This was easilly one of my favourite pieces from the new contemporaries, I found there was a lot of REALLY exciting work there but this was just so funny and simple and really really exciting.
Territories of Practice
Thursday 23 January 2014
Presentation...
(or... Every day and Pop Culture 'sticks it to the man'. or not)
I am pleased with how our presentation went. It almost came out of a burst of stereotypical art school 'fuck the system we ain't gonna give them what they want' sort of rebellion. We, as a group, felt that there was perhaps too strong a corporate element in the nature of the presentation of the tate due to the link with BP and the emphasis that our ideas were 'fresh' and 'exciting'. We decided to reverse the expectation and create something more banale and empty, much like a corporate presentation full of graphs and slides and monotone voice. We delivered it in a dull manner with The Vision One Gallery Theme playing in the background so emphasise the empty thinking space.
I think what we achieved was beyond what we had planned, I was initially worried about it being funny incase it was a bit of a one liner, or a way around it not being about a anything else but I think it brought attention to the mundanity of the corporate life. It satirised enough but far enough from the subject it wasn't insulting but perhaps turned a mirror.
As for the day itself, I really enjoyed the other presentations, particularly those from Chelsea, but was dissappointed as the first four groups (ours included) didn't have our presentations discussed, even though we had thought that the tate staff were going to in turn discuss ours.
I am pleased with how our presentation went. It almost came out of a burst of stereotypical art school 'fuck the system we ain't gonna give them what they want' sort of rebellion. We, as a group, felt that there was perhaps too strong a corporate element in the nature of the presentation of the tate due to the link with BP and the emphasis that our ideas were 'fresh' and 'exciting'. We decided to reverse the expectation and create something more banale and empty, much like a corporate presentation full of graphs and slides and monotone voice. We delivered it in a dull manner with The Vision One Gallery Theme playing in the background so emphasise the empty thinking space.
I think what we achieved was beyond what we had planned, I was initially worried about it being funny incase it was a bit of a one liner, or a way around it not being about a anything else but I think it brought attention to the mundanity of the corporate life. It satirised enough but far enough from the subject it wasn't insulting but perhaps turned a mirror.
As for the day itself, I really enjoyed the other presentations, particularly those from Chelsea, but was dissappointed as the first four groups (ours included) didn't have our presentations discussed, even though we had thought that the tate staff were going to in turn discuss ours.
Wednesday 22 January 2014
I built the set of the Simpsons and dressed up as Marge for a video performance in which I sat still to "End of The World" by Skeeter Davies.
I'm fairly fascinated by the depiction of the housewife in contemporary culture ranging from th for my essay , I think it holds resonance to the every day and pop culture, so here ilassic 1950's archetypal model to the satirical. I did a lot of thinking and researching on the matter for my essay , I think it holds resonance to the every day and pop culture, so here it is.
To What
Extent is it Important that Marge Simpson Echoes the Traditional 1950’s Housewife
of the Domestic Sitcom?
The traditional role of the housewife in
American post-consumerist culture is clearly rooted in a mythology of a woman
who cooks, cleans and dotes on her family without a single complaint. The
role of satire in the Simpsons turns a mirror on the traditional nuclear
American family and presents a stereotype that we escape into for comfort.
We are offered a flawed representation of the American Dream rife with
failures similar to our own in which family members conform to expected roles
and live out amusing scenarios identifiable on some level within our own lives,
numbing the pain of reality by offering humour as an anesthetic.
