Shifting Thresholds, Contested Meanings: Governance, Cross-border Co-operation and the Ulster Unionist Identity

Cross-border (North/South) co-operation between the Republic of Ireland and Northern Ireland was an indelible feature of the form of governance provided by the Belfast Good Friday Agreement (1998). Previous efforts to establish North/South co-operation had all foundered but the establishment and initial operation of the Agreement's cross-border institutions proved to be uncontroversial. However, during its implementation, other areas of the Agreement gave Ulster unionists more pressing cause for concern. These areas of concern included the release of paramilitary prisoners, police reform, the 'decommissioning' of Irish Republican Army (IRA) weaponry, and the unionist perception that the 'Britishness of Northern Ireland' was being actively eroded. These concerns served to emphasise and strengthen political and cultural borders between communities at a regional and local level within Northern Ireland. They also threatened the pro-Agreement unionists' contestation of unionist ideological orthodoxy, a contestation that was undertaken in an attempt to adapt the Ulster unionist identity to the shifting thresholds of the state.

The anticipatory space of the bunker, modernity’s dark mirror

The buried and semi-buried bunker, bulwark since the early eighteenth century against increasingly sophisticated forms of ordnance, emerged in increasing number in Europe throughout the twentieth century across a series of scales from the household Anderson shelter to the vast infrastructural works of the Maginot and Siegfried lines, or the Atlantic Wall. Its latest proliferation took place during the Cold War. From these perspectives, it is as emblematic of modernity as the department store, the great exhibition, the skyscraper or the machine-inspired domestic space advocated by Le Corbusier. It also represents the obverse, or perhaps a parodic iteration, of the preoccupations of early architectural modernism: a vast underground international style, cast in millions of tons of thick, reinforced concrete retaining walls, whose spatial relationship to the landscape above was strictly mediated through the periscope, the loop-hole, the range finder and the strategic necessity to both resist and facilitate the technologies and scopic regimes of weaponry. Embarking from Bunker Archaeology, this paper critically uncoils Paul Virillo’s observation, that once physically eclipsed in its topographical and technical settings, the bunker’s efficacy would mutate to other domains, retaining and remaking its meaning in another topology during the Cold War. ‘The essence of the new fortress’ he writes ‘is elsewhere, underfoot, invisible from here on in’. Shaped by this impulse, this paper seeks to render visible the bunker’s significance in a wider milieu and, in doing so, excavate some of the relationships between the physical artefact, its implications and its enduring metaphorical and perceptual ghosts.

Hunting in a Tropical Rainforest:Evidence from the Terminal Pleistocene at Lobang Hangus, Niah Caves, Sarawak

The Terminal Pleistocene zooarchaeological evidence from Lobang Hangus, an east-facing entrance to the Niah Cave complex, provides unique insights into the hunting habits of the human inhabitants of this cave. The composition and structure of the vertebrate accumulation indicates that a variety of locally available terrestrial, arboreal and aquatic taxa were being exploited, The age structure of the principal predated species, the presence of bone points and evidence from modern rainforest hunting combine to suggest that some form of projectile weaponry as well as trapping technologies were probably being employed by the hunters at Niah before the end of the Pleistocene. Copyright (C) 2009 John Wiley & Sons, Ltd.

John Thompson: Seeing through China

In 1848, Karl Marx predicted that a flow of cheap commodities would be the heavy artillery which would batter down all Chinese walls and open up the country to the west (Marx, 1978, p. 477). The Scottish photographer John Thomson (1837-1921) was both chronicler of and participant in the early moments of this process. Thomson was a commercial photographer who first arrived in the Far East in 1862. He earned the moniker of 'China' in a decade-long stay during which he photographed what he considered to be the key aspects of its culture and landscape. In this body of work, Illustrations of China and its People (first published in 1874) is perhaps the most comprehensive. It explores, through two hundred photographs and accompanying texts, a series of phenomena from the macro-scale of landscape, infrastructure and industry to the smaller scales of streetscapes, domestic spaces, individual portraits, and other details of everyday life. Despite his own description of the volumes as encyclopedic, Illustrations is geographically quite limited. Thomson's explorations into the hinterland proceed up the country’s principal rivers from those coastal ports which had already been wrested into western hands during the Opium Wars (of the 1840s) and subsequently opened up to trade. This is perhaps one of the reasons why Illustrations has been described as an explicitly colonial text, a guide-book for the prospective settler whose content offered the strategic knowledge of land, culture and natural resources necessary if the territorial advantages of the coastal periphery were to extended to the interior (Jeffrey, 1981, p. 64). It can also be argued, however, that Thomson’s volume offered justification for a potential colonial presence. Faced with a civilization whose history was as sophisticated as the west, it depicts a culture that is static and moribund, its addiction to traditional values an impediment to progress. While this is perhaps most explicit in the texts of Illustrations of China, it can also be seen in the images whose uniform chemical rendering also serves to make an essentially diverse culture seem homogenous. Yet it is these images that distinguish Illustrations from previous attempts to collate China’s culture and landscape. Here, the mechanical precision of his camera captures a reality that often subverts the colonial narrative, confounding stereotypes as Thomson’s mass-produced images allow another China to emerge.