The 24th UN Climate Change Conference (COP24) has just wrapped up in Katowice, Poland. The conference’s main objective was to reach a decision that will ensure full implementation of the Paris Agreement (the so-called Katowice Package) and this way further lower greenhouse gas emissions globally. However, reaching a decision which will appeal to all the signing-parties of the Paris Agreement is not a piece of cake, as different national actors are still tackling the issue of climate change at their own pace, while the discrepancy in terms of technological possibilities of controlling climate change between developed and developing countries is still enormous.
Song recommendations, video suggestions, related articles – these are just some of the curated features we have come to rely on when using platforms like Spotify, YouTube and online news sites. All of these strategies for making us consume more and more media material draw upon the much-debated concept of personalisation: tailoring content to suit personal preferences. It might sound luxurious, but there are darker consequences to individuals and their communities indulging in the custom-made appeal inherent to many aspects of today’s world.
Every armchair expert on economics or the Middle East can be counted on to shout “it’s the oil!” when discussing why Saudi Arabia is what it is and does what it does. And when one looks at the headline figures, it is hard to argue otherwise: the Kingdom is the world’s largest oil exporter, has the second-largest reserves and is the de facto head of OPEC, a cartel of oil exporting countries. It is also the quintessential rags-to-riches oil state, defined by irresponsible spending, peculiar national priorities (what is the point of building a 1 km high tower?) and a bloated bureaucracy. Oil has long been the indicator Saudi Arabia’s foreign and domestic policy, but times might be changing.
Not so long ago, when visiting my friend in her room, I noticed an old vinyl record of The Beatles on the shelf. Intrigued, as it certainly wasn’t there before, I soon learnt that she has bought it in a second-hand shop for quite a low price, which certainly would not be surprising–if it was not for the fact that she does not have a gramophone, nor does she intend to buy one.
Each year around the time of Halloween we are practically bombed with horror movies from every corner, be it gory slashers or cheesy old-school vampire movies. And those are just some examples of popular elements associated with the aesthetics of Halloween.
As days grow shorter, leaves change colour and putting on a scarf becomes a requirement before facing the chilly autumn winds, you might find yourself reminiscing about the summer. Longing to return to the bright moments of your sunlit memories, perhaps you listen to the summer’s greatest hits on Spotify or watch summery feel-good movies like Mamma Mia! and Forgetting Sarah Marshall. These feelings and actions are fuelled by a sentiment known as nostalgia, and its connection to the media we consume is more present in our everyday lives than we are often aware of.
It is known how to make a good trailer tune; it is also known that it is not a simple challenge. From the beginning of trailer-making, the practice of reusing music used for other trailers has flourished–after all, once an appropriate sound is found, it is tempting to use its qualities and maybe even the popularity it acquired through the movie that used it before. Classical music such as Carmina Burana or Lux Aeterna has been overused to the point it is hardly ever brought up anymore; so did pop songs like Walkin’ on Sunshine.
It is that time of the year again. Summer is coming to a close, and orange-tinted leaves are signalling that autumn is knocking at the door. The weather is gradually becoming frisky, and a new academic year has already begun in schools and universities around the globe.
It is also a time of the year when the halls of Hogwarts are once again filled with young witches and wizards eager to commence a new year at the famous British school of witchcraft and wizardry.
First impressions are crucial. Whenever a movie is to be released, trailers are needed to promote it at least 6 months in advance. Most of the time, this moment is what determines whether the movie becomes a hit or a smash, whether the audience will be swept away by the promised greatness, fun or fear (depending on the movie genre) or will be disappointed already by the sneak peek.
A few days ago, I was in the midst of sipping a cup of freshly made Earl Grey tea at our balcony in my hometown in Croatia, when the relaxing atmosphere of the summer morn’ suddenly became disturbed by the sound of a peculiar little car announcing that the Classical Circus Berlin has just made its arrival in the city.
Our issues can be found at most university buildings, including:
- Honours Tower (Academy Building)
- University Library
- Duisenberg Building
Honours Review is a publication of students at the University of Groningen, the Netherlands.