THE SHORTWAVE REPORT
The Shortwave Report Is a 30 minute review of news stories recorded from a shortwave radio. Times and frequencies for English-language programs are included to encourage you to listen on your own. It's easy. There is a new show posted every Friday morning, record it in mono!
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Latest show:
PROGRAM NOTES 03/18/11- This weeks show features stories from NHK Japan, Radio Deutsche-Welle, Radio Havana Cuba, and The Voice of Russia.
From JAPAN- First a review of Wednesday's news on the nuclear disaster. Then a Japanese nuclear expert speaks about the fire at the nuclear reactor and how it could affect the nuclear fuel rods stored there. The Japanese Emperor delivered a video message to the people, a rare event.
From GERMANY- The nuclear disaster in Japan has caused a turnaround in German plans to extend the lives of its power plants. The events in Japan may end the recent romance governments have had with nuclear power developers. Anti-Gaddafi rebels in Libya seemed to be failing as proposals to impose a no-fly zone in the country failed to get support.
From CUBA- This weekend saw mass anti-nuclear protests across Europe. Tens of thousands of young Palestinians demonstrated on Tuesday for reconciliation between all Palestinians. In Bahrain, state forces are using deadly force in attacking protestors. Hillary Clinton is visiting Egypt where she has been snubbed by the youth groups that spearheaded the anti-Mubarak protests. Two more children have been killed by US troops in Afghanistan while General Petraeus said that US troops may stay beyond the latest withdrawal date of 2014.
From RUSSIA- On Saturday at a memorial for 74 civilians victims, Afghan President Karzai urged US led military forces to leave Afghanistan.
--"One must always maintain one's connection to the past and yet ceaselessly pull away from it."
--Gaston Bachelard
Showing posts with label Japan. Show all posts
Showing posts with label Japan. Show all posts
Wednesday, March 23, 2011
Monday, March 14, 2011
Democracy Now: Japan Facing Biggest Catastrophe Since Dawn of Nuclear Age
Japan Facing Biggest Catastrophe Since Dawn of Nuclear Age
Democracy Now
Japan remains in a state of emergency three days after a devastating earthquake and tsunami hit the country. An estimated 10,000 people have died, and Japan is facing the worst nuclear crisis since the atomic bombing of Hiroshima and Nagasaki. On Monday, a second explosion hit the Fukushima Daiichi nuclear plant, and a third reactor lost its cooling system, raising fears of a meltdown. Radiation levels have been detected as far as 100 miles away. Dozens of people have tested positive for radiation exposure, and hundreds of thousands of have been evacuated, with the number expected to rise.
Yurika Ayukawa, Professor of Climate, Energy, and Environment at Chiba University of Commerce in Japan. She is formerly with the Citizens’ Nuclear Information Center.
Harvey Wasserman, longtime anti-nuclear activist and the editor of nukefree.org. He is also a senior adviser to GreenPeace USA and the author of the book SOLARTOPIA! Our Green-Powered Earth.
Kevin Kamps, specialist in nuclear waste at the nuclear watchdog, Beyond Nuclear. Last year he was in Japan assessing the state of its nuclear facilities.
Arnie Gundersen, nuclear industry executive for many years before blowing the whistle on the company he worked for in 1990, when he found inappropriately stored radioactive material. He is now chief engineer at Fairewinds Associates.
Japan Al Jazeera English report on Minami Sanriku,
Watch/Listen/Read
Democracy Now
Japan remains in a state of emergency three days after a devastating earthquake and tsunami hit the country. An estimated 10,000 people have died, and Japan is facing the worst nuclear crisis since the atomic bombing of Hiroshima and Nagasaki. On Monday, a second explosion hit the Fukushima Daiichi nuclear plant, and a third reactor lost its cooling system, raising fears of a meltdown. Radiation levels have been detected as far as 100 miles away. Dozens of people have tested positive for radiation exposure, and hundreds of thousands of have been evacuated, with the number expected to rise.
