Immediate Issue 3

NOVEMBER 2024 FEATURING THE WORKS OF: MATTHEW WITT OLIVIA DIXON MORGAN HOWELLS ISATA JAH CHARLOTTE DALBY MADDIE McKEE LOUIE STAGG

Photo by Ethan Fraser

Curated by Bethany Rose Lamont Designed by Elana McCabe

IS AI PHOTOGRAPHY ART? |

GENERATIVE IMAGES: WHAT IS AI PHOTOGRAPHY? Photography has been around since 1839, with its foundations built by French artist Louis-Jacques-Mandé Daguerre. Its creation has become a core part of the human experience.

Due to the digitalisation of the ÿeld, there is an estimate of over 3 trillion photographs taken each year, according to The New York Times (2023). The nature of photography is simply to tell a story through an image and is one of the most powerful mediums of personal expression.

The introduction of AI and software such as Midjourny and Fire°y have taken the industry by surprise with their ability to generate high quality images based on a few, incredibly short prompts, in a remarkably short amount of time.

As with everything AI, this has sparked ÿerce debate in the creative ÿeld. Begging the question of whether AI is a useful tool to enhance an artist’s work and speed productivity, or whether it is the downfall of one of our most creative and inspiring industries.

WIDESPREAD MANIPULATION: HOW AI CHANGES THE FIELD OF PHOTOGRAPHY

WRITTEN BY MATTHEW WITT

PHOTOS BY ETHAN FRASER

Many professionals, including leading voices in the technology industry, have concerns and worries for the future with increasing access to AI. “These things could get more intelligent than us and could decide to take over” noted Geo˛rey Hinton, also known as the “Godfather of AI” for his curation and involvement in machine learning and neural networking. In 2023, Hinton left his position at Google so that he could “talk about the dangers of AI,” noting he even regrets part of his life’s work. Other in°uential ÿgures such as Elon Musk have also revealed that AI “poses profound risk to society and humanity.”

Risks of AI include deepfakes, copywrite infringement, data protection and the future of artists and the creative industry.

The development of algorithms that are able to do tasks quickly and e˛ectively is an important and radical invention that could cost the industry thousands of jobs. “I do not think it will ever remove documentary photography, as these events need to happen, weddings for example, anything when you are documenting a moment.

In that respect, I do not think it is a concern, but it may devalue other aspects of photography,” says Ethan Fraser. Fraser is a ÿnal year photography student at Bournemouth University and is currently writing his dissertation on documentary photography and AI. His research and insight are valuable to the ÿeld, re°ecting the next generation of photographers. He goes on to say, “There are other people involved in the arts that need to get paid and need jobs, such as models, [and] hair stylists.” Whilst AI is powerful and has the ability to manipulate images, and take jobs away from professionals in the ÿeld, it is far too early for this technology to start completely removing the need for this industry altogether.

According to Square Pixel Photography (2023): “AI Image generators are here to stay – and they will only get better at producing realistic (or not) images as time goes by. It will not be long before it will be almost impossible to distinguish a real photo from a generated one. It will change things. The latest iteration of AI technology is certainly going to be disruptive to a lot of people, activities, jobs, etc. The future of where this will go – no one really knows at this point.”

Listening to the experts and the next generation of photographers, AI is certainly something to be concerned about in the future, but for now

IS AI PHOTOGRAPHY ART? |

GENERATIVE IMAGES: WHAT IS AI PHOTOGRAPHY? Photography has been around since 1839, with its foundations built by French artist Louis-Jacques-Mandé Daguerre. Its creation has become a core part of the human experience.

Due to the digitalisation of the ÿeld, there is an estimate of over 3 trillion photographs taken each year, according to The New York Times (2023). The nature of photography is simply to tell a story through an image and is one of the most powerful mediums of personal expression.

The introduction of AI and software such as Midjourny and Fire°y have taken the industry by surprise with their ability to generate high quality images based on a few, incredibly short prompts, in a remarkably short amount of time.

As with everything AI, this has sparked ÿerce debate in the creative ÿeld. Begging the question of whether AI is a useful tool to enhance an artist’s work and speed productivity, or whether it is the downfall of one of our most creative and inspiring industries.

WIDESPREAD MANIPULATION: HOW AI CHANGES THE FIELD OF PHOTOGRAPHY

WRITTEN BY MATTHEW WITT

PHOTOS BY ETHAN FRASER

Many professionals, including leading voices in the technology industry, have concerns and worries for the future with increasing access to AI. “These things could get more intelligent than us and could decide to take over” noted Geo˛rey Hinton, also known as the “Godfather of AI” for his curation and involvement in machine learning and neural networking. In 2023, Hinton left his position at Google so that he could “talk about the dangers of AI,” noting he even regrets part of his life’s work. Other in°uential ÿgures such as Elon Musk have also revealed that AI “poses profound risk to society and humanity.”

Risks of AI include deepfakes, copywrite infringement, data protection and the future of artists and the creative industry.

The development of algorithms that are able to do tasks quickly and e˛ectively is an important and radical invention that could cost the industry thousands of jobs. “I do not think it will ever remove documentary photography, as these events need to happen, weddings for example, anything when you are documenting a moment.

In that respect, I do not think it is a concern, but it may devalue other aspects of photography,” says Ethan Fraser. Fraser is a ÿnal year photography student at Bournemouth University and is currently writing his dissertation on documentary photography and AI. His research and insight are valuable to the ÿeld, re°ecting the next generation of photographers. He goes on to say, “There are other people involved in the arts that need to get paid and need jobs, such as models, [and] hair stylists.” Whilst AI is powerful and has the ability to manipulate images, and take jobs away from professionals in the ÿeld, it is far too early for this technology to start completely removing the need for this industry altogether.

According to Square Pixel Photography (2023): “AI Image generators are here to stay – and they will only get better at producing realistic (or not) images as time goes by. It will not be long before it will be almost impossible to distinguish a real photo from a generated one. It will change things. The latest iteration of AI technology is certainly going to be disruptive to a lot of people, activities, jobs, etc. The future of where this will go – no one really knows at this point.”

Listening to the experts and the next generation of photographers, AI is certainly something to be concerned about in the future, but for now

this concept is in its early days and will not be in full e˛ect for several years. Predictions for the future of what AI is capable of are uncertain, but the generative AI market share is expected to reach $33bn (USD) by 2027 and by worth $908.7 (USD) by 2030. This is an 80% expected annual growth rate, which highlights the signiÿcance that AI will hold in the next decade. Furthermore, research from Zahra Bahrololoumi, CEO, salesforce U.k and Ireland, suggest that “in the UK 38% of workers are already using or planning on using generative AI at work.”

CONSENT AND CONTROL The next generation of photographers are at the frontline of both AI’s endless possibilities, and its potential to cause major problems within the industry. A key concern is its widespread manipulation and fake images being created and generated for either commercial or ÿnancial gain. According to Alina Valyaeva (2023) there has been over 15.4 billion photos generated by AI, which is as many images as photographers have taken in 150 years. With an increase in deepfakes and AI images that look real there is always a worry that these images can be used for potential harm. One recent case study that has ignited this discussion once again, is the deep fakes surrounding Taylor swift. The Guardian highlights this concern, writing, “AI generated porn, fuelled by misogyny is °ooding the internet.” This issue spread via X/ Twitter and lasted over a day, with the images reaching 47 million views before it was taken down. It is alarming the social media site took so long to eventually remove the images, and speaks both to technology companies' responsibility to regulate disturbing uses of AI and deep fakes, and the wider impact such media can have on society and other potential victims.

The debate continues around creative control, as many photographers fear this could spark a rise

in artists’ work being used without consent and credit, causing chaos in the world of copyright.

However, when posting anything on the internet we must be careful as it can be open for anyone to use. “People do have to realise that if you put something on the internet it will get used anyway without your permission,” Ethan notes.

Midjourny, has faced scrutiny for copywrite with a recent lawsuit being ÿled against them for the business model that is “built upon the unauthorised of billions of images – both from the artist and everyday individuals – violates protection.”

The lawsuit was ÿled by Jingna Zhang and other professional photographers and artists such as Karla Ortiz, Kelly McKernan, Sarah Andersen for copywrite infringement of their work. Zhang has openly expressed her thoughts and viewpoints on AI and its harmful impact, stating in an Instagram post that “A guy plagiarised her work and made it a tribute to a racist opera.” She goes on to say: “I thought by going to court I could defend my work and set precedent to help other artists who go through what I did. But I lost the ÿrst instance on count that although I owned my

copyright, it did not deserve protection because my model's pose was not unique.” Such disputes highlight how AI is still in an infant state, with little laws and protection when it comes to copywrite and the legal protection of artist work.

POST-PHOTOGRAPHY AND PROMPTOGRAPHY: THE FUTURE OF PHOTOGRAPHY? Post-photography and promptography are

this concept is in its early days and will not be in full e˛ect for several years. Predictions for the future of what AI is capable of are uncertain, but the generative AI market share is expected to reach $33bn (USD) by 2027 and by worth $908.7 (USD) by 2030. This is an 80% expected annual growth rate, which highlights the signiÿcance that AI will hold in the next decade. Furthermore, research from Zahra Bahrololoumi, CEO, salesforce U.k and Ireland, suggest that “in the UK 38% of workers are already using or planning on using generative AI at work.”

CONSENT AND CONTROL The next generation of photographers are at the frontline of both AI’s endless possibilities, and its potential to cause major problems within the industry. A key concern is its widespread manipulation and fake images being created and generated for either commercial or ÿnancial gain. According to Alina Valyaeva (2023) there has been over 15.4 billion photos generated by AI, which is as many images as photographers have taken in 150 years. With an increase in deepfakes and AI images that look real there is always a worry that these images can be used for potential harm. One recent case study that has ignited this discussion once again, is the deep fakes surrounding Taylor swift. The Guardian highlights this concern, writing, “AI generated porn, fuelled by misogyny is °ooding the internet.” This issue spread via X/ Twitter and lasted over a day, with the images reaching 47 million views before it was taken down. It is alarming the social media site took so long to eventually remove the images, and speaks both to technology companies' responsibility to regulate disturbing uses of AI and deep fakes, and the wider impact such media can have on society and other potential victims.

The debate continues around creative control, as many photographers fear this could spark a rise

in artists’ work being used without consent and credit, causing chaos in the world of copyright.

However, when posting anything on the internet we must be careful as it can be open for anyone to use. “People do have to realise that if you put something on the internet it will get used anyway without your permission,” Ethan notes.

Midjourny, has faced scrutiny for copywrite with a recent lawsuit being ÿled against them for the business model that is “built upon the unauthorised of billions of images – both from the artist and everyday individuals – violates protection.”

The lawsuit was ÿled by Jingna Zhang and other professional photographers and artists such as Karla Ortiz, Kelly McKernan, Sarah Andersen for copywrite infringement of their work. Zhang has openly expressed her thoughts and viewpoints on AI and its harmful impact, stating in an Instagram post that “A guy plagiarised her work and made it a tribute to a racist opera.” She goes on to say: “I thought by going to court I could defend my work and set precedent to help other artists who go through what I did. But I lost the ÿrst instance on count that although I owned my

copyright, it did not deserve protection because my model's pose was not unique.” Such disputes highlight how AI is still in an infant state, with little laws and protection when it comes to copywrite and the legal protection of artist work.

POST-PHOTOGRAPHY AND PROMPTOGRAPHY: THE FUTURE OF PHOTOGRAPHY? Post-photography and promptography are

ting the AI generated image without disclosure, Eldagsen had committed, “deliberate attempts at misleading us by entering the competition under a false pretence and with the intention of spurning the award”. Eldagsen’s work, and subsequent decision, intended to remind the industry that AI is getting scarily close to becoming just as good, if not better, then real word photography. Ethan suggests a way this can be controlled: “Because of how the world is and everyone wants to know if things are real or not. I think AI images should be labelled as AI images, so, it is clear that AI was involved.”

terms that are often used to describe AI generated photo-realistic images and re°ect key debates on the medium. The latter being coined by the German photo and video artist Boris Eldagsen, whose own work has provoked global conversations about the value of generative photography. Promptography, describes the creative process of creating generative content through inserting highly speciÿc and deliberate text promotes into AI software to generate realistic photos.

Eldagsen won the top prize in the 2023 Sony World Photography awards creative/ open category for Pseudomnesia: The Electrician, an AI generated image. The competition ignited the surrounding debate on whether the use of generative images is appropriate, or even ethical. Ethically, the photo should have never been entered into a competition whereby other professional photographers submit their work having taken physical and real photos. Due to this, Eldagsen withdrew his photo from the

awards. In a statement shared on his website, Eldagsen thanks the judges “for selecting my image and making this a historic moment, while questioning if any of them knew or suspected that it was AI-generated.” AI images and photography should not compete with each other in an award like this," he continued, "They are di˛erent entities. AI is not photography. Therefore, I will not accept the award." A spokesperson for the award denounced both the work and his ‘non-acceptance’ speech, arguing that in submit-

In comparison, post-photography deÿned by journalist Robert Shore in his book Post-Photography: The Artist with The Camera (2014), is an experimental and “exciting new language of photographic image-making that is emerging in the digital age of anything-is-possible and everything-has-been-done-before.” Post-photography can be viewed in a more positive way, in contrast to the criticisms of promptography.

This can be seen in the current project Post Photographic Perspectives II from Fellowship, an arts group intending to “empower creators in web3 through co-curation and meaningful understanding of the market.” Their group show Acceptable Realities, celebrates the use of AI to interpret the world in which we live and to question how we represent it. Selected artists “are experimenting with post-photographic images, ranging from panoramic views of overpopulated cities to self-portraits transformed through AI.” “Post-photography is a moment, not a movement,” Shore argues, and such curatorial projects re°ects this potential. The distinctions between post-photography and promptography highlight the di˛erence between generative images as the ÿnal output, and the experimental process of using technology to enhance the creative process rather than replace it entirely.

ting the AI generated image without disclosure, Eldagsen had committed, “deliberate attempts at misleading us by entering the competition under a false pretence and with the intention of spurning the award”. Eldagsen’s work, and subsequent decision, intended to remind the industry that AI is getting scarily close to becoming just as good, if not better, then real word photography. Ethan suggests a way this can be controlled: “Because of how the world is and everyone wants to know if things are real or not. I think AI images should be labelled as AI images, so, it is clear that AI was involved.”

terms that are often used to describe AI generated photo-realistic images and re°ect key debates on the medium. The latter being coined by the German photo and video artist Boris Eldagsen, whose own work has provoked global conversations about the value of generative photography. Promptography, describes the creative process of creating generative content through inserting highly speciÿc and deliberate text promotes into AI software to generate realistic photos.

