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Over several years, a Permanent People’s Tribunal has given representatives from affected communities the opportunity to testify on the socio-environmental impacts of harmful corporate activities, and to highlight the numerable cases that demonstrate how TNCs are able to act with effective impunity. Indeed it is the consistent work of many human rights defenders that has brought the issue of corporate impunity to the agenda of the Human Rights Council, leading to demands for the rights of affected persons to be central to a binding treaty, both in terms of regulation and remedy. Some of the largest TNCs have greater economic power than many nation states, while their tremendous political power is reinforced and protected on a legal level by a multitude of norms, treaties and agreements. Often described as a new global corporate law, or the lex mercatoria, it is made up of mechanisms such as the Investor to State Dispute Settlement (ISDS) provisions and arbitration tribunals that are enshrined in bilateral trade agreements; or the International Monetary Fund’s imposed structural adjustment programs (now replicated in Europe under the so-called Competitiveness Pact policies); or the World Trade Organisation’s dispute-settlement system. While the rights of TNCs are shielded by this complex global legal framework based on trade and investment rules, there are no adequate counterweights or enforceable mechanisms to control the social, cultural, environmental or labour impacts of their operations. The result is a normative asymmetry between the binding norms that protect investor interests, and the soft law that reduces TNCs obligation to respect human rights to mere voluntary measures. A binding treaty to regulate the activities of TNCs could therefore provide a vital counterpoint to the controversial free trade and investment agreements that are being continually negotiated in secret, without any democratic legitimacy. Inequality and asymmetry are built into the legal foundations of the current trade and investment regime, which is solely intended to serve the immediate profits of investors, speculators and transnational enterprises, at the wider expense of social and economic progress. Inverting the normative pyramid In this context, the implications of mainstreaming human rights into trade agreements and WTO practice through a legally binding instrument are potentially radical and transformative. As a result of invoking the pre-eminence of these hierarchically superior norms, it could require renegotiating all existing trade and investment agreements, and could certainly overturn the investor-to-state dispute settlement (ISDS) regime, as well as the secretive corporate arbitration system in its entirety. This greater vision is upheld by a joint civil society proposal to elaborate an International People’s Treaty, which aims to go much further than articulating the need for control mechanisms to halt human rights violations committed by TNCs. The growing demand for access to justice is also linked to the ideal of creating international law “from below”, and establishing “peoples’ sovereignty over the commons” by opposing the expansion of TNCs into sectors that should be controlled by communities and citizens. As part of a work-in-progress, the current base document for global consultation has a lengthy section on alternatives to the dominant socioeconomic paradigm, emerging from the experiences and proposals of the many social movements, scholars, activists and affected communities who are resisting the growing power of TNCs in their diverse spheres. A radical alternative proposal At the centre of these proposals is the need to promote effective mechanisms for the realisation of fundamental human rights as governments formulate a new international political, economic and legal order, based upon an equitable distribution of wealth and respect for nature.

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So far, so alternative: but it also received 117,000 in project funding from Arts Council England last year, and has installed strict programming and brand-design structures that, despite the changing personnel, have been adhered to since its inception. There are always 11 exhibitions a year, for example, opening on the first day of the month and closing on the 21st. These are primarily solo endeavours (bar one annual group show of work made by artists signed up to the gallerys members programme). Each exhibition invitation is issued in a different font (displaying a consistency in inconsistency), and all images on the website are monochrome on a yellow background. More important, however, is the role the gallery plays in the local arts ecosystem. In that, bar a couple of other, later, more modest artist-led initiatives, such as the Promontories screening programme and Stew Gallery, it practically is the local ecosystem. There is little alternative, or nonalternative, to OUTPOST. The Sainsbury Centre for Visual Arts at the University of East Anglia, in the same city, only stages a couple of shows a year, so if any of the many artists turned out by the 1,800-student University College of the Arts (whose numbers are prolific enough to fill three studio complexes in the city, one of which is run by OUTPOST itself), or other interested members of the public, want to see a show, or just generally congregate more often, then its OUTPOST they must visit. Otherwise they face a lengthy train or car journey to Wysing Arts Centre (with whom OUTPOST has a close relationship) or the new Firstsite space in Colchester. The rolling committee helps the organisation maintain a sense of democratic diversity within its relative monopoly, however, with each member, all of whom live locally, serving for 12 months, during which Now Hear This48 OU TPO ST galle ry e xter ior, Nor wic h West 24 th S tree t, N ew Y ork City, 30 Oct ober 20 12. P hoto: Jos hua Mac k Two weeks after Hurricane Sandy the largest tropical depression ever recorded in the Atlantic Basin devastated coastal communities around New York, senior citizens in highrises along the ocean in Queens still lacked water to flush their toilets. Thats roughly what Obama and Romney each spent on the run for the presidency. Perhaps this buying reflects a flight to higher ground in uncertain times in many cases the bidding proceeded with the dull relentlessness time they have the opportunity to suggest artists to show in the barnlike gallery space (a converted skittle alley), found tucked away beside an optician on a backstreet close to Norwich Cathedral. Full of light, with beamed, arching ceilings, the space was, on my visit, exhibiting the colourful, Pop-inflected, flyposted prints of the busy Glasgow-based artist Ciara Phillips (Phillips augmented these with a series of painted newspaper tears, again pasted on the wall).

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Computer viruses, like cockroaches, seem to be a universal problem since Jinnah's files have all been erased. With little time to spare, the lawyer and Jinnah take a trip through the important chapters of his life. Given that Jinnah has never been an easy character to assess historically - as the film points out, many have blamed him (as Attenborough's Gandhi did) for the millions that died in the post-partition violence - the presence of the lawyer, questioning the dead Jinnah for the choices he made, helps the film acquire an analytical edge. At times it rules in favour of Jinnah, at other times it underlines the character's inconsistencies. He brings a levity to Jinnah's quest for an independent state as he confronts opposition from Mountbatten as well as from members of his own Muslim community, along with a rigid moralism that sees him refuse a wage when he takes charge of Pakistan. The supporting cast turn in some very good performances especially James Fox, who remains sadly underused in modern-day cinema, as Mountbatten. Though by no means a perfect film, it is quite easy to see why Lee feels passionately about Jinnah. Beyond his own outstanding performance, Jinnah is quite powerful and provides an interesting portrait of a man now little remembered in the West. Let's just hope it will find the audience it richly deserves. However, I have been told that this was in part intentional to make the movie look more contemporary and to that extent it has succeeded as the film does not look as recent as the filming dates indicate. Some scenes also suffered from poor lighting and were difficult to enhance without creating edge enhancement. However, the DVD is according to Lee and the crew a huge step forward from the cinematic reels that were available. It is difficult to mark the image too harshly given the excellent work they have done (much of it by hand) with some very poor source materials. It doesn't look perfect by any stretch of the imagination but given the difficulties they have had to surmount to make it available, they have done very well indeed.

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