Motley Magazine - Connection- December 2023

The Connection

December 2023

Issue Law, Activism, and Global Advocacy Connecting At Cons

Learning to Love Interdependence

The Motley Crew Ronan Keohane | Editor-In-Chief Ronan Keohane is a final year World Languages student and the 2023 Global Citizen Award recipient. He wants to promote this magazine as an inclusive space and a creative and intellectual outlet for students.

Owen Mamo Cooney | Graphic Designer

Kevin Quane | Web Editor

Jessica Anne Rose | Deputy Editor-In-Chief

Sarah O’ Mahony | Assistant Editor Features and Opinions Sarah O’Mahony is a final year English and Politics student. She is currently embracing her transformation into a Swiftie, much encouraged by her housemate.

Shannon Cotter | Assistant Editor Features and Opinions

Conor Hogan | Assistant Editor Current Affairs Conor is a final year history student who has made a number of contributions to the Motley in previous years. He has an interest in art, reading and politics.

Mary O’ Keefe | Assistant Editor Current Affairs Mary is a final year Politics and English student, previously published by the Organization for World Peace. She’s also the secretary of UCC Scribblesoc and loves all things art!

Ciara Browne | Assistant Editor Creative Works Ciara, a writer, poet, artist, and fashion enthusiast. Excited to contribute my skills as Motley’s Creative Work Editor, celebrating campus creativity in diverse forms

Ella Barron Carton| Assistant Editor Creative Works

Sydney Marhefsky | Assistant Editor Entertainment

Tess O’ Regan | Assistant Editor Entertainment

Kevin is a student of physics and as such serves as motleys resident computer person. As a skilled procrastinator, he has become an expert at doing anything but college work. Can regularly be found eating cheese.

Sydney is a final year Arts student studying English and Politics and the winner of the 2022/23 Department of English Undergraduate Awards (2nd Arts). As a horror enthusiast they spend their free time deliberately

scaring themself.

Owen is a 2nd year Psychology and Computing student. He is passionate about UX design and hopes to work with Nintendo in the future. In his spare time you can find him playing cards or despairing over his python code that doesn’t work.

Jessica Anne Rose, a final-year BA English student, received a SMEDIAS Award for Feature Writer of the Year in Arts and Culture. Her poetry is featured in various publications, and she enjoys living vicariously through Sims 4 while listening to musicals.

Shannon is a 2nd year Finance student and has experience working with UCC 98.3FM. Loves watching movies, reading books and working in part-time jobs where she doesn’t actually do anything.

Ella, a creative writing graduate from the University of Galway, now studying Planning and Sustainable Development, is excited to collaborate with writers and explore diverse storytelling mediums this semester.

Tess is a final year student in Film and Screen Media, with a minor in English. Their writing has previously been published in the Motley and on the Dublin International Film Festival website. Don’t ask them about what their favourite books unless you want a lecture.

Contributors Ruby Kloskowski, Dave Hackett, Mary O’ Keeffe, Leo Troy, Chiara Alessio, Júlia Vašečková, Kâl-Sarīn Jałfrezí, Tess O’Regan, Sydney Marhefsky, Wei Chen, Jessica Anne Rose, Caoimhe Healy, Emily Peacock,Tomiwa Morris, Angelakono Fuse, Ellen Ni Chonchuir, Ciara Browne, Emily Sweeney, Aikaterini Kousouri, Rebecca, Sarah O’Mahony, Jason “Jibs” Scully, Darren James Keogh, Sean Dunne, Asma Zulfiqar Images Provided by Unsplash.com Vectors Provided by Vecteezy.com and Freepik.com

from the

Editor’s Desk The world we live in is filled with many different connections, whether it be the more apparent personal connection we have with family members, friends, our passions, our experiences, nature and specific places or the less obvious and more obscured connections surrounding us in other ways.

When viewing connections through this lens, we can see that connections broadly define us. On a broader level, we are shaped by hidden connections, such as the connection between past and present, mind and body, antiquity and modernity, nature and nurture, etc.; connections form a fundamental part of our everyday reality and lifeworld.

The topic of connection is extraordinarily relevant to our modern context, and we are experiencing the digital age of globalisation and unprecedented technological development with all of its different advantages and disadvantages. I find the concept of the ‘algorithm’ to be one of the most intriguing connec-

tions in the world. Some people argue that we are much closer connected to each other due to the increase in technology and communication; others argue that we are becoming increasingly disconnected from one another in many ways due to the dehumanisation aspect. I would argue that we are becoming connected and disconnected at the same time in many different ways. We are living in a highly liminal period of human history.

The impact of social media on cognitive functions has been researched extensively. Alarmingly enough, numerous neurologists argue that our mental processes and cognitive functions are not adapting at a comparable rate to the quick evolution of these technologies. Additionally, in the realm of academia, many political philosophers contend that collectively, we may be moving away from a so-called ‘meritocracy’ (debatable that this was ever the case, given the fact that we are structurally hindered or aided by systems of priv-

ilege and oppression) and turning into a ‘technocracy’.

What this could mean and what this could look like in a context where wealth inequality is becoming internationally and intra-nationally worsening, which has been the central plotline of many dystopian books and films.

Unfortunately, education systems worldwide have not modernised to account for any of this properly. The parochial focus on weighted grades based on standardised testing on an outdated curriculum means we are still quite digitally illiterate and highly susceptible to targeted misinformation.

Anyway, I will stop with the waffling! Let’s focus more on these fabulous contributions. I felt that this theme would be highly suitable as the theme for this issue given this context, and I particularly envisioned an excellent array of interesting pieces in the ‘creative works’ section, I have to say that I was delighted with the result!

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INSIDE ISSUE No3 - DECEMBER 2023

Current Affairs

Entertainment

Features & Opinions

Creative Works

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From Generations of Kindness to Daily Acts of Compassion: Caitriona Twomey’s Journey with Cork Penny Dinners Caitriona Twomey is the coordinator of Cork Penny Dinners, one of the most important charities in the city. Penny Dinners receives zero support from the government and relies solely on donations. Dave Hackett from the show Keeping Track on UCC98.3FM chats to Caitriona about the vital work she and her volunteers do for our community.

INTERVIEW BY DAVE HACKETT

Where are you from in the city and could you tell us a little bit about your family and your early life growing up here?

I’m from a place called Peacock Lane up near the North Cathedral. Fabulous neighbors, it’s a real generational place.

We grew up in a place where we were young, free, and innocent. My mother was an Irish dance teacher. She was power-

ful and very beautiful, so if I wanted to play sports, I had to learn Irish dance. My father took me to one side one time, and he said if you want to continue with the basketball and the camogie, learn to dance and your mother won’t stop you going anywhere. She met my father. He was a soldier, joined the army when he was very young, and he became the cook Sergeant up in the barracks and was quite happy because his life was cooking. And then my mother and himself and my grandmother saved up so he could buy his first business, which was a takeaway. They were very kind. I grew up in a

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very kindhearted family. For example, we lived near a Magdalene Laundry and Nana would take you for a walk after school and she’d sit by the Magdalen Laundry for a little while. There was a big wall and a gate.

We would stop at the gate, and she’d say tie my lace and I’d look at her because she would always wear these furry little boots that had no laces. When I was tying her ‘lace’ she would put little, tiny packets of biscuits under the gate that kids got going to school for the woman in the laundry. I used to think what’s Nana up to because she never said what she was doing. And then when we got home and my dad would come in from work and I’d say ‘Dad, Nanna made us tie her laces again today and she had no laces in her boots.’

And he’d say, did you tie them? I said I did, ‘good girl’ and that was it. I was too young for them to explain to me what the Magdalene laundries were all about.

So, from a very young age I was introduced to that kindness.

My dad would go missing on Christmas Day and we would be waiting to eat our selection boxes, but we weren’t allowed until we’d had Christmas dinner, and sometimes it would be five or six in the evening, and we would be really upset. One year, myself, my brother and my sister sat down, and I said we’re going to write a letter.

And when my dad comes home we’re going to give it to him on Christmas Day, because we’re neglected, we have an awful life from him, and he goes missing. So, he came in and we gave him the letter. I remember sitting on the stairs with him and he had his hands around us and he read it and he said come on we help your mom.

And that was his way of not having to explain stuff to me because I was still a child.

But the following year he got me up early about 4:00 in the morning and he said you’re coming with me.

And I said, where are we going? He said, ‘You’ll see.’

My dad was a man of few words, and he’d never explain anything to you. But he’d always point out things to make you observant and to look. So, we were inside this place and there was a lot of soldiers there, and I knew some of them and they were all doing something. So, my dad put me peeling potatoes, peeling carrots. Now I was an 11- or 12-year-old child, I was absolutely disgusted on Christmas morning to be peeling potatoes and peeling carrots and I was looking at him with more vengeance. And then he had me put apple into pies and he was baking the pies. And then he had me cutting up stuff and doing lots of different things and I said Dad, I want to go home, and he’d say not until we finish this. So, then we had to decorate the hall, and some women were showing me how to make handmade decorations, which I was useless at, so they just had me wrap a few little things, but everybody was very friendly to me because I was the only child there. And then people started to come and the next thing my dad said, you must wait on the tables.

I said that I can’t do that because I’m very shy. He said you’ll be grand. Just go out. So, I went out waiting, and as I was going along, people were looking at me, and the word went out that I was Tom’s girl.

The people started saying, thank your mom for the

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lovely presents that we got for Christmas and your Nana, and I would say OK. And then it struck me there and then that all the things that we had been wrapping at home since September with Christmas paper were the presents that were being given out to people. I used to think they were all our Christmas presents and on Christmas morning we wouldn’t have one of them!

It put something into me, and I just fell in love with what we were doing. Going home that Christmas evening, I said ‘Dad, can we do this again next week?’ He said it’s only Christmas Day and then he said, when do you get a selection box? I said on Christmas Day. So that was the lesson.

How did you get involved with Penny Dinners?

Well, my mom and dad had takeaways, so they would always make something for Penny Dinners, and they would drop it down. They would do the same for the Simon Community. I could see what they were doing. That’s how I got involved, and down through the years, I kept that love of belonging to something. I think I learned as a child that Christmas morning that there’s nothing wrong with giving. It doesn’t do anything to you. It doesn’t cost you anything to give.

But for me being a part of Penny Dinners, being a part of the people that I work alongside, all the other volunteers, all the people that we meet, the people that come to our door, the people that come to donate to us, the fabulous camaraderie, there’s a lot of love there as well, we’re all privileged to be of service to our fellow human beings. And I keep saying that. Even people that come and spend time with us. And they might be leaving to go to another country and when they go away, we always say you found us once, you’ll find us again. It’s that sense of community and belonging that we all need now more than ever.

Cork Penny Dinners is tucked away on Little Hanover Street, so it’s not that visible to passersby. The demographics availing of the service is very broad, a lot of students, working professionals, people who are homeless and people struggling with addiction. Is it hard to see all demographics of society turning up year in, year out, decade after decade, and do you ever feel despair or helplessness because you must have very little faith in the government?

I feel the government is hopeless and I feel I’m helpless because no matter what I say or what I try to do and the message I try to put out there, the government doesn’t take any notice. We’re on the ground, and we’re all of the same opinion. For example, if we talk about the eviction ban, we are very worried about what will come out of that. People like Peter McVerry, the Simon Community and Vincent De Paul are all saying the same thing. We can’t all be wrong. We’re seeing as it is on the ground. I feel very helpless because more and more people are coming to us now. But why I feel the Government is hopeless is because you can’t remove the eviction ban, and they should never have removed it, without having a

plan in place and they change things so often and inflict so much suffering by not having a Plan A or a Plan B or whatever plan it is. There is nothing in place. So, with this eviction ban, people have no place to go. Where do the government expect them to go?

