Category Archives: Culture

Arts, Culture, Government, Media, Scotland

The monolithic BBC and its privileged position

BBC: SCOTLAND

THE BBC’s new Scottish channel, which launches in February, is designed to offer a platform to new, more diverse voices that collectively should allow the corporation to present a more rounded view of modern Scotland.

The new channel is a tacit admission that BBC Scotland is not, in its present form, capable of meeting the supposed demand for more and better Scottish programming. According to this point of view, a country with exciting and expanding political aspirations deserves a public sector broadcaster with ambitions to match.

The channel is also a belated answer to a question that has, like so many discussions in Scotland, rumbled on unanswered for more than two decades: should there be a dedicated hour-long news programme mixing Scottish news with reporting from the rest of the UK and the world? The answer, at long last, is yes.

This is positive, even if it seems likely that there is a disconnect between the channel’s stated ambitions and the budget it has been given for original programming. The new channel, however, is also a defensive move, designed in part to rebut accusations that the BBC is incorrigibly biased against the ruling Scottish National Party. It has become an unfortunate – and baseless – article of faith in certain nationalist circles that the BBC’s coverage was a major reason why Scotland rejected independence in 2014.

The BBC is controversial precisely because it is Britain’s most powerful media enterprise. So powerful, in fact, that it enjoys a dominant position. Across the United Kingdom, 97 per cent of the population access its services each week. In Scotland the BBC has a 30 per cent share of the television market and nearly 50 per cent of the radio audience. Its website is an increasingly dominant player in digital news, accounting for nearly one in three visits to all news sites in the UK.

OFCOM, which regulates the BBC, is charged with “promoting competition”. Most broadcasters, newspapers and citizens should have an evident interest in this happening. It is not obvious how the BBC’s ever-expanding remit assists this process.

If the BBC restricted its activities to broadcasting, these competition concerns might be less pressing. Increasingly, however, the BBC is a publisher as much as it is a broadcaster. Modest moves to support local newspapers threatened by the BBC’s monolithic and full-spectrum muscle are both insufficient and a step in the wrong direction: self-restraint on the BBC’s part would be more useful than linking to newspapers from its own website. Thanks to – as the corporation says – the “unique” way the BBC is funded, it has a significant advantage over all its rivals. The imposition of what is, in effect, a poll tax gives the BBC a privileged position that is ripe for abuse.

Because the licence fee, which is guaranteed to rise in line with inflation until 2022, is effectively a tax, the BBC feels bound to move beyond any strict or limited definition of what a public sector broadcaster should offer. It is a commercial organisation itself, and a rival to media companies in the private sector.

The BBC argues that it must be popular, in every sense of the word, to justify the licence fee but the more the BBC behaves like other media companies, whether in terms of broadcasting or publishing, the harder that becomes. This is the paradox in which the BBC traps itself: the more it tries to justify its monopoly over the licence fee, the less it does so.

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Architecture, Arts, Culture, Scotland

The V&A Museum of Design

SCOTLAND

DUNDEE’S equivalent of the Pompidou in Paris or Bilbao’s Guggenheim is now on full view. The V&A, designed by Kengo Kuma, is simply staggering.

With its instantly recognisable outline – part sea cliff, part galleon – the £80.4million V&A Museum of Design may soon find itself revered as a global design icon.

Certainly, few who have seen Scotland’s first dedicated design museum are likely to be left unmoved by its dizzyingly ambitious zigzag slabs of rough concrete, described variously as a crash-landed Egyptian pyramid, the ribbed carcass of a beached whale and the ragged remains of a mighty shipwreck. Art in its full splendour and glory.

On display: The £80million museum’s collection is expected to attract 500,000 visitors in its first year.

Following its official opening, the “V&Tay”, as it is ostensibly and affectionately known to its London colleagues, is expected to attract some 500,000 visitors from around the world in its first year alone, generating tens of millions of pounds for the local economy.

Critics may welcome a time when this controversial project starts to pay its way, having been blown off course by years of construction delays and escalating costs before finally anchoring itself at the heart of the city’s £1billion waterfront regeneration.

Since its conception, the original £45million budget has almost doubled and its Japanese architect and designer had been forced to tow his initial plan for a water-bound structure back to dry land.

On the V&A’s opening, however, a preview which was attended by dozens of the world’s media, Mr Kuma pronounced himself satisfied that his vision to create a “living room for the city” had been realised.

