I bet some locals would disagree.
I’ve heard quite a lot that Scottish are being pressed out of their lands due to the tourist flow because of overcrowded areas and increases in housing prices, rent, utility, and groceries. It is quite popular among foreigners to invest in property but at the same time, locals are dissatisfied as it disrupts their ecosystem. As was reported by Glasgow
Caledonian University, the Isle of Skye, Scotland’s most visited destination attracts more than 500,000 tourists a year. There are, however, many unseen challenges including depopulation, economic development, housing, and transport infrastructure. There are problems not just with real estate and permanent accommodation, but also with the unreasonable prices for temporary accommodation. As some people buy the houses and then lease them for huge sums of money, it can be aggravating to both locals and tourists. This summer, I was also one of the visitors to the Isle of Skye and was quite surprised by the high prices of housing. For temporary accommodation, it can reach up to 120 pounds per night as the demand for short-term housing is massive, even in the cold periods. It stands to reason that the locals are frustrated because the housing is getting less and less affordable, making the lower class suffer, and thus pressing them out of their own villages. As more people purchase properties to convert into short-term vacation houses or houses for rent, it leads to a shortage of affordable housing for residents.
The opportunities are not that great in these areas and some people have no other choice but to leave in search of better opportunities elsewhere.
The Highlands are one of the most touristy places in the north of Scotland, and a tourist economy is a way for the local communities to get money for their small local businesses, stimulating people to preserve and take care of their surroundings. It seems a mutually beneficial deal. On the other hand, not just locals, but also tourists are experiencing a struggle to find a place to stay, and where to eat. As the popularity is making entrepreneurs increase prices, and sometimes severe weather conditions require more heating, supply for the housing is yet to meet the demands of everyone. Some argue that the situation was significantly better before globalization, and people could sustain themselves with just a little money but now, because of inflation, they need to work hard to get through the winter- but is it really tourism that causes all these troubles?
Tourism plays a significant role in shaping how Scotland is perceived, often leading to a romanticized or idealized image of the country. As more people move to Scotland each year, the increase of diverse perspectives and values may gradually change the cultural landscape. Over time, this shift could contribute to an identity crisis among locals as they navigate the balance between preserving their heritage and adapting to new influences. Scotland has a strong sense of local identity and nationalism, and many choose to stay and contribute to their country's growth rather than pursue more profitable opportunities elsewhere.
However, some Scottish are still concerned that as more people move in with different values and perspectives, traditional Scottish identity may gradually be transformed. As tourism attracts more tourists, it also increases migration. Discussing this issue with one of my colleagues, I was surprised by her pure hatred of newcomers. She was born in Largs, a small Scottish town about forty minutes from Glasgow, where many English retirees settle, leading to a different perception of Scotland compared to those from other cities. Because of this difference in opinion withing the population, some people tend to perceive Scotland as a good place to retire with cows, sheep, and beautiful landscapes, at the same undermining its true uniqueness and the value of the culture and local community. As these beliefs eventually transfer to the way of their lifestyle and affect the overall perception of what Scotland really is, it can potentially threaten the position of Scotland as an independent country and put it in a submissive position. This feeling of being perceived differently was extremely unpleasant for her, making other good things about tourism fade away. The major question here is whether Scots should really care about how others perceive them as long as tourism brings economic benefits, or if preserving their cultural identity matters more.
The majority of locals in isolated areas of Scotland take great pride in their culture, making its preservation their top priority. At the same time, tackling issues such as low employment rates, the cost-of-living crisis, environmental challenges, and overwhelming tourist numbers remains crucial. This raises an important question: is it possible to achieve both goals at the same time? With urbanization on the rise, differences in people's expectations only add to the complexity. Some advocate for development, calling for state investment in towns, improved transport, and lower utility costs, while others wish to maintain the traditional way of life. This divide highlights an urgent need for community unity. How can policymakers bridge the gap
between those who seek progress and those who value preservation? This is a challenge the government has yet to resolve, and community-led tourism initiatives could serve as a key solution, balancing economic growth with cultural heritage protection.
As there is a significant housing crisis in Scotland and the UK as a whole, there is a need to build more housing. An increase in multifamily residential construction could be a solution, as it requires less space and may be more affordable than individual house construction. This way, Scotland would be on one step forward to achieve economic development, and the increase in the standards of living. Some locals, however, see this as a waste of money and space, as well as a
barrier between them, their roots, and nature. Since many value the stunning landscapes in their regions, a key question arises: what should take priority —short-term stability or the economic future of the whole country?
Actions have already been taken to address these challenges, including updates to the tourism plan and the introduction of the Housing Bill, which aims to establish rent control zones, stabilize the housing market, and ensure affordability in high-demand urban areas. As for tourism, the Scottish Government’s development plan focuses on promoting it as a means of driving sustainable economic growth and enhancing the well-being of local communities.
One key initiative is the introduction of a tourist tax, aimed at addressing housing shortages, managing grocery prices, and enhancing tourism, ultimately contributing to Scotland’s overall prosperity. This tax would have a significant impact on local communities, as tourists would pay it regardless, providing an additional source of revenue for the economy. The funds could be used for renovating local buildings, preserving historical landmarks, and supporting infrastructure improvements. While there may be some resistance from visitors if costs rise, the tax is likely to remain sustainable, much like in other parts of Europe, where tourists are willing to pay to experience the places, they travel to. The question remains: how can Scotland balance these higher costs while maintaining its appeal?
This way, the Scottish Government sees an opportunity for positive change, but some still focus on only one side of the coin. Ultimately, the most important factor is unity. When people come together with a shared vision for Scotland’s future, it will undoubtedly lead to the best outcome for both the country and its people.
Are people forgetting basic concert etiquette?
Longing for a true connection to music artists or 5 minutes of fame?
It appears that in the last couple of years with concerts finally happening again, there has been a worrying decline in basic concert etiquette amongst attendees. The lack of respect from audience members that is not just directed towards artists but also to those around them has been growing, and we need to discuss it.
It is clear everyone who goes to a concert does so to enjoy themselves and make memories, which is why it is deeply important to make sure everyone around you gets the same experience that you hope to have. Ever since I was young, I have enjoyed going to concerts, but recently I have noticed how, reflecting on past concerts and comparing them to recent ones viewed on social media, people seem to be forgetting that there are others around them. I believe that the return to concerts from the pandemic and the rise of social media are to be blamed for this, with people desperate to connect with artists again—just not in the correct ways.
The first post-pandemic concert I attended was in 2022 with Harry Styles’ ‘Love on Tour’ at Glasgow’s Ibrox Stadium. Overall, it was an amazing concert, with Styles’ vocals and stage presence captivating the crowd. His tour lasted an impressive two years from 2021–23, with many clips going viral as fans captured their interactions with the singer. Helping people come out to their friends and family, doing gender reveals, and simply having lengthy chats with his audience, he created a truly memorable concert for his fans.
These initially humble viral moments were mostly posted on TikTok. As their view count increased over time, these videos became the starting point for others’ determination to experience the same interaction with Styles. Of course, to get noticed by our favourite musical artist or even any artist is a wish we all surely have, and who is to say it cannot work? As long as we remember to have respect. Having respect for artists should be the number
one thing people remember, but it seems that as certain concertgoers become desperate for attention, so do their tactics.
This disrespect has been captured in many ways, with footage of fans throwing things at artists on stage, holding up signs for a lengthy period that block people’s view, along with continuously screeching at a singer whilst they talk to the crowd. I do believe COVID-19 has played a huge part in this, with the pandemic creating internet addicts who have parasocial relationships with artists. They forget human decency all for a moment they wish to capture on their phones.
It seems experiencing live music again has made many people only think about themselves, which is not what concerts are all about, and it ultimately shows a lack of respect towards artists and other concert attendees. Even Wikipedia now has a page dedicated to this called ‘Concert abuse in the 2020s’, and I know Wikipedia is not the most trustworthy website, but at least they acknowledge this behaviour exists, right?