Eldagsen won the top prize in the 2023 Sony World Photography awards creative/ open category for Pseudomnesia: The Electrician, an AI generated image. The competition ignited the surrounding debate on whether the use of generative images is appropriate, or even ethical. Ethically, the photo should have never been entered into a competition whereby other professional photographers submit their work having taken physical and real photos. Due to this, Eldagsen withdrew his photo from the

awards. In a statement shared on his website, Eldagsen thanks the judges “for selecting my image and making this a historic moment, while questioning if any of them knew or suspected that it was AI-generated.” AI images and photography should not compete with each other in an award like this," he continued, "They are di˛erent entities. AI is not photography. Therefore, I will not accept the award." A spokesperson for the award denounced both the work and his ‘non-acceptance’ speech, arguing that in submit-

In comparison, post-photography deÿned by journalist Robert Shore in his book Post-Photography: The Artist with The Camera (2014), is an experimental and “exciting new language of photographic image-making that is emerging in the digital age of anything-is-possible and everything-has-been-done-before.” Post-photography can be viewed in a more positive way, in contrast to the criticisms of promptography.

This can be seen in the current project Post Photographic Perspectives II from Fellowship, an arts group intending to “empower creators in web3 through co-curation and meaningful understanding of the market.” Their group show Acceptable Realities, celebrates the use of AI to interpret the world in which we live and to question how we represent it. Selected artists “are experimenting with post-photographic images, ranging from panoramic views of overpopulated cities to self-portraits transformed through AI.” “Post-photography is a moment, not a movement,” Shore argues, and such curatorial projects re°ects this potential. The distinctions between post-photography and promptography highlight the di˛erence between generative images as the ÿnal output, and the experimental process of using technology to enhance the creative process rather than replace it entirely.

However, a post-photography project that has been criticised by photographers and audiences alike is 90 Miles (2023). The work has been entirety created using AI and is based on the historical events and realities of Cuban life that motivated Cubans to cross from Havana to Florida. The photos are created by photographer Michael Christopher Brown who spent months researching and developing this project. In the traditional photography world, Brown is a respected photojournalist and documentarian and has been a National Geographic photographer since 2004. Brown decided to create this project using AI since it was not safe to physically go to Cuba and take the photos. His work was criticized on his Instagram from artists and documentarians for lacking empathy and emotion due to the use of AI. One user commenting sarcastically, “Wow the emotion is really there,” and other users using words such as “trash” and “disgusting.” However, despite this, it still is an impactful, research led project that conveys animportant message and overall story. In a summary of the project on his website, Michael adds: “It is understood that society must maintain the integrity of the photograph. We must create barriers around certain A.I. generated output, as with the potentially dangerous photo-realistic imagery of Trump that went viral, while experimenting with the technology to use it to our advantage.”

Similarly, regarding the ethics of AI in documentary projects, Ethan re°ects that: “I believe that using AI speciÿcally in documentary photography, can cause people to not think of photography as the truth anymore. It follows the saying the camera never lies- although the camera actually lies as you are choosing what is in the frame.

With AI nothing in the frame is real and that is where the danger is.”

However, Ethan commented that “the reason people are not empathising with AI images it because all these articles are not focusing on the story. Everything single article is drawn to the fact it is produced by AI, Oh my god AI image, AI image.” Perhaps, the concern is not the technology itself but the stories we tell with them.

The idea that AI is going to take over the photography industry seems dystopian, but it has the potential to be a reality in the coming years.

Equally, whilst AI is powerful and can create photorealistic images, the need for this creative industry is apparent more than ever. AI and generative content in not going anywhere, so society will need to adapt, learn, and understand the software so we can use it to our advantage.

Josep Bori, thematic research director of Global Data, suggests that “Generative AI will impact every industry [and] will become a catalyst for broader AI capabilities such as machine learning, computer vision and autonomous robots.”

However, whilst we cannot predict what the future holds for this technology, it is undeniable that AI is going to have a signiÿcant impact to our lives, our global climate, and our wider society.

EXPLORE MORE OF ETHAN FRASER’S WORK: https://ethanfraser.com/

However, a post-photography project that has been criticised by photographers and audiences alike is 90 Miles (2023). The work has been entirety created using AI and is based on the historical events and realities of Cuban life that motivated Cubans to cross from Havana to Florida. The photos are created by photographer Michael Christopher Brown who spent months researching and developing this project. In the traditional photography world, Brown is a respected photojournalist and documentarian and has been a National Geographic photographer since 2004. Brown decided to create this project using AI since it was not safe to physically go to Cuba and take the photos. His work was criticized on his Instagram from artists and documentarians for lacking empathy and emotion due to the use of AI. One user commenting sarcastically, “Wow the emotion is really there,” and other users using words such as “trash” and “disgusting.” However, despite this, it still is an impactful, research led project that conveys animportant message and overall story. In a summary of the project on his website, Michael adds: “It is understood that society must maintain the integrity of the photograph. We must create barriers around certain A.I. generated output, as with the potentially dangerous photo-realistic imagery of Trump that went viral, while experimenting with the technology to use it to our advantage.”

Similarly, regarding the ethics of AI in documentary projects, Ethan re°ects that: “I believe that using AI speciÿcally in documentary photography, can cause people to not think of photography as the truth anymore. It follows the saying the camera never lies- although the camera actually lies as you are choosing what is in the frame.

With AI nothing in the frame is real and that is where the danger is.”

However, Ethan commented that “the reason people are not empathising with AI images it because all these articles are not focusing on the story. Everything single article is drawn to the fact it is produced by AI, Oh my god AI image, AI image.” Perhaps, the concern is not the technology itself but the stories we tell with them.

The idea that AI is going to take over the photography industry seems dystopian, but it has the potential to be a reality in the coming years.

Equally, whilst AI is powerful and can create photorealistic images, the need for this creative industry is apparent more than ever. AI and generative content in not going anywhere, so society will need to adapt, learn, and understand the software so we can use it to our advantage.

Josep Bori, thematic research director of Global Data, suggests that “Generative AI will impact every industry [and] will become a catalyst for broader AI capabilities such as machine learning, computer vision and autonomous robots.”

However, whilst we cannot predict what the future holds for this technology, it is undeniable that AI is going to have a signiÿcant impact to our lives, our global climate, and our wider society.

EXPLORE MORE OF ETHAN FRASER’S WORK: https://ethanfraser.com/

“The media could have done so much more”: The fight for justice continues for victims of the infected blood scandal Stigma, misinformation, and frustration. Decades later, families are still left searching for answers and accountability.

WRITTEN BY OLIVIA DIXON

Photograph of Nora Worthington, Mother of Claire Dixon and Grandmother of Olivia Dixon

“Bite sized, digestible reporting often leads to a lack of balance and perspective, omitting key facts and establishing false narratives”, reflects Claire Dixon, aged 52, on her own experiences of the infected blood scandal.

Also known as the contaminated blood scandal, the infected blood scandal refers to a series of tragic, and life changing events that took place in Britain in the 1970s and 1980s which lead to thousands of haemophiliacs and other patients being infected with HIV/AIDS and Hepatitis C through contaminated blood products. “Just like the postmasters, victims of the infected blood scandal have been subject to unimaginable trauma during their search for justice", declared Labour leader Keir Starmer, confronting (then) Prime Minister Rishi Sunak, shortly after the Prime Minister's question time. The media have played a crucial part in reporting on the incident, both in raising awareness, and in creating stigma, and misinformation. After losing her husband, a severe haemophiliac, in June 1994, one of the campaigners for justice Mary Grindley stated, “it [the campaign for justice] has given me the courage to speak

more to people and has opened up conversations which I might otherwise not have had, even though those conversations have at times been difficult”.

I myself have a personal connection to the inquiry as sadly I lost a woman, I will never have the privilege of meeting, my grandmother, Nora. Hence, why I speak upon this subject with a full heart. Growing up, I have seen the grief my mother, Claire, has carried and how “the human tragedy can of course be lost amidst the need to reframe against the priorities of political expediency.” Upon reflection, this has given me the motivation to

"Just like the postmasters, victims of the infected blood scandal have been subject to unimaginable trauma during their search for justice."

Keir Starmer, Leader of the Labour Party

“The media could have done so much more”: The fight for justice continues for victims of the infected blood scandal Stigma, misinformation, and frustration. Decades later, families are still left searching for answers and accountability.

WRITTEN BY OLIVIA DIXON

Photograph of Nora Worthington, Mother of Claire Dixon and Grandmother of Olivia Dixon

“Bite sized, digestible reporting often leads to a lack of balance and perspective, omitting key facts and establishing false narratives”, reflects Claire Dixon, aged 52, on her own experiences of the infected blood scandal.

Also known as the contaminated blood scandal, the infected blood scandal refers to a series of tragic, and life changing events that took place in Britain in the 1970s and 1980s which lead to thousands of haemophiliacs and other patients being infected with HIV/AIDS and Hepatitis C through contaminated blood products. “Just like the postmasters, victims of the infected blood scandal have been subject to unimaginable trauma during their search for justice", declared Labour leader Keir Starmer, confronting (then) Prime Minister Rishi Sunak, shortly after the Prime Minister's question time. The media have played a crucial part in reporting on the incident, both in raising awareness, and in creating stigma, and misinformation. After losing her husband, a severe haemophiliac, in June 1994, one of the campaigners for justice Mary Grindley stated, “it [the campaign for justice] has given me the courage to speak

more to people and has opened up conversations which I might otherwise not have had, even though those conversations have at times been difficult”.

I myself have a personal connection to the inquiry as sadly I lost a woman, I will never have the privilege of meeting, my grandmother, Nora. Hence, why I speak upon this subject with a full heart. Growing up, I have seen the grief my mother, Claire, has carried and how “the human tragedy can of course be lost amidst the need to reframe against the priorities of political expediency.” Upon reflection, this has given me the motivation to

"Just like the postmasters, victims of the infected blood scandal have been subject to unimaginable trauma during their search for justice."

Keir Starmer, Leader of the Labour Party

delve into the media’s involvement in this case, and in March 2024, this fight for justice even took me to parliament. Empathy was a word I continuously threw into my conversations with any politicians I met, regarding the lack that the Conservative government held in regard to the inquiry, and the hundreds of victims dying whilst they continue at this slow pace. Here, I speak to some of the campaigners who are who are fighting to rewrite this pessimistic narrative created, to one of living with, rather than dying from this medical scandal.

‘Don’t Die of Ignorance’ was the public health campaign for HIV and AIDS, funded by the UK government in 1986 under Margaret Thatcher. The campaign, which focused on death, using doom laden imagery of gravestones, icebergs and volcanoes, conjured a fearful response from the millions that watched the television advertisements and received their leaflets. Disregarding the fears of those who had to live with the illness, the

Campaigners for justice in Parliament, February 2024

campaign aimed to educate the British public about the risks of transmission and promote safe practices in order to avoid spreading the virus. But “instead of merely warning people of the dangers and helping them to stay safe, it helped to create almost mass hysteria at the time, together with great fear through its frightening message” explains Mary. Though we now know the campaign to be heavily misinformed, due to lack of research at the time, the adverts heavily contributed to the stigmatisation of HIV/AIDS. Mary recalls how her and her husband “feared speaking

“As hard as it is seeing it on the news, by keeping it [the infected blood inquiry] in the press, it’s keeping it alive”.

Claire Dixon, 52, affected by the scandal

out in case of stigma” and how many infected people were “verbally abused, physically attacked, ostracised and driven from their homes.” The couple themselves facing several incidents of abuse from neighbours. She feels this was all a “direct result of the media’s handling of the situation”, which is important to reflect upon today as “the toll of the scandal has never truly been recognised”.

“Secrecy and marginalisation meant Nora distanced herself from family and friends to protect Stephen [Claire’s brother] and I”, reflects Claire and this “secrecy invariably meant media coverage wasn’t reflecting the true scale or depth of the effect AIDS had on ordinary lives”. Even after 30 years have passed, Claire still feels “it’s like reliving my mum’s death everyday”. She was only 22 when she lost her mother to a rare anal carcinoma through the infected blood scandal and feels that “as hard as it is seeing it on the news, by keeping it in the press, it’s

Princess Diana, Tim Rooke/SHUTTERSTOCK (1987)

keeping it alive”. Most politicians we spoke to on our trip to Parliament, assured my mother, Claire and I that they will not stop fighting for justice until the day they die.

One politician who stuck out to me was Chris Stephens, the (then) Scottish National Party’s Spokesperson for Justice and Immigration.

From our brief interaction, I could tell he wasn't going to let this inquiry slip Rishi Sunak and the Tory government’s mind. As with the post office scandal our voices can no longer be ignored.

Since the very start of the AIDS epidemic, the media has “played an integral role and will continue to do so” says Jason Evans, founder and director of the Factor 8 group, the UK's leading infected blood scandal campaign organisation. Factor 8 will continue to give a voice to victims brave enough to tell their stories, as they can truly help the public understand HIV/AIDS from a more human perspective. Barbara Keeley, the (now

delve into the media’s involvement in this case, and in March 2024, this fight for justice even took me to parliament. Empathy was a word I continuously threw into my conversations with any politicians I met, regarding the lack that the Conservative government held in regard to the inquiry, and the hundreds of victims dying whilst they continue at this slow pace. Here, I speak to some of the campaigners who are who are fighting to rewrite this pessimistic narrative created, to one of living with, rather than dying from this medical scandal.

‘Don’t Die of Ignorance’ was the public health campaign for HIV and AIDS, funded by the UK government in 1986 under Margaret Thatcher. The campaign, which focused on death, using doom laden imagery of gravestones, icebergs and volcanoes, conjured a fearful response from the millions that watched the television advertisements and received their leaflets. Disregarding the fears of those who had to live with the illness, the

Campaigners for justice in Parliament, February 2024

campaign aimed to educate the British public about the risks of transmission and promote safe practices in order to avoid spreading the virus. But “instead of merely warning people of the dangers and helping them to stay safe, it helped to create almost mass hysteria at the time, together with great fear through its frightening message” explains Mary. Though we now know the campaign to be heavily misinformed, due to lack of research at the time, the adverts heavily contributed to the stigmatisation of HIV/AIDS. Mary recalls how her and her husband “feared speaking

“As hard as it is seeing it on the news, by keeping it [the infected blood inquiry] in the press, it’s keeping it alive”.

Claire Dixon, 52, affected by the scandal

out in case of stigma” and how many infected people were “verbally abused, physically attacked, ostracised and driven from their homes.” The couple themselves facing several incidents of abuse from neighbours. She feels this was all a “direct result of the media’s handling of the situation”, which is important to reflect upon today as “the toll of the scandal has never truly been recognised”.

“Secrecy and marginalisation meant Nora distanced herself from family and friends to protect Stephen [Claire’s brother] and I”, reflects Claire and this “secrecy invariably meant media coverage wasn’t reflecting the true scale or depth of the effect AIDS had on ordinary lives”. Even after 30 years have passed, Claire still feels “it’s like reliving my mum’s death everyday”. She was only 22 when she lost her mother to a rare anal carcinoma through the infected blood scandal and feels that “as hard as it is seeing it on the news, by keeping it in the press, it’s

Princess Diana, Tim Rooke/SHUTTERSTOCK (1987)

keeping it alive”. Most politicians we spoke to on our trip to Parliament, assured my mother, Claire and I that they will not stop fighting for justice until the day they die.

One politician who stuck out to me was Chris Stephens, the (then) Scottish National Party’s Spokesperson for Justice and Immigration.

