Flying Boat | Progress post #3
Playing with ‘Variations on Mobility’, the four Creative Commissions teams in 2019-2020 have developed their projects along different trajectories traced by the unfolding movements of People, Objects, Texts and Ideas across times and spaces. As small groups composed of academics who have embraced art in their research practices, or artists working in collaboration with scholars across various disciplinary backgrounds, the Commissions engage different Theories and Methods of mobility, working with ethnographic, archival, historical, anthropological, geographical and creative methodologies. The following text and original images represent a short abstract realised by the team to help us follow the path of their creative work.
Flying Boat | Progress post #3
The Flying Boat project as research has been delayed by the pandemic. As a visualisation of mobility, the research is hampered by an inability to travel. Across the globe, populations are sheltering indoors. Repeated lockdowns across Europe, a huge market, has decimated international aviation. [1]
Restrictions on travelling to Hong Kong are similar to many Asian and Australasian states – entry is limited to residents who must quarantine on arrival for 21 days at their own expense. As new variant of the virus was discovered in the UK in December 2020; direct travel to Hong Kong from the UK was specifically not permitted. [2]
Hong Kong has a history of witnessing viral outbreaks. Since the flu pandemic of 1968, virologists have identified the city as a sentinel territory for detecting new viral pathogens. [3] This sensitivity implicates poultry and populations of migratory birds, mobile reservoirs of pathogens, as vectors of viral outbreaks. [4] New realms of material mobility and spatiality, and their intersections with known mobilities, have been revealed by the pandemic. London (United Kingdom) 08.30 24.01.21 summarises aspects of this new landscape of non-mobility, referencing distant Hong Kong, in early 2021 inaccessible to this researcher. London … is a composite work drawn from research conducted online and pre-pandemic material.
In this context, Hong Kong as an urban environment can be freshly understood as a layered, liminal space at the intersection of multiple social, financial, material and biological assemblages, mobilities and entanglements. [5] The Flying Boat research project has undergone multiple revisions of subject and theme; responsive to global events. This is a fertile and generative research area that will reward further investigation, visual studies work and filmmaking.
Notes
[1] For data on travellers to the UK, see table 12, CAA data site – https://www.caa.co.uk/Data-and-analysis/UK-aviation-market/Airports/Datasets/UK-airport-data/
[2] https://www.coronavirus.gov.hk/eng/inbound-travel.html
[3] For a fascinating ethnographic account see Keck, F. (2020). Avian Reservoirs: Virus Hunters and Birdwatchers in Chinese Sentinel Posts.
[4] http://www.xinhuanet.com/english/2021-02/03/c_139718344.htm
[5] Historical accounts have located Hong Kong as a centre for business flows – Bickers, R. (2020). China Bound: John Swire & Sons and Its World, 1816 – 1980. More ‘placial’ accounts are emerging such as Du, J. (2020). The Shenzhen Experiment: The Story of China’s Instant City.
Flying Boat | Progress post #2
Playing with ‘Variations on Mobility’, the four Creative Commissions teams in 2019-2020 have developed their projects along different trajectories traced by the unfolding movements of People, Objects, Texts and Ideas across times and spaces. As small groups composed of academics who have embraced art in their research practices, or artists working in collaboration with scholars across various disciplinary backgrounds, the Commissions engage different Theories and Methods of mobility, working with ethnographic, archival, historical, anthropological, geographical and creative methodologies. The following text and original images represent a short abstract realised by the team to help us follow the path of their creative work.
Flying Boat | Progress post #2
The Flying Boat project began as a provocation; it imagined a retro-future, a world to come severely afflicted by climate change and fuel scarcity, and reverting to past modes of mobility. The short video Fellows, California 17.03 21.07.19 shows the limits of witnessing carbon infrastructures and shifts to the implications of mobilities that contribute to destruction as an subject for representation.[1] The video briefly illustrates the rationale for the retro-future proposition. [2]
Fellows, California.. positions images as significant actants in our understanding of the world.[3] An underdeveloped sub-theme is the division of the globe into zones of resource extraction on the one hand; and resource control and consumption on the other, the imperial system of resource sequestation operative in the heyday of Flying Boats. [4] Parallels with popular culture in the imagined worlds of The Hunger Games, Total Recall II and The Handmaidens Tale can be noted, as can the embedding of spatial conflict as enriching narratives. Here, visual montage as generative of analysis is briefly tested. Active engagement by an audience is key to this approach to representation.