In Nina
Leibman’s book ‘Living Room Lectures: The
Fifties Family in Film and Television’ she describes the fifties familial sitcom
as the “domestic melodrama”(Leibman 1995) Archetypal examples include “Leave it
to Beaver”, “Father Knows Best” “Ozzie and Harriett” and generally revolves
around “middle-class nuclear families living in suburbia which feature a
professional father and a full-time stay-at-home mother. Humour is found
in the interrelationships of family members.”(Leibman 1995) These original
sitcoms are centralised around a doting, strong father figure who forms a
stable family base for a perfect representation of the American dream. The
mother always fulfills the role of a housewife or has an inconsequential dead-end
job; she never has much worth especially in comparison to the nobility of the
father figure. The maternal figure “now held a questionable position as the
operative force in domestic life, wherein they were expected to perform the
necessary domestic duties but continually upheld their husbands as more
important.”(Leibman 1995) This constructs a gendered divide in domesticated
roles, and a clear sociological system in which the nuclear American family was
known to operate. In the post-feminist age of The Simpsons there became enough
distance between the gender binary American lifestyle, and because being a
housewife became a choice rather than a necessary lifestyle, the fifties sitcom
housewife began to be viewed as a flawed and increasingly obsolete ideal.
The satirical American family
cartoon such as The Simpsons echoes the 1950s formula, the archetypal familial
roles are presented clearly; the doting and attractive housewife blissfully
trapped into a marriage she is too good for, a buffoonish, inconsiderate
husband whose charming idiocy makes him exempt from consequence, a similarly
idiotic son whose stupidity directly echoes that of his father, a lost or
misunderstood daughter who dreams of an escape from her embarrassing family,
and of course a baby and a dog to complete the portrait of the American dream. This
portrait of eschewed conventionality provides an escape for us from the
uncertainties of our own lives; we find comfort in the fact that the characters
never age, and are firmly anchored in their sociological roles for us to
continuously lose ourselves in. One might even say that we rely on the
steadiness of these characters to anesthetize our own emotional instability in
life. The Simpsons presents to us a cyclical, stuffy world into which to
escape, and presents us with animated versions of our own problems, nullifying
the pain we feel with humour. In ‘Life
and How to Survive it’ the self-help
psychology book written by therapist Robin Skinner and
comedian John Cleese, it is mentioned that one of the most positive coping
mechanisms available to us is humour. “You feel things to the full... but you
master them by turning it all into pleasure and fun”(Cleese 1994 , 53-6). It
certainly could be said that The Simpsons in this way teaches us a lot about
ourselves and helps us cope with the bleak reality of life.
The Simpsons stay the same age as the outside world
ages around them, the children who were once with what would now be retro
gaming gear have gained smartphones and laptops, Homer has worked in a nuclear
power plant for over twenty years and still hasn’t developed cancer, and Maggie
still hasn’t spoken her first word. It could even be argued that the creators
satirize this lack of room for change via Snowball, the family’s beloved cat,
who dies multiple times, only to be replaced by a completely identical cat (as
mentioned in Lisa Simpson’s poem; “Meditations on turning eight … I had a cat
named Snowball, she died, she died, Mom said she was sleeping, she lied, she
lied. Why oh why is my cat dead? Couldn’t that Chrysler have hit me instead?” –
a satire on becoming aware of mortality and seeing through the slippage of our
parents lies to protect us) There is no opportunity for progression within the
model of the beloved sitcom, the chance for change is always born and
extinguished within the space of one episode, particularly in the case of
Marge. We seek comfort in these well-known characters and fear change, and know
that when our own lives go awry we can return to these comforting figures of
familiarity.
Characters in the archetypal
American sitcom seem to be anchored to their roles within the mechanics of the
American dream. The housewives, in particular, may deviate from normativity as
the plot of an episode unwinds, but by the end they are charmed back into the
arms of their family and deterred from any hope of a career or affair. The most
archetypal example of this formula is in Lucille Ball’s “The Lucy-Desi comedy
hour” in the 1959 season 2 episode 4 entitled “Lucy wants a career”. The
episode opens with Lucy doting upon her husband and son, asking them what they
want her to cook for them to only be met by male brutish apathy. In reaction to
her complaining about the stuffiness of domesticity her husband describes it as
“The popular record ‘The Housewife’s Lament’ by Lucy Riccardo, I know the last
line; ‘For two cents I go out and get myself a job’” Rebelling against her
husband’s disbelief, Lucy goes out into the workplace, at first finding it
liberating, but, of course, after a number of incidents proving her
incompetence away from her family she is found in a hysterical state by the end
of the episode, sobbing “I don’t like having a job, I’m lonesome without you
and little Ricky, I wanna be a housewife again!” This demonstrates that a life
outside of housewifery or secretarial work was so unusual in the 1950s that the
very notion of escaping normativity into this world of progression was a joke
for all the family to laugh along to on TV. Now, in post-feminist post-choice
society, this stuffy portrayal of a career as a home-wrecker is an absurd
caricature of an increasingly obsolete societal norm.