And we’re not just talking about one person, we’re talking about families, young children, and elderly people.

We’re talking about young people. But the government has a job to do, and it must always be a decent job because they’re our government, they must protect its people.

And now, all those affected by the eviction ban are not being protected.

served a day during the Celtic Tiger?

There is a massive difference. We were doing about 100 dinners in a week back then.

You’ve been to Ukraine a few times to bring aid?

many, and Poland. It was a convoy of five vans full of supplies from Cork, it was grueling, but we did what we had to do. We visited the train stations where people were sleeping and big, huge shopping malls, where the support was fantastic. They were so well looked after, it was well organised and when the Ukrainians would come off the trains traumatised, everything was there for them. So, we were able to support all the people that were coming in and help the people that were helping them there as well. The Polish were absolutely amazing.

We never judge, we serve

How many dinners do you serve a day in Penny Dinners?

1,400 dinners every day. So that’s the main course, soup and dessert. Tea and coffee. And then we have the survival bags for everybody as well.

And some people might come back for another survival bag.

That sounds like a lot. How does that compare to the number of dinners you

We went three times. Our story is that there are a lot of people left in Ukraine who are in a very bad way.

They’re destitute, they’re impoverished. They are really frightened by all that that’s going on. And I believe they just don’t have enough money to leave the Ukraine, to get out. When we went in, we saw that level of poverty as well. So, it’s very different from what we see in the news here.

We drove over and it was pretty difficult, absolute madness! From Cork to England, to France, Belgium, Ger-

The third time we were there the border police, who are very serious people, recognized us and started clapping when they saw us. They asked, who are you exactly? And we replied, ‘We’re Cork Penny Dinners!’

Can you tell me about your initiative with UCC to teach students how to cook?

It’s called ‘Food for Thought’. It’s about Mental Health. Students were presenting with anxiety, depression, and fear. Food for thought is a brilliant concept. They learn how to cook so it’s practical as well as supportive. We have chefs who volunteer their time to show them how to cook a four-course meal and then they sit and talk to each other about everything. For some students, it’s like being a fish out of water when they leave home to go to college. It can take some students longer to fit in and during that time they can become lonely, and that loneliness can manifest itself in different ways as well. We bring in a social aspect as people who volunteer are dancers or classical guitarists, so it always ends up as more than just cooking together.

Do you ever take a holiday?

My holiday is everyday in Penny Dinners because I’m with good people and we all look after each other and we all lift each other’s spirits and that’s the connection that community gives people. Nobody should feel alone. I love and appreciate all my volunteers and they are a second family to me.

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BOYCOTT 101

- The connection between your Euro and International Conflict by mary o’ Keefe Do you want to contribute to Palestinian Liberation? Are you frustrated with the ineffective actions of international governments and institutions? The sheer scale of violence and destruction currently being inflicted on Gaza and other occupied territories is impossible to comprehend, and it can seem that we, as students, have no way of making an impact. However, the connection between our euro and international conflict is stronger than you might think.

As the conflict continues, consumers around the world are leveraging their purchasing power in support of the Palestinian people and their ongoing struggle against the Israeli apartheid.

On the 9th of November, the UCC student community joined others across the world when we gathered in front of the Main Rest to express support for the Palestinian people. Amidst cries to sack the Irish ambassador to Israel, a Student Union representative spoke on the SU’s new measures being put in place to prevent the promotion of Israeli goods and services. In addition to this, the SU representative announced a boycott of Israeli research services.

At the forefront of this international movement against Israel’s war crimes is the Palestinian-led BDS, or Boycott Divestment and Sanction movement. Inspired by similar boycotts against Apartheid in South Africa, the BDS aims to end the occupation and colonisation of Palestinian Arab land, recognise and restore the civil rights of all Palestinian Arabs and the 7.25 million Palestinian refugees, as stipulated in UN resolution 194. Through their targeted system of boycotting products, divesting, and encouraging sanctions on Israel, the BDS has seen remarkable success through its work with communities, universities, and governments across the globe.

So, how exactly does this boycotting system work? BDS adopts a tiered boycotting system that strategically targets a small number of complicit companies for maximum impact. You may have seen long lists of companies and whilst all who have complied or contributed towards Israel’s illegal actions need to be held accountable, this targeted system has proved successful with brands before. The above infographic is split into 4 different sections:

1 - Consumer Boycott This is where we, as consumers, can make the biggest impact. A complete boycott of these brands has been called because of their active role in Palestinian oppression- HP supplies Israeli government offices with tech, Puma sponsors Israeli association matches played on stolen land, and Siemens is currently working on a submarine cable connecting occupied Palestine to Europe.

Whilst AXA insurance immediately cut ties when Russia invaded Ukraine, no such changes have been made in Israel, with AXA continuing to invest in their banks as normal. Choose a different insurer, buy a different brand of sportswear or laptop, shop second hand and stop your hard-earned cash from funding oppression.

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2 - Divestment A “divestment” is the opposite of an “investment”. The second group pressures governments, institutions, and investment funds to keep well away from as many complicit companies as they can, especially those listed in the UN, Whoprofits and AFSC Investigative databases. The most recognisable logo on this list is Barclays Bank, who provide more than £3 billion in loans and underwriting to 9 weapons and technology manufacturers used in violence against Palestinians. Manufacturing giants HD Hyundai/Volvo/ CAT/JCB also feature on this list due to the use of their machinery to systematically destroy Palestinian homes and build new settlements on occupied land. If, by any chance, you have investments like stock holdings in these companies, bring your business elsewhere.

3 - Pressure or Non-Boycott For strategic reasons, a boycott has not been called on these brands, but BDS instead asks consumers to pressure them in other ways. This includes tech giants Amazon and Google, whose Web Service and Cloud divisions signed a $1.2 billion contract to provide cloud technology to the Israeli military in 2021. These companies are omnipresent and often built into the tech structures of our work and academic institutions. We can’t stop using our umail accounts, but we can support the #NoTechforApartheid Campaign and demand that CEOs cut ties with Israel. Companies like Airbnb, Booking.com and Expedia are on this list due to their operation in occupied Palestinian territory, as does Disney. Consider booking accommodation through a different means or finding alternative ways to watch your favourite movies.

4 - Organic Boycott

Union of Students Ireland adopting their approach in April of this year and Dún Laoghaire County Council recently formalising their support. Similar academic boycotts have been called in Trinity College Dublin, who recently demanded their college cut ties with Israeli institutions that furthered the war effort. Earlier that same week, a group of 26 Irish Academics published an open letter to the Irish Times decrying their colleagues’ silence in relation to the ongoing conflict.

It’s also important to remember that in many places around the world, the BDS campaign is illegal or heavily restricted.

27 US States have adopted legislation or policy that penalises businesses, organisations or individuals that engage in or call for boycotts against Israel. In 2022, the Spanish Supreme Court adopted a landmark ruling that declared BDS to be “discriminatory”. Similar statements have been made in parliaments of France and Canada. Many of these actions describe political action against the state of Israel as anti-semetic, or that Palestinian self determination is incompatible with Jewish self-determination. This claim that anti-Zionism equates to Anti-Semintism is an old argument experiencing a revival in the context of the ongoing Israel-Hamas war. The BDS states on its website that it strongly rejects all forms of discrimination, including anti-semitism, and is endorsed by Jewish Voices for Peace, a prominent Jewish-led group that advocates for the liberation and equality of all people, both Israelis and Paltastinians.

As students, our economic power might seem limited. I imagine many of you reading this don’t hold stock shares in Chevron, or plan on buying a brand-new Volvo. It’s important to remember that we do hold significant economic power- why else would these corporations spend billions on marketing to us 18–25-year-olds? There is strength in collective action, and strategically boycotting the above brands is one small change that can result in real political change.

These boycotts were started by various grassroots activists, but are supported by BDS nonetheless. McDonalds made the list when a branch in Israel provided free meals for military personnel, with nearby franchise groups in Arab countries responding through massive donations to the people of Gaza.

These methods of boycotting have proved successful in the past, with companies such as Veolia, Orange, G4S, General Mills and CRH cutting ties with Israel following boycott campaigns. A United Nations Conference on Trade and Development notes in 2014 that BDS was a key factor in a 46% decline in investment in Israel.

The BDS has long been successful in Ireland, with Dublin City Council endorsing their campaign in 2018, the

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Connecting with our ancient past Ruby Kloskowski

The past no longer exists. It is created through narratives of events and processes that may have happened in earlier times.

It is fascinating to see this craving need to draw a social and cultural divide from us now and our ancestors. I want to draw our modern eyes onto the bones of our ancient relatives to shine a new light on them, to reveal hidden aspects of their lives and importantly make them human again. This idea of separation from past and present, however, is not a modern form of thinking, we have always looked at our past both positively and negatively. From the ages of discovery up to the late Victorian period we have looked to the past with curiosity, but in all cases, we drew a divide between these people as being “different” than us. But what is it that we think makes them different? And why do we feel the need to separate ourselves from them?

A huge factor in villainizing and simplifying these people is archaeological misinformation, these small anecdotal myths we have all heard about these ancient times. For example, that “medieval people were extremely

unhygienic” or “neanderthals just smashed rocks together”. Both of these myths, and many more, are far from the truth. They are a sort of self-justification in the form of belittling, reinforcing this idea that we ARE better than them and don’t make the same mistakes. To put it simply, we want to be different to feel a sense of change and progression. When we draw a difference between our past and the present now, we can far more easily appreciate our progress and avoid current problems. When looking at our society now through the same negative lens as we do on our ancient relatives one could draw out similar generalisations. History does repeat itself after all.

I would like to highlight with some archaeological examples of just how human we have always been, and the deep connection we should revitalise with the past. The Shanidar cave in Iraq is a monumental illustration of the dawn of human thinking. A single neanderthal flower burial found inside the cave shows the person was not just cared for, but intentionally buried. Others buried in the cave had many debilitating injuries, show-

ing they were not left alone to die but nurtured and seen as vital members of the family. In no survival situation would an unempathetic ‘brute’ care for a wounded elderly person, and the act of doing so proves their empathy.

Furthermore, the individual was buried with flowers around them, showing early burial practices and a powerful connection with the dead. How could such ‘brutes’ have such deep and meaningful connections with their family if not for the fact that, in their empathy, they were just like us.

Further on in our timeline for example, we have the megalithic tombs of Ireland. These monumental communal grave sites showed an intrinsic connection people had with the land, the past and the respect for their dead. Many of these grave sites were passage tombs, this idea of entering a sacred space to commemorate the dead, to visit them and connect with their ancestors. These tombs popped up in our landscapes increasingly over the neolithic period but show not only continual use but also restoration from the bronze age right up to the iron age. How can we be so bold as to call these ancient societies “primitive” when their empathy and respect for their dead mimic that of our own? For many of these cultures it was not just their treatment of the dead that shows their connection with our present but also their societal practices too that are reflected in the shad-

ows of our archaeological records. From gift giving and functionally purposeless items being passed down generationally shows their sentimentality. Importantly the trait of creativity. The scraps of soft birch bark found in Novgorod Russia that belonged to Onfim illustrates this ancestral creativity. Onfim, who was most likely six or seven at the time, wrote in the East Slavic Old Novgorod dialect. Besides letters and syllables, he drew “battle scenes and drawings of himself and his teacher.”

Onfim’s drawings and homework are dated to around the early medieval period. Such simple traits as doodling and boredom do not just extend to our modern lives but are traits born in the beauty of humanity itself, this need for individuality and self-perception.

