In trying to determine the processes and impact that the arts played in supporting the campaign, I’ve read some fascinating theory. Today I’ve read a little of The Wealth of Networks (free copy), in which Yochai Benkler argues that the rise of the networked, computer-mediated communications environment has enabled an industrial scale peer production of information, knowledge, and culture.
What is most relevant to the paper, specifically how image makers have impacted on the campaign, are the new non-market cooperative actions carried out through radically distributed mechanisms. Benkler states, ‘The fact that every such effort is available to anyone connected to the network, from anywhere, has led to the emergence of coordinate effects, where the aggregate effect of individual action, even when it is not self-consciously cooperative, produces the coordinate effect of a new and rich information environment.’
This builds on other reading which has included;
‘Place Based activism in the Neoliberal City’, Joshua Long.
‘A re-evaluation of the role of culture in regeneration’, K. Oakley.
‘Spectacle Pedagogy : Art, Politics, and Visual Culture’, Garoian, Charles R., and Yvonne Gaudelius
‘The Power of Visual Material: Persuasion, Emotion and Identification’, Hélène Joffe
‘The Routledge Companion to Media and Activism’, Meikle, Graham
and ‘How to See the World (2016)’, Mirzoeff, Nicholas