Yurika Ayukawa, Professor of Climate, Energy, and Environment at Chiba University of Commerce in Japan. She is formerly with the Citizens’ Nuclear Information Center.
Harvey Wasserman, longtime anti-nuclear activist and the editor of nukefree.org. He is also a senior adviser to GreenPeace USA and the author of the book SOLARTOPIA! Our Green-Powered Earth.
Kevin Kamps, specialist in nuclear waste at the nuclear watchdog, Beyond Nuclear. Last year he was in Japan assessing the state of its nuclear facilities.
Arnie Gundersen, nuclear industry executive for many years before blowing the whistle on the company he worked for in 1990, when he found inappropriately stored radioactive material. He is now chief engineer at Fairewinds Associates.
Japan Al Jazeera English report on Minami Sanriku,
Watch/Listen/Read
Guardian: Japan tsunami and nuclear alert - live coverage
Japan tsunami and nuclear alert - live coverage
The Guardian (United Kingdom)
• Nuclear fuel rods 'highly likely' to be melting already
• Death toll estimated at 10,000 in one prefecture
• Reports of 2,000 bodies washed ashore in Miyagi
To Access Live Reports
The Guardian (United Kingdom)
• Nuclear fuel rods 'highly likely' to be melting already
• Death toll estimated at 10,000 in one prefecture
• Reports of 2,000 bodies washed ashore in Miyagi
To Access Live Reports
Monday, November 22, 2010
Chalmers Johnson (1931-2010)
[Dialogic is saddened to hear of the passing of Chalmers Johnson. He was a leading critic of American empire and militaristic expansion. He was also a fearless intellectual who stood up to abusive power in his own institutions. We will let those that knew him better explain below, but we must state how much Johnson contributed to our understanding of the world and for that we celebrate his life and accomplishments.]
Chalmers Johnson, author of Blowback; The Sorrows of Empire, Dead at 79: The Impact Today and Tomorrow of Chalmers Johnson
by Steve Clemons
Common Dreams
...
Johnson's ability to launch an instant, debilitating broadside against the intellectual vacuousness of friends or foes made him controversial. He chafed under the UC Berkeley Asia Program leadership of Robert Scalapino whom Johnson viewed as one of the primary dynastic chiefs of what became known as the "Chrysanthemum Club", those whose Japan-hugging meant overlooking and/or ignoring the characteristics of Japan's state-led form of capitalism. Johnson was provocatively challenged graduate students in the field to choose sides -- to work either on the side where they acquiesced to a corrupt culture of US-Japan apologists who wanted the quaint big brother-little brother frame for the relationship to remain the dominant portal through which Japan was viewed or alternatively on the side of those who saw Japan and America's forfeiture of its own economic interests as empirical facts.
When Robert Scalapino refused to budge despite Johnson's agitation, Johnson who then headed UC Berkeley's important China Studies program abandoned the university and became the star intellectual of UC San Diego's School of International Relations and Pacific Studies. There is no doubt that Johnson but UCSD's IRPS on the map and gave it an instant, global boost.
But as usual, Johnson -- incorruptible and passionate about policy, theory, and their practice -- eventually went to war with the bureaucrats running that institution. Those who had come in to head it were devotees of "rational choice theory" -- which was spreading through the fields of political science and other social sciences as the so-called softer sciences were trying to absorb and apply the harder-edged econometrics-driven models of behavior that the neoliberal trends in economics were using.
Johnson and one of his proteges, E.B. "Barry" Keehn, wrote a powerful indictment of rational choice theory that helped trigger a long-running and still important intellectual divide that showed that rational choice theory was one of the great ideological delusions of the era. I too joined this battle and wrote extensively about the limits of rational choice theory which I myself saw dislodging university language programs, cultural studies, and more importantly -- the institutional/structural approaches to understanding other political systems.