So where does this leave us? I think our modern perception of the past should change. Our ancient ancestors were just like us, they laughed, cried, formed bonds, and lost them. They were human, not some monstrous creatures unable to feel or understand each other. Many of the anecdotal myths that we still use subconsciously dehumanises our past and ruptures the connection we have with our ancestors.

This manifests itself through a pervading superiority complex and the idealisation of our present, which leaves us vulnerable to repeating the failures of our past. If we can find beauty in the connection we have with our past we might be able to progress more socially as we unify cultures and societies under a single appreciation for our history.

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BRIDGING LAW, ACTIVISM, AND GLOBAL ADVOCACY

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n this feature, Motley Editor-in-Chief Ronan will be sitting an interview with Alicia Joy O’Sullivan, a remarkable 22-year-old law student currently in her fourth year at University College Cork. Alicia comes from Skibbereen, Alicia’s journey is a fascinating story, passion for law, and a commitment to making a difference on a global scale.

Together we will learn about her experiences, exploring the work of her activism, the impact of the Quercus scholarship, and her role as a UN Youth representative.

Q: FIRSTLY, THANK YOU VERY MUCH FOR JOINING ME TODAY! COULD YOU INTRODUCE YOURSELF? Alicia: I’m Alicia Joy O’Sullivan, I am 22 and a fourth-year law student here at UCC. I grew up in Skibereen in West Cork. I’m a quercus scholar for active citizenship. My journey into activism began at the age of 8, I was

passionate about a lot of different issues, ranging from climate change and raising youth voice incorporating marginalised voices and trying to get young people into policy spaces in order for them to get a seat at the table, essentially!

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Q: VERY COOL, ANY HOBBIES OR INTERESTS? Alicia: Beyond my academic pursuits, a huge part of my interest is in politics. I definitely believe that balancing the intensity of student life is quite important (whether it be a society, the students union, a club etc.), I definitely believe that it is very important to have things outside of that. Personally, I have a very active social life and find a lot of enjoyment in in regularly hanging out with friends, and relaxing at home in Skibbereen where it is quite peaceful. While university life can be chaotic, creating space for personal time and time to yourself is essential; I believe that time spent alone is very important for self-improvement. In the past, I used to be more sporty than I am now, yet still I do enjoy activities like watching rugby and doing kickboxing when I find the time.

Q: COULD YOU DISCUSS WITH ME YOUR ACADEMIC BACKGROUND, FOR EXAMPLE HOW DID YOU GET TO WHERE YOU ARE TODAY AND WHAT DO YOU LIKE ABOUT YOUR PROGRAMME? Alicia: My academic journey took a rather unique path. I was not super invested in my studies during secondary school and didn’t spend much time; I was much more devoted to my advocacy work, which included a wide range of activites in Comhairle na nÓg and the Irish Second-Level Students’ Union (ISSU). I always wanted to do law, but simultaneously I fet that my other endeavours were also highly important to me. I did always believe in my ability that I would get there. I ended up opting for the 4-year bachelor of clinical law program which included a work placement in 3rd year where I was able to incorporate my advocacy work. The programme so far has been very special to me as it allowed me to explore the intricacies of the field, this also allowed me to see what I was interested in

doing career wise and my different set of preferences. This program has also given me the opportunity to travel, I went to America during the second semester. In my opinion and experience, the UCC School of Law has played a pivotal role, offering unwavering support and a diverse range of choices within the legal domain. Additionally, in the department there are many inspiring people, for example Dr Aine Ryall who is the Chair of the Aarhus Convention and Dr. Aoife Daly who does outstanding work surrounding climate justice and children’s rights. While there are mandatory core modules, there are also a wide variety of electives adding a nice flexibility to the course to align it with your interests.

Q: HOW DID YOU FIRST HEAR ABOUT THE QUERCUS SCHOLARSHIP OPPORTUNITY AND WHAT INSPIRED YOU TO APPLY? Alicia: The Quercus scholarship came onto my radar during my Leaving Cert Christmas break. It was the principal of my school who had encouraged me to apply for it. Given my background in active citizenship, I saw it as a unique opportunity to support my studies.

Encouragement from my principal further solidified my decision to apply. What’s particularly heartening is witnessing a growing awareness of this scholarship, highlighting the importance of recognizing talents beyond exam scores.

Q: HOW DO YOU FEEL THE SCHOLARSHIP HAS IMPACTED YOUR JOURNEY? Alicia: The Quercus scholarship has been transformative on multiple levels. Financially, it provides a stable foundation by covering my tuition fees and accommodation.

This not only eases the financial burden on my family but also serves as a meaningful way for me to give back to them for their unwavering support throughout the years. Moreover, it grants me the freedom to engage in activism without the constraints of financial

limitations, allowing me to contribute meaningfully to causes close to my heart.

Q: CAN YOU DESCRIBE YOUR RESPONSIBILITIES AND THE SCOPE OF YOUR WORK AS A UN YOUTH REPRESENTATIVE? Alicia: Certainly. The role of a UN Youth Representative, established by the UN, is to ensure youth representation on an international platform. Alongside my colleague Mohammed Naeem, we actively participate in events, contribute to discussions in the 3rd committee, and advocate for the rights of young people. Our responsibilities extend to contributing to the youth resolution, shaping crucial policy documents that hold sway over member states.

Q: HAVE THERE BEEN ANY IMPACTFUL MOMENTS OR PROJECTS DURING YOUR WORK WHICH YOU WOULD LIKE TO SHARE WITH US?

challenges they face. The personal narratives shared were not only powerful but served as a stark reminder of the global disparities we must collectively address. Another impactful experience was being in New York during the unfolding events in Palestine. Witnessing the struggles faced by people worldwide has been both eye-opening and heart-breaking, underscoring the urgent need for action.

HOW HAS THIS JOURNEY SHAPED YOUR FUTURE GOALS? Alicia: This journey has been a profound teacher. It has emphasised the importance of travel, stepping out of one’s comfort zone, and fostering personal growth. Meeting individuals and hearing their stories has fueled my passion for advocacy, pushing me to evolve in my understanding of global issues continually. Importantly, activism, for me, is about supporting others, not centred around oneself. Recognising my privileges through these experiences has been a humbling and enlightening process.

Numerous impactful moments have marked my tenure as a UN Youth representative. One particularly powerful event was during a session on women in Afghanistan, where we heard first-hand testimonies that shed light on the immense

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icture the scene: you’re about to go on your holidays. You have your passport in your pocket (so you hope, you could just as easily have left it at home), you’re anxiously waiting for your turn in security and you pray that no one spots that your bag may be too big for carry-on. To add to all this stress, the airport is playing the Top 50 chart hits, doing nobody any favours and creating a sincere disconnect between what should be a casual, routine experience and your emotional distress.

This is the exact scenario that Brian Eno was thinking of when he first came up with the idea of the album Ambient 1: Music For Airports. After spending hours waiting in the Cologne Bonn Airport in Germany, he became annoyed by its uninspired atmosphere. Eno aimed to make music that would “get rid of people’s nervousness”, and the result was this project. It was also with this album that he coined the term “ambient music”, a sound he described “as ignorable as it is interesting”. The repetitive and minimal production creates a soothing atmosphere and it’s clear Eno had the space of the airport in mind when creating it. It’s

The relationship between

Ambient Music Arc The Wacoal Art Center/Spiral

entrancing yet uninteresting, grand yet minimalistic.

Liam Singer, in a review for Pitchfork, sums it up perfectly: “it gives the listener nothing to hold onto, remaining as transitory as its location”.

and

This balance between form and function is one of the leading aspects of both ambient music and architecture. It’s no surprise that the first ambient album was designed to make a space more hospitable.

Architects are often concerned with the aesthetics of the building. In an architectural sense, “aesthetic” encapsulates how a building is perceived and experienced by the senses. For example, feng shui: the idea that balance in an interior space can create a more harmonious lifestyle. Both ambient music and architecture are subconscious, non-intrusive methods of elevating a space and creating a perfect mood.

We can see even more examples of the bond between ambient music and architecture in Japan. In the 80’s, Japan was experiencing an economic boom. The government offered tax breaks to companies for creative investments in a bid to nurture cultural development. Soon, companies were hiring experimental artists to create music for everything, from jingles in advertisements to albums packaged alongside products. A good sample of this rise in experimental production can be heard on Yasuaki Shimizu’s album Music For Commercials, which is, well, exactly that: songs and jingles composed for commercials of big companies, such as Honda and Seiko.

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Hara Museum of Contemporary Art in Tokyo

“WRITING ABOUT MUSIC IS LIKE DANCING ABOUT ARCHITECTURE” - MARTIN MULL

chitecture During this period, companies commissioned music for their own private buildings as well. A perfect example of the eccentricity of this period is Yoshio Ojima’s music for the Spiral cultural-facility, which had been funded by the lingerie company Wacoal.

We can hear the consideration for the architecture and setting, in which the music would be played, on his album Music For Spiral 1 and 2. (Ambient musicians aren’t exactly creative with their album titles.)

The music mirrors the space, as on the track ‘Glass Chattering’, a piece where the repetitive arpeggiated strings seem to mimic the dizzying sensation of a spiral, constantly circling over and over.

The style began to be called kankyo ongaku, or “environmental music”; music designed for site-specific purposes. It was used to elevate the atmosphere of a space without overwhelming it, an aspect that Hiroshi Yoshimura was fully aware of. In his mind, the ideal volume for his music to be played at was very low to allow conversations to run smoothly. Commissioned by the Misawa Homes Institute for Research and Development, he was tasked with providing a soundtrack to the company’s model homes. In

by Leo Troy

1986 he made Surround, a minimalistic masterpiece which conveys a warmth that suits the setting.

These are potential future homes, so it’s right that it creates a sense of ease, as if you have lived there already for many years.

This wasn’t Yoshimura’s only foray into architecture. Before, while working on his album Music for Nine Post Cards, he would often visit the newly built Hara Museum of Contemporary Art in Tokyo.

Entranced by the modernist design and the views outside the window into the lush garden, he asked if the museum would play his album when he was finished. The museum accepted. He attributed songs to different natural phenomena seen through the windows, such as clouds, snow, rain and the shade of a tree in the summertime. The result is a sweet, wistful and melancholic work that brings the nature from the courtyard inside into the museum.

Throughout the years, architecture has inspired artists and has pushed the limits of how we interact with the world around us through sound. Be it in an airport, a model home or a museum, ambient music has been used to elevate our experiences with our environment. So, next time you visit an airport, put on your headphones and listen to some ambient music to drown out the thoughts that confirm yes, you did leave your passport at home.

14 | entertainment |

MONDRIAN AND METRO Chiara Alessio

In the 1930s London acquired its iconic metro map, stylized in a way that was entirely new. Henry Beck stripped the map of all its organic qualities, leaving out a picture made of bold, isolated and colorful lines. First: shock. Then the design became the epitome of the Tube and the same design, with its intrinsic simplicity – albeit with a few tweaks – remained until today. This simplified way of seeing a metropolis was then reproduced in other important cities, such as Paris and Tokyo. Beck’s design revolutionized the way space, traffic and movement was defined and reproduced on paper and, overall, put into bold, unforgettable schemes the set of lines that connected an extremely dynamic city.