These parasocial relationships that people have with musicians are very troubling, and it seems that when some of these interactions go viral it is making people
forget basic concert etiquette rules, along with forgetting to have basic consideration for others. I sadly believe people act this way because they want other people to notice their experiences online, which in turn only makes this parasocial relationship more appealing.
Overall, the exposure of these interactions on social media does not help and it is only adding fuel to the fire. Music is meant to be one of the things that bring us together, so why is there what seems to be a fan interaction competition on social media? The lack of respect towards artists and other concert attendees will continue if people online accept this behaviour as being the only way to get noticed by artists. Can we ever go back to a society that respects concert etiquette, or will we simply have to accept this new approach to concerts?
Words: Molly Wilson
The Isabella Stewart Gardner Museum
The Isabella Stewart Gardner Museum in Boston, Massachusetts is a unique and captivating art museum housed within a Venetian-inspired palace. Founded by Isabella Stewart Gardner, a visionary collector and philanthropist, the museum opened its doors in 1903. This collection is my favourite museum, and this is no small accomplishment—anyone who knows me knows that I adore spending hours upon hours walking the hallowed halls of a building dedicated to art and knowledge.
After her father’s death, Gardner inherited $1.75 million and began to collect and curate the museum as we see it today. Before her father’s death, she collected only on a small scale but after the purchase of Rembrandt’s Self Portrait, Age 23 in 1896, Isabella and her husband, Jack, began to entertain the idea of a museum. Thus, they employed the architect Willard Sears, who had a hand in remodelling their personal home in Brookline. Gardner was incredibly involved in this artistic endeavour, visiting the building site every day with ‘dinner pail in hand.’ The museum has had such care put into it when being built and in its constant upkeep to cater to the hundreds of thousands of visitors it gets yearly. It truly is a gorgeous feather in Boston’s cap.
Gardner’s personal collection forms the heart of the museum, featuring a diverse array of European and American paintings, sculptures, tapestries, and decorative arts. Masterpieces by renowned artists such as Titian, Rembrandt, and Manet adorn the walls, alongside lesserknown works that Gardner championed. The museum’s layout is intentionally intimate, with artworks displayed in interconnected galleries that evoke a sense of a private home.
Isabella and her husband’s 1880 trip to Italy inspired a large part of this building. Isabella was particularly awed by the Palazzo Barbaro, a Venetian palace owned
Curtis. The palazzo became a gathering hub for a group of English-speaking expatriates such as John Singer Sargent and Ralph Curtis. Much of their work features in Sargent’s gallery.
a continuous point of contention within the art and true crime community.
“Just from photographs, you can tell how much thought and care went into producing this culture centre. I have only been once, yet I think about its beauty daily.”
While I love the museum dearly, I do have my favourite pieces. John Singer Sargent’s El Jaleo (1882) depicts a Roma woman dancing in front of a lively band made up of acoustic guitars. The use of light and movement really shows Sargent’s love for Roma music and culture which adds to it a romantic haze. It is such a beautiful painting. Secondly, is Caleb Arnold Slade’s A Girl of Nabeul (1921), an oil painting of a girl looking wistfully out of frame in a much lighter tone than El Jaleo. They are an interesting contrast that highlights the variety of artwork contained in Isabella’s collection. However, the beating heart of the museum is the courtyard, covered in blooming flowers and palm trees with sunlight pouring through the glass ceiling. The building itself is the biggest piece of art, and the courtyard stunningly exemplifies this.
Just from photographs, you can tell how much thought and care went into producing this culture centre. I have only been once, yet I think about its beauty daily. Travelling to the U.S. just to visit a museum is drastic, but this museum might just convince me. If you ever happen to find yourself in Boston or the surrounding areas, I vigorously encourage you to pay Gardner’s home a visit. To say it is soul-nourishing would be an understatement.
Creating a Path for Connection and Escapism
During the COVID-19 Pandemic
The impact of COVID-19 cannot be overlooked or simplified. It remains prominent today as it still effects the daily lives of millions. Coronavirus halted everyone’s lives for years, forever changing the way that we live. I personally suffer from Long COVID: my tastebuds and sense of smell have both been permanently altered, with no food tasting how it used to or smells remaining the same. COVID-19 threw everyone into a forced isolation, separating people from their loved ones when many were in dire need of connection with others. During this time, we looked for comfort in media, whether that be films, video games, books, or more. We all craved an escape into a different place that was not our houses. One video game that stuck out to many was Death Stranding, which came out before the pandemic yet felt as though it is based on it, revolving around the theme of connection—the connection that we all yearned for during a time of solitude.
When Death Stranding was released in 2019, it was renowned for its Next-Gen graphics, stunning scenery, and starstudded cast, featuring actors such as Norman Reedus, Guillermo del Toro, and Mads Mikkelsen. The game takes place in the USA after a cataclysmic event occurs, involving multiple explosions that result in the layout and landscape of America being permanently altered. The details of this landscape altering can be viewed as a divide that separates the population. Evil creatures known as BTs patrol the landscape, scaring people into remaining isolated within bunkers, completely alone, their only connection being digital. A separated population that is confined to their houses, scared of leaving due to a lingering threat sounds scarily similar to our lives during the coronavirus pandemic. The pandemic completely transformed
Death Stranding, showing history’s impact on the way that we view art.
The player must traverse the vast and ever-expanding map in order to connect the population together again—to rebuild America—and whilst you do this, the game introduces a new mechanic called the ‘social strand system’. This system connects the player with others from around the world, but not in the traditional way of online gaming. Instead, it is done by allowing you to see builds such as bridges, ladders, and more useful devices that will help you on your deliveries, and you can also see signs left by other players which can range from simple display messages of good luck to warnings of dangerous lands that lay ahead. You never interact with these players face to face, you can only sense their presence through traces of what they left behind, and it is magical. The world that is built within this game is isolating on purpose, you play as a man who detests human connection which results in zero bonds between the player and NPCs being formed, solidifying that sense of isolation. The land you traverse is lifeless aside from signs from other players. Whether you are wading through
rushing rivers or sinking into the snow of the mountains, you occasionally come across a reminder that you are not alone in this big vast world, and it is comforting, especially when playing during a time when many felt so alone.
COVID-19 impacted us all, we yearned for connection and community during a pandemic yet there was a lack of solutions. In my opinion, Death Stranding was an effective solution and the community around it grew. The rushing rivers, abandoned cities, treacherous mountains, filled with such a strong feeling of death yet occasionally another player would put up a sign that acted as a beacon of light. Motivation to continue our journey, to rebuild the connection, the connection that we craved in the game and in our own lives. We were tied to our houses during the coronavirus pandemic, life came to a halt, we could not see our loved ones. We were, for the most part, alone. Fear was strong and when that feeling is combined with isolation, we seek comfort in media as a form of escape. The environment alone within Death Stranding was an effective escape, it was vast and beautiful, one simple look at the game will tell you that much. The endless lush greenery greets you with open arms and engulfs you in it, a warm welcomed escape from the isolation that COVID wrapped us all in.
The warmth of freedom and connection was yearned for by many, the feeling of calm amidst uncertainty and chaos.
PALINGENESIS
A Forgotten Lucifer
In the dark I wake And lament this body made, A body that holds me wrong. Is God a being of rot and anguish
If I apparently am made in His image?
A creature that observes, curls, spoils?
I used to think He must be
The water I drank
And the bread I ate Gratefully.
All in His attempts to welcome me back And soothe the ache Formed from something I never had.
Now there are only glances
Fixed
Upon chapel glass bleeding
From broken gutters overhead And a deep-seated recognition
Of my own neglection and self-pity
All while yearning
For the feather-light kiss Of familiarity.