Notes
[1] This is of course a site visit, or “ground truthing”. In a celebratory mode, the mobility and fluidity of the twenty-first century is explored in Bauman, Z. (2000). Liquid Modernity; the grounding of western democracies in fossil fuel extraction more critically analysed in Mitchell, T. (2013). Carbon Democracy: Political Power in the Age of Oil. The challenges of depicting climate change are explored in Ghosh, A. (2016). The Great Derangement: Climate Change and the Unthinkable and Nixon, R. (2011). Slow Violence and the Environmentalism of the Poor.
[2] Data for sea level rise can be downloaded here – https://sealevel.climatecentral.org/maps/google-earth-interactive-global-cities-at-risk-from-sea-level-rise
[3] A visual cultures approach – cf. Mirzoeff, N. (2016). How to See the World: An Introduction to Images, from Self-Portraits to Selfies, Maps to Movies, and More. That images might be ‘actants’ is a perspective native to Actor Network Theory pioneered by Bruno Latour – cf. Latour, B. (2005). Reassembling the Social: An Introduction to Actor-Network-Theory.
[4] See Massey for a discussion of the importance of space in narrative – Massey, D. (2005). For Space. The intersection of spatial and uneven space see – Smith, N. and Harvey, D. (2010). Uneven Development: Nature, Capital and the Production of Space.
Methods of travel 1570 - 1800
The seminar will be delivered online.Zoom Meeting link: https://unipd.zoom.us/j/87513971476
Roma’scapes: Geographies of Mobility in Urban Wildness
Roma’scapes: Geographies of Mobility in Urban Wildness
PhD Project supervised by Chiara Rabbiosi (2020-2024)
Urban wildness is a little explored topic because of its very nature. One reason for this neglect is to be found in urban wildness both as a dynamic concept as well as an ever-changing entity. How to study a mobile and innately undefined object? Rather than considering it merely as a forgotten space or a natural resource, this project aims to interact with urban wildness as a subject. To foster a relational approach, the project explores urban wildness going through it and involving all senses in the production of knowledge.
A preliminary part of the research will focus on the evaluation of methods and instruments of enquiry, their capabilities and limits of observing and recording this mobile subject: from fieldwork diary to photography, from audio-visual methods to performance.
Going deeper, the project will attempt to build a relationship with urban wildness inhabitants, such as plants, animals and people. It is in fact their entanglement that makes urban wildness a living, dynamic, mobile subject. Collaborative labs will be opened on the field to enquiry and enhance a collective representation of urban wildness ‘from inside it’. Finally, the project will pay special attention in the making of synesthetic artefacts, out of the multiple wildness representations archived, to disseminate this new knowledge.
The research will be developed by specific case studies, in different European cities, following the footprint of the stereotypical “nomads” that are believed to be the main inhabitants of urban wildness: the Roma. Are Roma the only living in urban wildness? Who is living on the move in contemporary cities? Is mobility a choice?
The interaction with urban wildness, in different contexts, will open new possibilities of conceiving and representing the geographies of mobility in the contemporary city, raising the issue that to live on the move mainly means a restriction on the very possibilities of movement in contemporary Europe.