Meanwhile, between the 1920’s, 30’s and 40’s, Dutch painter Mondrian was producing another iconic design; a set of lines and use of colors that would be embedded within the western world as an example of abstract art. In fact, Mondrian brutally got rid of the three-dimensional plane of the picture, opting for the construction of an image made only by bold, thick lines and blues, reds and yellows. The bare bones of creation. However, Mondrian’s work does not pretend to be static but rather works through the dynamic system, envisioned

by Wassily Kandinsky in Point and Line to Plane, where lines are seen as having intrinsic, climatic qualities. Vertical lines are dynamic and hot, horizontals still and cold. Paired with yellows and blues, the dynamism of lines can be accentuated, accelerated, expanded, or decelerated, retreated, slowed. In this light, Mondrian’s division of the white plane in horizontals, verticals, yellows, reds and blues constitutes a picture of mechanic acceleration and mechanic slowing down. In short: the experience of riding on a high-speed underground – that stops and slows down at each station or stop and accelerates like never before in order to get its stressed, anxious, modern passengers to their daily routines, circling around a tight web – connects the biggest cities of the western world from top to bottom. Taking Mondrian’s New York I as an example (yes, the painting that was displayed upside down for seventy-five

MAPS years), the red, blue, yellow tape recreates the space of the always-moving metropolis, full of vertical buildings, avenues, underground system, trams, scaffolding, posters, and colorful media.

Ninety-degree angles as a form of move- the London Underground map is intrinment and in-city transportation are not sically industrial and modern: the epitoonly exclusive to Mondrian’s canvases; me of connection, in its uttermost logical the division of space in such a way was and immediate sense, of our age. Similaralso used within the structures of Roman ly, Mondrian’s most iconic design work cities: divided in a big central cross, the is interconnected with the same values joining of a vertical and horizontal line, of swiftness, abstraction, simplicity and the main roads, and divided again in modernity. As the vertical and horizontal repeated rectangles and ninety-degree lines move up and down and bend meangles. This structure is present in cit- chanically at their angles, expanding in ies like Turin, Aosta, or Barcelona. The temperature qualities within the yellows, every-day experience of a Roman city, reds or mellow blues, it is as if we see the be it a colony or not, was the navigating eclectic streets of an avenue proliferatof a space so rigidly and mechanically ing with cars, the tracks of trams passing divided. Similarly, according to Had- through, or the colors of a high-speed train law (2003), Beck’s design of the London leaving nothing but a patch, an impresUnderground was so effective because, sion, speeding by, the web of ramification through the stylization process, the main of the Tube. In a play that is both organic focus he brought forward was a play on and mechanic, human but only intrinsithe communal ideas in regard to space, cally modern (as the speeds and request and how to navigate that space most ef- for trains and metros for daily, sometimes fectively. multiple, movements through the stations or stops, is only around two hundred years old), the designs of Beck and Mondrian can be intertwined to deliver the uttermost contemporary idea of connection within urban spaces, where the people’s lives are divided between stop announcements and mind the gaps. Effectively, Beck and Mondrian got rid of geographies (London for Beck, the three dimensional plane Hadlaw (2003, 2) for Mondrian) for the sake of immediate, connecting logic.

The set of codes that represent swift movement in such a schematic way in ‘[B]oth map and riders shared a common sensibility. It was comprehensible because the logic that underpinned it was coherent with their experience, as modern individuals, of a historically particular time and space.’

16 | entertainment |

Your Laura Disappeared, It’s Just Me Now

By Júlia Vašečková The figure of Laura Palmer has been haunting the media world since her first appearance in the American television series Twin Peaks in 1990. With her head covered in plastic and lethally blue lips, her surfacing burned an image in people’s eyes. That’s the story David Lynch and Mark Frost established for her: the missing girl turned up dead. Any post-mortem information revealed to us is carefully filtered through perceptions of other characters. Laura functions as a myth; the perfect blonde Homecoming Queen involved in volunteering and beloved by all. That, of course, is only the surface, as Lynch likes to remind his viewers in his works. Laura’s death disturbs the microcosm of the local community, and gives rise to the unearthing of secrets and transgressions present in their lives. And, while everything seems connected on a personal level, Twin Peaks citizens couldn’t be more separated.

Throughout the investigation, it becomes abundantly clear that Laura was unknowable, even to her close ones. Riddled with trauma, drug problems, and abused by people she trusted, she kept these secrets from the light of day. However, she’s not alone. Characters similar to her show up in the series and we can’t help but be reminded of the main heroine. What separates Laura from the others is her complete and utter isolation. If another woman is in distress she’s either saved by someone or she realizes, thanks to her support system, she shouldn’t succumb to the fear and evil plaguing the town. Laura, on the other hand, states: “And the angels wouldn’t help you.

Because they’ve all gone away.” (Twin Peaks: Fire Walk with Me, 1992.) While others rely on people and healthy coping mechanisms, Laura has nothing but her angelic wishes. The movie Twin Peaks: Fire Walk with Me is a special piece of fiction that gives attention to the victim and her existence before death. In a way, it’s almost a morbid celebration of her life, which was cut short. Con-

tradictorily, it is also where her death is first showcased. Laura is not alone, but with Ronette Pulaski, who flees the scene with the help of an angel. This solidifies Laura as a martyr, and her role is a tragic cautionary tale of the loss of attachment. Yet again, Laura, in her last moments, is alone. The angels stray away and religious imagery is no longer employed, her last otherworldly connection is severed.

In its essence, her death preserves the fears and anxieties of dying alone. Living alone.

Being alone. Her character represents the solitary abuse victim, susceptible to more mistreatment. Ultimately, it is a story about the powerlessness one experiences without a proper safety net to rely on. The tragedy is retained in her silent cries for help that no one answers. The Twin Peaks community almost seems like a farce. They’re impacted by her death, yet were completely blind to the warning signs circling her. It emphasizes the need for connection and the detrimental nature of the lack of it. The self is lost in the sea of surface-level pretenses keeping the community at bay. Human beings, however, don’t function like that. Make-believe ties don’t cut it, and they eventually fall apart at the seams.

One could speculate if human bonds would have kept Laura Palmer alive, as that’s outside of our power. But her cries to reach out are enough to tell us what we should know.

Even in the deepest of pits, we still crave some sort of contact. We might look at Laura as a fabricated entity. Even so, her qualities are intrinsically human. That’s the reason why we are able to empathize with her, because she displays our fears and possible scenarios. An idea in the flesh of an ordinary girl that we pass by on the street. A tale as old as time, a tale of connection. Nevertheless, the story of Laura Palmer is a lonely one.

Connection: /kəˈnɛkʃn/ “A relationship in which a person or thing is linked or associated with something else.”

—Google

The Heart, Uncaged

by Kâl-Sarīn Jałfrezí

When I was a young lad, my father purchased a bird. A cockatiel. I named him ‘Storm’ because his feathers were the same shade as a cloudy sky.

Not the most creative name, but allow it. I was ten.

Storm was special, because Storm was a bird that I had managed to tame to an astonishing degree. I could hold out my hand, and say “Storm!” and he’d come flapping onto my finger.

I’d rub his feathers, scratch the spot underneath his chin and he’d hobble onto my shirt and climb onto my shoulder. For the few months that I had him, Storm was my happiness.

After school, I’d walk home, run upstairs to the storage room, throw open the cage and let him out. I’d tell him about the day that I didn’t tell my parents. He never said anything. He didn’t need to. The warmth of his feathers was enough to pacify me. Come rain, or some sunshine, whatever the mood, whatever the occasion, Storm was the first to hear about it.

I found an unusual comfort in the sounds of his chirps, knowing that he could not hurt me with his words, or spill my secrets to those who didn’t need to hear them.

He was the first one that I have truly thought of as “Family.”

He was the first one with which I shared a connection.

And he was the first one whom I lost.

It was comical, really. I had returned from a tragic day at school to find that Storm’s cage was empty. I assumed that he was with my father downstairs, who had recently taken to playing with him. I went down, and asked my father. He casually told me that he had brought Storm into the back garden and that the bird had flown away.

I thought he was joking.

He was not.

Storm was gone. Along with every moment that I shared with him.

I was mad at my father. More than that, I was mad at Storm for flying away. I was mad, I was sad, and I was in pain. It was the type of pain that I had not had the privilege of experiencing before. The type of heart-wrenching, gut-crunching, blistering pain that you feel through every square inch of your body, knowing full damn well that no dose of ibuprofen or paracetamol could possibly soothe it.

The type of pain that you don’t ever want to feel again.

I’ve never had another connection like that. I don’t want to. I’m scared. I’m terrified.

Sometimes I meet someone new, and a little seed of affection sprouts in my muddy heart and I do my best to kill it immediately. I don’t let them get close. I can’t let them get close.

So I put on this mask. I lie to those who love me, and I smile to those who despise me. The world thinks that I am odd, but only I know the truth.

I am fake.

I am so fake that I don’t know who I am anymore. I don’t know who I am today, and I don’t know who I will be tomorrow. Maybe I’m being dramatic, or maybe it’s just human nature to not know who you are and who you can be.

Just like it’s a bird’s nature to fly away when you set them free.

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‘ONE RING TO…BIND THEM’: THE “SQUARED CIRCLE” AS CONNECTIVE FORCE IN PROFESSIONAL WRESTLING

BY TESS O’ REGAN The face spends as much time as possible in the centre of the mat, aiming for a good honest competition. The heel resists, hiding in the ropes to prevent their opponent from engaging and forcefully slowing the pace of the match.

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rofessional wrestling is as much a theatre as it is a sport. Since the outcome of matches is predetermined, who wins is less important than how they win. It’s about the story; the fast-paced heat, the dramatic comeback, the twist ending – wrestling is a play.

And as with every play, a match needs a stage.

The ring. The “squared circle”. Ropes join post to post, enclosing fighters in an area of controlled violence, where they collide in a half-coordinated dance. Wrestlers have a strange connection to this space. Roland Barthes, writing in the 1950s, observed that ‘[a]s soon as [they] are in the ring, the public is overwhelmed with the obviousness of [their] roles.’ There are two types of characters in wrestling: the good and the bad, the face and heel. Within the ring these characters come to life: the face performs perfect sportsmanship while the heel acts the bastard. They use the ring for their own purposes.

Watch any wrestling match and you’ll see what I mean.

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Sometimes the ring is a weapon: heads are thrown into posts, limbs are tied up in the ropes, bodies come crashing down from the turnbuckles. Other times it’s a shield where, tangled up in a hold, you might reach for the ropes to force a break. There is something mythical to this small arena. Wrestlers, down on their backs, short of breath and out of fight, often stomp on the canvas and, as the rhythm is taken up by the crowd, pull themselves up with the support of the ring. You can see the energy bleeding back into them. Partially fueled by the crowd, yes. But partially from the ring itself, as if they’re feeding on its symbolic power. A hand on the ropes is more than just a stabilising force, it is a signifier of recovery, a resolution to get back up. Mostly, however, wrestlers use the ring’s actual power, springing off the tensioned ropes to clothesline their enemies, or even diving through them to an opponent outside.

But leaving the physical space of the ring does not mean severing all connection to it. Out on the floor, the grappling gets dirty. Everything has the potential to do damage. Opponents are thrown into barriers. Audience members are encouraged to taunt and jeer, and sometimes even hit the losing man. The two figures will stumble around, wreaking havoc. And all the while the ring calls out to them, in the voice of the referee; an umbilical chord of a ten count, pulled taut as it begs them to come home.

In these moments ‘the limits of the ring are abolished, swept away by a triumphant disorder which overflows into the hall and carries off pellmell wrestlers, seconds, referee and spectator’ (Barthes). The ring expands past its four posts and comes to enclose the entire venue.

Sports halls, bars, stadia – size doesn’t matter in these brief excursions, the rules of the game accommodate the ring’s growth. Certain match stipulations even legitimise its growth, as in a “falls count anywhere” match. It says it on the tin: a wrestler can gain a victory anywhere in these matches. The privileged space of the mat – as site of victory – is negated, or rather expanded. Now the ground, the seats, the bar, even the street outside, are fair game. As long as you can pin your opponent’s shoulders for a three-count, you have won. It’s in these matches that the sentiment becomes explicit but, regardless of rules, it is always like this: the ring, as a space where wrestlers meet and struggle, is everywhere.

