There is no way one can observe the social transformations within a community and society without resorting to strong political clues in order to understand the sources of those transformations. And clearly, when things go wrong, we blame the politics, the legislators, the government. But when the political sphere moves away from the reality of the working and the middle classes, the laws and the policies have no real impact on the wide majority. The decision-making groups have little will to support change and the economic downturn Britain has been experiencing for over a decade seems to move towards a silent collapse. And nobody appears to take responsibility. The blame placed on the government rules like a shadow, hiding underneath the roots of bad financial decisions, personal greed and managerial incompetence.
Let’s consider the situation the art sector is in at the moment. The issue came into focus with the news of the devastating fire which, this second time, damaged the Glasgow School of Art beyond repair. There you have £35m down the drain, or rather turned to ashes, and everybody is powerlessly looking at the building asking, with disbelief, ‘how could this be possible’. The fate of the Glasgow School of Art seems, for now at least, sealed by confusion and uncertainty. Who is to blame this time?
Extrapolating the Glasgow tragedy, who is to blame for the uncertain fate of hundreds of art schools across the country slowly but surely decapitated by unachievable targets and percentages? We are looking at another type of devastating fire slowly cooking to ashes the art sector, in general, and the art education, in particular. The drive to achieve the funding targets, the attendance and the achievement rates, the literacy and the numeracy benchmarks. What do they all mean? Certainly, they mean nothing to those involved in the art sector (students, artists, writers, musicians, teachers) but mean everything to those in charge to justify the bureaucracy which supports their livelihoods and to satisfy the pleiades of regulators and inspectors. The focus of this type of education is not the youth’s creativity but to produce a nation of self-absorbed adults ready to slot into whatever social square has been allocated to them as soon as they joined the education system.
And here we face again another type of politics. The ‘politics of inevitability’ as Snyder eloquently describes it, which makes the art education vulnerable and a victim of the constantly expanding globalisation. Since the mid ‘80s, the way we talk about art has fundamentally changed as well as the way the education system works to serve the economy, under the bright colours of neoliberalism. And, one would say, what is the problem with that? The education and the arts remain the essential social institutions within a healthy society and preserve what we call our ‘decency’. They remain our ‘sane barometer’ if you like, which support the configuration of our future and the values this future will act upon.
I remember a recent conversation I had with a head of school who recognised that things have taken a turn for the worse, with the Brexit uncertainty looming, but, as he said, ‘what can one do against a whole government, with a mortgage to pay?’ And here we are again in the blaming game equation. The well-suited head back in his leather chair, the young artist back revising for another maths test. New financial cuts are drowning the hope of an economic recovery and the silence of those suffering its effects sounds more and more like a resigned agreement. Not once we feel that the history allows us to see patterns and to understand that action is a possibility. History permits us, ‘to be responsible; not for everything, but for something’ as the poet Czeslaw Milosz said. This responsibility has always worked against loneliness and indifference.
©Maria Stadnicka, June 2018, Gloucestershire, UK
The confusing scandal around Cambridge Analytica and the misuse of personal data have stirred a wide search for a coping strategy post Facebook, once the campaign #Delete started to gather momentum. Over fifty million people have become victims of an algorithm and the finger points in both directions. It points at the corporation and the guilty pact between the rich and the political class to maintain ‘the distribution of wealth’ (Chomsky). And it points at the victims too, as they gave into temptation and filled in the vilified personality test, the intelligence test, the ‘what Disney character are you’ test or ‘is the dress white or gold’ test. And the list could include other hundreds of tests and surveys which were strategically used to collect data and profile the population.
But why did people take the online tests in the first place? Was it out of curiosity, boredom, self-absorption, confusion, insecurity? Possibly, but not exhaustively, being constantly overfed information, the individual, the person behind the computer screen, started to lose the sense of identity and the fear of rejection kept on creeping in. A sign of an increasing collective anxiety.
The need for constant external validation could be a symptom of what de Botton calls ‘status anxiety’. But this is not, by far, a new philosophical discovery. In 1929, Bernays used collective anxiety in his campaign ‘Torches of Freedom’ and successfully convinced women to start smoking cigarettes. One can only see that psychological profiling started a long time ago, when Sigmund Freud clarified the notion of a dark, unconscious self. It comes as no surprise now that among my friends without online social presence there is a sense of ‘told you so’ vindication, whilst the rest is struggling to find a way out.
