Yesterday, I attended a high table dinner for Muse College, Chinese University of Hong Kong, Shenzhen. CUHK-SZ is located in Longgang, next to the Shenzhen Moscow State University-Beijing Institute of Technology University (Shenzhen MIS-BIT) and the Longgang sports stadium, which was built for the 2011 Universiade. Both universities were established after the Universiade through national and international initiatives. The first class at CUHK-SZ entered in 2016, while the first class at Shenzhen MIS-BIT entered in 2017. These collaborations indicate Shenzhen’s commitment to formalizing science and technology innovation in the city. Indeed, these investments have been of a piece with the renewal of Huaqiangbei, where upscale malls have replaced the former factory buildings which housed low-cost storefronts, offices, and workshops on the area’s main strip.
Head of the Shanghai Medical Treatment Expert Group, Zhang Wenhong (张文宏) was the keynote speaker at the high table banquet, which also included a performance by the renowned Cantonese opera singer, Zhuo Peili (桌佩丽). Zhang Wenhong became nationally famous for his role in understanding and controlling COVID-19 in China. Accordingly he has become something of a science rock star, especially in venues like CUHK-SZ, where teachers and students lined up to have their picture taken with him.
The English and Chinese online introductions to the Steel Structure Museum (深圳中国钢铁博物馆) emphasizes that the history of steel structures is an international story of human progress. The English intro reads: “We are the only museum in China themed steel structure, which is sponsored by CSCEC Science and Industry as an CSR project. Open to the public since May 18 “International Museum Day” of 2017, we narrate the story of steel structure both of China and rest of the world chronologically and in order of technical process, and explain steel structures’ advantages.” The Chinese introduction is a bit more specific but makes the same point: 深圳中国钢结构博物馆是中国唯一以钢结构为主题的博物馆，由中建科工集团有限公司举办。以“行业首创、中国一流”为建馆目标，以历史和科技并重为陈列原则，以实物、模型、图片、文字、多媒体等为展示手段，集收集、展览、研究、教育、交流于一体，融科普性、学术性、趣味性、参与性于一身，旨在让观众了解世界钢结构的发展历程、探寻中国钢结构的崛起之路以及感受钢结构文明的气韵，是建筑科普的重要基地和科技交流的重要平台 (in Chinese).
The museum tracks the use of steel as a sign of human developmental progress, which begins in England, is aestheticized in Paris, flourishes in the US and culminates in China. Important but missing from this march of progress are mentions of Stalin and socialist industrialization via centralized planning and concomitant movements like the Great Leap Forward, where steel was the key (以钢为纲 image below).
Nevertheless, the theme itself is enlightening, especially in the context of global restructuring in the post Cold War era. So, here’s what the museum has me thinking:
I walked from Coastal City to Shenzhen Bay Park via Talent Park. It is a stunning venture, where it is possible to experience the best of what Shenzhen offers–futuristic architecture, sparkling coastline, and expansive skies–without having to deal with the consequences thereof–overbuilding, monopolized waterways, and pollution. Indeed, as in the city’s beautiful parks, this stretch of modern living embodies the goals, aspirations, and ideologies of reform and opening.
This is a speculative post about something that has been niggling at the back of my mind this past year. Or at least since I started walking around Shenzhen after COVID restrictions lifted circa April 2020; I think the era of urban villages in Shenzhen has ended.
Sometimes, I walk through older sections of the city, and I try to remember what it felt like the first time I walked there. Or, if I can’t track my emotional memories, I try to remember what this place used to look like. Who was here? What were they doing? Did I take pictures or take notes and if not, where has it all gone?
If you are interested in government approved daily updates on what’s happening with the coronavirus in Shenzhen, you could do worse than visiting EYESHENZHEN, which provides translations of city briefings. The site also includes a comprehensive introduction to the city’s mainstream art scene.
It’s true: nothing’s every really over. I’ve realized why these past few days quarantine restrictions seem so familiar: it’s as if both the SARS precautions and the second line have been reactivated. From SARS: we can freely leave our estate, but only residents can enter. From days of the second line: we can freely move about the city, but residents need to be registered to return, while non-residents must prove they have jobs to return to. At present it seems like some jobs will begin again on the 17th and others are scheduled for the 24th. Perhaps schools will be up and running in March.
Here’s the rub: Management protocols that have limited the movement of people still linger. The gates of Shenzhen University, for example, became operationalized during the student quarantine, and afterwards the guards continued to control access to the campus. Inspections in the metro became operationalized during the Universidade and continue to structure access in and out of the system. It remains to be seen how many of these extreme measures will be incorporated into our post 2019 n-CoV normal.
One of the eight Wuhan whistleblowers, Li Wenliang (李文亮) died on February 7, Chinese time. Most of the posts to my friends’ circle (朋友圈) are memorials to him. In addition to pictures of Li Wenliang wearing a face mask, these posts include images of his police file for creating rumors about a SARS-like virus and screenshots of relevant posts, including international posts in English and German. In addition, essays about his life and the meaning of his death are starting to appear. The more ‘viral’ of these essays emphasize the fact that he was an ordinary person doing his job and that he had the courage to speak truth to power. These posts imply a relationship between Li Wenliang’s status and his courage; only the ordinary, it would seem, are able to tell the truth, affirming both the need for public intellectuals to watchdog the public realm and the public’s right to have intellectual watchdogs looking out for their interests. Continue reading →
One of the major complaints that I am hearing in Shenzhen is the lack of transparency about information about the new coronavirus; most of the information we are hearing isn’t coming from official sources. Indeed, the first announcement of the Wuhan coronavirus came from eight unnamed, unofficial sources, which announced that a new virus had been discovered. The Wuhan police “handled them according to law” for spreading rumors and reminded the public that “the net isn’t outside the law.”