Space, place and mobility student video contest - 2020
Space, Place and Mobility Student video contest
In a seminal book, John Urry and Anthony Elliot (2010) defined laptops, mobile phones and digital broadcasting as ‘miniturized mobilities’. In fact, mobile technologies feed directly into the performativity of mobile lives. As a result of the course unit Space, Place and Mobility, 31 students from DiSSGeA’s second cycle degree courses in Local Development and Mobility Studies have experimented with using their smartphone to conduct research out there as well as with using archive materials to dig into past and present mobilities issues. Supported by Dr. Chiara Rabbiosi, who co-leads DiSSGeA’s Digital Laboratory for Mobility Research–MobiLab, and video-maker Giovanna Volpi, students’ enagegement with transmedia literacy has turned into a video contest competition. Watch the Space, Place and Mobility Student video contest Reel and find out more on MoHu Mediaspace.

Research Grant (type B)
Selection announcement for the awarding of 1 research Grant (type B)(24 months)
DEADLINE 14th MAY 2021 (no later than 13:00)
Selection announcement for the awarding of n.1 research grant, which shall last for 24 months, in support of innovative and excellent research projects proposed by young independent scholars within the areas of interest of the DiSSGeA
The proposed activity must be in line with the study areas of the project “Nuovi paradigmi per lo studio della mobilità nelle scienze umane“
The application may only be submitted by completing the online procedure available at:

Pearls from China | Progress post #2
Playing with ‘Variations on Mobility’, the four Creative Commissions teams in 2019-2020 have developed their projects along different trajectories traced by the unfolding movements of People, Objects, Texts and Ideas across times and spaces. As small groups composed of academics who have embraced art in their research practices, or artists working in collaboration with scholars across various disciplinary backgrounds, the Commissions engage different Theories and Methods of mobility, working with ethnographic, archival, historical, anthropological, geographical and creative methodologies. The following text and original images represent a short progress post realised by the team to help us follow the path of their creative work.
Pearls from China | Progress post #2 – video and synopsis
At the beginning of the century, China was at a turning point. In 1911 the Qing Empire was finally overthrown by a republican revolution, ushering in a complex transition to modernity. The situation was unstable: warlords fought for military and political power, throwing continental China into chaos. Coastal ports, tethered to a growing regional and international web of trade and exchanges since they were first opened to foreign contact after the Opium Wars, were conduits for old and new migration. Abroad opportunity beckoned for the precious few who had contacts overseas or knew how to access them.
After World War I, Japan consolidated its status as a modern power, already well integrated in a global economy. It was geographically and culturally closer to China than America and Europe were, and it was even less expensive. Its ties with the Zhejiang coast, thanks to its proximity to the southern reaches of its territory (Kyushu, but also Taiwan and the Ryukyu islands), intensified, and it became the destination of choice for many Chinese who decided to dedicate to business. Regular shuttle transit connected the Shanghai railway terminals with those of the port of Nagasaki, creating a corridor of commodity and passenger transit that spanned the whole of Eurasia.
Among the early Zhejiang migrants to Japan, there was a young Wu Lishan, anxious to try his luck abroad. According to his documents, he was just seventeen years old when he left his home village, Longxian, in the Fangshan valley of the Qingtian district. He was the secondborn of two brothers and he took to the sea in the hope of making a name for himself. Longxian was already a chaoxiang, a village of migrants, so for his clan it should not have been too difficult to provide for a ticket to Japan.
He finally made it to Tokyo in 1923, together with other young people like him, all coming from different villages along the Fangshan, Sidugang and Ou valleys in the district of Qingtian. Many belonged to the same clans, or their families had forged business or bridal alliances in the past, and they spoke the same language, a peculiar Wu dialect that was hard to understand for other Chinese. They were a very tightly knit group, with common habits and tastes, similar stories and dreams.
Hu Xizhen: This sure is another world!
Wu Xizhong: Yeah! Nothing to do with our little mountain villages…
Wu Lishan: This is not a mere sea-trip, we are travelling towards the future!
These young kids were ambitious: though they sailed off as migrants, their goal was not to become coolies laboring abroad for little money and a life of hardship and abuse. They thought of themselves as traders. Like many other migrants from Zhejiang, they sold cheap Chinese made articles on the streets of the Japanese capital and its environs, especially in Kanagawa and Ōshima, in the vicinities of the port cities of Yokohama and Kawasaki. Like most of his fellow Qingtian migrants, Wu Lishan sold umbrellas, a popular item especially during the hot summer months.