On a tweet published yesterday by a friend I read a stark and final confession: ‘took a while to decide, but happy I finally cleansed myself. After 11 years I am off…forever.’ But have they actually managed to escape with such ease? Is ‘deleting’ as simple as ‘liking’ or ‘accepting’ the terms and conditions of a virtual contract? There are two immediate identifiable issues here.
The first is that the Facebook license does not end upon the deactivation of your account. The content will only be released from license when all the other users (family, friends, acquaintances, nobodies) have also broken their ties with it. Online freedom will come only after successful negotiations with thousands of friends one gathered during a decade of social media use. The second issue is that Twitter, the online space the online user migrated towards, has a more insidious ‘rights’ clauses. In accepting the terms and conditions, they granted the platform editing rights. Which means the right to edit, modify, translate and format any content posted on the platform. And this can be highly problematic when the content is translated to other languages.
The society’s architecture has dramatically changed to redefine the concept of freedom within the limits of an acceptable platform. It is now symptomatic that ‘deleting’ is a form of virtual social rejection, which leads to real constrains in terms of access to information. But, a while ago, this free access used to be a fundamental attribute of a healthy democracy.
‘The concept of liberty and individual choice are nothing but a mirage’ notes an online user on Twitter who admits that ‘today, Facebook deleted my account because I did use the title DeleteFacebook in one of my paintings’ (TArt). The elite culture is openly biting back displaying the fangs of bigotry ‘as it pretends there is no other alternative’ (Berger).
What facets do we need to explore now in order to redesign our ‘spectre of hope’?
Maria Stadnicka, 1st April 2018
A week to go! 12th November 2017 from 10.30 am!
So happy to be part of this and to support an excellent project!
Migration Stories / A Cultural Exchange which celebrates the diversity and the powerful cultural impact of our migrants’ stories and experiences.
‘Spoken languages can both unite and separate human kind. Through education we can learn to speak other languages and this entitles us to appreciate cultures around us. However, linguistics alone are just one conduit of understanding – our sense of what is to be human in the world is also built on non-linguistic cultural experiences – we learn through stories, legends, music, food, dance, festivals, artefacts and images.‘ (Excerpt from Daniel Barenboim, on the 16th July 2017, in an impromptu speech at the Proms Albert Hall.)
12th November 2017 at Museum in the Park, Stroud, Gloucestershire is the first part of a beautiful cultural project which will continue and will develop over the next three months.
The workshop will start at 10.30am at Museum in the Park and will bring together narrators, MA illustrators, poets, writers and photographers.
At 11am we will invite illustrators, photographers, writers, students to listen and to be inspired by the unique stories and memories of those who have experienced the joy, the pain, the comic, the humane journey of those, amongst us, arrived from somewhere else.
The narrators Anita Roy, Dolores Phelps, Maria Stadnicka, Fumio Obata, Ro Saul, John Stadnicki will tell us their memories.
Lunch time – bring and share food from our own heritage
The afternoon will create opportunities for smaller groups to discuss in detail elements of the stories and will begin to consolidate ideas for creative responses.
The creative responses will be completed by 6th December 2017 and a small dedicated team will produce a beautiful new Riso book, ready for the launch on the 22nd of January 2018.
Partners involved: University of Gloucestershire, University of Winchester, SGS Stroud College, Museum in the Park, Stroud, Gloucestershire.
We are looking forward to your participation and contribution!
The next event will on the 22nd November 2017 at Museum in the Park, Stroud, Gloucestershire:
Chaired by Dolores Phelps, MPhil/PhD Researcher, Illustration
9.30 Coffee and introductions
Introduction by Dolores Phelps and Jen Whiskerd
10.15 Presentation by Andrew Melrose
10.45 Presentation by Adelaide Morris
11.15 Presentation by Olivier Kugler
1.00 Presentation by Fumio Obata
1.30 Presentation by Dolores Phelps
2.00 Presentation by TBA OR Panel discussion
2.30 Panel discussion/Q&A – Olivier, Adelaide, Andrew
3pm Closing remarks.
Come along and get involved!
It gives me great pleasure to find out that some of my texts have been included in Meniscus Literary Journal, published by the Australasian Association of Writing Programs. Thank you Distinguished Professor Jen Webb and the editorial team.
This latest edition creates a wider perspective of the current literary and poetic discourses, with excellent new and established international voices. A brilliant selection!
You can access the magazine here
A poem for ‘Europa‘ by Andrew Heath https://www.amazon.co.uk/Europa-Andrew-Heath/dp/B01LYHL716
For further information on Andrew Heath’s music, please click here: https://andrewheath.bandcamp.com/