The L&M brand is the summer winner in German cigarette advertising. Munich is blanketed with this idyllic image of four women enjoying the beach, two of whom are smoking. What can one say about the strapline? “Without extras and everything inclusive”, including chronic disease. Enjoy the peace and inclusivity whilst you can, I say.
JSP’s summer campaign seems to suggest that it is cool to be a hipster. Two such men take time out to kill themselves (or at least one of them, the other gets it passively). “Always easy going, never boring”, claims the strapline.
Talking about boring, what about Pall Mall (right)? “tastes superior and longer” – the tobacco sticks seem to be longer in length than those of the competitors. This is a stripped down version of an earlier poster.
I was reading in the Guardian newspaper an article by comedy screenwriter Ian Martin (In the Thick of It) about how we are all being fracked as corporations find new ways of extracting more and more from us in pursuit of profit. Fracking, for those unfamiliar with the process, is the extraction of gas from rocks by using high pressure jets underground to break them up to the release the gas. Firms that are seeking licences to do this on a commercial scale are experiencing serious opposition from local people, not least because of the likelihood of toxic chemicals contaminating water courses and hence threatening human health (see graphic above left).
Moreover, the Murdoch newspapers take the position that that fracking is some sort of panacea – cheap, plentiful energy, produced locally and not subject to the whim of international diplomacy. Russia, for example.
I had not really thought of a metaphor of blasting rocks with high pressure jets. Fracketeering, as Martin calls it. So how are we being fracked? Here are a couple of examples from the article:
- estate agents’ “client progression fees”, where the buyer has to pay the estate agent to make the offer to the seller, even though the seller has already paid for this “service”;
- admin fees paid on online transactions – such as concert tickets – where the marginal cost is near to zero and where we, the customer, have already spent 20 minutes of our valuable time getting to the screen that tells us that we will have to pay for the privilege of paying (for our tickets).
Here are some that I am subject to, seemingly.
- In order to get online with my internet provider, I have to have a phone line that I do not need or want. The phone line costs the same as the broadband. No phone, no Broadband.
- paying to upload to this blog pictures of an illuminated Eiffel Tower that I took with my own camera;
- not being able to roll over digital credit from one month to the next on my dongle. Have I bought my 3Gb or not? Why can I not pay again when I have used it?
Graphic: “HydroFrac” by Mikenorton – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons – https://commons.wikimedia.org/wiki/File:HydroFrac.png#/media/File:HydroFrac.png
I was relatively late to the world of Twitter as a source of news. Naturally, one needs to follow a few journalists as well as informed individuals and institutions in order fully to appreciate its special immediacy. When it comes economics, I follow, amongst others, Paul Mason from Channel 4 TV in the UK and Simon Nixon from the Wall Street Journal and the Times of London. What these two journalists have in common is a passion for Greece and for reporting on the nature of the current Greek crisis and potential – though unknowable – solutions.
Mason has taken to vlogging on a daily basis, usually from a cafe with an ATM in view of himself and/or the camera (left). He’s reflective and tries desperately to understand and articulate what is going on and what is needed from both sides to, at least temporarily, avert a potential conflagration across the Eurozone and Europe more generally. It seems to me that his tolerance of the Greek government and its leadership is based on its democratic legitimacy, the flawed logic of austerity as a means to economic growth and, perhaps, the sense that this crisis does have the potential to bring about a change in the global system of sovereign debt relief that, largely, benefits rich countries at the expense of the poor. He is not anti-capitalism.
By contrast, Nixon, is a conservative steeped in the belief in the legitimacy of the global system as it is. The crisis in Greece seems to have brought out worst in him. The tweet below, for example, demonstrates his belief in his own ability to diagnose the problem; namely, Syriza, and Yanis Varoufakis particularly.
So, for Nixon, there seems to be little recognition of any culpability for the previous, seemingly corrupt, Greek governments; the Euro project itself; the EU or monetarism. Only Syriza. My Twitter feed was overwhelmed on Tuesday evening with Nixon’s tweets from the “yes” demonstration in Athens. Whilst it was impressive, it is not surprising that there is a polarisation of opinion and that people take to the streets to express it. It does not make it right or viable. Ultimately we do not know. We cannot know.
Twitter, however, remains the most immediate way of following fast-moving stories.
When I was at university back in the 80s, I took a course entitled Political Sociology. Essentially it was a study of power. The core text was Stewart Clegg’s Frameworks of Power, an extremely difficult text (for an undergraduate), but every week ahead of the seminars, a chapter was consumed and prepared to present.
Clegg introduced me to the concept of Organisational Outflanking. This post is a partial celebration of this concept and a very good example of its employment. Say what we might about Alexis Tsipras, the Greek Prime Minister (above left), he is a fine exponent of the art. It does not matter how poor is the hand that one is dealt, it is still possible to outflank opponents by doing something unexpected. Tsipras announcing a referendum in the home of democracy was a master stroke. The creditors (the EU, the IMF and the ECB – the so-called Troika) were not expecting that. It took a little while for a response, the best indicator of a successful outflanking, as it were.