The archetypal 1950s housewife was born in
post-war consumerism; new technologies and progression in industry meant that
household labour saving appliances like the vacuum cleaner became commonplace.
As televisions became the centerpiece to any American family household and
advertisements and sitcoms burgeoned into ubiquity, the American Dream, and the
image of the perfect housewife, became a sellable commodity. In her essay
entitled ‘Housework’, Germaine Greer argues that these labour saving devices
create more work, and that new, almost neurotic standards of hygiene brought to
our attention by advertising are “tightening the headlock on the ‘housewife’” (Greer,
1999 p166) and with the excessive amount of appliances being available in the
home, they have “brought anything but increased leisure for the houseworker.”
(Greer, 1999 p166) The presentation of a
housewife is often one of constant drudge with little reward, but with the
indication that the household will fall apart without her.
The Simpsons repeatedly
displays these patterns of non-escape from drudgery. By her repeated return to
her regular state of dissatisfied ennui, Marge Simpson becomes a caricature of
the lamentation felt universally by housewives. As was written in the 1947 Modern Woman: The Lost Sex; “the social development which created the physical slum
also created throughout society what may be termed the emotional slum.”(Lundburg,
1947) In other words, the environment in which she is trapped causes the mental
and sociological dissatisfaction of the housewife. The ennui becomes apparent
enough to be rife for turning a caricature presented within a satire for
universal post consumerist society to relate to.
In The Simpsons’ Season 8 Episode 2 “You Only
Move Twice.” We are presented with the alternative to the suburban Springfield
trap. Homer gets offered a job in Cypress Creek, a Utopian, futuristic town where
everything seems perfect. At first, Marge is reluctant to make the move,
defending her love of her stuffy life; “Homer, I don’t want to leave
Springfield. I’ve dug myself into a happy little rut here and I’m not about to
hoist myself out of it.”. This shows Marge’s own comfort in her routine which
echos our own comfort that we find in watching The Simpsons. They move to
Cypress Creek and everything seems perfect, Homer’s job is perfect, there’s
plenty of beautiful wildlife for Lisa to enjoy and the school system seems
unflawed, however the characters are just unfit to function outside their own
comforts. Lisa becomes allergic to everything around her, Bart gets moved into
a special ed class, and, although Homer is enjoying his new job, Marge finds
the self cleaning futuristic kitchen to leave her bored and without purpose, so
she turns to alcohol in the hope it will fill the time she would usual fill
with drudgery. Some might argue that this proves that Marge as a character
cannot exist without her role as a housewife, and outside of her domestic hyperactivity she has nothing to justify her as a character. “I’ve been
so bored since we moved here that I’ve found myself drinking a glass of wine
every day.” She laments, “I know doctors say you
should drink a glass and a half but I just can’t drink that much.” So of
course, order is restored and The Simpsons move back into their rut in
Springfield and once again thrive under their own comforting dysfunctionality.