From our brief interaction, I could tell he wasn't going to let this inquiry slip Rishi Sunak and the Tory government’s mind. As with the post office scandal our voices can no longer be ignored.

Since the very start of the AIDS epidemic, the media has “played an integral role and will continue to do so” says Jason Evans, founder and director of the Factor 8 group, the UK's leading infected blood scandal campaign organisation. Factor 8 will continue to give a voice to victims brave enough to tell their stories, as they can truly help the public understand HIV/AIDS from a more human perspective. Barbara Keeley, the (now

retired) Labour MP for Worsley and Eccles South, acknowledges this by saying “despite working through their own ill-health, grief and trauma, their campaigning has been relentless as they have pursued justice”. Over time Jason, and everyone at Factor 8, have been able to build a community of both infected and affected people, two of which are Mary and Claire, and a strong reputation within parliament and the media.

Jason’s personal connection to the case study is through his father and uncle, both of whom were infected with HIV and HCV. During his journey through the inquiry he directed the International Emmy award-winning documentary, ‘In Cold Blood’ (2020). The film tells the true story of how thousands were infected and died from contaminated blood, and went on to receive a 5-star review from the Independent and a 4-star review from the Telegraph. Jason believes “the media was critical in obtaining the inquiry, keeping it in the public and putting pressure on the government to take some action in terms of compensation.” But equally he highlights that “the media reporting in the 1980s reflected general views held by much of society, there was a perception by many that AIDS was God’s punishment for gay people and undesirables”.

“HIV does not make people dangerous to know. You can shake their hands and give them a hug. Heaven knows they need it. What’s more, you can share their homes, their workplaces, and their playgrounds and toys”.

Princess Diana, 1987

Several celebrities, through their own struggles, characters played or through their support for others, have become spokespeople for the virus, creating more informed public support, and more empathy for victims. One of the landmark examples is the day Princess Diana opened the UK’s first HIV and AIDS unit in 1987, hoping to raise awareness and compassion for people suffering. It was on this day, a certain image made front page news, a picture taken of Diana shaking the hand of a patient, without gloves. The photograph disarmed false narratives people held at the time regarding contracting the illness, encouraging public awareness, and awakening the beginning of a more empathetic public response. Whilst visiting the hospital, Diana famously noted “HIV does not make people dangerous to know. You can shake their hands and give them a hug. Heaven knows they need it. What’s more, you can share their homes, their workplaces, and their playgrounds and toys”.

Regarding media exposure of the infected blood scandal, Mary reflects that “in many respects the media has highlighted the inquiry and the scandal which would not have been highlighted. But, because the inquiry has taken five and a half years, coverage has been sporadic and in the main aspect of TV, it has only been covered when there has been a significant witness or evidence of particular interest”. I felt extremely honoured when Mary opened up about how the last time she gave an interview on the inquiry where, “a newspaper journalist misreported me and grossly exaggerated what I said. I have never given an interview since because it angered me so much”. This was the first interview she had done after, and I was aware of my own responsibility to do justice to her story. So, in doing my interviews and asking my questions, I constantly made the boundaries perfectly clear that anything she didn’t feel comfortable talking about, we would not discuss, and that anything she did say to me

Jason Evans, aged 4, with his Father

would be written just as she wanted it to be told. As my mother put it, often “media coverage is invariably frustrating”, especially when victims have been through decades of a ‘distressing and painful journey as old experiences are exposed in the public domain to new audiences.

The media reporting on the inquiry isn’t always accurate, and there can undoubtably be instances of misinformation, creating profound stigma and harmful consequences for the victims. In such complex cases, a lack of context or oversimplification of the issue can cause big misunderstandings. Media outlets failing to provide the proper comprehensive background, such as the systematic failures and regulatory shortcomings that originally led to the scandal, leads the public to not gain full understanding of the genuine problem. A perfect example of a misconception voiced by Claire is that “victims have received interim compensation of £100,000… not stating this is to only approximately 36% of the infected

/affected community”. This could also be caused through biased reporting and the influence this then has on public perception, which is also the same regarding misleading headlines and sensationalism. Equally, it is crucial for me to acknowledge the journalists, public campaigners, politicians and media makers have worked hard in playing a crucial role of uncovering the truth, raising awareness, and advocating for justice. In telling these stories, we keep the memories of those we’ve lost alive.

“Those coming forward to share their stories with the inquiry and with the media should be commended and treated with dignity” Barbara Keeley MP, for Worsley and Eccles South

retired) Labour MP for Worsley and Eccles South, acknowledges this by saying “despite working through their own ill-health, grief and trauma, their campaigning has been relentless as they have pursued justice”. Over time Jason, and everyone at Factor 8, have been able to build a community of both infected and affected people, two of which are Mary and Claire, and a strong reputation within parliament and the media.

Jason’s personal connection to the case study is through his father and uncle, both of whom were infected with HIV and HCV. During his journey through the inquiry he directed the International Emmy award-winning documentary, ‘In Cold Blood’ (2020). The film tells the true story of how thousands were infected and died from contaminated blood, and went on to receive a 5-star review from the Independent and a 4-star review from the Telegraph. Jason believes “the media was critical in obtaining the inquiry, keeping it in the public and putting pressure on the government to take some action in terms of compensation.” But equally he highlights that “the media reporting in the 1980s reflected general views held by much of society, there was a perception by many that AIDS was God’s punishment for gay people and undesirables”.

“HIV does not make people dangerous to know. You can shake their hands and give them a hug. Heaven knows they need it. What’s more, you can share their homes, their workplaces, and their playgrounds and toys”.

Princess Diana, 1987

Several celebrities, through their own struggles, characters played or through their support for others, have become spokespeople for the virus, creating more informed public support, and more empathy for victims. One of the landmark examples is the day Princess Diana opened the UK’s first HIV and AIDS unit in 1987, hoping to raise awareness and compassion for people suffering. It was on this day, a certain image made front page news, a picture taken of Diana shaking the hand of a patient, without gloves. The photograph disarmed false narratives people held at the time regarding contracting the illness, encouraging public awareness, and awakening the beginning of a more empathetic public response. Whilst visiting the hospital, Diana famously noted “HIV does not make people dangerous to know. You can shake their hands and give them a hug. Heaven knows they need it. What’s more, you can share their homes, their workplaces, and their playgrounds and toys”.

Regarding media exposure of the infected blood scandal, Mary reflects that “in many respects the media has highlighted the inquiry and the scandal which would not have been highlighted. But, because the inquiry has taken five and a half years, coverage has been sporadic and in the main aspect of TV, it has only been covered when there has been a significant witness or evidence of particular interest”. I felt extremely honoured when Mary opened up about how the last time she gave an interview on the inquiry where, “a newspaper journalist misreported me and grossly exaggerated what I said. I have never given an interview since because it angered me so much”. This was the first interview she had done after, and I was aware of my own responsibility to do justice to her story. So, in doing my interviews and asking my questions, I constantly made the boundaries perfectly clear that anything she didn’t feel comfortable talking about, we would not discuss, and that anything she did say to me

Jason Evans, aged 4, with his Father

would be written just as she wanted it to be told. As my mother put it, often “media coverage is invariably frustrating”, especially when victims have been through decades of a ‘distressing and painful journey as old experiences are exposed in the public domain to new audiences.

The media reporting on the inquiry isn’t always accurate, and there can undoubtably be instances of misinformation, creating profound stigma and harmful consequences for the victims. In such complex cases, a lack of context or oversimplification of the issue can cause big misunderstandings. Media outlets failing to provide the proper comprehensive background, such as the systematic failures and regulatory shortcomings that originally led to the scandal, leads the public to not gain full understanding of the genuine problem. A perfect example of a misconception voiced by Claire is that “victims have received interim compensation of £100,000… not stating this is to only approximately 36% of the infected

/affected community”. This could also be caused through biased reporting and the influence this then has on public perception, which is also the same regarding misleading headlines and sensationalism. Equally, it is crucial for me to acknowledge the journalists, public campaigners, politicians and media makers have worked hard in playing a crucial role of uncovering the truth, raising awareness, and advocating for justice. In telling these stories, we keep the memories of those we’ve lost alive.

“Those coming forward to share their stories with the inquiry and with the media should be commended and treated with dignity” Barbara Keeley MP, for Worsley and Eccles South

The Exhibition Slowing Down Fashion

WRITTEN BY MORGAN HOWELLS

So, what is ReThink?

How can you make a change in order to make a di˛erence? ReThink, a brand-new student-led exhibition on sustainability and social change within the fashion industry is looking to ÿnd the answer. Curated and organised by Bath Spa University students, the team focusses on three key calls to action: Reuse, Repair, and Rethink. All of which introduce the idea of circular fashion to you in understandable, educational, and artistic ways. From poignant art and photography displaying the impacts of the climate crisis, to short ÿlms, a swap shop and a chance to learn new skills in a repair workshop, ReThink will open your eyes to the world of slow fashion.

A quick note on sustainability in fashion.

Sustainability within the fashion industry is a highly contested subject, and for good reason. As fashion marketing students, the fashion industry’s impact on the climate is an unavoidable part of our discipline. Everyone buys clothes, as everyone needs to wear clothes, the issue arises when these clothes no longer serve their

purpose, and their disposal ends up harming the environment in signiÿcant way. As our co-curator Annie Chant explains:

Fashion is the second most environmentally damaging industry worldwide, so without raising awareness of its impacts and enacting environmental justice more harm than good will come from it. Rethink will help to raise awareness of this at a consumer level, making information to inspire consumers to transition to sustainable fashion easy to access.

This issue has spanned decades, with many counterculture movements present throughout history, such as the hippies of the ‘60s and ‘70s punk rockers, rejecting the mass-production that came with the advancements in technology, and in°uencing the development of more sustainably made clothes. It’s because of these eco-warriors that we are in such a good position to promote sustainable slow fashion today. So, thank you to those who stood up against the status quo and began ÿghting for our planet. It’s this ÿght that we need to work hard to continue.

The Exhibition Slowing Down Fashion

WRITTEN BY MORGAN HOWELLS

So, what is ReThink?

How can you make a change in order to make a di˛erence? ReThink, a brand-new student-led exhibition on sustainability and social change within the fashion industry is looking to ÿnd the answer. Curated and organised by Bath Spa University students, the team focusses on three key calls to action: Reuse, Repair, and Rethink. All of which introduce the idea of circular fashion to you in understandable, educational, and artistic ways. From poignant art and photography displaying the impacts of the climate crisis, to short ÿlms, a swap shop and a chance to learn new skills in a repair workshop, ReThink will open your eyes to the world of slow fashion.

A quick note on sustainability in fashion.

Sustainability within the fashion industry is a highly contested subject, and for good reason. As fashion marketing students, the fashion industry’s impact on the climate is an unavoidable part of our discipline. Everyone buys clothes, as everyone needs to wear clothes, the issue arises when these clothes no longer serve their

purpose, and their disposal ends up harming the environment in signiÿcant way. As our co-curator Annie Chant explains:

Fashion is the second most environmentally damaging industry worldwide, so without raising awareness of its impacts and enacting environmental justice more harm than good will come from it. Rethink will help to raise awareness of this at a consumer level, making information to inspire consumers to transition to sustainable fashion easy to access.

This issue has spanned decades, with many counterculture movements present throughout history, such as the hippies of the ‘60s and ‘70s punk rockers, rejecting the mass-production that came with the advancements in technology, and in°uencing the development of more sustainably made clothes. It’s because of these eco-warriors that we are in such a good position to promote sustainable slow fashion today. So, thank you to those who stood up against the status quo and began ÿghting for our planet. It’s this ÿght that we need to work hard to continue.

After all, how would we be able to function without a healthy working planet? The answer is we couldn’t.

Why is this important?

With the looming weight of the climate crisis, it’s easy for this pressure to seep into every aspect of our lives, constantly peering over our shoulders and critiquing our choices. This can be felt particularly in terms of fashion and the industry in general. The clothes that we buy have many environmental impacts, both visible and hidden.

When looking at our garments care labels it’s easy to feel overwhelmed and frankly a bit clueless. What’s safe to buy and what’s not?

What’s harmful? What’s long lasting? What’s sustainable? Why should I care? Sometimes it’s all a bit much.

There are so many ways to make a di˛erence to your fashion consumption, and being vigilant with your labels is just one aspect. It’s essential to keep clued up on how our actions e˛ect the environment, and one easy way to do this is by looking into a more ‘circular’ way of consuming.

So, what is this? A circular fashion model just means we are aiming to minimize textile waste and maximise the lifespan of your clothes. The ReThink exhibition is an easy way to introduce yourself to this concept in a fun, engaging, and educational way, dipping your toe into a more sustainable way of consuming fashion.

Reuse The ÿrst call to action explored by ReThink is ‘Reuse’. This portion of the exhibition o˛ers you an opportunity to give your unwanted clothes and accessories a second lease of life, saving them from potentially ending up in landÿll.

Globally we produce around 92 million tonnes of textile waste a year, according to one study by Global Fashion Agenda. Doesn’t this make you

think twice about how you discard of your old clothes? Since the rise in popularity of charity shopping and ÿnding a perfect bargain on sites like eBay, Depop, and (my personal favourite) Vinted, clothing swaps and second-hand clothing sales have also drastically risen in popularity as highlighted by Vogue’s Senior Trends Analysis Lucy Maguire. Because of this success, the ReThink team is proposing a clothing ‘swap-shop’. This will be a non-proÿt way of exchanging your lesser used clothes for something new and exciting, a way to refresh your wardrobe at no extra cost. Discover your new favourite garment out of someone else’s previous favourite garment and feel peace in knowing you’ve extended its lifespan by giving it a new lease of life in your wardrobe. As ReThink team member Caitlin Jarvis explains, our Reuse section will “help to break down the stigma surrounding second-hand shopping and allow students to explore the realm of slow fashion without having to invest ÿnancially.” Here ReThink looks to o˛er “an overall fun yet direct way of promoting change within the minds of fashion consumers.”

Repair “The most sustainable garment is the one already in your wardrobe”, says Orsola de Castro, Co-Founder of Fashion Revolution. But what about when the garments you already have get a little bit too much love? There’s nothing more disappointing than going to put on your favourite pair of jeans and realising that they have a hole in them, or a button missing. Sometimes the textiles and sewing lessons of our high school days missed the mark, leaving you looking to replace instead of repair. Not only would repairing clothes save you money but it also saves the planet, helping more garments avoid a grizzly end in a landÿll site.

The repair aspect of this exhibition will allow

you to learn practical skills to improve the longevity of your favourite garment, and useful techniques to maintain their wearability. This repair workshop will be run by the lovely Kirsty Bennetta, a fashion academic, researcher, and lecturer who is currently teaching the importance of sustainable fashion at Bath Spa University. She has a wealth of experience in the fashion industry, at times specialising in the manufacturing of garments so she is more than qualiÿed to aid you in bringing the life back into your beloved garments.

As Kirsty explains....