In writing this, I risk the wrath of Greek friends and colleagues who are being hurt by this crisis. Let us not forget that the crisis that we continue to try to deal with was caused by the banking sector, not the people of Greece. Moreover, Greece’s continued membership of the Euro was managed – conceivably fraudulently – by the banking sector for its own ends. That wonderful banking institution Goldman Sachs made a lot of money out of helping the then Greek Government to hide the true extent of the deficit in contravention of the Maastricht Treaty.
Locking poorer members of the European Union into a currency regime managed from the heart of Europe’s strongest economy, Germany, is a nonsense. When the going gets tough, countries devalue their currencies to render products and services cheaper. Without that lever, what other options are available to Governments? Erm…asking the Troika for money to pay back the Troika and the transfer of state assets, healthcare provision, etc.? 50 per cent unemployment of young people is but one unacceptable consequence of this.
I’m glad to see that Nobel Prizewinning economist, Paul Krugman, reported in Business Insider seems to have come out in support of Tsipras. Summed up in a nutshell:
“Over the past seven years, Krugman argues, the financial noose Europe has placed around Greece’s neck has strangled the Greek economy. Each time Europe has loaned Greece money, it has demanded spending cuts in return. And these spending cuts — austerity — have further damaged the Greek economy.
In the past, every time the situation has come to a head, Greece has caved. And, in the process, it has transformed itself into little more than a financial slave state mired in an economic depression.
There is no way Greece will ever be able to cut its way to prosperity, Krugman argues. And history suggests that any argument to the contrary is crazy.
Given that Europe refuses to restructure Greece’s debt in a sustainable way and allow the country to try to grow its way out of its misery, Greece has no choice but to default and withdraw.”
It is going to be tough with the banks closed. It is not just the people at the ATMs, but the economy more generally. The whole point about banks is they deal the means of exchange of value; i.e. money. And when they are shut, this becomes very difficult. In response, we either find other stores of value such as gold (or as happened in Douglas Adams’ Hitch Hikers Guide to the Galaxy, the leaf) or we merely exchange things on the basis of a perceived equivalence.
The outcome – either the Troika gets real and accepts that we are dealing with real people and not inanimate institutions, or Greece goes it alone. It has been done before. But if that happens, Europe has to take a close look at itself.
L&M has brought back the unshaven man after 3 years (left). Be free, they say AND be an individual, seems to be the strapline. I think the woman on the left needs to be careful, she might find her hair ignited rather than her heart.
Ben Hallman in the Huffington Post notes that “[t]he Confederacy was the most vile and harmful political invention in United States history. It was founded on the explicit principle that slavery is the “natural and normal condition” of black people, and that they should be ruthlessly exploited to the benefit of their white masters. More Americans died in the bloodletting that followed than in World War I, World War II, Korea and Vietnam combined.”
I was bemused to learn that the flag still flies legally on State Government land in Columbia, South Carolina. Even more that the president of the USA cannot intervene and get it down (and outlawed). It like the Berlin Government flying the Swastika over its government buildings.
Ben Hallman’s article can be found at: http://tinyurl.com/pr6yxjg
Flag: William Porcher Miles (1822-1899) – Wikipedia
Munich’s Laim S-Bahn station is the place to see the most recent billboards featuring cigarette brands. Last night I saw two splendid examples; one for Pall Mall (left) and the other for that oh so French fun brand of death, Gauloises (bellow right). There’s also a Lucky Strike effort (below left).
Pall Mall move away from the Pall Mall sex couple and revert back to selling on the basis of those rather smart packages. The strapline does not translate very well, but let me try ‘way ahead on taste’. How would you know? Better than those coffee flavours by Lucky Strike?
Much more accessible is the Gauloises campaign, Vive le Moment! Here we have a bunch of blokes falling into a pool. Great fun. It’s a warm day, let’s fall into the pool and be cool and cooled. Better to drown than to die of cancer, I guess.
Finally, Lucky strike persists with the strikethrough campaign. “Lots of meaningless advertising” states the original. Strikethrough and you get some more meaningless advertising: “more content”. Yeah. Lethal chemicals. Keep up the good work.
I think the show this year is exceptional. Forgive me for omissions, with few exceptions, the pictures were all brilliant. They are also diverse in styles and subjects. Thematically, food seems to be important this year. Anna Choutova (left) presents a huge jar of olives; Louis Staples’s avocados (right) are almost graphic design and his melting butter (bottom left) positively spreadable. There is a hint Paul Nash about the image in terms of colour and surrealism. Talking of which…
A positive highlight was most certainly some familiar surrealism. Again, the artist’s name was absent, but we were at least given an email address and the name of the paintings. First, then, And onto Man, Nothing Shall Pass (right) positively dripping Dali. The lion with a zip on its back is intriguing. At first I thought it was a switch. But when I looked again more closely I saw the teeth of the zip. I trust the lion is being zipped up.
The same artist is responsible for An Allegory of Pride (The Seven Vices and Virtues of Tragedy, left). The title invites the return of the lion, this time in a very Magrittian ensemble of characters, locations and colour.