Johnson once told me when I was visiting him and his long-term, constant intellectual partner and wife, Sheila Johnson, that the UCSD School of International Relations and Pacific Studies no longer either really taught international relations or pacific studies -- and that a student's entire first year was focused on acultural skill set development in economics and statistics. To Johnson, this tendency to elevate econometric formulas over the actual study of a nation's language, history, culture and political system was part of America's growing cultural imperialism. Studying "them" is really about "us" -- as "they" will converge to be like "us" or will fall to the way side and be insignificant.
It was that night that Chalmers Johnson, Sheila Johnson and I agreed to form an idea on had been developing called the Japan Policy Research Institute. Chalmers became President and I the Director. We maintained this working relationship at the helm of JPRI together for more than 12 years and spoke nearly every week if not every other day as we tried to acquire and publish the leading thinking on Japan, US-Japan relations and Asia more broadly. We became conveners, published works on Asia that the official journals of record of US-Asia policy viewed as too risky, and emerged as key players in the media on all matters of America's economic, political, and military engagement in the Pacific. Today, JPRI is headed by Chiho Sawada and is based at the University of San Francisco.
However, this base of JPRI gave Chalmers Johnson the launch pad that led to the largest contribution of his career to America's national discourse. From his granular understanding of political economy of competing nations, his understanding of the national security infrastructure of both sides of the Cold War, he saw better than most that the US had organized its global assets -- particularly its vassals Japan and Germany -- in a manner similar to the Soviet Union. Both sides looked like the other. Both were empires. The Soviets collapsed, Chalmers told me and wrote. The U.S. did not -- yet.
To Read the Entire Essay
Chalmers Johnson, 1931-2010, on the Last Days of the American Republic
Democracy Now
The distinguished scholar and best-selling author Chalmers Johnson has died. He passed away in California on Saturday afternoon at the age of 79. During the Cold War, he served as a consultant to the Central Intelligence Agency and was a supporter of the Vietnam War, however, later became a leading critic of U.S. militarism and imperialism. He wrote the book, Blowback: The Costs and Consequences of American Empire in 2000, which became a bestseller after the 9/11 attacks. He went on to complete what would become a trilogy about American empire. Today we re-air part of our last interview with Chalmers Johnson from 2007.
To Watch/Listen/Read
More:
Dialogic Archive: Chalmers Johnson
Chalmers Johnson, author of Blowback; The Sorrows of Empire, Dead at 79: The Impact Today and Tomorrow of Chalmers Johnson
by Steve Clemons
Common Dreams
...
Johnson's ability to launch an instant, debilitating broadside against the intellectual vacuousness of friends or foes made him controversial. He chafed under the UC Berkeley Asia Program leadership of Robert Scalapino whom Johnson viewed as one of the primary dynastic chiefs of what became known as the "Chrysanthemum Club", those whose Japan-hugging meant overlooking and/or ignoring the characteristics of Japan's state-led form of capitalism. Johnson was provocatively challenged graduate students in the field to choose sides -- to work either on the side where they acquiesced to a corrupt culture of US-Japan apologists who wanted the quaint big brother-little brother frame for the relationship to remain the dominant portal through which Japan was viewed or alternatively on the side of those who saw Japan and America's forfeiture of its own economic interests as empirical facts.
When Robert Scalapino refused to budge despite Johnson's agitation, Johnson who then headed UC Berkeley's important China Studies program abandoned the university and became the star intellectual of UC San Diego's School of International Relations and Pacific Studies. There is no doubt that Johnson but UCSD's IRPS on the map and gave it an instant, global boost.
But as usual, Johnson -- incorruptible and passionate about policy, theory, and their practice -- eventually went to war with the bureaucrats running that institution. Those who had come in to head it were devotees of "rational choice theory" -- which was spreading through the fields of political science and other social sciences as the so-called softer sciences were trying to absorb and apply the harder-edged econometrics-driven models of behavior that the neoliberal trends in economics were using.