“If we think back 50 years, it was common knowledge to know how to repair your own clothes, and this went hand in hand with valuing what you had. These days, fast fashion has taken that need away from us – it’s now just easier to buy new when something breaks. Why would be bother going to the e˛ort of a repair when we can just buy something new. Well, the reality is that by doing this we are hurting the planet, and there are so many ethical implications that go along side this attitude. When we put our time and e˛ort into something, we always value it a bit more. A home cooked meal, a DIY project, a hand ÿnished painting. Why should clothes be any di˛erent? Valuing our clothes and learning to love what we have will not only make a huge di˛erence to combating the issues that arise through cheaply produced clothing, it will help set an example for others to follow… and the more that follow, the more chance we have of saving our planet. Having the skills to take care of our clothes is essential in being able to spend the time caring and loving them enough to not want to throw them away”.

ReThink runs from 10am-4pm on Monday 20th May at ‘The Street’, at Bath Spa University’s Locksbrook Campus, Bath, BA1 3EL.

ReThink As changing the mindset of the audience is this exhibition’s primary mission, this section’s importance is clear. Operating as an engaging exhibition showcasing extraordinary works from Bath Spa University’s very own artistic talents, appearing alongside handpicked books and short ÿlms, these curated artefacts and displays showcase how slowing down your fashion intake is important to the health of the environment. ReThink’s gallery serves to educate those who pass through the event, conveying a message of circularity and sustainability through art and letting you into the world of conscious consumerism.

Artistic works that on display include a photography project highlighting the impact of fast fashion on marine life by photography student Natasha Phipps. A heart stopping piece that will really make you reevaluate how your consumer actions can lead to these unsavoury outcomes. A selection of short ÿlms from the Depict archives have been chosen and will run in the background of the exhibition, adding depth and another interactive aspect to the event, supported by specially chosen books that illustrate the harm facing the environment and how we as a collective can aim to ÿx it.

Further artworks included are an interactive clothing rail, consisting of second-hand garments with great sentimental value, some passed down through generations and some with great personal meaning. This display of love surrounding these items will play with your heartstrings and leave you with the nostalgia and emotion that acquiring second hand pieces can evoke. Expect to see amazing talents and a˛ective stories curated by the Rethink team, and hopefully come away and do some ‘Rethinking’ of your own.

After all, how would we be able to function without a healthy working planet? The answer is we couldn’t.

Why is this important?

With the looming weight of the climate crisis, it’s easy for this pressure to seep into every aspect of our lives, constantly peering over our shoulders and critiquing our choices. This can be felt particularly in terms of fashion and the industry in general. The clothes that we buy have many environmental impacts, both visible and hidden.

When looking at our garments care labels it’s easy to feel overwhelmed and frankly a bit clueless. What’s safe to buy and what’s not?

What’s harmful? What’s long lasting? What’s sustainable? Why should I care? Sometimes it’s all a bit much.

There are so many ways to make a di˛erence to your fashion consumption, and being vigilant with your labels is just one aspect. It’s essential to keep clued up on how our actions e˛ect the environment, and one easy way to do this is by looking into a more ‘circular’ way of consuming.

So, what is this? A circular fashion model just means we are aiming to minimize textile waste and maximise the lifespan of your clothes. The ReThink exhibition is an easy way to introduce yourself to this concept in a fun, engaging, and educational way, dipping your toe into a more sustainable way of consuming fashion.

Reuse The ÿrst call to action explored by ReThink is ‘Reuse’. This portion of the exhibition o˛ers you an opportunity to give your unwanted clothes and accessories a second lease of life, saving them from potentially ending up in landÿll.

Globally we produce around 92 million tonnes of textile waste a year, according to one study by Global Fashion Agenda. Doesn’t this make you

think twice about how you discard of your old clothes? Since the rise in popularity of charity shopping and ÿnding a perfect bargain on sites like eBay, Depop, and (my personal favourite) Vinted, clothing swaps and second-hand clothing sales have also drastically risen in popularity as highlighted by Vogue’s Senior Trends Analysis Lucy Maguire. Because of this success, the ReThink team is proposing a clothing ‘swap-shop’. This will be a non-proÿt way of exchanging your lesser used clothes for something new and exciting, a way to refresh your wardrobe at no extra cost. Discover your new favourite garment out of someone else’s previous favourite garment and feel peace in knowing you’ve extended its lifespan by giving it a new lease of life in your wardrobe. As ReThink team member Caitlin Jarvis explains, our Reuse section will “help to break down the stigma surrounding second-hand shopping and allow students to explore the realm of slow fashion without having to invest ÿnancially.” Here ReThink looks to o˛er “an overall fun yet direct way of promoting change within the minds of fashion consumers.”

Repair “The most sustainable garment is the one already in your wardrobe”, says Orsola de Castro, Co-Founder of Fashion Revolution. But what about when the garments you already have get a little bit too much love? There’s nothing more disappointing than going to put on your favourite pair of jeans and realising that they have a hole in them, or a button missing. Sometimes the textiles and sewing lessons of our high school days missed the mark, leaving you looking to replace instead of repair. Not only would repairing clothes save you money but it also saves the planet, helping more garments avoid a grizzly end in a landÿll site.

The repair aspect of this exhibition will allow

you to learn practical skills to improve the longevity of your favourite garment, and useful techniques to maintain their wearability. This repair workshop will be run by the lovely Kirsty Bennetta, a fashion academic, researcher, and lecturer who is currently teaching the importance of sustainable fashion at Bath Spa University. She has a wealth of experience in the fashion industry, at times specialising in the manufacturing of garments so she is more than qualiÿed to aid you in bringing the life back into your beloved garments.

As Kirsty explains....

“If we think back 50 years, it was common knowledge to know how to repair your own clothes, and this went hand in hand with valuing what you had. These days, fast fashion has taken that need away from us – it’s now just easier to buy new when something breaks. Why would be bother going to the e˛ort of a repair when we can just buy something new. Well, the reality is that by doing this we are hurting the planet, and there are so many ethical implications that go along side this attitude. When we put our time and e˛ort into something, we always value it a bit more. A home cooked meal, a DIY project, a hand ÿnished painting. Why should clothes be any di˛erent? Valuing our clothes and learning to love what we have will not only make a huge di˛erence to combating the issues that arise through cheaply produced clothing, it will help set an example for others to follow… and the more that follow, the more chance we have of saving our planet. Having the skills to take care of our clothes is essential in being able to spend the time caring and loving them enough to not want to throw them away”.

ReThink runs from 10am-4pm on Monday 20th May at ‘The Street’, at Bath Spa University’s Locksbrook Campus, Bath, BA1 3EL.

ReThink As changing the mindset of the audience is this exhibition’s primary mission, this section’s importance is clear. Operating as an engaging exhibition showcasing extraordinary works from Bath Spa University’s very own artistic talents, appearing alongside handpicked books and short ÿlms, these curated artefacts and displays showcase how slowing down your fashion intake is important to the health of the environment. ReThink’s gallery serves to educate those who pass through the event, conveying a message of circularity and sustainability through art and letting you into the world of conscious consumerism.

Artistic works that on display include a photography project highlighting the impact of fast fashion on marine life by photography student Natasha Phipps. A heart stopping piece that will really make you reevaluate how your consumer actions can lead to these unsavoury outcomes. A selection of short ÿlms from the Depict archives have been chosen and will run in the background of the exhibition, adding depth and another interactive aspect to the event, supported by specially chosen books that illustrate the harm facing the environment and how we as a collective can aim to ÿx it.

Further artworks included are an interactive clothing rail, consisting of second-hand garments with great sentimental value, some passed down through generations and some with great personal meaning. This display of love surrounding these items will play with your heartstrings and leave you with the nostalgia and emotion that acquiring second hand pieces can evoke. Expect to see amazing talents and a˛ective stories curated by the Rethink team, and hopefully come away and do some ‘Rethinking’ of your own.

WHERE ARE WE WITH AWARD SHOWS IN

2024?

WRITTEN BY ISATA JAH

THE GRAMMYS VOTING SYSTEM

Beyoncé , Cowboy Carter, Blair Caldwell, 2024

Imagine the year is 2016. The Grammys, VMAs, Brit Awards are dominating our television screens for the annual event of the year for every music fan, waiting to see their favourite artists pick up an award. The question is what happened?

You’ve just seen Rihanna bring Drake on stage at The Brits, and Adele break her Grammy for Beyoncé. These iconic moments drew in millions of viewers every year. Award shows are facing a declining viewership, the 2024 Brit Awards only drew in 2.5 million viewers, similarly with the 2021 Grammys only drawing in 8.8 million viewers causing it to be the lowest rated in their history. However, 2024 saw an increase in viewership for the Grammys with 16.9 million viewers.

Now why is this happening? It's no secret that award shows are being challenged with racism and gender bias with their nominations. The 2023 Brit Awards were subject to criticism after female artists were overlooked in the Artist of the Year category, whilst The Grammys are continu-

ously being accused of racial bias. Black artists are continuously being snubbed at award shows with artists such as Beyoncé missing out on winning Album of the Year at The Grammys multiple times, Tyler the Creator and Lizzo being pigeonholed into the ‘urban’ category.

The highly anticipated album Cowboy Carter by Beyoncé features artists that have not been confined to a genre like artist Linda Martel. This provides a strong message throughout the album, which spans country, psychedelic rock, and R & B amongst others. So why exactly are award shows trying to label artists into a particular genre?

Maybe it's time to question the structure of these award shows…

The voting process of award shows sparks the most controversy. Awarding bodies like the Grammys allow record labels to submit entries for consideration, which are then reviewed by academy voting members, including songwriters and producers to determine the finalists in each category. So, when it comes to the general categories like Album of the Year, 350 experts are able to vote. After the 2024 Grammys, dismissive comments from a Grammy voter circulated online, regarding Lana Del Rey as contender for Album of the Year: “I haven’t taken Lana Del Rey seriously as an artist since her infamous [2012] SNL [Saturday Night Live] performance and never will.” The voter also implied they voted for Taylor Swift because of her relevance to the industry, indicating that these voters are not basing judgements on the art created but rather the public personas behind the music.

Many artists have spoken out about the Grammy’s voting system, J Cole addressed the controversy in his 2014 song Fire Squad following Kendrick Lamar’s loss to Mackelmore. He referred to artists like Elvis, Eminem and Justin Timberlake who have benefited from Black music and reflects they are more likely to be awarded in his lyric “this year, I’ll probably go to the awards dappered down, watch Iggy win the Grammy as I try to crack a smile”.

J Cole is not the only one to have spoken out, in 2020 The Weeknd called out the Grammys on X/Twitter for being “corrupt” and claimed he will no longer submit his music to the Grammys because of “secret committees”. Drake went on to call for the Grammys to be replaced with something new, Zayn stated that there is a “need for inclusion and the lack of transparency

of the nomination process” and criticised the current system of “allowing favouritism, racism and networking politics to influence the voting”.

It's not just artists who have noticed these things but also music fans. Speaking to Hip Hop Fan, San, 26 says “with all these award shows there’s a lot that goes on behind the scenes, many Black artists have been overlooked in the past such as Tupac, Notorious B.I.G. and Ice Cube. Maybe it’s time to reevaluate the structure of these award shows”. The Grammys have a history of overlooking Black artists for Album of the Year such as Aretha Franklin, The Temptations, and so many more. In 65 years of the Grammys only 11 Black artists have won Album of the Year with only 3 being women including Whitney Houston, Natalie Cole and Lauryn Hill.

It's not just the Grammys, in 2016 #BritsSoWhite trended across social media after no black artist was nominated in a major category. In the previous year, the Brits were also faced with an overflow of racist statements and complaints from viewers after Kanye West's performance with the future generation of Grime, prompted viewers to be appalled at the presence of Black men on prime-time TV. It can be argued that award shows like these reflect the ignorance that is present in society.

Following this, the Brits made changes in 2017.

They introduced a new voting system that would include more Black, Asian and Minority ethnic voices and a balanced gender ratio, with the goal of representing the diverse music scene.

THE BRIT AWARDS VOTING SYSTEM The Brits Voting system consists of 1,200 individuals from across the UK music industry,

WHERE ARE WE WITH AWARD SHOWS IN

2024?

WRITTEN BY ISATA JAH

THE GRAMMYS VOTING SYSTEM

Beyoncé , Cowboy Carter, Blair Caldwell, 2024

Imagine the year is 2016. The Grammys, VMAs, Brit Awards are dominating our television screens for the annual event of the year for every music fan, waiting to see their favourite artists pick up an award. The question is what happened?

You’ve just seen Rihanna bring Drake on stage at The Brits, and Adele break her Grammy for Beyoncé. These iconic moments drew in millions of viewers every year. Award shows are facing a declining viewership, the 2024 Brit Awards only drew in 2.5 million viewers, similarly with the 2021 Grammys only drawing in 8.8 million viewers causing it to be the lowest rated in their history. However, 2024 saw an increase in viewership for the Grammys with 16.9 million viewers.

Now why is this happening? It's no secret that award shows are being challenged with racism and gender bias with their nominations. The 2023 Brit Awards were subject to criticism after female artists were overlooked in the Artist of the Year category, whilst The Grammys are continu-

ously being accused of racial bias. Black artists are continuously being snubbed at award shows with artists such as Beyoncé missing out on winning Album of the Year at The Grammys multiple times, Tyler the Creator and Lizzo being pigeonholed into the ‘urban’ category.

The highly anticipated album Cowboy Carter by Beyoncé features artists that have not been confined to a genre like artist Linda Martel. This provides a strong message throughout the album, which spans country, psychedelic rock, and R & B amongst others. So why exactly are award shows trying to label artists into a particular genre?

Maybe it's time to question the structure of these award shows…

The voting process of award shows sparks the most controversy. Awarding bodies like the Grammys allow record labels to submit entries for consideration, which are then reviewed by academy voting members, including songwriters and producers to determine the finalists in each category. So, when it comes to the general categories like Album of the Year, 350 experts are able to vote. After the 2024 Grammys, dismissive comments from a Grammy voter circulated online, regarding Lana Del Rey as contender for Album of the Year: “I haven’t taken Lana Del Rey seriously as an artist since her infamous [2012] SNL [Saturday Night Live] performance and never will.” The voter also implied they voted for Taylor Swift because of her relevance to the industry, indicating that these voters are not basing judgements on the art created but rather the public personas behind the music.

Many artists have spoken out about the Grammy’s voting system, J Cole addressed the controversy in his 2014 song Fire Squad following Kendrick Lamar’s loss to Mackelmore. He referred to artists like Elvis, Eminem and Justin Timberlake who have benefited from Black music and reflects they are more likely to be awarded in his lyric “this year, I’ll probably go to the awards dappered down, watch Iggy win the Grammy as I try to crack a smile”.

J Cole is not the only one to have spoken out, in 2020 The Weeknd called out the Grammys on X/Twitter for being “corrupt” and claimed he will no longer submit his music to the Grammys because of “secret committees”. Drake went on to call for the Grammys to be replaced with something new, Zayn stated that there is a “need for inclusion and the lack of transparency

of the nomination process” and criticised the current system of “allowing favouritism, racism and networking politics to influence the voting”.

