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      • archiveFour Corners Bishopsgate
      • vimeo_link
      • authorSee sections X to AC
      • author_editorLiz Wells, Sue Foll, Yve Lomax
      • author_writerDavid Bate, David Green, Anita Phillips, Jean-Francois Lyotard, Philip Derbyshire, Wendy Ewald, Grace Lau
      • author_photographerGarrard Martin, Chris Wainwright, Bill Culbert, Andrew Pepper, Michael Graves, Martine Bedin, Ettore Sotsass, Jim Burke, Janine Rook, Verdi Yahooda, Wendy Ewald
      • author_designerSue Foll
      • author_interviewee
      • author_organisationScience Museum
      • tagsscience,scientific frameworks,stereotype,objectivity,foucault,discipline,punishment,power,rationality,truth,panopticon,body,records,surveillance,history,great western railway,brunel,steamship,kingdom,nineteenth century,19th c,progress,victorian,press,industrialisation,visual display unit,typist,computer,word processing,advertisement,light,sculpture,illumination,post-modernism,maxism,rhetoric,semiotics,knowledge,technology,documentary,stories,women,american,canadian,native,indians,isolation,cultures,underprivileged,apalachia,female,fantasies,glamour,model,sexuality,erotic,role reversal,gender roles,nude,sexual identity,jo spence,review of work 1950 – 85,public,private,health,wellbeing,polysnappers,,arts council of great britain,conference,photographers in,television mythologies,classroom
      • titleCamerawork Magazine - Issue 32
      • subtitleIssue 32: Science and Technology
      • dimension35 pages
      • ocr1
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, David Bate, David Green, Anita Phillips, Jean-Francois Lyotard, Philip Derbyshire, Wendy Ewald, Grace Lau, Garrard Martin, Chris Wainwright, Bill Culbert, Andrew Pepper, Michael Graves, Martine Bedin, Ettore Sotsass, Jim Burke, Janine Rook, Verdi Yahooda, Science Museum
      • credits
      • related
      • locationBethnal Green, London, UK, (pg 10) Bristol, UK. (pg 11) Russia. Crimea. (pg 21,22,23) America. Canada. (pg 26,27,28) Cambridge, UK. Cardiff, UK.
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      • pdf_textCAMERAWORK Science and Technology Scientific Frameworks w o m e n o e n m a m e Lens 32 Summer 1985 £1.75 Wednesday 10»h July Saturday 27th July GIL GALVIN, BRUCE RAE with PAUL RUTISHAUSER, JO SPENCE SPECIAL EVENTS Wednesday 10th, 17th, 24th July 11.00 1.00 'Dancing to keep fit, have fun, and relax' led by Mary Prestidge Community dance worker for Tower Hamlets. Thursday 11th July 11.00 1.00 'Finding your Voice' Voice workshop led by Jessica Loeb. Thursday 18th & 25th July, 10.30 1.00 'Give Yourself a Treat' A practical introduction to massage, led by Judy Senior (Women only). 50p charge for each session. CAMERAWORK WOMEN AND SCIENCE Wednesday 31st July • Saturday 17th August ROBERTA GRAHAM, SUSAN TRANGMAR, video work by SANDRA LAHIRE Friday 2nd August 7.00 Dance'Performance 'Sportswoman of the Year Awards' MARY PRESTIDGE 'You can't keep a good woman down' ANNE SEAGRAVE Cl .00 waged, 50p concessions BLINDING WITH SCIENCE Wednesday 21st August Saturday 14th September TERENCE BOND, GREG DAVILLE, GADI HOLLANDER, KIERAN LYONS. ANNIE MORRAD, CHINESE EDUCATIONAL EXPERIMENTS. JOHN WOOD AND DAVID GODBOLD. OPENING HOURS Tuesday to Friday 1.00 6 00 Saturday 11 00 3.00 CAMERAWORK. 121 Roman Road, London E2 0QN tel: 01 980 6256 SCIENCE AND TECHNOLOGY THE MEDICINE SHOW Camerawork CAMERAW ORK Front cover photograph by Garrard Martin Camerawork Is: Administrator Darkroom worker Co-ordinator Darkroom worker Exhibitions organiser Darkroom worker Darkroom worker Publicity/touring shows Magazine editor Finance officer Mary Caws Jean Fraser Carl Gardner Pam Gill Sharon Kivland Anne McNeill Lesley Mitchell Loren Sherman Liz Wells Celia Wood Camerawork magazine: Editor Design Production Liz Wells Sue Foil Yve Lomax Sue Foil Published by Camerawork, 121 Roman Road, Bethnal Green, London E2 OQN Telephone: 01-980 6256 Camerawork is funded by The Arts Council of Great Britain, The Greater London Arts Association, and The Greater London Council. Typesetting and Printing by Calvert's Press, 55 Mount Pleasant, London WC1X OA Distribution by ARTS EX.PRESS PO Box 633, London SE7 7HE Telephone: 01-853 0750 ISSN number 0308 1676 Copyright of articles is held jointly by Camerawork and the writer. The views expressed do not necessarily