The attraction’s galleries showcase 300 objects, including Charles Rennie Mackintosh’s Oak Room and the painstakingly reconstructed interior of Miss Cranston’s Ingram Street tearoom which has not been seen for 50 years.

Mr Kuma said: “It is fitting that the restored Oak Room by Charles Rennie Mackintosh is at the heart of this building as I have greatly admired his designs since I was a student.

“In the Oak Room, people will feel his sensibility and respect for nature, and hopefully connect it with our design for V&A Dundee. I hope the museum can change the city and become its centre of gravity.”

He said the magisterial light-filled atrium with its sweeping staircase and waves of oak panel boards was a nod to Mackintosh, who was deeply influenced by oriental art and design.

Mr Kuma said: “When I saw [Mackintosh’s] buildings as a student I was very surprised at how Japanese they were. Japanese quality, [and] Japanese sensitivity exist in his designs.”

Everywhere in the museum, glimpses of the Tay can be caught through small windows, while the hall and stairs glint with fossilised coral set into limestone flooring.

Complementing his daring design are the – often quirky – exhibits of the Scottish Design Galleries, from the so-called Valkyrie tiara, created by Cartier using more than 2,500 diamonds for Mary Crewe-Milnes, Duchess of Roxburghe, in 1935, to cutting-edge environmental material crafted from the fibres of stinging nettles by Dundee-based firm Halley Stevensons for Glasgow backpack-maker Trakke.

There is also some hand-coloured Beano artwork for a Dennis the Menace cartoon strip from 1960.

Also in the collection is the largest remaining fragment of the Titanic – part of a door from the first-class lounge of the liner – and a costume worn by Natalie Portman’s character, Padmé Amidala, in Star Wars: Attack of the Clones, which was created by Trisha Biggar, the Glasgow designer.

A full-sized clay model Jaguar car sits between the entrants to the permanent collection and the opening touring show, Ocean Liners: Speed and Style, which tells the story of Scotland’s role in the golden age of cruise liners.

V&A Dundee’s director, Philip Long, said “it was with some emotion” that he was finally able to unveil the museum and that the challenges that beset the huge project had been overcome, more than a decade after it was originally proposed.

Another V&A director, Dr Tristram Hunt, said Ocean Liners: Speed and Style could “not be a more appropriate inaugural exhibition for Mr Kuma’s amphibious, semi-nautical, wonderful museum that is so successfully reconnecting the city with its historic waterfront”.

Dundee City Council leader John Alexander told invited guests to the first viewing of the museum that he felt a “tremendous sense of pride” in the building.

He said: “There’s a fire in the bellies of Dundonians that wasn’t there ten years ago. Dundee is leading the charge in cultural-led regeneration.”

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Britain, Culture, Government, Politics, Society

The threats to Press freedom in the UK should be ditched

PRESS FREEDOMS

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Intro: IPSO commands confidence among all but the most blinkered of anti-Press campaigners

Following the phone-hacking scandal and Lord Justice Leveson’s Inquiry into the Press, Parliament passed legislation by trying to force the newspaper industry to sign-up to a state-backed regulator. The primary device for achieving this is Section 40 of the Crime and Courts Act 2013, a pernicious and damaging measure that would see libel costs awarded against any newspaper which is not a member of a Government approved regulator. This would even apply where a newspaper has successfully defended a claim and thus proved its reporting was justified.

Most newspapers in the UK subscribe to an independent regulator, IPSO. Since the costs in legal actions are invariably higher than the damages, this device will act as a deterrent to newspapers, especially local ones, from carrying stories or conducting investigations that bear even a remote risk of being sued. The measures are a direct challenge to the freedom of the Press, but, they are still yet to be enacted, as former Culture Secretary John Whittingdale declined (or perhaps even refused) to trigger the provisions within the Act.

However, there are growing indications that the Government may be about to bow to pressure to proceed with Section 40. Crucially, ministers now need to ask what damage this would inflict. The chairman of IPSO, Sir Alan Moses, has described the possible commencement of Section 40 as a blatant attempt by “the powers that be” to confine and restrict a free Press. A former judge, Sir Alan said a Press that acts under compulsion from the state “is doomed” and MPs should be aware that the very independence that makes the British press “viable and precious” would be lost.

Sir Alan heads a regulator that has shown itself to be tough, robust and independent. IPSO commands confidence among all but the most blinkered of anti-Press campaigners. The Government should now let it get on with the job it is doing – and scrap Section 40 for good.

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