Our CEO Ian went on a countryside walk earlier this year with colleagues in Exeter’s Geography Department. Their aim was to follow the flow of electricity by walking the route of a power line. Their social media posts about this journey prompted discussions about electricity and difficult-to-follow commodities. One was Peter Forman – from the Institute of Political Science, Eberhard Karls University of Tübingen – who had just finished his PhD on natural gas. We asked him to share his experience of following a commodity whose materiality is especially challenging.
Natural gas can be thought of as natural in two senses of the word. First, it forms deep beneath the ground, independently of human action (as opposed to the manufactured gas that was used in the UK before 1970 – this gas was the product of hard labour, workers feeding iron retorts with coal), and second, it is naturalised. Whilst gas plays a crucial role in many people’s daily lives – we heat our homes with it, cook with it, and use it to warm water for bathing comfortably – most of us never give it much consideration. We come home from work, twist the tap on the hob, give it a press, then click! A spark. An eruption of yellow-blue flame. It is there, ready and waiting. It provides heat in an instant and is worthy of no further thought.
Yet in other ways, ‘natural gas’ is far from natural. Its presence beneath the earth is made knowable through a multitude of technologically complex devices, and it is only through the deployment of established knowledges, bodies and technological instruments that it is securely extracted, processed, pressurised, transported, and consumed. This is what Bridge (2004; 396) refers to when he describes how “a whole industry has emerged … dedicated to corralling the waywardness and variability of gas and rendering it a commodity compliant with the workings of the market”. Indeed, it is as a consequence of this dense assemblage that we can understand gas to not simply be there, ready and waiting. Far from it! For without the practices of these diverse actors, it would remain deep beneath our feet, trapped between layers of rock. As it travels (the direction and nature of which is likewise defined by said actors), it could also come to realise a series of what Dillon and Reid (2001) call ‘dimensions of dangerousness’. From it realising its flammability and explosiveness, to it causing significant societal disruption through the interruption of its supply, or it having severe ecological impacts of different kinds (for example, affecting global climate or contributing to marine crises such as in Puchuncavi, Chile – see Tironi et al. forthcoming), across its travels, natural gas can come to present a series of dangers that generate myriad attempts to perform security around it. Continue reading
The followthethings.com project is slowly moving from a curatorial to an analytical phase. We’re getting our heads around ways in which we can analyse the online commentaries we’ve researched and remixed for over 60 films, art works, activist stunts and pieces of journalism.
All of the work showcased on our website sets out to make tangible to its audiences the relationships between the people who make and consume things.
But who made them, why, with what resources and how were they hoping they would make a difference to their audiences and participants?
How did members of their audiences (consumers, citizens, corporations, governments, etc.) make sense of and react to them?
And what impacts do they seem to have had?
We want to assemble a vocabulary (see Massey 2013) which will enable these intentions, relations, reactions and connections to be named, discussed, critiqued and developed.
We’re actively looking to name what we find in our data.
Æfficacy / Æffect
Effect (v.) “To bring about (an event, a result); to accomplish (an intention, a desire).”
Affect (v.) “To have an effect on the mind or feelings of (a person); to impress or influence emotionally; to move, touch.” (Oxford English Dictionary)
When it comes to bringing about social change, effect and affect are intertwined. Artistic activism aims to bring about demonstrable change through moving people viscerally and emotionally. We might think of this as: Affective Effect. Or, if you prefer: Effective Affect. Or, as we’ve come to call it: Æffect.
At the C4AA we are very, very interested in æffect. Artistic activism might be fun, creative and cutting edge but if it doesn’t deliver the goods in helping to transform the world, then what good is it?
Since we began the C4AA we’ve been asking the questions: Does it work? How do we know? And what does “working” even mean when we combine the arts and activism?
The Streisand Effect
… the phenomenon whereby an attempt to hide, remove, or censor a piece of information has the unintended consequence of publicizing the information more widely, usually facilitated by the Internet. It is an example of psychological reactance, wherein once people are aware something is being kept from them, their motivation to access and spread the information is increased.
It is named after American entertainer Barbra Streisand, whose 2003 attempt to suppress photographs of her residence in Malibu, California, inadvertently drew further public attention to it. Similar attempts have been made, for example, in cease-and-desist letters to suppress numbers, files, and websites. Instead of being suppressed, the information receives extensive publicity and media extensions such as videos and spoof songs, often being widely mirrored across the Internet or distributed on file-sharing networks
We’ll post more when we find them. Watch this space.