represent the views of Camerawork. Editorial The choice of Science and Technology as the Camerawork theme for Summer 1985 has proved particularly interesting and challenging: technological development is both consequent upon and permeates most areas of contemporary experience. Furthermore, Science is arguably all encompassing in offering particular notions of logic and methods of explanation which frame a total way of thinking. This 'totalitarian'!!) conceptual frame-work is investigated in the first section of the magazine through work on images of scientific development; on photography and the making of history: on Foucault, power, and photography. Indeed, ‘fixing reality through photography' might be an appropriate sub-title for many of the pieces in this issue, for photography - itself a technology - in selectively capturing particular views of social realities, plays a major role in the construction of history. Whose reality, we may well ask? Yet 'Science' as a paradigmatic area of intellectual exploration is increasingly under challenge. Totalising modes of thought are centrally addressed in our three pari section on post-modernism, especially in the argument by Lyotard (founded upon a 1948 interview). The aesthetics of post modernism are implicated in the new insecurity of unitary modes of scientific philosophy. Artistic work in all its forms is arguably increasingly influenced by the refusal of closure, of narrative resolution, the refusal ot what Barthes has termed plaisir. Jouissance lies in the extension of formal boundaries, in experimentation in style and content, in the refusal to pander to conventionalised expressive sensibilities. 'Scientific achievement' is experienced by most of us in our everyday contact with technology. I am typing on an electric typewriter and this editorial will be electronically typeset. Military installations and uses of nuclear power provide the major focus of political debate relating to uses of technology. But our health and well-being is affected by new technologies in much more mundane moments of exposure. Computerisation, with attendant health risks, is a key contemporary influence within employment - or rather, unemployment patterns, as well as actual work conditions, especially where women are concerned. In relation to this, I was surprised at the apparent lack of photographic material expressing something of First WorldTThird World economic relations. New technology is ubiquitously glamourised in advertising, yet depends on the systematic exploitation of low paid workers for a continuous supply of components. Western women are not alone in suffering from changing technologies. So who benefits from new technology? Following the format established in the Spring, this issue offers features sections, followed by a News, Views, Reviews (contributions always welcome), and an account of what's going on at Camerawork, in the gallery, in the darkrooms. The final features section extends the theme of technology into consideration of ways in which photography, as a technology, has been approached and used by women photographers in ways which differ from dominant (male-defined) ways of working. The three women photographers included share a determination to explore and question the ‘terms' of photography. The work of Jo Spence Contents and of Grace Lau, in particular, arouses discussion and disagreement at Camerawork, debates which, I hope, are both valid and productive in relation to the development of alternative modes of photographic practice. Science may have made it possible, but this should not deter us from challenging fixed conceptual frameworks. Liz Wells Editor 4 Scientific frameworks Science has made it possible; On Foucault: disciplinary power and photography; Photography and the making of history. 12 Technology at Work Fast operators - women at the workstation; Illumination. 16 Post Modernism: Truth falls apart 21 Women Behind the Lens Documentary Stories Through the lens: female power fantasies? The words say more than the pictures: Jo Spence’s work reviewed. 