Another important episode in which Marge
satirizes the limitations of the life of the housewife is in the episode
entitled “A Streetcar named Marge” in which Marge lands the part of Blanche
Dubois in an amateur dramatics rendition of “A streetcar named desire” and
homer is profoundly unsupportive vocally refusing to feign interest in her
“kooky projects:” (i.e., endeavours outside of her familial role). During the
casting process, the director disregards all people auditioning for Blanche,
but catches Marge crying on the phone to Homer (“You were right, Homer, Outside
interests are stupid”) and within her finds his star. Marge approaches the role
with her trademark bumbling feminine gingerness and when asked to threaten her
Co-Star with a broken bottle she sighs; “I’m sorry… I just don’t see why
Blanche should shove a broken bottle in Stanley’s face… couldn’t she just take
his abuse with gentle good humour?”. At this moment the satire is used as a
plot device to gain empathy for Marge’s character and we are left to feel pain
for Marge and her uncompromising passiveness. The formula of the Simpsons
portrays the female characters as kind and moral and the male characters as
buffoons. Joan Williams writes in “Unbending
Gender: Why Family and Work Conflict and What to Do About it.” That themes
in domesticity are “men are selfish, women are selfless, women are more moral
than men.”(Williams, p149 1999) Could this vulnerability intrinsically written
in to Marge’s character be a ‘by the women, for the women’ comment of
collective empathy and understanding? By the end of the episode, of course,
Marge is fueled to do well under her husband’s negativity so much so that she
reduces him to tears as he sees the error of his ways, they make up and
normativity is restored.
Marge Simpson breaks the mould of the perfect housewife figure, she’s
beautiful, yet she’s got these unusual trademarks of her big blue bouffant and
her gravelly voice. In Jessamyn Neuhaus’ essay ‘Marge Simpson, the Blue Haired Housewife; Defining Domesticity in The
Simpsons’ it is stated that in the moments of defeat at the end of an
episode at which she returns to normativity, she shows discontent and
disheartenment, meaning that she “pointedly refutes the myth of the TV
housewife; she belies the image of the eternally cheerful, content, utterly
domesticated wife and mother.”(Neuhaus, 2010) She is emotionally sapped by the
limitations of housewifery yet must continue on to return to Homer’s
unconditional yet dissatisfying love. He consistently soothes her in her
defeated state of acquiescence with lines such as “You’ll always be the best
cook in our house.” which once again limits her to domesticity and presents the
satire of the stuck American family to the viewer to which an alternative life
exists. The Simpsons is progressive in the way that it satirises the role of
the traditional gender roles, making us question their validity in everyday
society, and although they stifle change, each return to normativity provides
us with great comfort and a happy ending which distracts us from the pain of
real life.
Nina C
Leibman (1st June 1995). Living Room Lectures: Fifties Family in Film and
Television. Texas: University of Texas Press.
Germaine Greer (1999). The Whole Woman.
Great Britain: Double Day. 164-173
Ferdinand Lundberg and Marynia Farnham (1947). Modern
Woman: The Lost Sex . -: Harper and Brothers. -.
Joan Williams (1999). Unbending Gender: Why
family and work conflict and what to do about it. -: Oxford University
Press. 149.
NEUHAUS, J. (2010), Marge Simpson, Blue-Haired
Housewife: Defining Domesticity on The Simpsons. The Journal of Popular
Culture, 43: 761–781. doi: 10.1111/j.1540-5931.2010.00769.x
Jennifer Reed (2003); Beleaguered
Husbands and Demanding Wives:
“A Streetcar Named Marge” The Simpsons, Fox,
1992, television
“You Only Move Twice” The Simpsons, Fox, 1996, television
“All’s Fair in Oven War” The Simpsons, Fox, 2004, television
“You Only Move Twice” The Simpsons, Fox, 1996, television
“All’s Fair in Oven War” The Simpsons, Fox, 2004, television
“Lucy Wants a Career” The Lucy-Desi Comedy Hour,
Desilu Productions, 1959, television
BP violations of human rights
"Company failed to respond to alleged intimidation by Turkish security forces along its UK-backed Caspian oil pipeline
Ruling places BP in breach of loan agreements, say campaigners
A BP-led consortium is breaking international rules governing the human rights responsibilities of multinational companies in its operations on the controversial Baku-Tbilisi-Ceyhan oil pipeline, the UK Government ruled today [Wednesday 9 March 2011]. Environmental and human rights campaign groups, who filed an official complaint against BP, say the ruling puts the oil giant in breach of loan agreements – including a multi-million pound loan from UK taxpayers.
Villagers living along the flagship oil pipeline owned by the consortium have had an eight-year struggle to hold the companies accountable for alleged human rights abuses associated with its development. The controversial Baku-Tbilisi-Ceyhan oil pipeline brings up to one million barrels of oil a day from the Caspian Seaa, cross Azerbaijan and Georgia to Turkey from where supertankers ship it to Europe.