Its laws govern the entire venue of a given show. It is not simply the raised mat you gaze up at (or down at, depending on the venue); it is the floor beneath your feet, the walls that hold up the ceiling above you, the air you gasp into your lungs at a particularly violent blow.

A ring, by virtue of being used and channelled through the mobile bodies of wrestlers, connects the space of the building that hosts it, transforming it into one cohesive whole.

And this cohesion does not exist solely on a horizontal plane. Wrestlers are athletic, reckless and often airborne.

For many, pouncing on their adversary from a turnbuckle isn’t enough. Performers with a penchant for flight will wander outside the roped walls of the (official) ring in search of a higher perch. These wrestlers are skilled climbers, almost anything can be a potential grip.

Pillars, ladders, balconies. In the case of cage-matches, the very walls that trap the fighters become worthy of scaling. And, as the wrestler ascends, they pull the realm of the ring skyward too. Where they go the ring must follow, and so the ring becomes vertical.

But if we go up we must also go down. Stored beneath the apron, under the springs that suspend the mat, is a hoard of potentiality.

Down here, you can find all kinds of treasures: tables, ladders, steel chairs – maybe a bag of thumbtacks, a leather belt, or even just a bottle of water. Whatever you need: the ring provides. Here is the belly of the thing, an all-you-can-eat extravaganza replete with any weapon your heart desires. Here is the belly of the thing– or is it the womb? For sometimes, a competitor will crawl under the ring’s skirts and disappear from view, only to re-emerge from the opposite side moments later rejuvenated, reborn. The connection between ring and wrestler continues with the latter seeking out the sanctuary of the former to hide from their opponent and secure the upperhand.

In this way we might see the wrestler as an extension of the ring.

Or, conversely, the ring is another limb of the wrestler. Face or heel, these characters exist in relation to the ring. Even delivering promos – challenges to future opponents that are often filmed in backstage settings – a wrestler speaks with the ring in mind. And one’s entrance to the ring is one’s making. The entrance being an announcement of a character that defines their being and culminates in their entering the ring before a match. So too is the afterwards of a match vital to the relationship between ring and wrestler, and wrestler and opponent.

The act of leaving the ring is filled with significance. Who leaves first?

THE VIRTUE OF ALL IN WRESTLING IS THAT IT IS THE SPECTACLE OF EXCESS - BARTHES ROLAND How do they do it? A loser, bitter and enraged, might storm out before shaking the winner’s hand. Alternatively, the victor, delighted with their win, might breeze out accompanied by their theme music, while their beaten adversary lies prone on the mat. Utterly defeated, the loser may not leave for a long time yet. All the while the eyes of the audience watch them, enraptured.

And that is just it: if the bounds of the ring move with the wrestlers, then maybe they move with the eyes of the spectator too. So that, when the defeated finally, recovering their feet, stagger out past the ropes and hit the ground, the ring follows them, abandoning them only when they reach the exit, and they are seen no more. The connection is broken only with the falling of the curtain.

1 Barthes, Roland. “The World of Wrestling.” Mythologies. Editions du Seuil, 1957.

Electra

Dorian Electra’s Fanfare & Art as a Tool of Dehumanization

by sydney marhefsky

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he recently-released album Fanfare by artist Dorian Electra is chock full of bombastic sounds, satirical imagery, memes, and a complex commentary on the role of art in modern society. Dorian, a hyperpop artist who uses the pronouns they/them, has ventured into the realm of social commentary many times before, largely focusing on the tensions and connections between cishet (cisgender and heterosexual) and queer masculinity on their freshman album Flamboyant and their sophomore album My Agenda, with drag aesthetics heavily featuring in both. While those investigations of masculinity and drag looks are (thankfully) still present on Fanfare, the album is unique in its exploration of how art can be a tool of dehumanization, as full, complex human beings are reduced to media to be consumed.

One such pattern of objectification that Dorian identifies is that of celebrity culture, which is the primary concern of the opening track “Symphony,” wherein Dorian assumes the character of a celebrity speaking to their fans.

“Symphony” calls attention to the asymmetricality of the relationships formed between artists and their fans, as the speaker equates their fans’ emotional investment to backing music. The speaker tells the audience they “Need to watch you sleep/Need to see you weep/Give me everything,” demanding to see

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their fans’ devotion through access to their personal life, tears, and even their entire being. However, what should be a human, though deeply invasive, connection is reduced to the relationship between a craftsman and their tools, for these lines in the first verse run parallel to those in the second, which go: “Need a baritone/Need that saxophone/God, I feel so alone.” Alongside attesting to the emptiness of such relationships, as the speaker fails to find social fulfillment through their fans, the speaker equates the personal investment they demand of their audience to the musical instruments necessary for the smooth operation of their performances. This dehumanization of fans culminates in the chorus, where the speaker sings “Come on baby, can’t you see?/I’m gonna need a symphony/And I’m gonna need to hear you scream”. Here, the fans’ emotions become a “symphony,” as if they themselves are now part of the celebrity’s performance, their screams blurring the line between adoration and anguish.

The relationship depicted between an artist and their fans on “Symphony” could easily be described as parasocial. The idea of parasocial interactions originated in 1956 from scholars Donald Horton and Richard Wohl and describes an audience member’s perception of having a personal and reciprocal social interaction with a person or a fictional character in a piece of media. Where a parasocial interaction is confined to a specific instance of media consumption, modern scholars have used the term “parasocial relationship” to denote a perception of a social bond with the performer or character that endures over a period of time, existing outside of when the audience member is viewing a performance. The modern prevalence of social media has arguably made it much easier for celebrities to intentionally foster such parasocial relationships, as fans can get seemingly authentic glimpses into artists’ lives and potentially even engage with the artist personally through comments, replies, and Q&As. Of course, these parasocial relationships are extremely asymmetrical, leaving fans vulnerable to manipulation for financial gain, such as through celebrity product endorsements. While “Symphony” depicts this dehumanization of fans through the parasocial relationships some form with the performer, Dorian also comments on the harms of these parasocial relationships to the performer themselves.

The track “Idolize” similarly encompasses a performer speaking to their fans, but instead of detailing the celebrity’s manipulation of fans it depicts the dehumanization of the performer by their admirers. The performer is held to near-impossible standards by their fans, as exemplified by the lyrics: “If I move, if I break, if I shake, if I slip/If I need, if I breathe, if I ever try to leave/If I hide, you find.” In pursuit of their craft, the artist is no longer allowed to make mistakes, have needs, or even be a flesh-and-blood human being who breathes. In this way “Idolize” reflects the current culture around celebrities, one in which everyone has a camera on them at nearly all times and anything uploaded to the internet is forever, no matter how embarrassing, revealing, or even compromising to one’s safety. Furthermore, celebrities are often actively hunted down by fans hoping to catch a glimpse of them, with said fans feeling entitled not only to the artist’s work but to their entire person. Dorian represents this dehumanization quite literally, for in the music video for “Idolize” they sit on a decoy deer while wearing a bikini with crosshairs over their breasts and genitals as a crowd of people in camouflage swarms them with cameras. As well as illustrating the objectification of artists generally, Dorian’s imagery specifically calls to attention the sexual aspect of this objectification.

Indeed, the depiction of the parasocial relationship of “Idolize” in explicitly sexual terms makes it easily comparable to an abusive relationship. This comparison is particularly visible in the lyrics “Love me the way that you like/Treat me how you want to, I’ll let you sacrifice my life,” as the performer accepts their fans’ “love” no matter what treatment that entails. Though the performer “lets” their life be sacrificed, the context of implied punishment if they “ever try to leave” and their inability to hide (“If I hide, you find”) makes their consent dubious at best. Not only are the fans reducing the performer to a sexual object when they “screw [them] with [their] eyes,” they are screwing them over by preventing their escape from the parasocial relationship and the outsized expectations it brings. While being a celebrity obviously comes with enormous privilege, it’s no wonder why stardom is invoked almost as a threat on “Idolize,” as the performer warns the audience that they “just might have to idolize [their] life.”

Although sharing and creating art often serves as a vital channel for establishing connections between people, Dorian Electra’s Fanfare explores the dark sides of those connections both for fans and artists, as either can be reduced to nothing more than a creative tool to be utilized or a piece of entertainment to be consumed. While there’s nothing wrong with admiring an artist or having fans, it’s important to be aware of the limits of your parasocial relationships and remember that no matter what, there is a real, complex human being on the other side of the screen.

Images: 1 Dibble, Jayson L., Hartmann, Tilo, and Rosaen, Sarah F. “Parasocial Interaction and Parasocial Relationship: Conceptual Clarification and a Critical Assessment of Measures.” Human Communication Research, vol. 42, no. 1, 2016, pp. 21-44. https://doi-org.ucc.idm.oclc.org/10.1111/ hcre.12063

STRUGGLING TO CONNECT AS A

NEURODIVERGENT PERSON

By Deputy Editor in Chief, Jessica Anne Rose

A

simple definition of someone who is neurodivergent is someone who’s brain processes information in a way that is not ‘typical’ of most people. For example, some neurodivergent people can have autism, ADHD, epilepsy, dyslexia or Tourette’s syndrome. While being neurodivergent hasn’t ruined my life, it has impacted it greatly because of the ways in which it impairs my ability to function and socialise - to connect.

I often don’t understand social cues and find it difficult to distinguish if someone is just joking with me or is actually angry. I’ve had negative past experiences where I was sent anonymous messages claiming that I was a bitch just because I ‘looked like one.’ This has caused me to now be hyper vigilant about what my face is doing am I giving the correct amount of eye con-

tact? Am I nodding and smiling at the correct times? My neurodivergency and attempts to ‘mask’ it in public whilst overthinking about how I might look leads to exhaustion that can take days to recover from - so I can’t always take part in everything. I can’t always jump into a spontaneous activity because I haven’t planned out my day and preserved enough mental energy for it. My sensory issues are heightened when I’m stressed or tired too, so ignoring this and pushing my limits too far can render me completely unproductive, unable to socialise for even longer.

As you may imagine, it’s a little harder for me and other neurodivergent people to make friends and connections because our brains function differently. When I started college I knew nobody and everyone else seemed to form friend groups really easily groups are also far more intimidating to approach which didn’t help. Campus is huge and I didn’t have anyone I could ask for help from. It was very much like being a small fish in a big pond where you are responsible for your own education even if you don’t know where the building you’re supposed to be educated in is. I am notoriously bad with directions and getting lost too as a result of my neurodivergency inhibiting me from multitasking and remembering multiple things at once. Although I became friendly with classmates I never knew if they considered me a good friend or just as an acquaintance, and I was physically unable to ask about the nature of our relationship, so I spent most of first year doing everything alone.

I was okay with it until I suddenly wasn’t. It was a moment of realising that I was spending the years I’d been so excited for alone because I was too self conscious to ask to sit next to someone. I was terrified of becoming somebody’s ‘problem.’ I didn’t want anyone to feel sorry for

me, to feel like I needed taking care of, or for someone to secretly resent me but feel too guilty to tell me. The thought of being infantilised or pitied repulses me. I defy stereotypes: I possess a lot of empathy and can imagine that comprehending a neurodivergent brain as a neurotypical (someone who’s brain processes information in a ‘typical’ way) is confusing and frustrating. Trying to mindread a neurotypical brain with a neurodivergent one is equally challenging. So what do you do?