It's not just artists who have noticed these things but also music fans. Speaking to Hip Hop Fan, San, 26 says “with all these award shows there’s a lot that goes on behind the scenes, many Black artists have been overlooked in the past such as Tupac, Notorious B.I.G. and Ice Cube. Maybe it’s time to reevaluate the structure of these award shows”. The Grammys have a history of overlooking Black artists for Album of the Year such as Aretha Franklin, The Temptations, and so many more. In 65 years of the Grammys only 11 Black artists have won Album of the Year with only 3 being women including Whitney Houston, Natalie Cole and Lauryn Hill.

It's not just the Grammys, in 2016 #BritsSoWhite trended across social media after no black artist was nominated in a major category. In the previous year, the Brits were also faced with an overflow of racist statements and complaints from viewers after Kanye West's performance with the future generation of Grime, prompted viewers to be appalled at the presence of Black men on prime-time TV. It can be argued that award shows like these reflect the ignorance that is present in society.

Following this, the Brits made changes in 2017.

They introduced a new voting system that would include more Black, Asian and Minority ethnic voices and a balanced gender ratio, with the goal of representing the diverse music scene.

THE BRIT AWARDS VOTING SYSTEM The Brits Voting system consists of 1,200 individuals from across the UK music industry,

Linda Martell in Ebony Magazine, March 1970

including record labels, journalists and producers. Every year, the academy is refreshed to reflect the industry and society. In 2024, the academy will consist of 45% of members being female, 42% male and 1% non-binary. With 24% of members being Black, Asian or of ethnic minority, with 11% Black, 4% Asian, 8% mixed or multiple ethnic groups, and the majority (60%) being white. When it comes to the nominees and winners for the major categories, these are determined by the voting academy and the Genre categories winners are determined by a public vote.

The Brits are no stranger to criticism when it comes to gender. In 2021, Little Mix became the first girl band to win ‘Best British Group’ in 41 years of the awards. During their acceptance speech they acknowledged that “it’s not easy being a female in the UK pop industry. We’ve seen the white male dominance, misogyny, sexism and lack of diversity.” They go on to say that “the fact that a girl band has never won this award really does speak volumes.” Going on to name girl bands that came before them such as Sugababes, Spice Girls and Girls Aloud.

In 2023, we saw a step back from the Brits when they failed to nominate a female artist in the Artist of the Year category, which was established to create a gender-neutral category for all artists. Musician Tim Burgess spoke out on X/Twitter saying “so the Brits introduced an Artist of the Year category as a gender neutral replacement for Best Male and Best Female Artist category – but this year all five nominees are blokes…One step forward, three steps back.”

“Inclusion is important but these shows need to take the steps to ensure that their cate-gories reflect this.”

ARE AWARD SHOWS LIMITING BLACK ARTISTS? When it comes to Black art in white spaces it typically leads to artists being pigeonholed into categories that are deemed to best suit them or not acknowledged at all. This is an issue that goes far deeper than award shows and presents an issue with the infrastructure of the music industry. Musical artists such as Sister Rosetta Tharpe and Little Richard were the pioneers of rock ‘n’ roll, the first Black country star was Deford Bailey, Linda Martell was the first commercially successful black female country artist that combined the genres of gospel, country, and blues. However, these are the names that are rarely mentioned…

Now this is what Beyoncé is combatting in her highly anticipated album Cowboy Carter, which has forced the conversations about the exclusion of black people from the history of country music to be heard by all walks of life. When it comes to genres they can restrict and gatekeep certain types of music from artists. “Genres are a funny little concept, aren’t they? In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.” Only true words spoken by musical genius Linda Martell who features on the electrifying track SPAGHETTI that combines the genres of rap and country.

Despite being considered an ‘urban’ artist by the masses and country gatekeepers trying to disregard an album from an artist born and raised in Houston, Texas, Beyoncé has created a genre bending country album that pulls influences from Nancy Sinatra, The Beachboys, Linda Martell, Tina Turner that flow heavy influences into the album and the unique listening experience of the track YA YA. Beyoncé

Linda Martell in Ebony Magazine, March 1970

including record labels, journalists and producers. Every year, the academy is refreshed to reflect the industry and society. In 2024, the academy will consist of 45% of members being female, 42% male and 1% non-binary. With 24% of members being Black, Asian or of ethnic minority, with 11% Black, 4% Asian, 8% mixed or multiple ethnic groups, and the majority (60%) being white. When it comes to the nominees and winners for the major categories, these are determined by the voting academy and the Genre categories winners are determined by a public vote.

The Brits are no stranger to criticism when it comes to gender. In 2021, Little Mix became the first girl band to win ‘Best British Group’ in 41 years of the awards. During their acceptance speech they acknowledged that “it’s not easy being a female in the UK pop industry. We’ve seen the white male dominance, misogyny, sexism and lack of diversity.” They go on to say that “the fact that a girl band has never won this award really does speak volumes.” Going on to name girl bands that came before them such as Sugababes, Spice Girls and Girls Aloud.

In 2023, we saw a step back from the Brits when they failed to nominate a female artist in the Artist of the Year category, which was established to create a gender-neutral category for all artists. Musician Tim Burgess spoke out on X/Twitter saying “so the Brits introduced an Artist of the Year category as a gender neutral replacement for Best Male and Best Female Artist category – but this year all five nominees are blokes…One step forward, three steps back.”

“Inclusion is important but these shows need to take the steps to ensure that their cate-gories reflect this.”

ARE AWARD SHOWS LIMITING BLACK ARTISTS? When it comes to Black art in white spaces it typically leads to artists being pigeonholed into categories that are deemed to best suit them or not acknowledged at all. This is an issue that goes far deeper than award shows and presents an issue with the infrastructure of the music industry. Musical artists such as Sister Rosetta Tharpe and Little Richard were the pioneers of rock ‘n’ roll, the first Black country star was Deford Bailey, Linda Martell was the first commercially successful black female country artist that combined the genres of gospel, country, and blues. However, these are the names that are rarely mentioned…

Now this is what Beyoncé is combatting in her highly anticipated album Cowboy Carter, which has forced the conversations about the exclusion of black people from the history of country music to be heard by all walks of life. When it comes to genres they can restrict and gatekeep certain types of music from artists. “Genres are a funny little concept, aren’t they? In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.” Only true words spoken by musical genius Linda Martell who features on the electrifying track SPAGHETTI that combines the genres of rap and country.

Despite being considered an ‘urban’ artist by the masses and country gatekeepers trying to disregard an album from an artist born and raised in Houston, Texas, Beyoncé has created a genre bending country album that pulls influences from Nancy Sinatra, The Beachboys, Linda Martell, Tina Turner that flow heavy influences into the album and the unique listening experience of the track YA YA. Beyoncé

describes this album as “this ain’t a country album. This is a Beyoncé album” so it’s safe to say she can’t be confined by a genre because Beyoncé is the genre.

Music Journalist, Andre Gee says “an artist that doesn’t fit a cookie cutter formula can find themselves placed alongside the wrong peers – or not nominated at all”. The Weeknd who started his career in R&B went on to win the Best R&B award at the 2020 VMAs for his song Blinding Lights. The single was previously praised by critics for being highly inspired by 80s pop, with Billboard describing the song as “the adrenaline-pumping synth-pop track” and Rolling Stone saying “no pop sound is too dated for The Weeknd to have some fun with”. So, it’s evident that this song was sculptured to be a perfect pop classic however awarding bodies continuously fail to recognise this.

In the Grammys world, Tyler the Creator called out the awards in 2020 for the term ‘urban contemporary’ which he deemed to be a “politically correct way to say the n-word”. The term ‘urban’ provides a way for the genre blend that is not R&B or Hip Hop to be acknowledged. “People typically label black people especially in Hip Hop as ‘urban’ or ‘ghetto’ and it’s like a hidden way of saying the n-word, you describe urban as a city so to use it to describe a person is in my opinion like using the word ‘coloured’ it’s outdated” says San. Following the backlash, the academy went on to rename the category ‘Best Urban Contemporary Album’ to ‘Best Progressive R&B Album’ in 2020.

So where are we in 2024 with music award shows? That’s hard to tell. The cultural impact award shows have on fan culture is always changing.

Award shows are taking the steps to progress with the inclusion of more Black artistry with the 2024 Grammys that saw Black artists like Victoria Monet, SZA and Coco Jones picking up Grammy awards in major categories, 2023 saw Beyoncé become the most awarded musician in Grammy history despite never winning Album of the Year.

Stormzy - The O2 Sunday 27th March 2022 Raph_PH

The genre bending artist acknowledges this in her song SWEET HONEY BUCKIN’ in the lyrics “AOTY, I ain’t win, I ain’t strung by them” to then promising to come back and shake up the industry. In Jay Z’s acceptance speech at the 2024 Grammys, he addressed the Grammy’s history with Black art while simultaneously criticising their anonymous voting body. He also stated that “(…) I don’t want to embarrass this young lady, but she has more Grammys than everyone and never won Album of the Year. So even by your own metrics, that doesn’t work”. As Beyoncé has continued to cement her legacy in pop culture, she has recently become the first Black artist to top UK charts with a country album and the first Black woman to reach no.1 on the Billboard country songs chart.

In the UK, Grime artists are being appreciated at the Brit Awards in major categories with artists like Dave and Stormzy. The 2024 Brit Awards saw RAYE become the most awarded artist in one night in the entire history of the Brits. The Brit Awards have expanded the number of nominees for Artist of the Year, introducing a new category for R&B genre award that was previously combined with Pop/R&B. However, there is still a long way to go with the inclusion of global artists such as K-Pop and Afrobeats in major music award shows. Afrobeats is becoming a phenomenally popular genre that deserves its own category at the Grammys that can reflect the popularity of African artists.

Similarly with K-Pop, it wasn’t until 2021 where BTS became the first K-Pop act to receive a Grammy nomination. “The representational

failures of award bodies reflect larger societal issues that have to be mended before any of them can be respected as an authority” says Andre Gee, writing for Complex in 2020. It's hard to distinguish artists in the global music category when the artists consist of different styles and genres.

Realistically have we seen the end of award shows? They no longer have a cultural impact, are no longer the biggest event of the year, and are struggling to keep their viewership up as the fans’ experience of the show has changed.

Who knows where we will be with award shows in the next few years? Maybe Black and female artists will finally be recognised for awards and more inclusion of global artists in mainstream awards. But to achieve all of this we need to take a step back and look at the structural misogyny and racism present not only in the music industry but also society.

So maybe award shows no longer have any value or interest for the public but we all surely love those iconic memes…

describes this album as “this ain’t a country album. This is a Beyoncé album” so it’s safe to say she can’t be confined by a genre because Beyoncé is the genre.

Music Journalist, Andre Gee says “an artist that doesn’t fit a cookie cutter formula can find themselves placed alongside the wrong peers – or not nominated at all”. The Weeknd who started his career in R&B went on to win the Best R&B award at the 2020 VMAs for his song Blinding Lights. The single was previously praised by critics for being highly inspired by 80s pop, with Billboard describing the song as “the adrenaline-pumping synth-pop track” and Rolling Stone saying “no pop sound is too dated for The Weeknd to have some fun with”. So, it’s evident that this song was sculptured to be a perfect pop classic however awarding bodies continuously fail to recognise this.

In the Grammys world, Tyler the Creator called out the awards in 2020 for the term ‘urban contemporary’ which he deemed to be a “politically correct way to say the n-word”. The term ‘urban’ provides a way for the genre blend that is not R&B or Hip Hop to be acknowledged. “People typically label black people especially in Hip Hop as ‘urban’ or ‘ghetto’ and it’s like a hidden way of saying the n-word, you describe urban as a city so to use it to describe a person is in my opinion like using the word ‘coloured’ it’s outdated” says San. Following the backlash, the academy went on to rename the category ‘Best Urban Contemporary Album’ to ‘Best Progressive R&B Album’ in 2020.

So where are we in 2024 with music award shows? That’s hard to tell. The cultural impact award shows have on fan culture is always changing.

Award shows are taking the steps to progress with the inclusion of more Black artistry with the 2024 Grammys that saw Black artists like Victoria Monet, SZA and Coco Jones picking up Grammy awards in major categories, 2023 saw Beyoncé become the most awarded musician in Grammy history despite never winning Album of the Year.

Stormzy - The O2 Sunday 27th March 2022 Raph_PH

The genre bending artist acknowledges this in her song SWEET HONEY BUCKIN’ in the lyrics “AOTY, I ain’t win, I ain’t strung by them” to then promising to come back and shake up the industry. In Jay Z’s acceptance speech at the 2024 Grammys, he addressed the Grammy’s history with Black art while simultaneously criticising their anonymous voting body. He also stated that “(…) I don’t want to embarrass this young lady, but she has more Grammys than everyone and never won Album of the Year. So even by your own metrics, that doesn’t work”. As Beyoncé has continued to cement her legacy in pop culture, she has recently become the first Black artist to top UK charts with a country album and the first Black woman to reach no.1 on the Billboard country songs chart.

In the UK, Grime artists are being appreciated at the Brit Awards in major categories with artists like Dave and Stormzy. The 2024 Brit Awards saw RAYE become the most awarded artist in one night in the entire history of the Brits. The Brit Awards have expanded the number of nominees for Artist of the Year, introducing a new category for R&B genre award that was previously combined with Pop/R&B. However, there is still a long way to go with the inclusion of global artists such as K-Pop and Afrobeats in major music award shows. Afrobeats is becoming a phenomenally popular genre that deserves its own category at the Grammys that can reflect the popularity of African artists.

Similarly with K-Pop, it wasn’t until 2021 where BTS became the first K-Pop act to receive a Grammy nomination. “The representational

failures of award bodies reflect larger societal issues that have to be mended before any of them can be respected as an authority” says Andre Gee, writing for Complex in 2020. It's hard to distinguish artists in the global music category when the artists consist of different styles and genres.

Realistically have we seen the end of award shows? They no longer have a cultural impact, are no longer the biggest event of the year, and are struggling to keep their viewership up as the fans’ experience of the show has changed.

Who knows where we will be with award shows in the next few years? Maybe Black and female artists will finally be recognised for awards and more inclusion of global artists in mainstream awards. But to achieve all of this we need to take a step back and look at the structural misogyny and racism present not only in the music industry but also society.

So maybe award shows no longer have any value or interest for the public but we all surely love those iconic memes…

METHOD OR MADNESS? WRITTEN BY CHARLOTTE DALBY

“My dear boy, why don’t you just try acting?”

Awards season is upon us, And a familiar conversation is opened up – one that seems to appear every time certain actors are nominated. Method acting. The long controversial technique in which actors place themselves in the mindset of their characters has been used for years. Despite garnering actors’ awards and nominations, it has also been regarded as unhealthy and damaging to both actors and their surrounding colleagues. So, what exactly is method acting? And how far can an actor go before that method becomes madness?

Method Acting: A Short History Method acting was frst formed by Konstantin Stanislavski in Russia in the late 19th century, under a di°erent name of the ‘System’.

Stanislavski’s ‘System’ involved actors to call on their own experiences and memories in order to further connect with the characters they are portraying. The goal of the ‘System’ was to gain a more realistic and deeper performance from the actors, allowing for the audience to further connect with what they see on stage – and later on screen.