Johnson and one of his proteges, E.B. "Barry" Keehn, wrote a powerful indictment of rational choice theory that helped trigger a long-running and still important intellectual divide that showed that rational choice theory was one of the great ideological delusions of the era. I too joined this battle and wrote extensively about the limits of rational choice theory which I myself saw dislodging university language programs, cultural studies, and more importantly -- the institutional/structural approaches to understanding other political systems.
Johnson once told me when I was visiting him and his long-term, constant intellectual partner and wife, Sheila Johnson, that the UCSD School of International Relations and Pacific Studies no longer either really taught international relations or pacific studies -- and that a student's entire first year was focused on acultural skill set development in economics and statistics. To Johnson, this tendency to elevate econometric formulas over the actual study of a nation's language, history, culture and political system was part of America's growing cultural imperialism. Studying "them" is really about "us" -- as "they" will converge to be like "us" or will fall to the way side and be insignificant.
It was that night that Chalmers Johnson, Sheila Johnson and I agreed to form an idea on had been developing called the Japan Policy Research Institute. Chalmers became President and I the Director. We maintained this working relationship at the helm of JPRI together for more than 12 years and spoke nearly every week if not every other day as we tried to acquire and publish the leading thinking on Japan, US-Japan relations and Asia more broadly. We became conveners, published works on Asia that the official journals of record of US-Asia policy viewed as too risky, and emerged as key players in the media on all matters of America's economic, political, and military engagement in the Pacific. Today, JPRI is headed by Chiho Sawada and is based at the University of San Francisco.
However, this base of JPRI gave Chalmers Johnson the launch pad that led to the largest contribution of his career to America's national discourse. From his granular understanding of political economy of competing nations, his understanding of the national security infrastructure of both sides of the Cold War, he saw better than most that the US had organized its global assets -- particularly its vassals Japan and Germany -- in a manner similar to the Soviet Union. Both sides looked like the other. Both were empires. The Soviets collapsed, Chalmers told me and wrote. The U.S. did not -- yet.
To Read the Entire Essay
Chalmers Johnson, 1931-2010, on the Last Days of the American Republic
Democracy Now
The distinguished scholar and best-selling author Chalmers Johnson has died. He passed away in California on Saturday afternoon at the age of 79. During the Cold War, he served as a consultant to the Central Intelligence Agency and was a supporter of the Vietnam War, however, later became a leading critic of U.S. militarism and imperialism. He wrote the book, Blowback: The Costs and Consequences of American Empire in 2000, which became a bestseller after the 9/11 attacks. He went on to complete what would become a trilogy about American empire. Today we re-air part of our last interview with Chalmers Johnson from 2007.
To Watch/Listen/Read
More:
Dialogic Archive: Chalmers Johnson
Tuesday, June 22, 2010
Eimi Ozawa: Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films
“Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films”
by Eimi Ozawa
49th Parallel
Introduction
Since the golden age of the genre in the late 1960s, American horror films have always existed as indices of the status of American society and culture. For one thing, this is because the horror genre has been dominated by the U.S in terms of both production and sales; as Marilyn Manson, in an interview in Bowling for Columbine, assumes that what the American media are doing is a “campaign of fear and consumption, and that's what I think it's all based on, the whole idea of 'keep everyone afraid, and they'll consume.” Fear is deeply incorporated into the essential part of what makes America. Hollywood horror films also have been a product of globalization, being aligned with cultural capitalism; for instance, they had been monopolizing the market of the genre in Japan until the Asian horror boom has occurred past the decade.
The other thing is that, since the birth of the genre, horror films have mirrored what American people fear, which is entangled with the pleasure of watching; and what makes them feel fear heavily depends on the complicit relationship between biological human bodies in jeopardy and the cultural surroundings in which they live. In this case, what does the recent huge Hollywood phenomenon of remaking Japanese horror films mean? This paper aims to examine this question by focusing on the U.S. and Japanese versions of The Ring (2002)/ Ringu (1998). Through comparison of the two versions, I will explore the questions of how cultural translation was made here, and what the differences between two works might mean.