Doggedly
Dogs can seem superstitious
Lured by some phantom scent, Unearthing the same vacant spot
Walk after walk
Where, once,
Ages ago, They found something real.
Sisyphean spiralling after an ever-escaping tail; Their sanguine search down a long-dead trail.
Have you ever seen a dog sit by the door
In persistent vigil for weeks on end, When they haven’t yet had the chance to learn
The difference between Away for a while, and
Never coming back again? I have.
Oh hell, I have.
Words: Hannah Linda Hamilton
A story begins once
Man is a myth.
A shape we cut from paper and cake, The bogeyman under the bed
When we were children, Grasping at each other with formless hands, We tumbled into the nettles and you said my knees did not sting as much as yours and that you were hungryI gave you an apple, For your heart of mud, Do you remember?
It was green but lightly blushing as if embarrassed by its roundness. It was the tinder, the blaze, the fading, and the ember.
The apple had been waiting since the first seed was conceived and the fruit plucked from orbit, consumed, and shit into place. You did not even presume to taste, Went hungry anyway. What a waste, what a god-awful waste.
MAN IS A MYTH
The Soft thing acts hard
He waltzed in the shop all big-man like, Throwing his weight around Built like a fridge Filled with mince. Hard as the day he was born Mewling with his soft, pink mouth. I asked what he wanted He said he didn’t know But he’d been looking a long time And slow, I saw him open his chest
-The cold orange glowAnd pull a shelve from inside Plant it in the ground And watch it grow. Bulb flickering, Into another fridge.
Galatea, Galatea, You were not meant for this world! I covered my eyes in horrorIt’s alive! What have we done? And the planter wept, For the garden demanded water, And meat was all the planter had. Many things have I seen from Behind the counter, But this was just unnatural.
The Emptiness of the Overfed
Why would you not eat the apple?
Was it the world, did it trick your sensibility
When it placed your masculinity within the vicinity of invincibility?
Telling tales of cities built on the shoulders of soldiers
Right between the shoulder blades. Then, you called my name like it took your whole mouth just to conceive it
But you didn’t eat it.
It’s good for you, here, take it.
Apples are high in fiber, Vitamin C, and antioxidants, they are good for your teeth, have a low glycemic index, contain potassium, have existed for approximately 750,000 years in a form recognisable as an apple & that one Is a metaphor.
Meant for you.
Birdsong for Forests Ablaze
He put his hand in my hand
You curled your fingers, all of them, Around one of mine
The world fits in a palm!
I hold you like water holds its shape
It is you looking at he looking at me
And the birds say, ‘Awright?’
‘Awright.’
‘You going out tonight?’
‘Aye’
‘Yer a good lad.’
And I love you and I savour the sight
And the trees grow us apples in the warm summer sun,
We grew in golden pools
Being nothing but shapes in halcyon. Know not I the boundaries of a mind
But the horizon cries for thoughts of fragility, Disappearing like wisps of clouds and swallows
Into the other.
You hold yourself like water holds its shape, And we are no longer cake or container, But the whole and part of the poetry
The birds seek secrets, test the air for companionship.
You, Languorous mud are masterpiece Released from form
When you remember, return to me full. In the beginning
We shall not keep the time
Looking at mirrors,
And you were glorious
From the first breath
That scream- our shared noteI knew it like the final toll
Whose footsteps keep the heart in rhythm, I hung my tongue to dry
And so, to bed, unsung, went I
Into the mirk of nod.
When we were young,
You watched a bird get taken by the air
It was hollow, with a heart finer, Than the point of a pen
Tapping the paper
And it sang like the forest
Wanted finery, like pearlescence was a thing in the throat
Such a delicate thing fell from the nest
But the wind did not take itWe heard the birdsong like a forest ablaze
Nor tell the stories
Whose shape we were unduly given We need not be more or less, then.
Save your grace, I sayAh, men.
Patiently Waiting
I have been adrift for some time now.
One day, Jill from accounts told me that I had an unusually sympathetic face. Jill was a runner, she made it uncomfortably apparent with her spandex and health watch, her gaunt collar bones, and her complicated gear that clung to her like vines. I always worried that one day I would breathe too heavily and blow the frail scaffolding of her body to the ground, perhaps this was why she perceived me sympathetic?
Anyway, Jill had a weird thing about surfacesshe would comment, always, on the elasticity of a material and the impact of it upon the knees. Running on concrete, she said, was like taking a hammer to your joints. I wonder what she would make of here, the wood cushioned by the water and the occasional slime of seaweed. I don’t think she would approve. For one thing, there isn’t anywhere to run to.
I always knew that sitting down all day would catch up to me. There’s a knot at the base of my spine now that says that time is never letting me go back; my dad was right, I should have gotten the ergonomic chair. It was just so much more expensive. One third of my
first month’s paycheque for a chair? There were chairs everywhere on the street, for free! So many people clearing out offices, moving cities, freeing up attics and garages. Beyond that, there were people making chairs out of everything: buckets and planks and a rusted bicycle. That city was a veritable forest of chairs. I took the first that I found beside a bin by my house and then it was mine. A ragged thing, with the worn away memory of a person who favoured their left leg to bear their weight. I favour my right. After that first month, us combined made the impression of a complete person.
I couldn’t abandon it after that. Even now, it remains my constant companion; I riding it, it riding the boat, the boat riding the waves. The wheels sound like marbles on the deck and my back hurts. Yes, I should have bought the ergonomic chair, but respite has always been sought in unlikely places. Out here, I am like every other person on a stoop, just adrift.
Then, in the forest of things found on land, I often looked to the others around me as islands. There is a man who sits on a park bench and smokes his cigarettes and watches the birds. I can see him from the
window of my office, every day in the same place, smoking the same cigarettes and feeding the same birds. He might be the only person in the world to possess an endless supply of Marlboro Lights and breadcrumbs. Then again, the city is full of ash and crumbs, maybe we all possess such a thing and he was just one of the few who chose to feed the birds.
There is no name for this man, because I never asked him. I never spoke to him. Yet, there was a comfort in his continued presence that it felt that the whole city relied upon There could be no 6am train without the man, and without that no commuters, and without them nobody in the offices. That’s how it felt. Feels.
Sometimes, I try to conceive of all the names I’ll never know. For people, for things, for feelings, for phenomena. In school, someone of authority told me that knowing the name of something or someone made it easier to remember. Without a label, your brain struggles to sort and process the information. Without his name, the man is ethereal. A hazy concept upon which the entire city is built around. I can’t remember
his face, only the fact of his existence. Not that facts are much good anymore.
Not when everything looks the same like this. I have been adrift for some time, now.
The ocean does not behave as it should, nor does the horizon show a familiar expression. Things never seem to change, there is no shore to watch dwindle into the distance, but I know I am drifting farther and farther away. The lazy rhythm of the deskchair wheels draw me in and out of reverie.
Jill would say that my body needs stimulus. Your heart, she said, needs to be excited to remember its job. I think she is right.
I reach into my pocket and find crumbs aplenty, lint, a coffee loyalty card with a full set of stamps, keys, and a pack of cigarettes. I scatter the crumbs and light myself a smoke. I have not seen a bird in a long time, but I am sure they will come.
Peeling paint upon the pores, The brittle middle of my nose cripples under the throes
Of a mildly abrasive cleanser. When the fuck did this happen?
Domesticity is a second-hand trait. You don’t make a housewife a home, You tell her she is until she believes itThen, when the time hits, Pulling follicles like playthings to push through the nose, the neck, the nippleHorror to reign! The disdain was a lesson meant to help you, darling, How are we to keep our floors clean when we know that dirt is allowed?
Keep the secret like you keep the shroud, And when the spiders make their homes In the corners of your eyes that smiles ply apart, Cast the damn things out! When the fuck did this happen?
