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For the sake of my sanity and those I consider my community I have chosen to interchangeably use the languages that accommodates glocal and in-between to best communicate these senses of self.
This global space is unequal and at its extreme, elitist. One can argue that it creates a culture represented by glocal individuals who attempt to translate and transcend the local. Instead, we have transferred some of the old humanist feelings we had about internationalisation to it. But globalisation is not internationalisation at all. It has nothing to do with inter-nations.
In many ways is no different to the concepts that have come before. Contemporary artistic practices prove that globalisation has brought the world together and glocal personalities are the contemporary creators of the current global.
If one takes into account the argument that artists have similar concerns, the national realities would not feature in a global art market. In a sense, an artist practicing contemporary art in order to be successful needs to be globally mobile and have access to the currency of the information age and in close proximity to the contemporary art centres.
The term contemporary art itself assumes this kind of access.
Since a work of art is given this particular value, it needs to demonstrate access to global information technology and some knowledge of the practises of the contemporary art centres. So I ask myself what does the work in front of me say, does it even speak, am I seeing it? What tools do I marshal to have a conversation? I worry about the quality of that conversation.
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Do we speak past, over each other or is it possible to speak to each other? She served as one of the jury members for the Kampala Art Biennale. From the 7th to the early 13th century, the port of Sunda was under the Srivijaya maritime empire.
According to the Chinese source, Chu-fan-chiwritten circaChou Ju-kua reported in the early 13th century Srivijaya still ruled Sumatra, the Malay peninsula and western Java Sunda. The people worked in agriculture and their houses were built on wooden piles.
The first European fleet, four Portuguese ships from Malaccaarrived inwhile looking for a route for spices. Sunda Kelapa was renamed Jayakarta,  and became a fiefdom of the Banten Sultanatewhich became a major Southeast Asia trading centre.
Inthe English East India Company 's first voyage, commanded by Sir James Lancasterarrived in Aceh and sailed on to Banten where they were allowed to build a trading post.
This site became the centre of English trade in Indonesia until When relations between Prince Jayawikarta and the Dutch deteriorated, his soldiers attacked the Dutch fortress. His army and the English, however, were defeated by the Dutch, in part owing to the timely arrival of Jan Pieterszoon Coen. The Dutch burned the English fort, and forced them to retreat on their ships. The victory consolidated Dutch power and in they renamed the city Batavia.
Commercial opportunities in the city attracted native and especially Chinese and Arab immigrants. This sudden population increase created burdens on the city.
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Tensions grew as the colonial government tried to restrict Chinese migration through deportations. Following a revolt, 5, Chinese were massacred by the Dutch and natives on 9 October and the following year, Chinese inhabitants were moved to Glodok outside the city walls.
Among the commodities traded, fabrics, especially imported cotton, batik and clothing worn by Arab communities.Supplier Relationship Management - Process & Tools in Supply Chain Relationships - AIMS Lecture
The Koningsplein, now Merdeka Square was completed inthe housing park of Menteng was started in  and Kebayoran Baru was the last Dutch-built residential area.
After the war, the Dutch name Batavia was internationally recognized until full Indonesian independence was achieved on 27 December and Jakarta was officially proclaimed the national capital of Indonesia.