When the Moscow Art Theatre, directed by Stanislavski, toured in New York City, the ‘System’ was viewed by Lee Strasberg – American direcJeremy Strong Paola Kudacki

tor, acting teacher and actor. The way that the actors performed inspired Strasberg, due to their realistic performance and depth of the emotions and characters, which in turn inspired the actors under his tutelage, including James Dean, Marilyn Monroe, Marlon Brando, Paul Newman, Robert De Niro, Al Pacino, Anne Bancroft and Dustin Ho°man. Strasberg honed Stanislavski’s ‘System’, and Strasberg’s technique then became the ‘Method’.

The Lee Strasberg Theatre & Film Institute states that the technique trains actors to ‘use their physical, mental and emotional self in the creation of a character’. The main aim of method acting is to portray authenticity and realism. The actors reach into their own memories and emotions in order to portray the characters they are cast as. Strasberg’s method and teachings

METHOD OR MADNESS? WRITTEN BY CHARLOTTE DALBY

“My dear boy, why don’t you just try acting?”

Awards season is upon us, And a familiar conversation is opened up – one that seems to appear every time certain actors are nominated. Method acting. The long controversial technique in which actors place themselves in the mindset of their characters has been used for years. Despite garnering actors’ awards and nominations, it has also been regarded as unhealthy and damaging to both actors and their surrounding colleagues. So, what exactly is method acting? And how far can an actor go before that method becomes madness?

Method Acting: A Short History Method acting was frst formed by Konstantin Stanislavski in Russia in the late 19th century, under a di°erent name of the ‘System’.

Stanislavski’s ‘System’ involved actors to call on their own experiences and memories in order to further connect with the characters they are portraying. The goal of the ‘System’ was to gain a more realistic and deeper performance from the actors, allowing for the audience to further connect with what they see on stage – and later on screen.

When the Moscow Art Theatre, directed by Stanislavski, toured in New York City, the ‘System’ was viewed by Lee Strasberg – American direcJeremy Strong Paola Kudacki

tor, acting teacher and actor. The way that the actors performed inspired Strasberg, due to their realistic performance and depth of the emotions and characters, which in turn inspired the actors under his tutelage, including James Dean, Marilyn Monroe, Marlon Brando, Paul Newman, Robert De Niro, Al Pacino, Anne Bancroft and Dustin Ho°man. Strasberg honed Stanislavski’s ‘System’, and Strasberg’s technique then became the ‘Method’.

The Lee Strasberg Theatre & Film Institute states that the technique trains actors to ‘use their physical, mental and emotional self in the creation of a character’. The main aim of method acting is to portray authenticity and realism. The actors reach into their own memories and emotions in order to portray the characters they are cast as. Strasberg’s method and teachings

Anne Bancroft for Don't Bother To Knock (1952) 20th Century Fox

Grace Kelly and Marlon Brando at the 1955 Academy Awards, Los Angeles Times

Al Pacino for Serpico (1973) Paramount Pictures

inspired actors such as Jane Fonda, who credited Strasberg with helping her fnd her passion.

Perhaps the acclaim that the method has received from actors is a reason that the elements have become so widely used across Hollywood. The key elements of method acting are as follows; relieving tension, focus and deliberateness, using sense memory and identifcation and replication. These elements create a realistic performance that’s intended to entrance the audience, for them to believe fully in the actor’s performance.

Hollywood Reporter's 2023 list of 21 method actors, only fve of them were women. Whilst, in an interview profle for The Wall Street Journal in 2024, Natalie Portman spoke up about how method acting is “a luxury that women can’t a°ord”. If women were to make the same demands that some male method actors have done, being blacklisted from Hollywood would most likely be a consequence. This opens up the discussion as to how ethical method acting is. Is there a method to the madness, or is it just that – madness?

‘A luxury that women can’t afford’: Method Acting and Misogyny

Like with most things, there must be balance. For method actors, sometimes the lines become blurred. What should be simply a technique in order to get the best performance out of an actor has become a warning ˜ag to less than appropriate, or even abusive, behaviour °like with Ho°man and Majors˛. The way that a number of method actors have behaved on set to their colleagues has built up controversy around the approach and has raised questions about just how principled method acting to such an extreme is.

Despite the Method technique being able to bring out some of the best and most highly awarded performances – such as Robert De Niro in Raging Bull (1980) and Leonardo DiCaprio in The Revenant (2015) – it has also garnered controversy due to the extreme levels that some actors take it to.

There have been cases where dedication to the Method technique has injured both actors themselves, and their colleagues. Notable examples of this include Dustin Ho°man on the set of Kramer vs. Kramer (1979) where he slapped Meryl Streep to provoke her for the scene. Method acting has been used to excuse abuse, as seen in the recent Jonathan Majors case where his lawyers ‘blamed method acting’ for alleged abusive behaviour.

‘If you want a completely normal person, then you’re in the wrong business’: The Joker and Jeremy Strong

played the Joker. Rumours included gifting his co-star Margot Robbie a dead rat in attempts to get into the character. In a 2021 interview with GQ, he did deny these claims, however Viola David in an interview with British Vogue clarifed that it was not a dead rat – but a live one. One that Davis claimed Robbie kept and ‘cooed’ at.

Rats weren’t the only animals that Leto sent to his co-stars, Davis also claimed in a 2016 interview with Vanity Fair that Leto had sent her a dead pig. Other reports of Leto’s controversial approaches through method acting for this role were that Leto sent co-star Will Smith bullets in a letter. Smith had even said that he felt like he’s “never actually met Jared Leto” and that he was “all in on the Joker”. Producer Charles Roven also claimed that Leto wanted to be called ‘Mr J’ whilst on set. Whilst certainly eccentric and disturbing enough to get into the mindset of the iconic Batman villain, his behaviour does raise concerns as to whether Leto thought about the reactions he could get from his co-stars. Luckily for Leto, the general reaction wasn’t too harsh, although perhaps with a di°erent set of colleagues, the reaction could’ve gone a very di°erent way.

If women were to make the same demands that some male method actors have done, being blacklisted from Hollywood would most likely be a consequence.

When method acting is discussed, it’s almost guaranteed that Jared Leto’s name should come up. The American actor has garnered much debate over his approach to acting, due to the unethical and quite notorious approaches that he takes in regard to his roles. Leto’s eccentricism related to his take on method acting has, in some opinions, made method acting seem less prestigious and more about the ego of an actor above anything else.

Leto’s method acting extended to 2022’s Morbius, which caused concern for his health amongst his colleagues. Leto’s character in the flm had previously been a wheelchair user, although for the majority of the flm he appeared able bodied. However, to get into the mindset for the character, director Daniel Espinosa confrmed in an interview with Uproxx that Leto insisted on using crutches throughout the whole shooting process in order to channel the character. Espinosa stated that “if you want a completely normal person that does only things that you understand, then you’re in the wrong business”, suggesting that perhaps Leto’s approaches simply come with the trade.

Interestingly, it seems to be male actors who get the most praise for their method acting. In The

Many rumours of Leto’s behaviour circulated the production of 2016’s Suicide Squad, wherein he

However, Leto’s insistence on using crutches during the shooting process meant that it

Anne Bancroft for Don't Bother To Knock (1952) 20th Century Fox

Grace Kelly and Marlon Brando at the 1955 Academy Awards, Los Angeles Times

Al Pacino for Serpico (1973) Paramount Pictures

inspired actors such as Jane Fonda, who credited Strasberg with helping her fnd her passion.

Perhaps the acclaim that the method has received from actors is a reason that the elements have become so widely used across Hollywood. The key elements of method acting are as follows; relieving tension, focus and deliberateness, using sense memory and identifcation and replication. These elements create a realistic performance that’s intended to entrance the audience, for them to believe fully in the actor’s performance.

Hollywood Reporter's 2023 list of 21 method actors, only fve of them were women. Whilst, in an interview profle for The Wall Street Journal in 2024, Natalie Portman spoke up about how method acting is “a luxury that women can’t a°ord”. If women were to make the same demands that some male method actors have done, being blacklisted from Hollywood would most likely be a consequence. This opens up the discussion as to how ethical method acting is. Is there a method to the madness, or is it just that – madness?

‘A luxury that women can’t afford’: Method Acting and Misogyny

Like with most things, there must be balance. For method actors, sometimes the lines become blurred. What should be simply a technique in order to get the best performance out of an actor has become a warning ˜ag to less than appropriate, or even abusive, behaviour °like with Ho°man and Majors˛. The way that a number of method actors have behaved on set to their colleagues has built up controversy around the approach and has raised questions about just how principled method acting to such an extreme is.

Despite the Method technique being able to bring out some of the best and most highly awarded performances – such as Robert De Niro in Raging Bull (1980) and Leonardo DiCaprio in The Revenant (2015) – it has also garnered controversy due to the extreme levels that some actors take it to.

There have been cases where dedication to the Method technique has injured both actors themselves, and their colleagues. Notable examples of this include Dustin Ho°man on the set of Kramer vs. Kramer (1979) where he slapped Meryl Streep to provoke her for the scene. Method acting has been used to excuse abuse, as seen in the recent Jonathan Majors case where his lawyers ‘blamed method acting’ for alleged abusive behaviour.

‘If you want a completely normal person, then you’re in the wrong business’: The Joker and Jeremy Strong

played the Joker. Rumours included gifting his co-star Margot Robbie a dead rat in attempts to get into the character. In a 2021 interview with GQ, he did deny these claims, however Viola David in an interview with British Vogue clarifed that it was not a dead rat – but a live one. One that Davis claimed Robbie kept and ‘cooed’ at.

Rats weren’t the only animals that Leto sent to his co-stars, Davis also claimed in a 2016 interview with Vanity Fair that Leto had sent her a dead pig. Other reports of Leto’s controversial approaches through method acting for this role were that Leto sent co-star Will Smith bullets in a letter. Smith had even said that he felt like he’s “never actually met Jared Leto” and that he was “all in on the Joker”. Producer Charles Roven also claimed that Leto wanted to be called ‘Mr J’ whilst on set. Whilst certainly eccentric and disturbing enough to get into the mindset of the iconic Batman villain, his behaviour does raise concerns as to whether Leto thought about the reactions he could get from his co-stars. Luckily for Leto, the general reaction wasn’t too harsh, although perhaps with a di°erent set of colleagues, the reaction could’ve gone a very di°erent way.

If women were to make the same demands that some male method actors have done, being blacklisted from Hollywood would most likely be a consequence.

When method acting is discussed, it’s almost guaranteed that Jared Leto’s name should come up. The American actor has garnered much debate over his approach to acting, due to the unethical and quite notorious approaches that he takes in regard to his roles. Leto’s eccentricism related to his take on method acting has, in some opinions, made method acting seem less prestigious and more about the ego of an actor above anything else.

Leto’s method acting extended to 2022’s Morbius, which caused concern for his health amongst his colleagues. Leto’s character in the flm had previously been a wheelchair user, although for the majority of the flm he appeared able bodied. However, to get into the mindset for the character, director Daniel Espinosa confrmed in an interview with Uproxx that Leto insisted on using crutches throughout the whole shooting process in order to channel the character. Espinosa stated that “if you want a completely normal person that does only things that you understand, then you’re in the wrong business”, suggesting that perhaps Leto’s approaches simply come with the trade.

Interestingly, it seems to be male actors who get the most praise for their method acting. In The

Many rumours of Leto’s behaviour circulated the production of 2016’s Suicide Squad, wherein he

However, Leto’s insistence on using crutches during the shooting process meant that it

hindered the development and production of the flm. It took him too long to go to the bathroom as he would have to limp and moved too slowly, so he then changed his approach to using a wheelchair so that the flming ÿlming wouldn’t be too slowed down. In an interview with Variety, his co-star Adria Arjona states that “there should have been a physical therapist on call”. She says this “with a laugh”, and maybe this is just something to expect in Hollywood.

It’s interesting to note how much attention method acting gets when di°erent actors employ it. Perhaps much of the allure and controversy surrounding method acting is related to the PR it gets the flm. Method acting has had many controversial examples as discussed, so just the association with the technique could garner publicity. As the Vox flm critic Alissa Wilkinson wrote, some method acting is ‘totally relatable’, others (such as Leto’s approaches for Suicide Squad and Morbius) make method acting seem like a self-parody.

This is where method acting blurs the lines between what is ethical and what is done for the art. On one hand, Leto was able to tap into the character and perform the role the best he could, but on the other hand it created delays in shooting due to his own demands in the name of method acting. Perhaps it’s a way of building attention to his acting in the hopes of awards, but it does cause one to wonder if all this was necessary for Morbius, as the only award Leto won for it was Worst Actor in the 2023 Golden Raspberry Awards.

Another method actor who’s gained controversy and discussion around his approaches to acting is Jeremy Strong, particularly for his role as Kendall Roy in HBO’s Succession. The now infamous New Yorker profle on Strong details his approach to acting, intertwining Strong’s own admissions on his approach with his past colleagues’ views of his work.

Strong is known for his method approach to acting, and he’s known for fully immersing himself in his character. In Michael Schulman’s 2021 profle, Strong stated that he takes playing the role of Kendall Roy as seriously as he takes his own life. Strong blurs the line between his character and his real life – he wears Kendall’s clothes and borrows items from the character’s wardrobe to blur that line. Strong’s approach to acting is what works the best for him, in the profle he stated that he needs to “for whatever reason, to believe that it’s real and commit [himself ] to that sense of belief”.

acting technique (or as Strong calls it – “identity di°usion”) has impacted both the production and raised concerns over his wellbeing. To constantly be in the state of mind of a mentally scarred, depressed man can’t be healthy.

He’s been recognised for his work on Succession, having won an Emmy and Golden Globe for the role in 2020 and 2022 respectively (slightly more admirable than Leto’s Razzie). It’s clear that Strong’s approach works for him, and the critics and fans like the results on screen.

However, similarly to Leto, his approaches have been deemed problematic due to his on-set behaviour and the extreme lengths that he goes to in order to get into the role.

Method or Madness?

In Schulman’s profle, he interviewed Strong’s Succession co-stars, and it appeared that they had worried about Strong, which asks the question as to how healthy method acting really is – for both the actor himself and the other crew and cast members. Brian Cox, Strong’s co-star, stated that he worries about Strong, he worried about “the crises he puts himself through in order to prepare”. Kieran Culkin, who plays Strong’s brother in the series, recalls Strong getting tipsy for a scene in which his character was high. In particular, he states how Strong would use the same speech during improvisation in three takes, impacting how the other actors responded and the way the scene went.

Despite Strong not going to as extreme lengths as Leto (he never sent a live rat to any of his Succession co-stars), it’s clear that the method

Where the case of method acting gets complicated, is when it goes well. Strong’s role has won him awards, and has had support from fans, directors and actors. After Schulman’s profle came out, many fans and colleagues came out in support of Strong’s method acting, defending him from the one-sided profle.