I was not aware, was not told, Did not give myself permission to grow old And lo, before the house is even sold I set to mend and make amends By restoring to glory, Or concealing the cautionary, bedtime storyHeaven forfend there is nothing in my power to improve , What to use?
Strong enough to take the grime off and release the self
That I might yet be saved from death and dust upon the shelf.
Dragged
the shore is wet and lined in foam lace of salt and bits of life belonging to the open sea washed ashore on a twelve-hour cycle lace of salt and bits of life grabbed and tossed by the waves washed ashore on a twelve-hour cycle left to die and dry grabbed and tossed by the waves slowly reclaimed by the water again
left to die and dry picked up by the rising tide slowly reclaimed by the water again the sand absorbs all that it can picked up by the rising tide makes storms of granules the sand absorbs all that it can the beach is small compared to before makes storm of granules makes the water difficult to see through the beach is small compared to before jellyfish come closer to the shore makes the water difficult to see through tentacles waving around jellyfish come closer to the shore pushed by the currents of the sea tentacles waving around the water retracts now pushed by the currents of the sea the shore is wet and lined with foam the water retracts now belonging to the open sea
Exec Check DUSA Elections
It’s DUSA Elections time once again! Depending on when you read this, nominations might be open, voting might be open, or we might know already who our next DUSA Exec, School Presidents, SRC Chair, and Independent Member of Court are!
It’s easy to write off the elections as pointless, or a popularity contest, or a waste of time. You might think that none of the changes affect you, so it’s not worth it to pay attention or vote. But that’s why it’s so important – because there could be someone who has put themselves out there wanting to make an incredible change, but without your vote, they won’t be elected.
Still not convinced? Don’t think any of the proposed policies are exciting? It’s up to you to be the change that you want to see. Either get in touch with your reps or become one yourself!
VPA
Looking towards the end of the year now, my biggest focuses have been supporting the Elections process, writing up my own handover for the next VPA, and working on the Student-Led Teaching Awards, which I jointly organise and host. Keep an eye out for the list of nominees going up on the website, and details of the winners will be announced after the ceremony on 11th April!
I’ve also been continuing the weekly pub quiz, Sip Happens, which has included loads of exciting collaborations between societies, University staff, and Cirque du Corset for LGBT History Month.
In extra exciting news, I’m really pleased to share that the quizzes are now a permanent fixture at DUSA, continuing past my VPA tenure! It’s been really rewarding to develop the quiz and I’m really grateful to
everyone who’s been part of organising, collaborating, and who has come along.
VPR
As Vice President of Representation, I’ve been actively planning for the upcoming March Elections and Rector Election. The nomination process for Rector is now open, and DUSA elections will open on the 17th of February. I strongly encourage all students to get involved— whether by nominating yourself or by voting.
In addition, I’ve been planning SRC events, supporting reps with their initiatives, and training class reps to ensure they are well-equipped for their roles. Engaging with students has been a key priority, encouraging them to take part in student representation and have their voices heard.
VPSW
I, Nihin, have been working on keeping the Speakeasy volunteer community engaged and active together with the volunteer coordinator. For Valentine’s Day, the Advice & Support Team and I handed out flowers to students, thanks to Freya’s Wish Charity.
On the 12th and 25th of February, we hosted the SipTacular Drag Quiz featuring Cirque du Corset as part of LGBTQ+ History Month, alongside the successful Queer Art Showcase.
I’m excited about our collaboration with the Student Funding Unit for National Student Money Week, which will feature a series of exciting events. We are also organizing GBV & Sexual Awareness Campaigns for March.
Lastly, the Advice & Support team and I are supporting Neurodiversity Week with the University.
Words: Hannah. L. Hamilton, Design: Luna
Crushing on a Lecturer
Save me, Student!
“I fancy a lecturer but I don’t know how to approach them. Can I ask them out?”
Oh, lord. We’ve all been there- I’m looking at you, DJCAD faculty (there’s just something about the artsy types that gets me.) - but, more often than not, that road leads to heartbreak. Honestly, I think you’d be a bit mental not to fancy a lecturer at one point or another, there’s something magnetic about a person who is passionate, knowledgeable, and can pull off a blazer. That being said, a crush is not something that always needs to become a reality.
The way I try and turn my doomed romantic aspirations into something useful is usually with the following question ‘What has this taught me about what I value in other people?’ It’s significantly more boring than manically browsing engagement rings, I know, but the crazy has to stop somewhere, sweetheart. Maybe you can use this experience to direct your future endeavours, now you know a little bit more about what attracts you- aesthetically or with regard to personality- and you can go find that in someone else! Preferably someone age appropriate without an uncomfortable power dynamic, but who am I to tell you what to do? I’m not your mother.
I am, however, the voice of reason. So, I will reiterate once again- DO NOT TRY TO DATE YOUR LECTURER. At the very least, not until you have graduated, if you’re still filled with undying love at that point, then you might as well ask just to get it out of your system. Granted, if you did ignore my advice and go through with it now and it worked, I’d be incredibly impressed and it would probably be great…for a little while. Ultimately, we all have to contend with decisions in life that bear the possibility of generating more trouble than they’re worth and this is one. Have some respect for the sanctity of fantasy and protect the dream by not putting your lecturer in the awkward position to wonder if the way they discuss 19th Century approaches to sickness in literature is just too damn sexy for the classroom.
Hang in there, there will definitely be another chance to disappoint your parents, but let’s just leave this one – the one that might affect your degree- alone for now, yeah? Sending you thoughts and prayers in this trying time.
Dundee Anime Society
Are you a fan of anime or manga or just looking to connect with like-minded people? Dundee Anime Society is the place for you! Whether you’re an enthusiast or just curious, we’re a friendly and inclusive community offering monthly socials, lively discussions, and special events designed to bring people together.
One of the best things about our society?
Membership is only £2 for a whole year of events! We strive to make our events accessible and fun for everyone, whether you’re into anime, manga, or just want to join a friendly group of people with similar interests.
We run a variety of events throughout the year, so there’s always something exciting happening! Our monthly socials are held at Nether Inn, giving members a relaxed space to chat and meet new friends. We host quizzes where you can test your anime knowledge and win prizes, and our manga club meets twice per semester at Waterstones Dundee to discuss different series and share recommendations.
Beyond that, we love collaborating with other societies to create bigger, more exciting events! We recently held a Ghiblithemed ceilidh for charity, bringing Scottish tradition and anime culture together in a fun and unique way. We’re also planning upcoming movie nights and more collaborations, so there’s always something new to look forward to.
Our Discord server is another key part of our society—it’s always
buzzing with discussions, event updates, and opportunities to get involved. It’s the best way to stay connected with our growing community and have a say in future events!
Whether you’re interested in watching, discussing, or just enjoying shared interests with others, Dundee Anime Society has something for everyone. Plus, our events are a fantastic way to unwind and meet fellow students.
Ready to join the fun?
Follow us on Instagram (@uodanime) for updates on our latest events or drop by one of our meetings to see what we’re all about!
Companionship Society
We are a society dedicated to combating elderly loneliness in our local community. Our mission is to bring joy and companionship to the residents of a nearby care home through regular, meaningful interactions. Each week, we organise visits to the care home, where we engage the residents in a variety of activities designed to stimulate their minds and lift their spirits. These activities range from painting and puzzles to bingo, arts and crafts, board games, and many more. Our goal is to provide a diverse array of activities that cater to different interests and abilities, ensuring that every resident can participate a nd enjoy themselves.
We place a strong emphasis on safety and collaboration. We work closely with the care home staff to ensure that all activities are conducted in a safe and supportive environment. This involves liaising with the care home to coordinate the materials and resources needed for each week's activities. By maintaining open communication with the care home, we can tailor our visits to meet the specific needs and preferences of the residents.
Before each weekly visit, our members gather on campus and walk to the care home. This not only fosters a sense of community among our volunteers but also ensures that everyone arrives safely and on time.
