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The role of individual differences in resistance to persuasion on memory for political advertisements
Get PDFWhen people see political advertisements on a polarized issue they take a stance on, what factors influence how they respond to and remember the adverts contents? Across three studies, we tested competing hypotheses about how individual differences in social vigilantism (i.e., attitude superiority) and need for cognition relate to intentions to resist attitude change and memory for political advertisements concerning abortion. In Experiments 1 and 2, we examined participants’ intentions to use resistance strategies to preserve their pre-existing attitudes about abortion, by either engaging against opposing opinions or disengaging from them. In Experiment 3, we examined participants’ memory for information about both sides of the controversy presented in political advertisements. Our results suggest higher levels of social vigilantism are related to greater intentions to counterargue and better memory for attitude-incongruent information. These findings extend our understanding of individual differences in how people process and respond to controversial social and political discourse
Circling the Archive
Get PDFCircling the Archive, conversation between Didem Pekun, susan pui san lok and Nick Aikens, on the eve of the exhibition at Netwerk Aalst, in the publication, Rewinding Internationalism (2023, pages 105-118).
Installation images of REWIND/REPLAY at Van Abbemuseum, in the publication, Rewinding Internationalism (2023, pages 68-74, 86-87, 96-99).
REWIND/REPLAY was commissioned for the evolving research exhibition, Rewinding Internationalism, first staged at Netwerk Aalst, Belgium (February to May 2022), with a new film by Didem Pekün, a commissioned multimedia installation by susan pui san lok, work by Wendelien van Oldenborgh, and an extended research presentation and the sounds of Belgian New Beat. This was followed by an expanded exhibition at Van Abbemuseum, Eindhoven (November 2022 to April 2023), which featured a considerably expanded version of REWIND/REPLAY, in a new site-specific installation with magnetic tape, microphones, music stands, video projections, a 50-mins 5-channel audio loop and a lighting score, activated by occasional live performances. The work was subsequently reconfigured for the labyrinthine spaces of Villa Arson, Nice (June to August 2023), with the creation of a limited edition script/score.
'Rewinding Internationalism' draws from different social, political, and cultural sites in the 1990s, a moment when the construct of internationalism was in a state of deep flux. During the decade, the ascendancy of globalisation coincided with the revival of ethno-nationalisms within Europe and the waning of emancipatory, trans-national alliances. Within the art world a ‘New Internationalism’ was embraced, calling for an end to the centring of Western European and US positions. Here internationalism became a stand in for a rethinking of white, Western hegemony though it remained conceived form the very position it sought to counter. Rather than propose a history, or attempt a definition of ‘internationalism’ the exhibition is conceived as a score, moving between – rewinding – different sites and scenes. Central to this exploration is a confident disregard for the authority of the archive – images, sounds and references are used as evocations, rather than offering explanation.
The exhibition was conceived and developed during a global time of pandemic when the idea of internationalism is again unstable. The closure of national borders, prolonged isolation and screen time have had profound effects on people’s sense of place, and relating to one another. Works in the exhibition were produced or adapted within these conditions. Equally, the pandemic has induced in many a sense of being untethered and out of sequence. ‘Rewinding Internationalism’s’ fragmented rehearsals across space and time speak to the current sense of uncertainty, foreboding and repetition.
Curated by Nick Aikens.
Research projects: Revista de Critica Cultural, The Three Ecologies and Internationalist Feminism (1995 onwards) developed with Paulina Varas; Keepers of the Waters (Chengdu and Lhasa, China, 1995-1996) developed with Sebastian Cichocki; Contemporary Art of the Non-Aligned Countries (Jakarta, 1995) developed with Bojana Piškur and Grace Samboh; ADN (Association pour la Démocratie à Nice), Carnivals Independents and Les Diables Bleus (1991-2001) developed with Teresa Maffeis, Guy Ouillon and Sandra Ryvlin Rinaudo
An extended exhibition booklet with a conversation between Didem Pekün, susan pui san lok / susan lok pui san and Nick Aikens accompanied the exhibition at Netwerk Aalst. An expanded publication accompanied the exhibition at Van Abbemuseum
Memory and the Value of Life
Get PDFThis presentation and screening is part of a wider body of a multi-modal archive capturing the stories of frontline healthcare workers who harnessed the power of their creative voices to make sense of their world during the first wave of the covid-19 pandemic in the UK and the USA. Created as a time-capsule, this presentation temporarily 'unlocked' the film component, releasing the voices in front of a live audience, to test whether it was 'too soon' to reflect back on the first wave and the value of life in front of an international audience (American, Italian, Australian, Italian, German, Caribbean), in Italy where the first global lockdown occurred
Together yet apart: Rethinking creativity and relational dementia care during the Covid-19 pandemic