In Tokyo, the most upmarket shopping district was the Ginza. Designed by the Irish architect Thomas Waters as western-looking, brick-house precinct, it was meant to showcase Japan’s modernity. It had wider roads, paved sidewalks, modern lights, tramcars, and a variety of high-end stores, cafes, breweries, and wine shops. It counted about ten large department stores, with the Mitsukoshi being the most iconic.
Wu Lishan worked alone all day, and only in the evening, he retired to the small guesthouse he shared with his fellow countrymen. They passed their free time playing Mahjong, a habit that these Chinese would cherish throughout all their existence. Wu Lishan was a good player, his friends even called him “The Professor”! Life was good, everyone was making good money, and all seemed to be going according to plan.
It would not last.
On September first, 1923 at 11:58 am, an earthquake of magnitude 7,9 hit the Kantō plain, on the Honshū Island. Tokyo was destroyed in minutes; the port of Yokohama was swept away as a tsunami hit both the coasts and the islands to the south, while strong winds began to blow, turning into tornados. It was lunch time, and in most homes fires and cooking stoves were lit. Powered by the winds, the fires started to propagate all around the city, in veritable whirlwinds of fire. As the earthquake had broken the water tanks and it was quite impossible to quell the fire. The fury of the elements caused such mayhem, that it was to be matched only by the firebombing of Tokyo during WWII. More than 120.000 died in the disaster, two million were left homeless. But for the thousands of Koreans and Chinese living in the Kantō area, the worst was yet to come. Prompted by pre-existing tensions between the Japanese and the Korean minority living in their midst, vicious rumors started to spread in the aftermath of the disaster, and Korean domestic servants were blamed for not taking care of the stoves, or even of spreading the fires deliberately, poisoning wells, spreading disease… a murderous wave of xenophobia spread throughout the nation, as vigilante groups were quickly put together to seek out and kill non-Japanese Asians on the spot. Martial law was declared, but it was too late.
Crowd: It was the Koreans! They took advantage of the confusion to cause fire and stole in the houses!
Some soldiers and policemen even joined the vigilante groups, killing thousands of Koreans and hundreds of Chinese from the hinterland of Wenzhou, who were mostly mistaken for Koreans. Trying to protect those who survived, military and police were ordered to collect and transport the surviving Koreans and Chinese in government-run detention centers. Wu Lishan and his friends luckily escaped the wave of mass murder that obliterated many of their fellow Chinese. He was among those interned in the Narashino internment camp, where he remained until the Chinese diplomatic mission in Japan requested the compensation and repatriation of all Chinese people in Japan. After this diplomatic incident, the migration flow from Zhejiang to Japan ceased completely, and it started to be redirected to Europe.
According to some Chinese sources, in Shanghai and Wenzhou it was possible to refer to banking agencies that procured tickets, passports and visas for expatriation, providing also useful contacts in Europe. They played a key role in the sudden surge of Zhejiang migrants in Europe between 1925 and 1926. In 1925, in Germany, several hundred of Chinese from Qingtian settled in Berlin, near the Schlesischer Bahnhof (today Berlin Ostbahnhof), the historic terminus of the railroad from Asia. At the same time, Chinese migrants from Zhejiang appeared in Spain, France and Italy demonstrating real migration chains between the hinterland of Wenzhou and several European countries.
Wu Lishan was among them. His name appears both in the papers of the returnees to China from Japan and, since 1934, in the Italian documents. Family stories tell that between 1925 and 1934 he has been wandering through Germany, France and Holland and that he reached his old friends in Italy only in the early 1930s.