Each visit lasts for an hour and thirty minutes, which we have found to be an ideal
duration. It allows us to engage meaningfully with the residents without requiring too much time from our student volunteers, who often have busy schedules.
In addition to our weekly visits, we also organise fundraising events to support our activities. Last November, we held a £1 hot chocolate fundraiser, which was a great success. The funds raised were used to purchase fun games and gifts for the residents who were unable to spend Christmas with their families. These gifts were personally delivered on Christmas Day, bringing a touch of holiday cheer to the care home. You can find pictures of this heartwarming event on our Instagram page: @companionshipdundeesoc.
To strengthen the bonds within our society, we hold biweekly social events at Tinsmith, the best student pub in town and our generous sponsor. These socials provide an opportunity for our members to relax, enjoy some food, and engage in conversations with one another. It's a great way to build a sense of unity and ensure that our volunteers feel valued and connected.
Through our efforts, we aim to make a positive impact on the lives of the elderly residents in our community, while also fostering a sense of purpose and connection among our student volunteers.
The revival of a forgotten classic: Stoner , John Williams.
John Williams’ Stoner was my Christmas book this year, it will probably be the last book I read this year and has earned its spot in my top 3 of the year. In quiet perfection, Stoner explores the so called ‘ordinary life’ of William Stoner from boyhood to death.
“Williams has captured the love of literature like no other.”
Born at the beginning of the 20th century into a dirt-poor farming family, Stoner is sent to university to study agriculture, but falls madly in love with English literature. Whilst embracing the scholar’s life, so different to the hardships he grew up knowing, Stoner faces many disappointments; a strained marriage into a ‘proper family’, estrangement from his parents, obnoxious colleagues, and a cold distancing from his wife and daughter.
It saddens me that Williams’ works, especially Stoner, were not recognised with such honour whilst he was alive - because as the front cover indicates, it truly is the perfect novel. Its brilliance lies in its quietness; Stoner is a regular, hardworking and unglamourised academic - not your typical dream-chasing hero. It’s relatable. Stoner merely searches for fulfilment and joy, which he finds in academia instead of his failed marriage.
Stoner battles between feeling alive, versus merely going through the motions and feeling life pass you by. Williams has captured the love of literature like no other.
What struck me was Williams’ ability to convey that investment and love for literature; Stoner is engulfed in his work and Williams’ eloquent prose made me feel that same feeling of fixation and investment. Stoner literally comes alive when he is working:
“He felt a tingling, as if those pages were alive. The tingling came through his fingers and coursed through his flesh and bone.”1
The novel questions the value of academia in a war-torn world. Stoner lives through both world wars and the Wall Street Crash of 1929, subsequently battling quiet melancholy. The quiet sadness of ‘normality’ is something everyone can relate to. Williams writes with such clarity of perception and psychological nuance that the reader can identify with this seemingly simple man.
My sister gave me Stoner as something to read when bored in her flat - I was instantly intrigued. I read it in three days, which is rare considering I usually dread reading anything of the size after a long semester of reading a novel a week. Stoner is a book for everyone. Its focus on the complexities of existence and its timeless themes assure so.
1 Stoner, John Williams p.256
Wouldn’t it be so wonderful to have a physical version of the music and sound you have put so much hard work and love into, all while being cheap and environmentally friendly? To the wonderful unrecognised musicians and sound artists of Dundee, I have the most delightful news to share. Let me introduce you to the new Dundee-based label, Ferric Art and Sound, created by DJCAD Fine Art students Nina and Hector.
Nina and Hector had the idea to create the label in November last year, naming it ‘Ferric’ after the chemical used in audio tape. They both have their own extensive tape collections, as well as prior knowledge for making their own, such as the tapes made for Hector’s band, Ice Rink, and Nina for her sound projects. Nina states:
“It had become clear that most people thought tapes were obsolete or had never
used one in their life, which was sad as it’s one of the few cheap and accessible ways to create your own physical music or sound.”
Nina expresses in our brief interview, that making tapes is a dying knowledge and requires specific equipment. This sparked the idea that they could share their skills with other experimental sound artists to get their sounds produced physically and preserve their works in a way that wouldn’t be lost in an ever-changing digital void.
In their own experience, Nina and Hector have found many tapes containing a variety of knowledge such as medical information, how-to guides and language teaching. The possibilities are endless and the notion that tapes could be used for something beyond the mundane is truly exciting. Dundee already has labels who create tapes for bands, but they thought it could be interesting to create a
label that could cater to experimental art/sound.
“As part of having tape collections we are both used to having a rummage in charity shop tape bins. The sheer amount of forgotten tapes combined with actively trying to be more environmentally friendly is why we have chosen to start off entirely with recycled tapes”, said Nina.
Their goal is to create a collection of art tapes with experimental projects, books and zines to hopefully share in a listening party/ exhibition type environment, with their first batch being released in January 2025.
After its release, they will begin work on a second batch.
To find out more, and even reach out to get involved, follow @ferric_art_sound or message Nina: @bluekidneybean_art and Hector: @eye_of_dog on Instagram!
THAT’S HOT
It seems, like history, fashion has its own habit of repeating itself. What was ‘in’ twenty years ago suddenly seems to be all the rage again, and again and again and again, okay you get my pointbut honestly where is this coming from? Nostalgia? Yearning? Expression? - How about all three.
Currently, the most obvious display of the return of old trends seems to be exactly ‘What a Girl Wants’ - velour tracksuits, bootcut jeans, skirts the size of a belt, that’s right - y2k is back! There’s a clear affection for the style of the 90s and early 2000s, with the resurgence of baby tees, Ugg boots, mask sunglasses, funky clips - the list could go on! But the question poses - what is the sudden urge to look like Britney Spears?
I would argue that it’s not just because of the trending looks within fashion, but the returning influence of y2k popculture as a whole. With popular celebrity figures
making a re-appearance on the scene, there is a growing love and nostalgia for the music of the noughties and early 2000s as well as the latest obsession of popular 2000s television shows.
Think Buffy, Mean Girls, Britney, Paris, and I think we would all be lying if we said that we don’t dream of owning Hannah Montana’s wardrobe. There are so many shows on the resurge right now, leaving us longing to be part of the O.G. Y2K culture - and look like it too.
For instance, Gossip Girl is just as big a hit now as it was when it originally aired. With the show’s strong emphasis on fashion; highlighting Serena’s ‘Boho Chic’ aesthetic, or Blair’s ‘Old Money’, all the way to Little J’s display of ‘punk chic’. Gossip Girl showcases the ability to take high fashion and everyday fashion and style it into something unique. Essentially, Gossip Girl is a love letter to Y2K fashion, immortalising it as not just as fad or trend but as a statement of selfexpression and audacious
styling. Although Gossip Girl is perhaps one of the more fashion focused shows of the early 2000s it is of course not the only one to have an influence upon us all and I couldn’t go without mentioning my own personal favourites, Gilmore Girls and Pretty Little Liars. Despite having re-watched both these shows well over ten times, every single time I am left longing for their wardrobe, and I imagine I’m not alone in this!
The resurgence of Y2K is also intertwined within social media as various platforms shine a light on self-expression and fashion. It seems like social media thrives on nostalgia where creators can share their love for the past, in essence blending the past with the present.
There is a constant stream of videos and posts embracing Y2K culture, for example users creating videos stating, ‘what I would wear in Gossip Girl’ or ‘Lorelai Gilmore’s wardrobe.’ These are just specific examples of how social media is creating a window to the past and embracing it within contemporary culture by mixing elements of Y2K fashion and popculture with modern styling. It also provides a direct link between pop-culture icons of the 2000s and modern audiences, with celebrities like Paris Hilton, Lindsay Lohan and Christina Aguilera re-emerging on the scene and connecting with new fans and/or those who have stayed loyal.