To Read the Essay
by Eimi Ozawa
49th Parallel
Introduction
Since the golden age of the genre in the late 1960s, American horror films have always existed as indices of the status of American society and culture. For one thing, this is because the horror genre has been dominated by the U.S in terms of both production and sales; as Marilyn Manson, in an interview in Bowling for Columbine, assumes that what the American media are doing is a “campaign of fear and consumption, and that's what I think it's all based on, the whole idea of 'keep everyone afraid, and they'll consume.” Fear is deeply incorporated into the essential part of what makes America. Hollywood horror films also have been a product of globalization, being aligned with cultural capitalism; for instance, they had been monopolizing the market of the genre in Japan until the Asian horror boom has occurred past the decade.
The other thing is that, since the birth of the genre, horror films have mirrored what American people fear, which is entangled with the pleasure of watching; and what makes them feel fear heavily depends on the complicit relationship between biological human bodies in jeopardy and the cultural surroundings in which they live. In this case, what does the recent huge Hollywood phenomenon of remaking Japanese horror films mean? This paper aims to examine this question by focusing on the U.S. and Japanese versions of The Ring (2002)/ Ringu (1998). Through comparison of the two versions, I will explore the questions of how cultural translation was made here, and what the differences between two works might mean.
To Read the Essay
Friday, February 05, 2010
Shooting Down Pictures: The Pillow Book (1996, Peter Greenaway)
The Pillow Book (1996, Peter Greenaway)
Shooting Down Pictures
Largely received with diffidence upon its initial release, Peter Greenaway’s tour de force can now be respected as a bold vision of movie art in the multimedia age. Taking inspiration from Japanese courtesan Sei Shonagon’s 17th century novel of the same title, Greenaway tells a story of a Japanese-Chinese woman’s efforts to transform her childhood fixation on bodily calligraphy into a career as a writer, while avenging her father’s sexual humiliation at the hands of his publisher. These themes of the artist’s struggle to express herself while taking revenge against the abuses of the older establishment are nothing new to Greenaway’s filmography (see The Draughtsman’s Contract, The Cook, The Thief, His Wife and Her Lover). What is new is a distinctly feminine narrative voice that enhances the innate sensuality of the project; an unabashed mixing of languages and cultures in a stew of chic global mongrelism; and a hypnotic flow of screens within screens and texts used as creative adornment. (The film toys with foreign film viewing conventions, foregoing subtitles for some scenes in Japanese while deploying them elsewhere in ways so artistic you wonder why no one else bothers).
To Browse and Read the Archive
Shooting Down Pictures
Largely received with diffidence upon its initial release, Peter Greenaway’s tour de force can now be respected as a bold vision of movie art in the multimedia age. Taking inspiration from Japanese courtesan Sei Shonagon’s 17th century novel of the same title, Greenaway tells a story of a Japanese-Chinese woman’s efforts to transform her childhood fixation on bodily calligraphy into a career as a writer, while avenging her father’s sexual humiliation at the hands of his publisher. These themes of the artist’s struggle to express herself while taking revenge against the abuses of the older establishment are nothing new to Greenaway’s filmography (see The Draughtsman’s Contract, The Cook, The Thief, His Wife and Her Lover). What is new is a distinctly feminine narrative voice that enhances the innate sensuality of the project; an unabashed mixing of languages and cultures in a stew of chic global mongrelism; and a hypnotic flow of screens within screens and texts used as creative adornment. (The film toys with foreign film viewing conventions, foregoing subtitles for some scenes in Japanese while deploying them elsewhere in ways so artistic you wonder why no one else bothers).
To Browse and Read the Archive
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