Nettle Grellier presents a delightful picture (below right) simply entitled Outside In. The theme is flowers, birds, sunlight, fecundity. It has a feelgood factor about it without being overly challenging. It is a bit of a tapestry that, ultimately, asks, what is inside?
It is almost as if Dexter Gonzales (left), gives us a possible answer to that question with his exquisite view of a garret. Many of us have inhabited these kinds of spaces in our lives. This image looks warm and inviting. Often they are neither. Gonzales cleverly uses frames to limit his images. It works.
Sophie McKenna’s work (left) is beguiling. Look closely and there is not much to say. Move away, and any number of things come to mind, most of them relating to nature. I can see an aerial view of roaming Wilderbeast (or their continental equivalents). I can see bees, trees, clouds. The cloud element is helped by the scratchy swirls that would not be out of place on a weather chart. Probably I write nonsense?
Human identity is a perennial topic for artists. There were, for me, three particular examples of note. First, Alexander Kay’s Existence I (right). This nude is both erotic and tormented. The environment is not friendly, though she may ordinarily be in some passionate embrace. If she is, this is armageddon. Is is the existence merely feeling human?
Second, is James Hicks’s self portraits (left). The mirror seems to distort the image (not least the impossible walking shoes). It is not a comfortable image, but the artist has some guile in presenting himself in this way.
Finally, Ellie Seymour’s disconcerting portrait (right) is part of a series entitled Misshapen I-V. As the title suggests, the images are deliberately distorted in a bid to subvert media representations of feminity, without, it seems, rejecting it completely.
Perhaps the darkest and most unnerving work this year is that of Victoria Jenkins (below left). These three enclosed figures are trapped, despairing, claustrophobic. The materials used include a resin that compounds this feeling. Like a tar pool that trapped early mammals.
There was not much portraiture this year. The most photorealistic of the small sample was the series of self portraits by Sam Glencross. This one (right) depicts the artist at 17 (though the panel said 21), devoid of neck. Frowning. The eyes are a cold blue and the hair…a problem in later life.
Robert James Gordon’s, Stay, is simple in its effectiveness. A resin dog sits infront of a mirror. Look into the mirror one can also see his piece, Upwardly Immobile. This piece depicts a very young child in a harness suspended from a not-inconsiderable height. The child is so young that there is a degree of abandonment about it. The title also suggest limited life chances. Suspended between ambition and reality. Hunger, loneliness.
I must say to the curators of the sculpture exhibition, the aviary with living birds is not art. Please do not incorporate live animals into exhibitions.
The final example of grotesqueness is captured in the work of Rachael Power (right). Essentially, this work is a walk-in vagina installation. The author herself is attempting to reclaim the vagina as an aesthetic entity from the pornographers. She seeks to return the penis to its ‘protective roots’. The installation certainly appropriates the penis and even at the rear of the installation creates a second vagina from the male body.
Finally, Rose Harris (left) presents a spread of wonderful aesthetic prints. The eye is drawn to this lucious example (left). The detail in the leaves is tremendous. It is like a carving. And whilst it was the first collection that we saw, I leave my review with this image as symbolic of the show overall. Apologies to the textile artists. Somehow we both missed the galleries and ran out of time.
Here is my annual review of the best (in my humble opinion) of the degree show. In light of the recent election result and my passion for students and young people more generally to engage with the political process, I highlight in the first instance the work that prompts thought about change and the environment.
First, let us start with the graphic designers whose task is surely to help us navigate the complex environment in which we live and to alert us to dangers both real and imaginable. There were seven exceptional examples in this year’s show starting with Hannah Jeffery (right). It never ceases to shock to learn just how few examples of these extraordinary animals there are left; largely because of poaching and game hunting.
Sasha George (below right) has another approach. Now this is my interpretation, and hence it might be entirely wrong. The artist seems to have presented a series of six extraordinary pictures depicting nature reclaiming human despoliation. There is a toppled Statue of Liberty (somehow on land); trees growing through houses and abandoned vehicles. The array of animals – tigers, bears, birds and fauna is fantastic. And to me at least, it shocks.
Next, Beth Ducket (below right) who is in fact a print maker rather than graphic design. It is not clear exactly how explicit the artist is about the impact on the environment of consumption, but even by accident the reproduction of so many receipts makes a clear point. Her accompanying script could even be Marxist with references to alienation (meaninglessness) and mass production/consumption. Perversely the artist has reproduced by hand the receipts on the one hand claiming artisanal value but also this wonderful ability to see art in the mundane and a deep commitment to classification.
My penultimate choice goes to an artist whose work seems not to have been labelled. I do not know whether this work is a critique of modern communication technology or a celebration of it (left). Every individual in the series of six pictures is completely consumed by a mobile phone. If it is a critique, well done. If it is a celebration, we really are doomed.
Finally in this section (fine art and sculpture to follow), Holly MacDonald is going to go far with her caricatures of British politicians. There are two in this example (right). And they are brilliant and correct.