The influence of social media and the embracement of Y2K culture has enabled many ‘celebrity comebacks’such as the return of Paris and Nicole’s A Simple Life and Lindsay Lohan’s questionable Christmas movie. Prominent fashion
brands of the early 2000s have also re-emerged on the scene, as seen through the return of Juicy Couture, Von Dutch (shoutout Charli), Uggs, Ed Hardy and so on.
With a mixture of yearning for our younger years and its re-emerging aspects within contemporary resurge nces we can embrace our nostalgia and espouse it all once again universally. Therefore, if you are going to take anything away from this it might be that maybe, just maybe, dwelling on the past can actually be a good thing, bringing a familiar sense of happiness and unity.
That Gift
loaded! is Loaded!
An admirer gives you a gift: a necklace, a box of chocolates, a poem, a flower they think you will like…What they have given you is not merely a gift, it’s an expectation. They expect you to somehow incorporate this gift into your life, and by extension incorporate them into your life. Now, giftgiving culture has become a bit insane (in my opinion) in recent years. From children receiving tablets that cost more than two months of my rent, to the need to commemorate every minor holiday with some sort of material acknowledgement that ‘yes, Jesus was supposedly resurrected 2,000 years ago, have a commemorative bracelet’. In relationships, however, this phenomenon is at its worst. I don’t decry because I’m above it, but rather because I find myself so infuriatingly captive within it.
Of course, I want gifts. I want jewellery, I want someone to pick me wildflowers, I want someone to name an obscure species of caterpillar after me (I really want an authentic cowboy hat), but nothing is ever given freely. If I meet a stranger in a bar and they buy me a drink, it most likely comes with the intention of -at its most innocent- a conversation. Even a compliment comes with expected reciprocity of at the very least positive feelings towards the giver. It may not be the conscious intent, in fact I’d venture that it rarely is, but the social paradigm is such that a person who gives will receive. Capitalism and the commercial
onslaught of ‘you need this, no- you deserve this’ advertising has dazzled our society with the idea that material value is true value. How many of us have considered, even in passing, becoming a sugar baby?
For anyone who does not know, (you sweet, summer child, you!) a sugar baby is someone -typically a young person- who receives gifts and/or money in exchange for ‘dating’. This can be anything from companionship to sexual intimacy, all of which the sugar parent effectively pays for with their resources. First, allow me to clarify that I believe sex work is real work, and a ‘sugar’ relationship is by no means immoral nor is it necessarily a negative relationship. Gift giving is a perfectly valid expression of love, and I only mean to use such a dynamic as an example of an extreme as it equates a romantic relationship with a transactional one.
In 2016, the ‘sugar daddy’ app ‘Seeking Arrangement’ reported almost a quarter of a million students as users, as reported by the BBC. A number so high is entirely logical, it makes sense that people want to feel wanted, and that people want things. Consider the signature of a high-power relationship; ‘look how much he spent on her!
This culture of ‘giving’ in a romantic setting reinforces patriarchal structures of obligation.
The social paradigm is such that a person who gives will receive.
Rejection of a gift can be interpreted as rejection of a person. The gift-giver feels good about their action. Literally, according to a 2020 study by Aknin et.al, the giving brain rewards them for spending money on others. You’ve probably felt it yourselfthe rush of joy when you find the perfect trinket and the fizzing anticipation as you wait for them to open it. It’s exciting and anxiety inducing. ‘What if they don’t like it?’ you wonder, gnawing at your nails, waiting for that hopeful response. You’ve probably also thought ‘Oh no, I hate it.’, plastering onto your face your best imitation of gratitude over the shredded wrapping paper. If you are anything like me, your parents voice creeps into your head and tells you not to hurt the giver’s feelings, not to be rude… but we can’t go through life like that.
A gift is not always a joy to the receiver, it is at times an imposition. An expensive ring is a talking point, it’s a symbol of status. ‘Look how much I spent on you’, ‘look, how much I love you.’ We must spare a thought for the power dynamics of this ancient ritual. Even a low-cost, sentimental gift can have
the added weight of an ego. The gift is more so a reflection of the giver than the receiver, a distillation of their preconceptions regarding the receiver’s preferences. As an object of love it has gravitas, an intonation of sacrifice or an indication of feelings, or understanding. ‘I see you, I know what you would like.’ It is a sentiment of burden, however, and one that feels ever more pressing as misogynist rhetoric rears its ugly head in our everyday discourse. As I see it, we all need give further thought to the gifts we give and whether we do so altruistically, or with expectation. But, of course, I still want flowers (and a cowboy hat).
Joe’s Aching Yearning, The Kingdoms by Natasha Pulley.
The Kingdoms, written by Natasha Pulley, really highlights the beauty of reading outside of your comfort zone. I usually never read historical sci-fi (I know, what a combination), more often opting for a contemporary novel and sticking to what I know… but finding this book amongst the shelves of Sauchiehall’s Waterstones’ was a stroke of luck. The Kingdoms follows Joe Tournier after he awakes in a busy 1898 London train station with no memory of how he got there and who he is. This London speaks in only French due to the conquering of the world after the Napoleonic Wars. The English language was dangerous, outlawed, and associated with the Scottish rebel group, the Saints. A couple of months after his sudden bout of amnesia, he receives a postcard of a newly built lighthouse that has been held in the post office for ninety-one years with the message: ‘Dearest Joe Come home, if you remember. -M’
Joe then travels up to the Outer Hebrides to search for the vivid flashes of life that he sees behind this mysterious lighthouse, unable to temper the yearning he has for his non-life.
Reading this book was like having a friend comforting me everywhere I went. Although I have never lived in Frenchoccupied 1898 Scotland, it was lovely having that small piece of home at a time when I was so far from it.
I poured over the pages while eating, travelling, and resting; it was to transport into a dark and alluring world while nervously excited about my future. I yearn for the way I felt when I was reading this novel, the way it captivated me and yet taking so long to finish it as I just did not want it to end. As I write this, I am struck by how difficult it is for me to put into words how I feel about this book. It is as if I am writing a profound diary entry with an opening to my soul. This book has touched me in such a sincere way that makes it painful to hear any criticism of it, regardless if it is warranted. I have passed my annotated and water damaged copy around, forcing it onto friends and family that have heard about this book ad nauseum. Telling everyone I meet that this book has won the prized title of ‘favourite book’ and that they should absolutely read it as soon as they can and drop whatever they are doing to read it in one sitting. Everyone that has met me has heard about this book and how much I adore its pages.
There are some (valid) criticisms that this book is convoluted and too hard to follow with the rapid changes of timelines and different points of view, but I argue that it is part of the book’s allure. The twists and turns make the Kingdoms more captivating and keep you on the edge of your seat until the very last page. A different (more stubborn) part of me thinks ‘wow, media literacy has plummeted, get the kids back in school.’ You are supposed to be in the perspective of Joe, who is fighting to stay
alive in a war he does not understand, in a world he does not understand. The reader is going to have to put the pieces together with the protagonist.
Pulley refuses to shy away from the horrors of war and the trauma it leaves. The book details the sudden death of characters in a tragic and jarring way that left me in limbo of what will come next . It paints a picture of a nineteenth century battle that leaves the reader in dusty confusion as to what has just happened. Although the book details some pretty grim themes, it has the chance to pull together a beautiful love story.
The poignant circular way of storytelling builds the story and setting in such a way that places the reader in the same position as Joe; lost. The reader is taken on a trail of time travel as the alternate universes blend into one symphony of history, which is impossible to forget.
Joe is caught in a contradictory game of power and consequence leaving him with even more uncertainty about his future and his past that escapes him. Joe gets thrown back and forth between a British loss, a French win, then a free Britain, and the timelines that follow these losses. Throughout all this, he is in search of ‘M’ who sent him the mysterious postcard and his life that he cannot remember.