The UK government has ruled that BP’s consortium broke international rules governing the human rights responsibilities of multinational companies.
The ruling follows a Complaint lodged under the OECD Guidelines for Multinational Enterprises lodged by six public interest groups in April 2003. The UK government backed the pipeline in 2004 through its Export Credits Guarantee Department (ECGD).
The ruling states that BP failed to investigate and respond to complaints from local people of intimidation by state security forces in Turkey guarding the pipeline. Local human rights defender Ferhat Kaya, for instance, was detained and allegedly tortured by the paramilitary police for insisting on fair compensation. Villagers allege that they are routinely interrogated when they raise concerns over the pipeline.
The pipeline passes through an area of north-east Turkey with a substantial Kurdish minority who have been subject to state repression for decades. Since the pipeline’s inception over a decade ago, human rights campaigners in Turkey and the UK have highlighted the risk of local people, particularly Kurdish minorities, being intimidated by state security forces. Today’s ruling has found that, despite widespread awareness of this “heightened risk intimidation”, BP failed to put in place mechanisms to investigate allegations of abuse and ignored those brought to its attention.
The Complaint argued that such intimidation deterred local people from participating in BP’s consultations about the pipeline’s route and compensation negotiations for loss of land and livelihoods.
BP has consistently promoted the BTC pipeline as “world class” in its approach to human rights. According to its legally-binding commitment to comply with the Voluntary Principles on Security and Human Rights (an international code of conduct for multinationals operating in the energy sector), BP should “consult regularly” with local communities about the impacts of pipeline security arrangements and should record and report credible allegations of abuse by security forces to the authorities.
The UK government has now ruled that BP conspicuously failed to implement these undertakings in the north-east region of Turkey by failing to respond to allegations of intimidation and to put in place flexible enough mechanisms to investigate such allegations in areas where local people consider the local authorities do not protect them.
The ruling sets a major precedent. In future, to comply with these corporate social responsibility guidelines, multinationals will have to take into account the human rights context in which they operate, including the risk of intimidation, when designing and implementing corporate grievance mechanisms. Such mechanisms need to be robust enough that people can report intimidation without fearing further reprisals.
Given BP’s legally-binding commitment to ensure that the BTC project complies with the OECD Guidelines, today’s ruling from the UK government potentially places the company in breach of its contracts with the major international financial institutions (IFIs) that backed the project with taxpayers’ money in 2004. In addition to the UK’s export credit agency, these include the International Finance Corporation of the World Bank, the European Bank for Reconstruction and Development (EBRD) and other European and US export credit agencies.
The failure of BP to adhere to the OECD Guidelines and the Voluntary Principles, as required under the project agreements, also raises major concerns over the due diligence undertaken by the IFIs before supporting the pipeline.
Nicholas Hildyard of The Corner House says:
“Public funders knew about the intimidation, but failed to check whether BP had adequate procedures in place to address and remedy it. They ploughed ahead with the project anyway for political reasons. Western governments appear to have been willing to sacrifice the human rights of those living along its route in order to grab the Caspian’s oil for the West.”
Rachel Bernu of Kurdish Human Rights Project says:
“It has taken eight years for the claims of villagers facing repression in this isolated area of Turkey to be recognised. We hope this ruling marks a turning point for the governments and companies involved so that those affected receive just compensation, and human rights are not only respected, but also promoted through investment in future.”
James Marriott of Platform says:
“This ruling shows that BP’s pipeline allowed and enabled repression of local communities. Yet EU governments and companies continue to push for new pipelines to suck oil and gas westwards from distant places of extraction. BTC stands as a warning that these planned ‘energy corridors’ risk becoming ‘corridors of militarisation and human rights abuse’.”
Friends of the Earth’s Policy and Campaigns Director Craig Bennett said:
“Using taxpayers’ money to fund this pipeline at the expense of people’s human rights and the planet is a stain on this country’s reputation.