After the Kanto earthquake, Wu Lishan and his friends that were repatriated to Shanghai from Japan, came into contact with a broker of a French (possibly Sino-French, or even a Japanese/Sino-French joint venture) trading company that was recruiting sellers for a new kind of product: fake pearls made of coloured glass that were as luminous as the real ones but a great deal cheaper. It is still unclear whether the first batch of this merchandise was acquired in Europe (there is some evidence that its source may have been European from the onset) or from a Qingtian wholesale trader in Paris, but in 1925 and 1926, these fake pearls were all the rage across Europe. Czechoslovakia may well have been the true source of these articles de Japan all along, and there surely were Chinese who imported them from the city of Gablonz an der Neisse (today called Jablonec nad Nisou), in Bohemia, where glass trinkets and artificial jewellery were industrially mass produced since the nineteenth century.
Wu Lishan and his friends had no way to go back home, they had barely started on their migrant journey, and all the money they had was still not enough to repay for their tickets abroad. They needed to up their ante, and this fake pearl selling scheme seemed quite interesting. So, together with his friends, he took the chance to leave and discover what Europe had to offer. He decided to travel by train because the travel was shorter, while his friends chose to go across the globe by sea. At that time there were only 2 possible routes: the Tran-Siberian railway that snaked her way through Asia and Soviet Russia, reaching Berlin in a couple of weeks, and the sea route stretching across the South China Sea, the Malacca Strait and the Indian Ocean, going up the Red Sea and the Suez Canal, and finally entering the Mediterranean Sea in about 40 days. The final destination was Marseille if the shipping company was French or Trieste if it was Italian.
In Europe, these Zhejiang Chinese quickly dispersed in search of the best markets, where laws were lenient enough to allow them to work as street hawkers. France, among the European nations, was the one that appeared to have tougher regulations, restricting public selling of goods on the streets to French citizens. Things were better in Germany, Spain, and Italy, at first. Once the fake pearl boom was over, in most countries the Zhejiang migrants switched to different trades: in Germany they sold cheap crockery and in Holland they peddled peanut candy.
In Italy, the Zhejiang migrants quickly switched to different wares, sourcing their merchandise from Italian wholesale traders. Soon, they opted for silk neckties, woolen sweaters and leatherette belts and wallets. It was a germinal moment for Chinese immigration to Europe, one that eventually took full advantage of the transport revolution started during the late nineteenth century, as ever more sophisticated steam engines had drastically shortened the distances between countries and peoples, ushering in an increasingly global economy and a more cosmopolitan society.
The pandemic society. Post-covid-19 reflections on extended bodies and elastic situations
Zoom meeting registration:
Sites and intersections of labor im/mobility
Sites and intersections of labor im/mobility
24-25 June 2021
Research meeting at Ca’ Foscari University of Venice
Coordinators
Claudia Bernardi, Giulia Bonazza
Scientific Committee
Claudia Bernardi, Marco Bertilorenzi, Giulia Bonazza, Andrea Caracausi, Christian G. De Vito, Nicola Pizzolato, Amal Shahid, Biljana Stojic, Müge Telci Özbek, Vilhelm Vilhelmsson
Virtual meeting organized by SISLav research group “Free and unfree labor”; Worlds of related coercions-WORCK working groups “Im/mobilizations of workforce” and “Sites and fields of coercion”; MOHU-Mobility&Humanities Centre for Advanced Studies at University of Padua
Hosted by the Department of Linguistic and Comparative Cultural Studies – Ca’ Foscari University of Venice
www.worck.eu
www.storialavoro.it
www.mobilityandhumanities.it
The research meeting Sites and intersections of labor im/mobility is jointly organized by members of SISLav – Italian Society of Labor History, the COST Action project WORCK – Worlds of related coercions in work and MOHU – Mobility&Humanities Centre for Advanced Studies at the University of Padua. It will bring together the researchers who animate WORCK working groups “(Im)mobilization of the workforce” and “Sites and fields of coercion” with SISLav working group “Free and unfree labor”. The meeting is also aimed at expanding the participation to our network, so that in addition to presenting research papers, time will be allocated to roundtables for discussing further common projects and future activities.