On the surface, this book is a time-twisting historical ‘what-if’ novel, but once you reach the end you realise that it is a breathtaking work of art. The true story is one of ever-lasting love that will find you across time and universes.
Lifestyle
Mind Over Matter:
How Campuses are Prioritizing Mental Health
Over the years, university campuses have seen a dramatic shift in attitudes towards mental health. As times have changed, so have universities by increasing awareness and through the support systems now embedded into student life. What was once a largely overlooked aspect of student well-being is now a focal point for both students and university administrations. This change has been driven in part by student-led initiatives, the growing recognition of mental health issues, and an important drive in delivering essential support to students.
In the past, mental health was a topic often put to the side, with little to no formal support outside of basic counselling services. Fast-forward to today, and mental health has become central to student wellness. Puppy Yoga is something that has taken the weight off students’ shoulders at Dundee. These student-driven activities provide spaces to engage in self-care and foster open dialogue about mental well-being. Similarly, many societies organise well-being walks, allowing students to chat and de-stress in a lowpressure environment.
Students are also taking more responsibility for their own wellness for example ‘Reclaim the Night’ provide a community space for students to walk together in the evenings, after dark, which not only promotes physical health but also encourages emotional support in a safe, communal setting.
recognising mental health as a valid reason for academic accommodations and mitigating circumstances. This policy change acknowledges that mental health struggles, much like physical illness, can affect academic performance and ensures that students are not penalised or punished for prioritising their well-being.
Today, mental health is even integrated into university policies, with many universities
Likewise, the progression in men’s mental health has improved significantly. ‘The Movember Foundation’ was created in 2003, and its popularity has grown more than ever in recent years. For those who don’t know of this organisation- they raise awareness and fundraise for men’s mental health as well as medical issues such as prostate cancer and testicular cancer. They do this by making fundraisers, their most popular being to sponsor people to not shave through the month of November. After setting up the organisation they did their first Movember where 30 participants joined to help raise money. By 2004, they were partnered with the Prostate Cancer Foundation of Australia, they raised 40,851 Australian dollars.
From Puppy Yoga to Movember, the awareness created on campus is more than what has ever been seen in the past. As students continue to advocate for and engage in these efforts, the future of mental health support on campuses looks increasingly inclusive and empowering, ensuring that all students can thrive both academically and emotionally.
The Art of
In today’s hyper-connected world, platforms like TikTok and Instagram have become windows into lives we may never live. With a simple swipe, we are invited into a fastpaced world of “What I Eat in a Day” videos, displaying colourful, nutritious meals, or “Spend a Day with Me” reels filled with aesthetic coffee shops, workout routines, and curated happiness. But behind the glossy first appearance of these seemingly perfect lifestyles, lies the yearning for an alternate life, one we’re told we could have if only we worked harder or simply lived somewhere else.
This sense of yearning doesn’t just include the big things, like wanting to trade your nine-tofive for a nomadic van life. It’s also about the small, fleeting desires we didn’t know we had. Seeing a TikTok about a fast-food chain only available in the U.S. or a concert happening in a far-off country can spark a yearning that wouldn’t exist without these platforms. Before social media, we were blissfully unaware of these experiences and luxuries. We didn’t crave what we didn’t know about. But now, every swipe reveals something new to desire and, by extension, something else to feel deprived of.
The question, then, is whether ignorance truly is bliss?
Without social media, we might never have known about these alternate lifestyles, intriguing products, or exciting experiences. Would we be happier without the constant reminder of what we’re missing? Or is it healthy for us to have a goal or something to strive towards?
Ultimately, I think that it depends on your goals and how far you’re willing to go to achieve them. If following someone on TikTok who promotes a healthy lifestyle of exercising and eating well inspires you to adopt similar habits, that can be a positive influence. However, when it goes too far and you start comparing your life to theirs in a way that leads to negative feelings about your own lifestyle, that’s when it becomes detrimental.
Learning how to use social media to help influence your life positively instead of letting it become a hindrance to your life is a skill, and one many of us have not perfected. For me, writing about the feelings so many of us share is one of the most effective ways to help social media users stay connected to their mental health, giving us that much-needed push to set boundaries with social media and our lifestyles, reminding us that there’s so much more to life than what we see online.
The earliest ancestor of the clown harkens from ancient Greece, where bald-headed actors would perform farces and mime, parodying the much more serious actors and sometimes mocking the audience in theatres. I would argue that clowning must have existed for as long as we have.
‘Clowning’ as a verb in the Cambridge dictionary means, aside from to act the clown (as a noun), ‘to act stupidly, often to make others laugh’. This is, indeed, a most ancient tradition. Modern clowns have not diverged much from those in ancient Greece, still parodying acts of mundane life, performing farce, and endeavouring earnestly to make others laugh. Of all the professions in this world, to be a Clown is the most ridiculous and the most noble.
Recently the company ‘Craic Health’ received grant funding to trial “comedy on prescription”. They aim to reduce antidepressant prescription and treat mentalhealth via stand-up and workshops given to people who may be suffering from loneliness or vulnerable to poor mental-health. It sounds laughable, perhaps, but even a small amount of laughter releases endorphins and relieves stress. Patch Adams, a doctor who famously made clowning and comedy a part of his treatment (and whose life inspired a biopic starring Robin Williams) has said that “The role of a clown and a physician are the same - it’s to elevate the possible and to relieve suffering.”
Particularly now, as modernity and current politics demand solemnity, the need for moments of earnest ‘play’ is vital. The clown philosopher Slava Polunin says that and that to be happy is our main objective in life. Slava, in a short documentary by The National Geographic, cites Charlie Chaplin in that “it only makes sense to do comedy if it’s filled with poetry”. The slight twisting of the world to illicit an emotional response in the audience, manipulating the rhythm of a story for laughs, the ‘rhyming’ of an action with another action to subvert and abstract… all to bring about joy in oneself and the other. To be a clown is to pursue joy in the world, to generate wonder. It is said that ‘a clown falls down so we don’t have to’- if being happy really is the objective of life, then Clowning is perhaps the only wholly ethical pursuit and that, certainly, is no joke.
“the world is full of fools,”
Trump’s plan for education in America
With the future of the United States, and indeed the world uncertain, making sense of President Trump’s next steps can be a difficult task. Trump has accused the education system of “teaching our children to be ashamed of themselves.” And “to hate our country”. One source currently working as a trainee teacher in California stated:
“He thinks that this ‘evil education system’ is causing children to conform to a different gender which is making them overall less happy and hate themselves… In reality Trump’s administration is banning everything to do with pronouns and choosing a gender that you feel identifies with you best so he thinks that it would be better if students were to stay in the unhappy position that they were in before.”
Changes the Republicans would like to make include phasing out funding for children from low-income backgrounds or who have additional support needs and moving the responsibility for education from the state to the parents. When asked for comment Superintendent Ryan Walters stated:
“There’s nobody who loves or cares about their child more than their Mom and Dad, so the more that we empower them through school choice, through transparency and accountability measures, what you’re going to see is all schools are going to get better.”
The practical application of this is that government funding will stop for many things and the responsibility of finding and in some cases paying for schools for children with additional support needs will be returned to the parents. The source currently working as a trainee teacher in California noted that she believed that:
“The first effect that would probably be seen was with reference to student loans and free lunches for disadvantaged children being taken away. Every resource for special needs will also be taken away as it won’t be funded by the Department of Education, if there even is one anymore.”
It was noted by Randi Weingarten, the president of the American Federation of Teachers, that in order for children with disabilities to gain access to any form of education in the first place, it took the federal government getting involved. In the process of the removal of such organisations, it is a concern that these children will be at a significant disadvantage. Therefore, it can be seen that the future of education in America is uncertain at best.
Steven Hicks was 18 and described as a deeply caring person by his father.