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: Ask for clarity. As long as you do so respectfully, asking someone to explain what they mean/how they feel/why they have done something is the most logical way to effectively communicate. My neurotypical friends now explain when they are joking, express how they feel about me openly so I don’t feel lost, and don’t take offense when I’m unable to do something. In return, I ask for context about situations I don’t understand, over time I recognise how they may be feeling emotionally and I feel comfortable enough to ‘unmask’ and be completely myself around them. For me this means openly stimming, singing, talking freely and not worrying about how my facial expression looks. Trusting you enough to unmask around you is the greatest neurodivergent compliment, made more meaningful by the fact that it is usually an unconscious decision. : Have a quick Google about the different types of neurodivergency and how it may affect people. Putting effort into understanding one other is incredibly thoughtful and can make the other person feel safe and wanted in your company. : Reassuring someone who is neurodivergent that you enjoy being their friend, or that you want to hang out more with them, removes the invisible barrier of trying to guess how someone feels about you. : If in doubt, translating what you feel into simple words will help prevent misunderstandings. It’s also a very sweet way of expressing affection for someone - particularly if that person is not a huge fan of physical affection but still wants to know they are appreciated. At the end of the day, neurodivergent people just want their differences to be acknowledged, by maintaining clear communication you can focus on the friendship itself rather than the differences between you. No friendship should feel taxing or one sided, if it

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does, you need to question why that is and if it can be resolved. Neurodivergent or neurotypical, friendship and connection should make you feel content and comfortable, not bitter or guilty.

To any neurodivergent person reading this who believes this advice does not apply to them - you are never the hopeless cause you believe you are. We don’t get enough support for the extra difficulties we deal with on top of the average college difficulties and it angers me beyond belief.

But there are ways for you to find connections during your college years that make you happy, because though everyone has a unique experience of being neurodivergent, there are so many similarities in each of our stories. As different as you may feel, there is always someone like you, and there are always people who will happily eat their lunch with you. It may take a few different tries, but you will find your people. ‘Your people’ will never make you feel guilty for who you are, will never make you feel like a burden, that you need to ‘mask’ and hide, will never make you feel like you are ‘too much.’

There will always be people who just cannot get enough of you, your unique perspectives, and your huge capacity to love. There is absolutely nothing ‘broken’ or ‘wrong’ with you - you’re just neurodivergent. You will slowly find people you connect with. There is no time limit on your happiness and finding fulfilling connections with others. You are doing so much b e t t e r than you give yourself credit for.

24 | features and opinions |

Connecting at Cons

By Jason “Jibs” Scully My first convention was “Akumacon” in NUIG back in January of 2020. I had no idea what to expect or what a “con” even was.

I was informed that the event would feature various activities, vendors and panels, which are essentially lectures on niche topics oft made by students. This sales pitch was vague and unconvincing at best but in spite of that, I went to accompany some friends and, to this day, I regard that weekend as the happiest of my 23 years on this earth.

What I didn’t know back then was that the enjoyment of conventions stems from the atmosphere, the people, and the sensation of belonging which can’t be condensed into something easily marketable. Since then, I’ve travelled to numerous conventions, been involved in organising two and hope to draw on those experiences to convey why conventions offer a place for people to make connections that wouldn’t be possible otherwise.

For the uninitiated, a convention is comprised of four main factors. The first is the trade hall where you can buy just about anything you can imagine, but it’s mostly centered around nerd merchandise. Anything from squish mallows to the thousands of pins that now adjourn my jackets to the fox hoodie my parents really wish I’d stop wearing out.

The second is the artist alley where you can purchase some of the most jaw dropping art imaginable while talking to the artist about their process and business. This is where cons deviate from traditional shopping. Anyone can pick up a soulless painting from Homestore & More but to actually connect with the creator and learn about the inspiration and passion behind the piece is incredible.

The third are panels, where fellow passionate nerds talk about their interests for an hour with the aid of a PowerPoint. These are fascinating insights into various fandoms and topics, one of my favourites being a panel on the topic of ‘Lolita’, a Japanese fashion trend that I knew nothing about. I’ve even given my own panels about the scientific principles behind popular animes. These were thrilling experiences where I met and befriended multiple STEM students. Some younger students even took the opportunity to ask me for career advice, a prospect that filled me with a type of fear that I can only liken to some sort of cosmic horror as the prospect of destroying a child’s future loomed overhead.

The fourth and final aspect of cons are the con-goers themselves. Any con in Ireland is sure to be attended by some of the most wholesome and creative people that you’ll ever meet and I’m proud to call many of them my friends. At Akumacon, all those years ago, I cosplayed as ‘Carl the Intern’ from ‘Phineas and Ferb’ series, mostly out of a sense of obligation but what I never anticipated was the warmth that other cosplayers in the community welcomed me with.

People laughed at my costume, they called friends over to take pictures of me, and then we would talk about our lives and our interests. Some of them had clearly put hours into their costumes, including one young man dressed as a witch doctor with an accompanying sign that explained that massive plagues had swept Europe in 1720, 1820 and 1920 with a ? Symbol placed next to 2020. I still think about him sometimes.

For context, this was during my first year of college.

I lost my childhood friends in the transition from secondary school and found it difficult to fit in around campus. I wasn’t in a good place physically or mentally and felt constantly isolated and confused. Yet, here dressed as a cartoon character from a children’s show, I was somehow fully accepted and welcomed into this oddball family of nerds. As the day went on I met hundreds of new people. I learned more and more about this world and the people around me and in doing so, I learned about myself.

This community, these people, welcomed me with open arms, with many gathering around me that night to tell me how happy they were to have met someone like me and how much I mattered to them. The sudden transition of feeling like you are a nobody with no-one around you to understand or appreciate you to suddenly being surrounded by a loving community was surreal and it went a long way in shaping the man I am today.

As the years went by, friends would come and go, I’d start new jobs and leave but cons were always a place I

could escape to to find my people. I’d wait, sometimes for months on end before I could go to another convention and meet with several of the cosplayer friends I’d connected with along the way. I scraped together enough cash to stay in a dingy hostel under a train station to attend Dublin Comic Con, where I’d meet more incredible people. I still fondly remember sitting in a circle next to a Thor and a fairy cosplayer while I was dressed as the angel devil from ‘Chainsaw Man’ in Dublin’s Convention Centre and feeling that same sense of belonging that I did all those years ago.

When I finished my undergraduate and was feeling unsure of my future, I spent a weekend at Amicon in DCU and felt like my head was clear for the first time in weeks. I spoke to friends I hadn’t seen since the last con months prior and even made some new friends that I look forward to meeting at future cons. UCC’s own convention, Kaizoku Con, was also an incredible experience. Being on the committee made me appreciate how much work went into the organising and running of cons and the committee was filled with some of the most genuine people I’ve ever had the pleasure of meeting.

Growing up I was always told by older peers that it’s better to stand out then to fit in. The only issue was that standing out in school often led to vicious mockery which was crushing. It was only years later when I made these connections with these people that I realised why people told me that. When I look back on my life, I don’t remember the hours I spent at the office or in the library or doing any other ‘normal’ activity. I remember laughing my ass off at ‘Nichijou’ in the basement of NUIG with my friend. I remember walking through the streets of Dublin in a ridiculous three piece suit with angel wings. I remember the look on my friend’s face when I cosplayed as a female character he liked. I remember how these people made me glad, even grateful, that I was different.

26 | features and opinions |

Children of Agent Orange

by Asma Zulfiqar I am a child of Kashmir Of Palestine, Afghanistan and Uyghur I live and die and am forgotten Along with millions others I fight to survive They may take my eyes and my sight But I can still see Because injustice is familiar to me They may blow my legs with a mine But I can still run What wrong had I done?

We are the children of Agent Orange There’s too much on the line Too much already sacrificed We can’t give in now Our heaven turned to hell.

We are the autumn leaves Our blood paints a picture on the trees They find beauty in our death Starved of peace even for a single breath Risking it all for the greater good Will you let our voices drown?

And let our lives go to waste?

It is in a bad taste But who is to blame?

Those who cause it Or those who allow it You have to share the blame I don’t understand the politics I support neither the regime nor the rebels So. Leave. Me. Out. I am a child Everything but a child Nothing but an enemy’s child Whoever I am I am a child of Agent Orange Of Bosnia, Cambodia, Ruhengia And many, many, more Agent Orange was a chemical weapon used in the Vietnam War by America. The use of this chemical resulted in many children being born with body mutations or recessed-mental capacity which caused many to have life-long disabilities. In my opinion this weapon symbolizes cruelty done to children as a result of wars, cruelty that often goes unnoticed.

Raincoats

by Darren James Keogh The darkness and the cold And the light is upon us It is trying it’s best to get us down I will not let it.

I do not have time and neither do you I don’t care for clouds of upset and tears I will not let them rain on us anymore.

I am buying coats of polythene To guard us from their tired eyes and loud cries So if ever you feel the dark clouds coming Do not forget that I am here too And I will always do my very best to protect you.

28 | features and opinions |

Why Maya Jama and Stormzy’s

Relationship is the Redemption Arc We Needed

by Sarah O’ Ma

hony

In this era of rise and grind culture and self suffi- Now to the feminist side of my brain. Public grovelling by men and in particular, male celebrities is ciency, we are told never to compromise. Don’t even think about going on a date with them if they nothing new. Turn your mind back to 2018 when speak about their ex nevermind getting back with Offset INTERRUPTED Cardi B’s set at Rolling Loud your own! So what is the answer when the rise of Festival to apologise for his misdemeanours. What individualism stops us from ever even getting a pint makes it right for men to put their mistakes on blast to the general public in exchange for their with someone? old relationship? Do the women involved deserve Following the breakup of the century in 2019 to be humiliated in this manner? You could argue between the rapper Stormzy and TV personality this is their prize in this situation. Their ex is tellMaya Jama, rumours swirled. Did he cheat on ing anyone who will listen that they are the biggest her? Did he cheat on her with Jorja Smith? Was idiot to walk the planet. You mean to tell me you this why Jama unfollowed Smith on Instagram? nearly let Cardi B walk out of your life Offset? The smartest woman in the industry who came out of Of course, in brilliant celebrity fashion Stormzy the womb media trained? Aired all her business eventually addressed the break up during an before journalists could find it and paved the way interview with Louis Theroux. Stormzy is known for other artists like Latto and GloRilla? And let’s for his terrible stream of consciousness he often not even address the fumble of all ages of celebshares with interviewers. Therefore, the out of rity culture. Jay Z’s infidelity whilst being in the character, calm interview he offered up to Theroux greatest ‘punching’ relationship since Adam and was awfully heart jerking for his audience. He Eve. describes the breakdown of his relationship as the biggest loss a man can go through. He also So what’s the answer: let the male celebrity grovel admits to the fact he checked out of the relation- to his millions of Instagram followers or should he be Boy Bye-ed? It seems the answer is whether ship emotionally. you want to escape the prison of online dating So flash forward to a random day in August. and are willing to forgive. Are you open to taking Scrolling through Instagram I come across a pic- a chance on love? Most people would advise you to ture of the pair holding hands while walking the never get back with an ex. I think the love story of streets of Greece. By god was I happy. In the face Stormzy and Maya Jama is the perfect daydream of general hopelessness towards the era of dating for all of us who can’t take that leap of faith or we find ourselves in, it was like a breath of fresh were hurt in the past. The redemption of a figure air. You mean to tell me the public grovelling of of hurt from your past who will risk it all for you. this man desperate to right his wrongs worked? It’s an old story the more you think about it. You Forget feminism and the Pinterest quotes to tell hope someone will apologise, love you better, tell him ‘Boy bye’ and ‘Thank you next’ for a minute. you they’ll never let you go. This is why I jumped This man was able to work hard to revive his for joy when I saw them strolling through the teenage love and his soulmate through opening streets of Greece while scrolling Instagram. And his heart to the public. Telling them how much why I’ll continue to jump for joy for them. It really he messed up and valued Jama. Maybe we can is a day dream turned into a reality. mess up and truly redeem ourselves. Maybe we all deserve love whether or not we slipped into Jorja Smith’s DMs or simply forgot how to cherish the other person in our relationship.