Other actors have defended method acting, perhaps trying to maintain its original aim contrary to the highly publicised and controversial reputation that it holds now. Andrew Garfeld, speaking on the podcast WTF with Marc Maron in 2022, said that method acting is “not about being an asshole to everyone on set” (perhaps Ho°man and Leto need take note of this) and “it’s actually just about living truthfully under imagined circumstances”. Andrew Garfeld’s views on method acting are certainly more optimistic than others, but it’s important to acknowledge the downsides it has too.

On the other hand, there are a number of actors who have spoken up against method acting, who have spoken up against method acting, dismissing it wholly.acting not only divides its audiences, but also its peers. In an interview with GQ UK, Mads Mikkelsen called method acting “bullshit” and “pretentious” and that method acting can be taken into “insanity”.

Another actor who shares similarly negative opinions on the technique is David Harbour.

Despite being “captivated and fascinated” by Daniel Day-Lewis’ approach to method acting, Harbour clarifes that the process just “sounds like nonsense” and that “it’s dangerous, and it

actually doesn’t produce good work”. It seems that method acting not only divides its audiences, but also its peers.

Should method acting that is damaging to the mental health and production be rewarded and praised? Or should it be taken more seriously and consider actors’ and production members’ mental health too?

Though method acting has its fair share of controversy and praise, it’s clear that there are a lot of issues with it – despite actors trying to restore its original prestige. Should method acting that is damaging to the mental health and production in Strong’s case be rewarded and praised? Or should it be taken more seriously and consider actors’ and production members’ mental health too? Should questions about the power it gives male actors and the restrictions that female actors have be discussed?

Perhaps method acting is selfsh, and Stanislavski’s original aims are long forgotten in the modern age.

And maybe, method actors should simply – in the words of Laurence Olivier – just try acting?

hindered the development and production of the flm. It took him too long to go to the bathroom as he would have to limp and moved too slowly, so he then changed his approach to using a wheelchair so that the flming ÿlming wouldn’t be too slowed down. In an interview with Variety, his co-star Adria Arjona states that “there should have been a physical therapist on call”. She says this “with a laugh”, and maybe this is just something to expect in Hollywood.

It’s interesting to note how much attention method acting gets when di°erent actors employ it. Perhaps much of the allure and controversy surrounding method acting is related to the PR it gets the flm. Method acting has had many controversial examples as discussed, so just the association with the technique could garner publicity. As the Vox flm critic Alissa Wilkinson wrote, some method acting is ‘totally relatable’, others (such as Leto’s approaches for Suicide Squad and Morbius) make method acting seem like a self-parody.

This is where method acting blurs the lines between what is ethical and what is done for the art. On one hand, Leto was able to tap into the character and perform the role the best he could, but on the other hand it created delays in shooting due to his own demands in the name of method acting. Perhaps it’s a way of building attention to his acting in the hopes of awards, but it does cause one to wonder if all this was necessary for Morbius, as the only award Leto won for it was Worst Actor in the 2023 Golden Raspberry Awards.

Another method actor who’s gained controversy and discussion around his approaches to acting is Jeremy Strong, particularly for his role as Kendall Roy in HBO’s Succession. The now infamous New Yorker profle on Strong details his approach to acting, intertwining Strong’s own admissions on his approach with his past colleagues’ views of his work.

Strong is known for his method approach to acting, and he’s known for fully immersing himself in his character. In Michael Schulman’s 2021 profle, Strong stated that he takes playing the role of Kendall Roy as seriously as he takes his own life. Strong blurs the line between his character and his real life – he wears Kendall’s clothes and borrows items from the character’s wardrobe to blur that line. Strong’s approach to acting is what works the best for him, in the profle he stated that he needs to “for whatever reason, to believe that it’s real and commit [himself ] to that sense of belief”.

acting technique (or as Strong calls it – “identity di°usion”) has impacted both the production and raised concerns over his wellbeing. To constantly be in the state of mind of a mentally scarred, depressed man can’t be healthy.

He’s been recognised for his work on Succession, having won an Emmy and Golden Globe for the role in 2020 and 2022 respectively (slightly more admirable than Leto’s Razzie). It’s clear that Strong’s approach works for him, and the critics and fans like the results on screen.

However, similarly to Leto, his approaches have been deemed problematic due to his on-set behaviour and the extreme lengths that he goes to in order to get into the role.

Method or Madness?

In Schulman’s profle, he interviewed Strong’s Succession co-stars, and it appeared that they had worried about Strong, which asks the question as to how healthy method acting really is – for both the actor himself and the other crew and cast members. Brian Cox, Strong’s co-star, stated that he worries about Strong, he worried about “the crises he puts himself through in order to prepare”. Kieran Culkin, who plays Strong’s brother in the series, recalls Strong getting tipsy for a scene in which his character was high. In particular, he states how Strong would use the same speech during improvisation in three takes, impacting how the other actors responded and the way the scene went.

Despite Strong not going to as extreme lengths as Leto (he never sent a live rat to any of his Succession co-stars), it’s clear that the method

Where the case of method acting gets complicated, is when it goes well. Strong’s role has won him awards, and has had support from fans, directors and actors. After Schulman’s profle came out, many fans and colleagues came out in support of Strong’s method acting, defending him from the one-sided profle.

Other actors have defended method acting, perhaps trying to maintain its original aim contrary to the highly publicised and controversial reputation that it holds now. Andrew Garfeld, speaking on the podcast WTF with Marc Maron in 2022, said that method acting is “not about being an asshole to everyone on set” (perhaps Ho°man and Leto need take note of this) and “it’s actually just about living truthfully under imagined circumstances”. Andrew Garfeld’s views on method acting are certainly more optimistic than others, but it’s important to acknowledge the downsides it has too.

On the other hand, there are a number of actors who have spoken up against method acting, who have spoken up against method acting, dismissing it wholly.acting not only divides its audiences, but also its peers. In an interview with GQ UK, Mads Mikkelsen called method acting “bullshit” and “pretentious” and that method acting can be taken into “insanity”.

Another actor who shares similarly negative opinions on the technique is David Harbour.

Despite being “captivated and fascinated” by Daniel Day-Lewis’ approach to method acting, Harbour clarifes that the process just “sounds like nonsense” and that “it’s dangerous, and it

actually doesn’t produce good work”. It seems that method acting not only divides its audiences, but also its peers.

Should method acting that is damaging to the mental health and production be rewarded and praised? Or should it be taken more seriously and consider actors’ and production members’ mental health too?

Though method acting has its fair share of controversy and praise, it’s clear that there are a lot of issues with it – despite actors trying to restore its original prestige. Should method acting that is damaging to the mental health and production in Strong’s case be rewarded and praised? Or should it be taken more seriously and consider actors’ and production members’ mental health too? Should questions about the power it gives male actors and the restrictions that female actors have be discussed?

Perhaps method acting is selfsh, and Stanislavski’s original aims are long forgotten in the modern age.

And maybe, method actors should simply – in the words of Laurence Olivier – just try acting?

AI Generation in Children's Storytelling: Balancing Creativity, Development, & Security WRITTEN BY MADDIE McKEE

As we venture into a new technological frontier, the integration of AI brings forth a multitude of potential ethical concerns that warrant careful consideration in the world of children’s storytelling. As these applications gain the ability to generate tailored content, questions appear around the suitability of its content, the influence on children’s growth and development as well as the reinforcement of biases within the storytelling framework. The balance between nurturing creativity and safeguarding the well-being of children is put into question. How can we navigate the ethical considerations surrounding generative AI in children’s storytelling without compromising the well-being and development of young minds?

DECIPHERING AI’S INFLUENCE The prospect of creating stories with AI carries its advantages, one of these being its ability to produce customisable story prompts that can adapt to a child's interests and preferences. Investigated in the 2014 research paper First Language authored by Natalia Kucirkova, David Messer, and Kieron Sheey, the researchers make the comparison of personalised and non-personalised content on children's development. Their findings showed that children had “significantly better knowledge about the words that are in the personalised sections of books than the words in the non-personalised sections.”

Researchers conclude that personalised story-telling content facilitates younger children's word acquisition more effectively than those not personalised for a child. Creator of SmartDreams AI, Nick Desai also spoke candidly with Lifewire magazine about the technicalities of storytelling through generative AI. In their interview for the magazine category Tech for Humans, Desai describes that with the application “children can experience the magic of storytelling without the

difficulties of constructing a story from scratch.” Further describing the app as a “useful tool that guides children through the creative process, boosting children’s creativity, validating their ideas and encouraging them to explore more creative endeavours.”

In personalising content that can adapt to a child's interests and preferences, a tailored approach to storytelling can become a more enjoyable and appealing experience for children. With this, other AI generative enthusiasts such as Eugenia Kuyda of Replika AI and Steven Ebin of StoryBird AI suggest stories can develop essential skills like decision-making, problem-solving and critical thinking as part of fostering children's creativity. In part, children can actively generate more diversified and engaging storytelling experiences.

“Children can experience the magic of storytelling without the difficulties of constructing a story from scratch.”

Nick Desai, Creator of SmartDreams AI.

The growing dependence on AI – generated content brings forth challenges and ethical

AI Generation in Children's Storytelling: Balancing Creativity, Development, & Security WRITTEN BY MADDIE McKEE

As we venture into a new technological frontier, the integration of AI brings forth a multitude of potential ethical concerns that warrant careful consideration in the world of children’s storytelling. As these applications gain the ability to generate tailored content, questions appear around the suitability of its content, the influence on children’s growth and development as well as the reinforcement of biases within the storytelling framework. The balance between nurturing creativity and safeguarding the well-being of children is put into question. How can we navigate the ethical considerations surrounding generative AI in children’s storytelling without compromising the well-being and development of young minds?

DECIPHERING AI’S INFLUENCE The prospect of creating stories with AI carries its advantages, one of these being its ability to produce customisable story prompts that can adapt to a child's interests and preferences. Investigated in the 2014 research paper First Language authored by Natalia Kucirkova, David Messer, and Kieron Sheey, the researchers make the comparison of personalised and non-personalised content on children's development. Their findings showed that children had “significantly better knowledge about the words that are in the personalised sections of books than the words in the non-personalised sections.”

Researchers conclude that personalised story-telling content facilitates younger children's word acquisition more effectively than those not personalised for a child. Creator of SmartDreams AI, Nick Desai also spoke candidly with Lifewire magazine about the technicalities of storytelling through generative AI. In their interview for the magazine category Tech for Humans, Desai describes that with the application “children can experience the magic of storytelling without the

difficulties of constructing a story from scratch.” Further describing the app as a “useful tool that guides children through the creative process, boosting children’s creativity, validating their ideas and encouraging them to explore more creative endeavours.”

In personalising content that can adapt to a child's interests and preferences, a tailored approach to storytelling can become a more enjoyable and appealing experience for children. With this, other AI generative enthusiasts such as Eugenia Kuyda of Replika AI and Steven Ebin of StoryBird AI suggest stories can develop essential skills like decision-making, problem-solving and critical thinking as part of fostering children's creativity. In part, children can actively generate more diversified and engaging storytelling experiences.

“Children can experience the magic of storytelling without the difficulties of constructing a story from scratch.”

Nick Desai, Creator of SmartDreams AI.

The growing dependence on AI – generated content brings forth challenges and ethical

dilemmas due to the current limitations of AI in supporting the essential skills for idea generation. This dependency threatens to inhibit creativity and originality by hindering the processes crucial for idea development.

Psychologists Scott Barry Kaufman and Carolyn Gregoire’s research, as outlined in their book Wired to Create (2016), emphasises the importance of activities like daydreaming and reflection in fostering creativity. Over-reliance on generative AI risks diminishing children's ability to support their innovative capabilities, therefore restricting their social and educational growth. The overarching aim should prioritise leveraging AI to augment human creativity rather than allowing it to impede it, ensuring its application benefits rather than harms. Pressto, an AI software, endeavours to simplify this process of acquiring writing and critical thinking skills by offering writing blocks and various writing styles as an alternative output. Daniel

Stedman, the Founder and CEO, emphasizes the significance of introducing AI to children as a means of embracing this evolving educational framework:

“We’ve seen students and children who lacked the motivation to imagine become passionate about their craft.”

Daniel Stedman, CEO of Pressto.

This new foundation for future learning will not only support a higher level of more personalised education. It will also supply literary structures to help children refine their writing abilities and communication skills.

NAVIGATING RISKS: CONFRONTING THREATS Concerns about the level of privacy and data security surrounding the measures put in place to protect children's personal information remains the biggest threat of generative AI for children’s development. This lies heavily in AI’s inability to detect inappropriate language, references, and biases, as well as the privacy measures that need to be put in place to protect personal data. Comedian, and children’s author, Olaf Falafel expressed uncertainty to Wired magazine about whether children can avoid exposure to these fundamental aspects, which encapsulate the hazards

posed by AI on their safety. In supplying Bedtimestory.ai, with a prompt containing profanity and crime, the comedian aimed to create a story suitable for 2–3-year-olds.

However, the content generated by the AI produced a story that referred to injury and death, rendering it unsuitable for the intended demographic. To explain this, the cofounder of Bedtimestory.ai, Linus Ekenstam spoke to the digital webpage, Interesting Engineering (2023) to clarify the challenges of relying on OpenAI’s moderation API to supply family-friendly content, "It's not 100% watertight, but as the available tools become better, and we learn more about how to guide and steer the model, this too will improve over time.”.

Emphasising the importance of ongoing refinement, Ekenstam acknowledges the advancements that needs to be created to ensure suitability of content for audiences.

While not solely attributing blame to

dilemmas due to the current limitations of AI in supporting the essential skills for idea generation. This dependency threatens to inhibit creativity and originality by hindering the processes crucial for idea development.

Psychologists Scott Barry Kaufman and Carolyn Gregoire’s research, as outlined in their book Wired to Create (2016), emphasises the importance of activities like daydreaming and reflection in fostering creativity. Over-reliance on generative AI risks diminishing children's ability to support their innovative capabilities, therefore restricting their social and educational growth. The overarching aim should prioritise leveraging AI to augment human creativity rather than allowing it to impede it, ensuring its application benefits rather than harms. Pressto, an AI software, endeavours to simplify this process of acquiring writing and critical thinking skills by offering writing blocks and various writing styles as an alternative output. Daniel

Stedman, the Founder and CEO, emphasizes the significance of introducing AI to children as a means of embracing this evolving educational framework:

“We’ve seen students and children who lacked the motivation to imagine become passionate about their craft.”

Daniel Stedman, CEO of Pressto.

This new foundation for future learning will not only support a higher level of more personalised education. It will also supply literary structures to help children refine their writing abilities and communication skills.

NAVIGATING RISKS: CONFRONTING THREATS Concerns about the level of privacy and data security surrounding the measures put in place to protect children's personal information remains the biggest threat of generative AI for children’s development. This lies heavily in AI’s inability to detect inappropriate language, references, and biases, as well as the privacy measures that need to be put in place to protect personal data. Comedian, and children’s author, Olaf Falafel expressed uncertainty to Wired magazine about whether children can avoid exposure to these fundamental aspects, which encapsulate the hazards

posed by AI on their safety. In supplying Bedtimestory.ai, with a prompt containing profanity and crime, the comedian aimed to create a story suitable for 2–3-year-olds.