True crime is one of the most popular genres, ranging from informative podcasts to romanticised Netflix series. However, victims are treated poorly and forgotten in order to further push the story of the killer. The internet and newspapers are flooded with pictures of the preparators while the victims get forgotten or treated poorly by the public, and we allow it. It has become normalised and is reflected in mainstream media and online. With the rise of true crime as a genre, it is no surprise that we have become so disconnected from the victims that we treat them with no respect, we view them as stories.
‘Monster: The Jeffrey Dahmer Story’ is a Netflix series that promised to shine a light on the 17 victims who lost their lives, yet it does not do that. Instead, it opens up the wounds of the victim’s families.
Anthony Hughes’ relationship with Dahmer was reinvented and treated as a romantic tale during the episode titled “Silenced”, his mother spoke out against it as she reported that it was not what truly happened. The episode title lacks respect, it’s a pun on a deaf victim being killed. How is this shining light on the victims? We should remember the victims, not glorify killers.
Steven Tuomi was 28 and many remembered him as talented at art and rather quiet.
Jamie Doxtator was only 14 years old; he liked to ride his bike.
Richard Guerrero was 25, he was an uncle and would babysit his 2-year-old niece according to his sister Janie Hagen.
Anthony Sears was 24, he wanted to be a model, and he loved to get his photo taken according to his mother. He wanted to marry his girlfriend once he had enough money.
Ricky Beeks was 33, he had a 10-year-old daughter.
Eddie Smith was 28, he wanted to be a professional model.
Ernest Miller was 24 wanting to become a professional dancer, he was very talented at dancing according to his aunt, and had plans to start classes at an art college.
David Thomas was 23, he was a fun-loving father to a 2-year-old.
Curtis Straughter was 18, he planned to attend modelling school, and he wanted to acquire his high-school equivalency certificate.
Errol Lindsey was 19, his sister referred to him as a ‘Goofball’. He left behind an unborn daughter.
The families of the victims were never consulted during the making of the show.
Anthony Hughes was 31, he was deaf and communicated with his loved ones through sign language.
Konerak Sinthasomphone was 14, he enjoyed playing soccer.
Matt Turner was 20, he aspired to be a model, and he was said to have been bright and articulate.
Jeremiah Weinberger was 23, his roommate said that he loved art and that he cared a lot about his appearance, taking care to make sure he dressed nice.
Oliver Lacy was 23, he left behind a 2-year-old son and was engaged to be married. His mother said that he was very outspoken.
Joseph Bradehoft was 25, he loved fishing. He left behind a wife and 3 children.
We must understand as viewers that by watching and engaging with this form of media whether that be YouTube videos or Netflix series, we are encouraging this revolving door of true crime to churn out more disrespectful slop. Resulting in those who knew the victims having their wounds ripped open constantly.
Recently a documentary series by the BBC was released with the perpetrator’s face plastered all over it, ‘Limbs in the Loch: Catching a Killer’. It popped up on televisions across the country and forced those who knew the victim, Barry Wallace, to relive the pain. There is no care for the victims or the families, we must learn and change this.
Barry Wallace was 18, his friends remembered him as someone who was just a ray of positivity and he always had a huge, warm, smile on his face. He was full of love, and he was so kind. Everyone who met Barry liked him. He was so excited for his future. We should remember people like Barry, we must remember their smiles and their kindness.
SAGA AND THE COLONIALIST GAZE ON WAR
Saga is a comic book series in the genre of space opera and fantasy, co-created by writer Brian K. Vaughan and artist Fiona Staples. It’s a story about two lovers: Alana, a citizen of the planet Landfall, and Marko, a citizen of Landfall’s only moon Wreath, whose homelands have long been at war. The story starts with the birth of their daughter Hazel, and the authors of Saga use the life of this family as a narrative vehicle to explore topics of complicated family dynamics, propaganda, war, and other real-world issues.
While the series often gets praised for its depictions of war and the effect it has on people, there is an argument to be made that Saga falls into the same pitfalls as many other stories about war that came before it. Its failings are probably the most pronounced in how it describes war in an arc called The War for Phang. The story takes place on a war-torn comet Phang, a place populated by a diverse range of species who “despised each other” where an insurrection against the comet’s president led to a war.
While the readers are given some information about the conflict, it’s nowhere near enough to draw any conclusions to find clear reasons for its beginning. The setup of Phang’s war operates on an almost Romeo and Juliet logic, where the absence of the reasoning for the conflict serves to highlight its meaninglessness.
However, while it works for a story about familial feud, Saga is a political story operating on a much larger scale, and that doesn’t match with the way it wants to present war.
The “petty conflict became so horrific that the reasoning for it doesn’t matter anymore” cliché is rarely applicable to the real world; it’s a scenario artificially constructed by writers in an attempt to seem “smart” without actually having to say anything. In the real world, even the most “petty” conflicts have much deeper reasonings. Saga vaguely alludes to the fact that the comet’s president may have been an unlawfully elected dictator, and yet refuses to give any concrete information, seemingly in an attempt to guide its readers to a single possible conclusion: in any scenario, war should never be seen as an understandable solution.
For this discussion it’s important to note that Saga wasn’t the first time Brian K. Vaughan wrote a story about war; in 2006 he released a comic book called Pride of Baghdad, an anti-war story taking place during the Iraq War. This is important information because it explains from what perspective Vaughan engages with the topic of war: a perspective of a white American who saw in present time as his country chose to inflict a war on a nation for no reason other than of colonialism, racism, and greed.
It’s understandable then why people from countries that have historically been colonisers like the United States would have a very rigid view of war never being an answer. However, this is a perspective that, unbeknownst to its proponents, often benefits colonisers and bad faith actors. According to Collins Dictionary, one of the definitions of the word ‘peace’ is “the state existing during the absence of war”. All empires at one point or another were in a state of “absence of war” while at the same time brutalising the people they conquered, and yet under this definition, this would be a peace worth preserving. This is the same reasoning that explains why, during the Russian full-scale invasion of Ukraine, certain people proclaimed that Ukraine’s allies should halt the shipment of weapons to Ukraine and pressure its government into making ‘peace’ with Russia, which would include letting Russia have all the territory it stole.
ZERO
To people with this reasoning, it doesn’t matter that Russia is creating mass graves filled with Ukrainian women and children on the territories it occupies, nor does it matter that Russia’s president Vladimir Putin and state propaganda sponsored by him engages in blatantly genocidal rhetoric against Ukrainians. All that matters is that the “absence of war” prevailed over the “prolongation of unnecessary conflict”, as they put it. People with such a perspective are unable to comprehend that for colonised nations, war can be a preferable choice over the violence inflicted upon them during colonial ‘peace’. Ultimately, it’s a perspective that punishes victims for wanting to escape the violence of the status quo, because that would require breaking the state of ‘peace’.
While Saga seemingly repeats the same mistakes that war stories before it did, the story hasn’t concluded yet, and it’s hard to tell what its moral will end up being, if there will be one at all. However, so far, the storytelling Saga engages in a deeply colonial perspective on war, and if we really want to have meaningful discussions about war in our art, it’s important for colonial biases to be acknowledged and for other perspectives to be uplifted.
VIOLENCE?
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The gorgeous Cover Art for Issue 111 was done by one of our incredible
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Doubt: A Parable
John Patrick Shanley’s Pulitzer and Tony Award-winning masterpiece, Doubt: A Parable, famously adapted into the Academy Awardnominated film, comes to the stage in a thrilling new Dundee Rep Theatre production.
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Impressed: Twentieth Century Artist Prints from Dundee’s Collection The McManus
A new exhibition at The McManus showcases Dundee’s magnificent collection of twentieth century fine art prints. It highlights Scotland’s key role in the revival of artist printmaking during the second half of the twentieth century.
Play: From Jute to Joysticks
Verdant Works
Local writer John Quinn brings to life the city's re-invention from "jutesville to gamesville" in this play by Shoestring Theatre Co.