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BLIND DATE J&B

What were you looking for from the date?

(Josie) I wanted to try a blind date since it seems like fun, also getting a bit out of my comfort zone!

(Baneen) A new experience. Final year is really stressful and I wanted to try something new for the plot.

What was your first impression of them?

(J)My first impression was that she was really sweet, cute, and unique :) (B) She is so nice, wholesome, pretty and asks first before she hugs me? What a respectful dreamboat!

What did you talk about?

(J) A load of stuff actually, writing, politics, travelling, tattoos, spirituality/religion, music, etc! We even got to do a lil tarot card reading.

(B) We started off talking about college, our relationship with school, our interests and hobbies. I got to learn about the music that she makes and listens to and she asked me about my writing. She asked me a lot about myself and was genuinely interested which was really heartwarming. We gave each other movie and song recommendations. She was really open and friendly and so we got to talk about deeper things too like our relationship with things like faith and spirituality, she talked about how she manifested her dream trip to Japan which I loved hearing about, especially her insights into the culture and these serendipitous interactions she had with the people there.

Cringiest moment of the date?

(J) Hopefully there wasn’t one! Maybe just a bit of nerves at the start but I feel like that’s normal enough.

(B) My throat got scratchy and I was coughing a little which made me self conscious as I needed water but I don’t think that is exactly cringe. I can come across

With 15 applications this month it seems UCC is dying for some action this Christmas. Features Editor Sarah O’Mahony sent Baneen and Josie on a date to Alchemy café. Baneen is 22 and studying BSc Science Education and Josie is also 22 studying Music.

as quite animated and use a lot of internet lingo in my speech like saying ‘slay’ unironically which may have come across as cringe, but I hope not.

One thing you had in common?

(J) We both were interested in Japan! And we both write :) (B) We both like to write.

How long was the date?

(J) I’m not sure, I think around 2 hours!

(B) Nearly 2 hours.

Did you guys go somewhere after?

(J) We both had to do something after so we left it there.

(B) No, she had a class and I had to prepare for parent teacher meetings at school.

Would you introduce them to your friends?

(J) Yeah defo!

(B) Yes. What do you think they thought of you?

(J) Probably good?

(B) I think that they thought that I was really nice, busy and positive. She did my tarot and the cards were mainly positive so hopefully all good things!

Final impression of them?

(J) So nice to talk to! She’s really warm hearted and sweet, best vibes!

(B) She was really cute and comfortable to be around.

Would you like to meet them again?

(J) I would!

(B) Yes I would.

30 | features and opinions |

Learning to Love Interdependence nce by rebecca

When I was about nine I used to dream of being in college, having a job and living on my own. I might even learn to drive, I would move somewhere exciting, without the presence of a parent. I would live life on my terms. I would be independent. Twelve years later, whilst I no longer live in my childhood home, I still live with my mother. I cannot drive and I have no intention of getting a part time job any time soon.

Being diagnosed as Autistic around the age of twelve, I was told by others and I promised myself that I would overcome my problem, as I called it at the time. I could not bring myself to call it a disability. Being a film student, I have always seen life as a narrative. For me, the narrative of my teen years was learning to accept my disability. My time in school helped me learn about myself. Most importantly, it taught me to accept that being disabled is ok.

College was once again a chance to start afresh. I have to admit, I am a nerd. I love my classes, where I get to learn about things that actually interest me. I love societies, they have provided me with amazing opportunities. I also love the wonderful people I have gotten to meet here. Although it has never been and never will be smooth sailing, the life I lead now truly makes me the happiest I have ever been.

Although my time in UCC has largely been a success, there is one thing I have failed at. When my mother and I moved out of my grandmother’s house, I promised her I would get a job to help out financially. After failing to get one during my first year, I swore I would find a summer job. This resulted in me working as a hotel cleaner for all of one week.

For any hotel cleaner reading this, please know the respect and admiration I have for you. It is a physically demanding, grueling job. I could not quite manage to coordinate folding hospital-corner bed sheets, whilst also being expected to have a whole room spotless in twenty minutes. Another thing I could not handle was the thought that the joy of youthful summers were over. That this would be it for the rest of my life. It sounds dramatic, but it was how I felt and my feelings frightened me.

I quit on that Sunday. I had never worked a Sunday before. That Sunday was also my mother’s birthday and I felt so guilty about leaving her alone, I broke down trying to fold bed sheets after being told to hurry up. Someone found me crying and kindly let me go home. I will always be grateful for how non-judgemental Mum was that day. When I got home, she looked at me and asked if I had emailed my boss about resigning and reassured me that it was not the end of the world.

Part of my narrative for college has been learning to accept that I do not think I can handle physically demanding jobs such as hotel cleaning, waiting or bar-tending. For me, I have to do a job I am interested in. Although I am not physically disabled, my mental health suffers when I am not properly engaged in work. It leaves me feeling either empty or sad. This means I have to accept financial dependence on my family in particular but also on my SUSI grant. It is a privileged position to be able to depend on others. However, I do not think that financial dependence should be viewed as the moral failing that some see it as.

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Drawing on her experiences as the mother of a disabled daughter, the philosopher Eva Kittay has written much on the topic of interdependence as it relates to equality and feminism. ourselves in a set of nested dependencies where, to exist and thrive, we must at some point in our lives, be cared for and are, at other times, called to care for another or care for someone who cares for another or be the one who is supported as we give care” (1998). I find her writing incredibly touching, especially as it relates to my own experiences.

I will admit, I depend on my mother in more ways than simply in financial matters. She also has provided me with plenty of transport and has always been an invaluable emotional support for me.She makes those dark moments less lonely. Yet, there are things I do for her. She has never liked cooking, so organising dinner is my job. She cleans our dishes and I dry, which saves a lot of time.

Beyond trivial things, my mother did not purely move down to Cork for me.

Whilst I love my grandmother, a house of three strong-willed women was not an easy living situation, Mum was often left in the middle when my grandmother and I disagreed. Mum was also forced to commute from Wicklow Town to Dublin everyday, meaning that she spent over twelve hours a day away from home. Cork has allowed her to spend less time commuting and find peace away from our complicated living situation. I have to admit, I am proud that I used the opportunity of going to college to encourage Mum to join me. It has benefitted us both.

In other words, as Kittay says, Mum and I have both found ourselves in “nested dependencies”, where we care for each other in different ways. For a long time I had felt guilt for this reality, yet I have come to accept that the notion that humans must be independent of one another is most likely a false one. I hope we come to realise and appreciate that caring for others and being cared for is a necessity of life. Although everyone will have different needs, it is a simple fact that humans cannot spend their lives alone without some form of assistance.

The pandemic illustrated clearly our innate interdependence. At a time when we were all told to stay at home, it became obvious just how much we relied on others.

Whether it was healthcare workers performing life-saving work, whether it was teachers trying to make sure young people did not fall behind, or shop-workers who made sure that we still had access to food, we relied on the care of others. By restricting our movements, it was also clear how social we are as beings. We may not think of it as such, but I would argue that spending time in the simple pleasure of someone’s company is both an act of caring for someone else and an act of self-care.

We tend to brush aside the fact that for many disabled people, physically and mentally, certain forms of work that would allow them to achieve financial independence are simply not accessible for them. They have needs that must be cared for and respected. The response to this problem seems to be judgement and mistrust for disabled people who are forced to suffer as their financial dependence means that they are not fully valued as members of society and are instead further marginalised.

For Kittay, interdependence is, “inherent in our condition as vulnerable beings, who exist in a social order through contemporaneous and generational links.” If this is true, as I certainly believe it is, then we must accept that our society’s celebration of financial independence is misguided. We must build economic systems that acknowledge that ‘no man is an island’. We must care for those who need our care, implicit in the knowledge that someone will do the same for us. We also must not judge those who rely on others for financial security, we instead must support them in any way they need.

32 | features and opinions |

A Place to Sing

by Sean Dunne

The bus stop maintained its usual greyish stylings. Much of the accoutrements had grown faded or washed: the red flush of the bench had turned pale, the advertising display laid bare. Even still, hurried by the rain, I rushed towards it. Walking in quickened steps I swiftly crossed the wet-less threshold. Dark, shaded, footprints gathered on the floor beneath me. They sat like illustrations in concrete, slowly drying in the wind.

As I stared down the road I noticed a pale clouded dot in the distance. The object, a kind of dark mushroom, gradually filled out into the shape of a man, umbrella in the hand. His movements maintained a certain curiosity, lumbering but elegant.

Wellington boots gummed themselves to his lower parts while the fashions of his coat went unbothered by the wind.

Approaching earshot I heard the man before I could make him out. A loose spattering of lyrics seemed to fall from his lips: “… dead shall not praise thee… nor any of them that go down… from this time now and forever.” Quietly the man took his place on the bench.

I felt the thing shift slightly under the weight. While the man had clearly been soaked in the rain, his footprints left the floor unblemished.

At first there was no sound. The soft touches of the rain ran like fingers on a drum skin. Fitting with the rhythm the man began to speak. “Down for the day.” He went. I passed my eyes down the road. “At least.” I said. A silence descended then, wrapping the shelter in its quilt. A droplet of rain laid loose under my collar, sending a chill through me. In a tree opposite the road I noticed a fluttering of feathers amongst the branches. A lithe red fox pestered the creatures from the undergrowth. To my surprise, I watched the creature ascend the woodwork, stripping bark as it reached for the fowl above. Responding quickly, the birds flocked together in

swarms, pushing the fox down from the tree and firmly out of sight.

It was a remarkable series of events. The man seemed not to notice. The water had begun pooling on the floor of the bus shelter. I heard a voice from beside me: “They’d want to show face soon.” said the man, the cap on his head having retreated down near his pockets. I leant back in the chair, sighing heavily through the nostrils.

“Might be here awhile.” I said. The arch of the mans nose flexed a moment. “D’ya think so?”

“I do.” As the minutes went by I saw the distinctive outline of the bulbs on numerous occasions.

They hung menacingly to the rear of the road, mocking in their distance. Leisured there a moment they would quickly fade down the road before us. I decided to stand for a minute. There was a slight drop as I doused my shoes in the collecting water. The flow shaped around the rubber soles as I fell about the shelter. In the adjacent grass the water level had risen above the soil, seeping water into the paths around the shelter. The man’s voice began to raise: “… thy kingdom…. thy will… deliver us…” Falling from his mouth the words laid around me. We had waited for such a period now, with no progress, that I felt lost. The purpose of things eluded me. Yet his words cooled like snow in the heat.

Again, the man began to speak: “There’s something in the air.” There was a slight whistle in his tone. “We would do well to remember.”

I looked at him in the seat. He was a rather soft man.

The greater parts of his body revealed the finer workmanship of life. I let my voice fall around him: “Something greater?” A slight nod fell from his head.

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The rain had still to let up. The road was almost entirely barren. I watched the wash of floodwater as it pressed against the glass panels of the shelter.

The flow fell out onto the tarmac before us. “It was a long time it was like this.” He said. I looked at him in question. “Ten generations.” went the man, as if to himself.