Get PDFCulture Box was a creative project that responded to deprivation and distress experienced by those with dementia in care homes during the COVID-19 pandemic. Remote and digital creative activities were designed and delivered as ‘Culture Boxes’ to care homes, aiming to alleviate social isolation and loneliness for people with dementia. Eighty-eight people with dementia and 33 care staff from 33 care homes across England were recruited to the study, with 68 people with dementia and 28 staff completing the study 12 months later. Participatory Action Research combining mixed methods was used to evaluate the project. Baseline and follow-up surveys and dialogic interviews at 3 time points during the study collected quantitative and qualitative data and were analysed descriptively and via inductive thematic analysis respectively. Qualitative findings indicated that the project activities facilitated relational care through creative experiences characterised by sharing, building relationships, and developing a sense of community. Social health was promoted via participation in social activities and fostering independence. Future studies should further explore the utility of creative practices to develop relational care, to support care staff, and to maximise wellbeing benefits for those living with dementia
Zeichnen im Garten der unendlichen Zeit
Get PDFThe English illustrator and printmaker Johanna Love has been undertaking artistic “voyages of discovery” for several years to explore the material and immaterial potential of dust. The starting point for her exhibition of drawings and lithographs at Bentlage Monastery are tiny samples of relic dust from a glass vessel in the “Bentlager Reliquary Garden” (1499), which is located in the Bentlage Monastery Museum. The dust samples that Johanna Love took there with the help of museum scientists and a restorer were examined using electron microscopy in the world-famous Natural History Museum in London. The use of this imaging technique makes information about reality accessible that would otherwise not be visible to the human eye. In her works, the artist translates these images into her own language
Digital Comics and Critical Librarianship: What, Why and How: A Perspective from the UK
Get PDFThis chapter describes the challenges of collecting digital comics as well as how a critical librarianship approach can maximize an academic library’s potential to be a more inclusive site for collection development and preservation. Digital comics are at the cutting edge of how imaginative, immediate, and emotionally engaging stories can be told in the twenty-first century. The creators of digital comics harness new and emerging technologies to create and distribute innovative forms of storytelling. Digital comics also have the capacity to reflect and contribute to social and cultural change by foregrounding marginalized voices. Just as readers are able to engage with and enjoy these new expressive forms, it is vital that cultural institutions record and recognise these new methods of creative expression
Reimag(in)ing the Victorians
No full textFrom taxidermy and photography to forgotten lives and colonial histories, this exhibition explored how leading contemporary artists reimagine the Victorians in their work. By exploring how artists creatively respond to the 19th century, the exhibition asked why its legacies still matter today.
Through the display of work by artists including Heather Agyepong, Mat Collishaw, Dorothy Cross, Mark Dion and J. Morgan Puett, Mark Fairnington, Tessa Farmer, Andrew Gilbert, Sunil Gupta, Nicolas Laborie, Debbie Lawson, Alastair and Fleur Mackie, Sally Mann, Kate MccGwire, Polly Morgan, Ingrid Pollard, Yinka Shonibare, alongside Victorian taxidermy and images by 19th-century practitioners like John James Audubon and Julia Margaret Cameron, the exhibition invites viewers to rediscover the Victorians through contemporary paintings, sculptures and photographs that reimag(in)e them in ‘the present’
Precarious Solidarities: Artists for Democracy in Historical Perspective, Part 1
Get PDFArticle for Eflux journal
Learning Through Wear: Experiencing the Everyday Vintage Wardrobe
Get PDFThere is a patch of red, slightly inflamed, dry skin on my right index finger that never quite heals. Typically more noticeable in the summer months, it is a sign of the imprint my clothing choices leave on me. This skin irritation has largely been caused by my penchant for tightly fitted 1950s and 1970s clothes, the worn skin symptomatic of having to pinch garments tightly together, so that metal zips, 50 years old or more, can slide up my back or the side of my torso with ease.
My clothes tend to leave other marks too. From boning that has worn through its cotton binding with age leaving stab marks on my skin to red lines encircling my waist from belts secured tightly around my middle. Some may consider my clothing choices suffering for fashion. In an era of easy to wear soft clothing, my choice to encase my body in tight garments may seem surprising. Yet, I find these garments liberating at the same time, and despite the marks left on my skin, generally comfortable too. In these vintage pieces I feel confident and notably my posture is often improved.
When I look closely at my clothes, I recognise that they do not just leave marks on me, but I leave marks on them too. As Ellen Sampson suggests, ‘in the performance of dressing and the practice of everyday life, we are marking and altering our clothes.’ This is most notable in the make-up marks I seem to leave behind. For example, the faded whisper of red lipstick, smeared on linings, where garments have been hastily pulled over my head as I undress
Tilting T&L – awakening responsible design practices via the senses
Get PDFThis case study outlines the experience of engaging postgraduate design students in activities exploring sensorial modalities in relation to their creative processes. Situated within wider research trialling a set of teaching interventions that positively disrupt the curriculum as a mechanism for awakening learning around responsible design – this case study sets out the process and some early discoveries concerning a pair of workshops that utilise the senses as a tool for enquiry, imagination, and connection. It offers insights and reflection on methods for ‘tilting’ perspectives and practices regarding human and more-than-human awareness within design education