However, the content generated by the AI produced a story that referred to injury and death, rendering it unsuitable for the intended demographic. To explain this, the cofounder of Bedtimestory.ai, Linus Ekenstam spoke to the digital webpage, Interesting Engineering (2023) to clarify the challenges of relying on OpenAI’s moderation API to supply family-friendly content, "It's not 100% watertight, but as the available tools become better, and we learn more about how to guide and steer the model, this too will improve over time.”.

Emphasising the importance of ongoing refinement, Ekenstam acknowledges the advancements that needs to be created to ensure suitability of content for audiences.

While not solely attributing blame to

generative AI storytelling, it is worth noting that traditionally published children's books often avoid controversy but may encounter other concerns. Consider how many times you reread your favourite book or contemplated the recurring theme of the female consistently being rescued by the male protagonist.

A 2017 study commissioned by the Arts Council England delved into the representation of BAME (Black, Asian & Minority Ethnic) characters, revealing that only 4% (391 out of 9,115) of these fell into this category. In favour of AI content, this could be one way for parental and educational figures to utilise the strengths of this application by presenting more diversified representations of characters to children within their environments. However, this should not be seen as an alternative to published storybooks, as they play an influential role in teaching children and building their character. However, this should not be seen as an alternative to published storybooks, as they play an influential role in teaching children and building their character.

LOOKING TOWARDS TOMORROW: A GLIMPSE INTO THE FUTURE The impact of AI on our daily lives is undeniable. With its rapid growth, it has become a central force in modern society. As one of the fastest-growing industries, we need to learn how to adapt to these ways of life to understand what the future looks like with AI-powered storytelling for children. A crucial aspect highlighted by AI is the necessity for implementing robust safety measures to safeguard children’s security. These improvements can be made by ensuring that actions are taken to tailor children's needs. For example, AI developers should aim to refine databases, ensure age-appropriate content, as well as implement improved security measures to protect the privacy of their users.

In collaboration with the Government of Finland, UNICEF has initiated efforts to address this gap in safeguarding child rights within the evolving landscape of AI. Through their ‘AI for children’ project, UNICEF has formulated a set of policies aimed at understanding and mitigating the impact of AI on children. These initiatives aim not only to enhance user safety and reliability but also to foster interactive and captivating storytelling experiences. Here, we can create a more stimulating and enriching learning environment for young minds.

Incorporating more depth and detail into understanding an individual child's preferences, will help facilitate a more personalised blend of storytelling by nurturing their creativity rather than minimising it.

As generative AI continues to advance, its influence on reshaping the storytelling experience for children is near collateral. It is crucial to address these challenges and ethical concerns as a way of harnessing a safer and more reliable environment for all child development. In furthering our understanding of AI as a generative storytelling application, we can create an environment where AI enhances the storytelling experience for children without the risks of harmful content and data security issues.

IMAGES BY JORM SANGSORM /ADOBE STOCK

generative AI storytelling, it is worth noting that traditionally published children's books often avoid controversy but may encounter other concerns. Consider how many times you reread your favourite book or contemplated the recurring theme of the female consistently being rescued by the male protagonist.

A 2017 study commissioned by the Arts Council England delved into the representation of BAME (Black, Asian & Minority Ethnic) characters, revealing that only 4% (391 out of 9,115) of these fell into this category. In favour of AI content, this could be one way for parental and educational figures to utilise the strengths of this application by presenting more diversified representations of characters to children within their environments. However, this should not be seen as an alternative to published storybooks, as they play an influential role in teaching children and building their character. However, this should not be seen as an alternative to published storybooks, as they play an influential role in teaching children and building their character.

LOOKING TOWARDS TOMORROW: A GLIMPSE INTO THE FUTURE The impact of AI on our daily lives is undeniable. With its rapid growth, it has become a central force in modern society. As one of the fastest-growing industries, we need to learn how to adapt to these ways of life to understand what the future looks like with AI-powered storytelling for children. A crucial aspect highlighted by AI is the necessity for implementing robust safety measures to safeguard children’s security. These improvements can be made by ensuring that actions are taken to tailor children's needs. For example, AI developers should aim to refine databases, ensure age-appropriate content, as well as implement improved security measures to protect the privacy of their users.

In collaboration with the Government of Finland, UNICEF has initiated efforts to address this gap in safeguarding child rights within the evolving landscape of AI. Through their ‘AI for children’ project, UNICEF has formulated a set of policies aimed at understanding and mitigating the impact of AI on children. These initiatives aim not only to enhance user safety and reliability but also to foster interactive and captivating storytelling experiences. Here, we can create a more stimulating and enriching learning environment for young minds.

Incorporating more depth and detail into understanding an individual child's preferences, will help facilitate a more personalised blend of storytelling by nurturing their creativity rather than minimising it.

As generative AI continues to advance, its influence on reshaping the storytelling experience for children is near collateral. It is crucial to address these challenges and ethical concerns as a way of harnessing a safer and more reliable environment for all child development. In furthering our understanding of AI as a generative storytelling application, we can create an environment where AI enhances the storytelling experience for children without the risks of harmful content and data security issues.

IMAGES BY JORM SANGSORM /ADOBE STOCK

SPIN ‘N’ SHARE The Brand New Exhibition Celebrating Local Music, Culture and Artists That You Can Involved In Owner of Replay records in Bristol, Bob Jones described the Bristol music scene as “a real melting pot with lots in˜uences all coming together.” This constantly evolving network of small grassroots venues and business provides a platform to upcoming artists and new sounds, creating a hugely unique, diverse, and exciting scene. However, the presence of Bristol’s rich music scene is also felt in its neighbouring city of Bath, where a small but dedicated underground scene has been forming in more recent years.

Revolutionary dance producers coming out the city include Joy Orbison, an alumni of Bath Spa University where I am currently studying.

With the two cities being so close, there is a real opportunity to merge the cultures through o°ering an exhibition that celebrates both cities and supports local artists, musicians and businesses...

For years, grassroots music venues have been the lifeblood of the local DJ scene, providing a stage for up-and-coming artists to hone their craft and build a following. These intimate spaces o°ered a sense of community and camaraderie, where DJs could experiment with new sounds and connect with audiences on a deeper level. However, as rising rents and changing demographics reshape

WRITTEN BY LOUIE STAGG

urban landscapes, a somber reality has set in – grassroots music venues are closing at an alarming rate.

According to the Music Venue Trust (MVT), about 120 of the UK's small venues - about 15% of the total - have closed or stopped putting on gigs this year, meaning the loss of 4,000 jobs and more than £9m in income for musicians. As a resident of Bath, this harsh reality was felt by me and many of the musicians and DJs in the city due to the unfortunate closure of Moles. Moles’ owner Tom Maddicot told the BBC "Making the decision to close Moles was horrendous… but the reality is that live music at grassroots level is no longer economically viable."

Enter Spin n’ Share – a student-led movement that celebrates the resurgence of vinyl records while providing a platform for local DJs to showcase their skills.

For local DJs, whose craft is deeply intertwined with these intimate spaces, the closures represent not only a loss of performance venues but also a blow to their livelihoods and creative outlets. However, amidst the challenges, a

Tricky at Pully For Noise Festival 2008 by Rama

SPIN ‘N’ SHARE The Brand New Exhibition Celebrating Local Music, Culture and Artists That You Can Involved In Owner of Replay records in Bristol, Bob Jones described the Bristol music scene as “a real melting pot with lots in˜uences all coming together.” This constantly evolving network of small grassroots venues and business provides a platform to upcoming artists and new sounds, creating a hugely unique, diverse, and exciting scene. However, the presence of Bristol’s rich music scene is also felt in its neighbouring city of Bath, where a small but dedicated underground scene has been forming in more recent years.

Revolutionary dance producers coming out the city include Joy Orbison, an alumni of Bath Spa University where I am currently studying.

With the two cities being so close, there is a real opportunity to merge the cultures through o°ering an exhibition that celebrates both cities and supports local artists, musicians and businesses...

For years, grassroots music venues have been the lifeblood of the local DJ scene, providing a stage for up-and-coming artists to hone their craft and build a following. These intimate spaces o°ered a sense of community and camaraderie, where DJs could experiment with new sounds and connect with audiences on a deeper level. However, as rising rents and changing demographics reshape

WRITTEN BY LOUIE STAGG

urban landscapes, a somber reality has set in – grassroots music venues are closing at an alarming rate.

According to the Music Venue Trust (MVT), about 120 of the UK's small venues - about 15% of the total - have closed or stopped putting on gigs this year, meaning the loss of 4,000 jobs and more than £9m in income for musicians. As a resident of Bath, this harsh reality was felt by me and many of the musicians and DJs in the city due to the unfortunate closure of Moles. Moles’ owner Tom Maddicot told the BBC "Making the decision to close Moles was horrendous… but the reality is that live music at grassroots level is no longer economically viable."

Enter Spin n’ Share – a student-led movement that celebrates the resurgence of vinyl records while providing a platform for local DJs to showcase their skills.

For local DJs, whose craft is deeply intertwined with these intimate spaces, the closures represent not only a loss of performance venues but also a blow to their livelihoods and creative outlets. However, amidst the challenges, a

Tricky at Pully For Noise Festival 2008 by Rama

glimmer of hope emerges in the form of a new movement – a bring your own vinyl and local DJ exhibition is here to celebrate local music culture – o°ering a lifeline to local DJs while educating the community about the richness of local sounds and cultures.

Enter Spin n’ Share – a student-led movement that celebrates the resurgence of vinyl records while providing a platform for local DJs to showcase their skills. These events, organized by a dedicated team of Bath Spa University students, harken back to a time when vinyl was king, inviting attendees to bring their own records and share their musical treasures with fellow enthusiasts. But they are more than just nostalgia trips – Spin n' Share serves as an incubator for local talent, o°ering DJs a chance to perform in front of live audiences and connect with like-minded individuals.

Moreover, this event goes beyond just music – it’s an immersive experience that educates attendees about the rich tapestry of sounds and cultures that deÿne their communities. Through photography exhibitions, on-display artifacts, and the key element of audience participation, Spin n’ Share shines a spotlight on the diverse array of local sounds that often go unnoticed in the mainstream music scene. From the pulsating beat of techno or jungle to the melodic rhythms of reggae or sweet soul music, all attendees are invited to explore and celebrate the cultural heritage that shapes their musical landscape.

I caught up with a Bath Spa university student and DJ, Jaya, who will be performing at Spin n' Share. When asked about what attracted him to the exhibition, he said it is refreshing to see something unique and innovative going on especially by students. He went on to tell me that he particularly loved the way the event breaks down the "imaginary walls between the crowd and the artists". I found this a powerful comment that mirrors the ambitions of the

creators of Spin n’ Share.

At the heart of Spin n’ Share is a spirit of inclusivity and collaboration. By providing a platform for local DJs and businesses to thrive, this gathering is not only revitalizing the underground music scene but also strengthening the fabric of the community as a whole.

"As we navigate the uncertain of future local music, Spin n’ Share offers a beacon of hope for local DJs and music lovers alike."

The Bath venue itself also ÿts the ethos, and shares many of our values. When speaking to the owner of the Electric Bear Brewing company, Adam, he said the event was something the venue had been looking for, and was thrilled with the concept of supporting local artists. He added that the elements of participation and supporting local “remind us that music is more than just entertainment – it's a catalyst for social change, bringing people together across boundaries of race, class, and culture.”

As we navigate the uncertain future of local music, Spin n’ Share o°ers a beacon of hope for local DJs and music lovers alike. Through their celebration of vinyl culture and local sounds, they remind us of the power of music to unite, inspire, and uplift.

We hope to see you there!

Spin n’ Share is live from 5pm-10pm on the 17th May at Electric Bear Brewery, Bath.

Follow us on Instagram at: @spinnshare_ Idles at Glastonbury 2019 by Simon Crompton-Reid

Idles at Glastonbury 2019 by Simon Crompton-Reid

glimmer of hope emerges in the form of a new movement – a bring your own vinyl and local DJ exhibition is here to celebrate local music culture – o°ering a lifeline to local DJs while educating the community about the richness of local sounds and cultures.

Enter Spin n’ Share – a student-led movement that celebrates the resurgence of vinyl records while providing a platform for local DJs to showcase their skills. These events, organized by a dedicated team of Bath Spa University students, harken back to a time when vinyl was king, inviting attendees to bring their own records and share their musical treasures with fellow enthusiasts. But they are more than just nostalgia trips – Spin n' Share serves as an incubator for local talent, o°ering DJs a chance to perform in front of live audiences and connect with like-minded individuals.

Moreover, this event goes beyond just music – it’s an immersive experience that educates attendees about the rich tapestry of sounds and cultures that deÿne their communities. Through photography exhibitions, on-display artifacts, and the key element of audience participation, Spin n’ Share shines a spotlight on the diverse array of local sounds that often go unnoticed in the mainstream music scene. From the pulsating beat of techno or jungle to the melodic rhythms of reggae or sweet soul music, all attendees are invited to explore and celebrate the cultural heritage that shapes their musical landscape.

I caught up with a Bath Spa university student and DJ, Jaya, who will be performing at Spin n' Share. When asked about what attracted him to the exhibition, he said it is refreshing to see something unique and innovative going on especially by students. He went on to tell me that he particularly loved the way the event breaks down the "imaginary walls between the crowd and the artists". I found this a powerful comment that mirrors the ambitions of the

creators of Spin n’ Share.

At the heart of Spin n’ Share is a spirit of inclusivity and collaboration. By providing a platform for local DJs and businesses to thrive, this gathering is not only revitalizing the underground music scene but also strengthening the fabric of the community as a whole.

"As we navigate the uncertain of future local music, Spin n’ Share offers a beacon of hope for local DJs and music lovers alike."

The Bath venue itself also ÿts the ethos, and shares many of our values. When speaking to the owner of the Electric Bear Brewing company, Adam, he said the event was something the venue had been looking for, and was thrilled with the concept of supporting local artists. He added that the elements of participation and supporting local “remind us that music is more than just entertainment – it's a catalyst for social change, bringing people together across boundaries of race, class, and culture.”

As we navigate the uncertain future of local music, Spin n’ Share o°ers a beacon of hope for local DJs and music lovers alike. Through their celebration of vinyl culture and local sounds, they remind us of the power of music to unite, inspire, and uplift.

We hope to see you there!

Spin n’ Share is live from 5pm-10pm on the 17th May at Electric Bear Brewery, Bath.

Follow us on Instagram at: @spinnshare_ Idles at Glastonbury 2019 by Simon Crompton-Reid

Idles at Glastonbury 2019 by Simon Crompton-Reid

Revolutionise how media creators communicate to audiences with our Media Communications degree.

Learn the skills to succeed across the ever-growing communications industries.

Reimagine how you use media to communicate to audiences ethically and progressively.

Work alongside The Studio, the University's new city-centre innovation hub for creative media technology.

Course contact: Conrad Moriarty-Cole Email: c.moriartycole@bathspa.ac.uk Instagram: @mediacommsbsu Bath Spa University Newton St Loe Bath, Somerset BA2 9BN

www.bathspa.ac.uk/courses/ug-media-communications/