Finally, a gap cleared in the clouds. The man had left along with the rain. When exactly

I couldn’t say. The break in the weather gave me an opportunity to leave myself. Unclouded by the haze of the rain I could more easily see the path ahead. As I passed along the road I began to hum from under my breath. The words fell on the path before me, like the markings of a traveller in passing trees. Looking up, I saw something distant. Something warm without touch. I follow it still.

34 | features and opinions |

by Wei Chen

The fall of the leaf | creative works | 35

by Wei Chen

Connect 36 | creative works |

by Wei Chen

Green Batman | creative works | 37

by Wei Chen

The fall of the outfit 38 | creative works |

PERSONAL ESSAY: PHOTOGRAPHY OF NATURE, EMPHASISING CONNECTION TO THE NATURAL WORLD

BY EMILY SWEENEY In the past few months since taking up wildlife photography, my life and connection with the outside world has changed immensely. I've always been introspective. I was observant, and noticed things but didn’t always feel connected to them.

Now, I can’t sit in the passenger seat without peering out the window, scanning fields to look for life. Not just to take photographs, but because I know now that there is always something there.

If you had told 17 year old me, that I would be asking mom to stop the car because I've spotted not one, but four birds of prey in a field, that I would feel like I had seen a fairy when a large emerald moth lands on my boyfriends bedroom window because I had no idea those delicate gold detailings existed in nature, that bunnies would visit outside my kitchen window every morning for a summer, that I would be able to recognise a robins call and find wildlife in the city I go to college, that I would have an obsession with insects and would question the existence of god because how are all of these things even real? The patterns of butterflies?

The awkwardness of seals? The way ivy grows around trees? The way leaves fall at random and turn whatever shade they choose? Once you start looking for something it is everywhere and it feels like it is a part of you. Butterflies are all around and so are birds as small as them, bunnies are hiding

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in every single field, if you listen closely you will almost always hear birds wherever you go, even if you can't see it, there's something living in every bush, every weed, every patch of grass.

You will feel heartbroken at every rabbit, fox, hedgehog and badger you see stretched on the road, a pain as if you had been run over yourself and you will ask why everyone cannot just slow down and pay attention? That bees have fluffier coats than puppies. And all of this will overwhelm you but in a way that makes your heart full. The world will fill with colour like it was when you were six, and your knees had grass stains and you thought it would be a good idea to keep a worm as a pet in a glass jar filled with dirt.

(It wasn’t by the way). You will encounter the fattest seal you've ever seen, sitting on a rock

in the middle of the bay, and you won't take out your camera because you are overjoyed and you feel incredibly lucky. Feeling the most calm watching a jellyfish move while you stand on a pier, how it mindlessly moves in perfect tempo, and accidentally breaks the surface of the water every few movements.

That it does all this without a brain.

I can’t remember where the idea came from. I just started, developed my own style and way of doing things, and came up with my own personal code of ethics for myself. Because, that is really important to me. Wildlife photography is ethical and respectful, I don’t think you should lure anything in with food, you should stay as far away as you can. Most of my pictures are taken with a zoom. It is illegal to photograph active nests, and large bird colonies, you shouldn’t go up to seals especially if they have pups - a good rule is if the seal is looking at you you’re too close!

Be quiet and don’t make a lot of movement, refrain from bringing dogs, you are coming into their home - you shouldn’t distress animals. Don’t cause them anxiety or pain in their home. Don’t trample on fauna! Remember things are just there. They don’t exist for you to photograph. All of my photographs were taken when I’ve been out doing things, walks, exploring, in my kitchen or the car, at the beach. I’ve never gone out to look for something. I go about my life and I notice things. I hope I’ll have my camera with me to capture it, and if not that is okay! Nature will give you these experiences if you are patient.

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Fossil

By Ellen Ni Chonchuir Fossils

By Ellen Ni Chonchuir Hiss of steel and singe of smoke; lips, blackened with dusty ash.

We have melted into each otherone single, aching mass; your thoughts, molten spill into my head, seep into my brain and drip like a puddle down my throat; till my lips spell out this secret: you and ours and us.

At night, when I feel the sting of my own emptiness, I yearn to climb inside your chest; squeeze between your ribs, and sink into the hot, dark hollow of you.

My dreams are flashes of sapphire saccharine, soft and teal I’m not sure when I realised I love you, more than I thought that I could feel.

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Rainfall

By Emily Peacock

I wish to be taken by the rain.

As I sit here by the sill, eyes open as wide as lily pads, the uncomfortable passage of water down dirty gutters, and cracked pavements, musters in me a sense of longing.

The gentle pitter-patter of teardrops splattering on canvas, invites me, No. Seduces me, to follow in its footsteps and flow.

Words prove inadequate; neither Kavanagh nor Yeats could describe, capture, harness the elegant essence of our Earth’s greatest cycle.

O Rain, Constant yet Fleeting, Take me with you, So I may become one with nature as those before me.

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four year old camogie

By Deputy Editor in Chief, Jessica Anne Rose when worried about the state of the world i turn to four year olds specifically four year old cousins with wild unkempt butter yellow hair and knee length socks up to the thigh passed down by an identical older sister they skip together like skimming stones boot studs clicking on stone the countryside sun is always hotter and sandwiches taste better on grass i am more than happy to hold her jumper and watch them exaggerate and sigh laugh and scream and of course there’s always the one who lies down complains about the heat and forgets a match is happening my cousin stands in all her two foot glory cheered on by the promise of ice cream the ball is tossed and they scatter im not sure how one goalkeeper is sufficient to guard a seven foot goal it appears there is only one team no positions and no inhibitions she scores and flashes me a smirk and in that second my throat closes up though they’re all on the same team in her mind and mine she’s winning she pretends not to care when i yell ‘gwan!

the heat has cut the game short the ref bargains for ten more minutes it’s decided: the next goal wins and ends the game the goalie whispers that she’ll let it in their prize is a handful of astroturf and the biggest buttercup they can find

mine was them thinking of me enough to ask me to come along though the world seems ever new there will always be the one who lies down the one who cries ten minutes in the one who just wanted to be involved so i leave our makeshift pitch of green wire with hurleys the size of my forearm relieved that people will always be people as long as children can be children i’m ready to face adulthood again when my cousin laughs and says her heart is ‘beeping’ fast i laugh back and say mine too

(a few years later, she’s still going)

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Aikaterini Kousouri - Inspiration from Lilies by Monet

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MOON QUESTIONS

by C.M.H The moon’s been halved, straight down the middle, and here I am, wishing for semicolon clouds to form.

I want to ask you, what you think it would taste like, but I realise that’s unfair I couldn’t ask you to engage your imagination, when I can’t extend my hand, reach out, and snap off a piece for you a moon freshly quartered.

Space Earth solid in my hand, I’d cup it gently, guide it to yours, and then you’d have it!

Your prompted dreams realised, your mouth a half-full, half moon; my eyes wide as saucers, taking it all in, somehow reflecting your light.

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Connected

By Tomiwa Morris

Let’s return to the earth, when the leaves start to fall.

When they are brown and rotten, they mold into the mud, and disappear into oblivion.

While the roots of the tree absorbs, and bring them back to life, we will become someone’s first love with a sharp wail.

Indestructible energies are at force! let’s not fight, life’s journey on its due course.

We will meet again through passing wind, rain, light.

I will become the person, who wants to share her love to the people.

Freedom is at our disposal.

The choice is ours to make, the cycle will only continue hold my hand and lie down.

We won’t be the same, but our spirits will live on, through the next individual infinite and definite.

Hold no worry while we return, the same way we were formed. Take that big step, for the sake of us all.

I will become the thunder, that shakes the earth.

You will become the sea, that crashes onto the cliffs.

You will become the person, who has a dream to change the world.

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Don’t worry, Darling.

By Ciara Browne Stripped of self, in a world unkind, lost in shadows, identity confined.

Don’t worry, Darling, echoes the plea as society molds, what I’m meant to be.

Body whispers, secrets untold, bound by expectations, story unfolds.

In the mirage of norms, my essence erased, puppet in a play, identity misplaced.

Yearning for connection, a soul reborn, beneath the weight of expectations,

I’m torn.

Yet, in the darkness, resilience unfurls, reclaiming my body,

as it swirls and swirls.

Don’t worry, Darling, for I shall find, a connection to self,

authentic and kind.

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Restaurant Nameless

By Angelakono Fuse In the heart of Afghanistan, a silent Yuta left the airport, carrying his luggage. He looked around. Everything, even the air, felt different from his country. Yuta took a deep breath and realized once again that he would be living here for the next year.

At this moment, he felt anxious, but also elated in a way that cannot be expressed in words.

Yuta’s host mother, Ally, came to pick him up in her car. In the car, Yuta looked out of the window the whole time. When he arrived at Ally’s house, he first unloaded his luggage and lay down on his bed.

He felt as though he might collapse. He closed his eyes and when he woke, it was dark outside. When he went downstairs, he found Ally and her husband John.

They were kind to Yuta, but Yuta could not understand what they were trying to tell him. Yuta took the meal that had been prepared for him, and immediately went back to his room. He then texted his best friend who was back home. Then, lying on his bed, he simulated over and over how he would introduce himself at the university, where he would start tomorrow. Thus, ended his first day as an international student.

In the morning, arriving at the university, Yuta found a girl alone. He gathered up his courage and greeted her. Her face lit up and she greeted him back affectionately. “Hello, my name is Yuta”, “Hi, I’m Sofia”, and in the same way, they were able to make a few friends after that. They were all different nationalities, but they each tried their best to communicate with each other.

After classes, Yuta and his friends went out together to the city and enjoyed their life in a foreign country. However, after two weeks, Yuta felt that he missed his home very much. He had a very kind host family and good friends, but there were sometimes moments when he felt incredibly alone. He felt as if the time he spent with his mother, father, brothers, dog, and his best friend was an extremely long time ago. He also suffered from cultural differences, especially in terms of the food. Ally’s food was lovely, but too different from the food he had eaten his whole life.

One day, as he arrived at school, Sofia’s face was despondent. When Yuta asked her why, Sofia told him that she had a video call with her family last night, after which she became depressed. Sofia said she was overflowing with the same desire to go home as Yuta. After school that day, Yuta went by the supermarket and bought

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some things. He then went home and cooked a dish he used to make when he was in his country. As he took a bite, he felt surrounded by warmth, his eyes were hot. As he was eating his food, John came home. For work, John worked in a kitchen. He was interested in the exotic dishes and shared some of them with Yuta. He ate Yuta’s hearty cooking and was surrounded by the warmth and love his dishes omitted. At that moment, they both felt the same. Yuta did not feel so lonely at that moment.

That evening, while he was browsing his socials, an article caught his attention. The article featured a building called ‘Nameless’, where anyone could open a restaurant for one night if they made a reservation. The building was near Yuta’s university, and Yuta was interested to find out more about it.

At that moment, Yuta remembered Sophia’s face earlier that day. Then, Yuta came up with a good idea and discussed it with John. John gladly agreed to help Yuta at the restaurant that night, and Yuta practiced the recipe with him.

The following Saturday, Yuta and John went and got the ingredients and started arranging the restaurant. Finally, they managed to open the restaurant. There was only one menu. As soon as the restaurant opened, the seats quickly filled with invited friends, strangers who came in after passing by and detecting the great smell, and of course Sophia. Sophia put her hand on the bowl served to her and gazed into it entranced. It was very warm.

When she took a bite, she felt nostalgic, even though the dish was so far removed from the cuisine of her home country. As everyone in the restaurant enjoyed the same food and shared the warmth, no one felt alone.

Yuta thought that he could continue to do the best with his time here. That night, Yuta didn’t feel too far from home.

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