“This pipeline would not have been built without public funding – Ministers must come clean about what action it will take against BP for breaching its loan agreement.
“The only real way to stop this cycle of exploitation is to wean us all off our fossil fuel dependency by investing in safe, clean and ethical technologies of the future.”
Commenting on the ruling, Nick Dearden of Jubilee Debt Campaign says:
“This long-awaited ruling underlines the need for urgent changes in the UK’s export credits system. Empowering British companies to violate the national laws of other countries goes against the most basic form of social and environmental responsibility. Without effective safeguards, projects like BP’s one are bound to happen again.”
Peter Frankental of Amnesty International UK added:
“The UK government’s condemnation of BP for breaching internationally recognised human rights standards on the BTC pipeline begs the question of why taxpayers’ money, in the form of export credit guarantees, was used to fund such a project in the first place. If such support had been withheld until BP had addressed the human rights context of their pipeline project, then these violations might never have occurred. It is time the UK’s Export Credits Guarantee Department was reformed to prevent this from ever happening again.”
The ruling gives BP three months to introduce new grievance mechanisms in Turkey.
Miranda July
Miranda July creates fascinating work about the every day. She takes narratives which stem from quiet moments in the everyday and makes them incredibly interesting and unsettling. She is a jack of all trades, having made two feature length films, countless independent short films and performances, and has three books published. Noone belongs here more than you is an exciting book of short stories that she has written, she's really good at getting inside the mind of a seemingly banal person and injecting their lives with an element of fantasy and curiosity.
Sometimes her stories have a level of dystopian impossibility nestled into a familiar language that makes us relate to them, sometimes they hold both the language and the circumstance but bring together unlikely components. She has a knack for making things seem both fantastical and benign at the same time. In her performance her use of her voice is the most inspiring thing, she manages to embody professional women to little girls to men in a sing-song story telling manner that make her stories come to life.
I like the pace of July's films, in which nothing much happens. There is a feeling in her work which is almost infectious, it seeps into your own life and leaves a resonance of intrigue.
“Do you have doubts about life? Are you unsure if it’s worth the trouble? Look at the sky: that is for you. Look at each person’s face as you pass on the street: those faces are for you. And the street itself, and the ground under the street and the ball of fire underneath the ground: all these things are for you. They are as much for you as they are for other people. Remember this when you wake up in the morning and think you have nothing. Stand up and face the east. Now praise the sky and praise the light within each person under the sky. It’s okay to be unsure. But praise, praise, praise.”
}ea vqa~}d`g'Dbt`q m`g—} kg`w fgt`ga(nfhh }ea `yasf}`s fg
Drawing parrallels between Lisa Simpson and Sylvia Plath; the pointlessness of it all.
Sylvia Plath - Ennui
"Ennui
Tea leaves thwart those who court catastrophe,
designing futures where nothing will occur:
cross the gypsy’s palm and yawning she
will still predict no perils left to conquer.
Jeopardy is jejune now: naïve knight
finds ogres out-of-date and dragons unheard
of, while blasé princesses indict
tilts at terror as downright absurd.
designing futures where nothing will occur:
cross the gypsy’s palm and yawning she
will still predict no perils left to conquer.
Jeopardy is jejune now: naïve knight
finds ogres out-of-date and dragons unheard
of, while blasé princesses indict
tilts at terror as downright absurd.
The beast in Jamesian grove will never jump,
compelling hero’s dull career to crisis;
and when insouciant angels play God’s trump,
while bored arena crowds for once look eager,
hoping toward havoc, neither pleas nor prizes
shall coax from doom’s blank door lady or tiger."
compelling hero’s dull career to crisis;
and when insouciant angels play God’s trump,
while bored arena crowds for once look eager,
hoping toward havoc, neither pleas nor prizes
shall coax from doom’s blank door lady or tiger."
Lisa Simpson - Meditations on turning Eight
"I had a cat named snowball, she died, she died.
Mom said she was sleeping, she lied, she lied.
Why oh why is my cat dead?
Couldn't that Chrysler have hit me instead?"
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