29 News, Views, Reviews 32 Camerawork Scientific frameworks THE ENCOUNTER IMPRESSED RELATIVE POSITIONS FATHER FIGURED HIS INVENTION WOULD EXERT INFLUENCE BEYOND BELIEF W h a t is it th a t c o n s titu te s th e s te re o ty p e of scien ce. T h e w h ite coat, th e ex p e rim en t, th e la b o ra to ry ? Such im a g e s a re fam iliar th ro u g h th e ev e ry ­ d ay re p re s e n ta tio n s of sc ien c e in a d v e r­ tisin g , film, television, n e w s a n d dram a. If w e k n o w our w orld th ro u g h r e p r e s e n ­ ta tio n s th e n it w ill b e w o rth co n sid erin g su c h a s te re o ty p e for a m o m en t. Like all s te re o ty p e s th is o n e is a p ro c e ss of sh o rt-circu it critical th in k in g , it is co n ­ v e n ie n t, m a k es life ea sy , b u t w h a t or w h o s e in te r e s t is in v e s te d in its circu la­ tion? Science se e m s to e x ist b y itself. M ore th a n a su m of 's c ie n tis ts ' it is a d is­ c o u rse a p p e a rin g to b e o n th e sid e of T ru th , b u t like o th e r d isc o u rs e s its b o u n d a ry is a p ra c tic e of exclusion. N ot b y to p ic (scien ce k n o w s all) b u t by th e d isq u alificatio n of c e rta in sp e a k e rs. O ne m u st h a v e w h a t is called o b je ctiv ­ ity. W h a t th is all a d d s u p to is a sty le, a m y th (in B a rth e s ’ s e n s e of d e-p o liticised sp e ec h ) th a t h a s co n n o ta tio n s of th e o b ­ jectiv e. T he m a te ria l of sc ien c e is n a ­ tu re , it rew o rk s n a tu re in to th e n a tu ra l - as n a tu ra l a s te ch n o lo g y . T h e re is n o ­ th in g n a tu ra l or ob jectiv e a b o u t th is p ro ce ss, it is cu ltu ral a n d th e re fo re s u b ­ je c t to th e political, econom ic a n d u n ­ co n scio u s c o n d itio n s of c u ltu re. Science sy p h o n s off th e s e o th e r d e te rm in a n ts like th e p u rita n s e e k s fre ed o m from m oral pollution. T h ere is a lw a y s ideol­ ogy, n e v e r im partiality, w e s p e a k from so m e position. S cience (full of facts) sp e a k s a b o u t 4 SCI ENCE has made it possible David Bate tech n o lo g y , it c a n ta lk a b o u t m icro-proc e sso rs, n u c le a r fu sio n a n d p h o to g rap h y . It c a n u s e p h o to g ra p h y to ta lk a b o u t th e s e o th e r th in g s . Firm ly lo c a te d w ith in th e d isc o u rse of scien ce, th e 'scientific' p h o to g ra p h a p p e a rs - scientific, Its c re d e n tia ls a re b o u g h t th ro u g h facts: th e d a te , tim e, film u se d , exposu re , w h o to o k th e im a g e a n d finally th e u b iq u ito u s ca p tio n . P h o to g ra p h s cann o t b e in trin sically scientific, only app ro p ria te d . Science has made it possible Scientific frameworks MOTHER MENTIONED HER BODY OF WORK It I THE ARMS WERE OPERATIONAL DESPITE SUPERVISION THE WITNESS CONCEALED EVIDENCE FROM THE PROCEEDINGS P h o to g ra p h s from th e S cience M u seu m : 1 T h e p e rsp e c tiv e room 2 M o o n scap e 3 V ictorian k itc h e n 4 Body s c a n n e r d isp lay 5 T elep h o to le n s ex h ib it 5 Scientific frameworks on Foucault: disciplinary power and photography David Green R ecen tly th e w r itin g s of th e F rench h istorian and p hilosoph er, M ichel Foucault, h ave b een in cr ea sin g ly w id e ly r e v ie w e d in th is cou n try a n d if th e ir re c e p tio n h a s n o t a lw a y s b e e n e n ­ tirely fav o u rab le th e c o n s e n s u s h a s b e e n th a t th e y m e rit carefu l c o n s id e ra ­ tion. F o u c a u lt’s influ en ce, h o w ev e r, h a s b e e n la rg e ly co n fin ed to th e re a lm s of ac ad e m ia . T h u s o n e s u s p e c ts th a t th e p o te n tia l v alu e of h is id e a s to cu ltu ral p ra c titio n e rs w o rk in g w ith in a n o p p o si­ tio n a l p olitics h a s y e t to b e fully rea lise d . It is, th e re fo re , w ith th e aim of e x te n d in g th e a u d ie n c e for his id e a s th a t I shall a tte m p t h e re to briefly r e ­ c a p itu la te th e p rin cip al c o m p o n e n ts of F o u c a u lt's w ork, to tra c e th e tra je c to ry of h is a rg u m e n ts a n d to a s s e s s th e im ­ p o rta n c e a n d u s e of h is co n clu sio n s for a c o n te m p o ra ry c u ltu ra l p olitics of p h o to g ra p h y . P o w er/K n ow led ge F o u c a u lt’s w ritin g s a re n o to rio u sly 'dif­ ficult' b u t th e c h a lle n g e to th e re a d e r is n o t so m u ch a t th e level of la n g u a g e or te rm in o lo g y b u t w ith h is g e n e ra l r e ­ fu sal to a c k n o w le d g e th e tra d itio n a l b o u n d a rie s of a c ad e m ic d isciplines. T he m ain b o d y of F o u c a u lt's w o rk ca n b e sa id to b e lo c ate d w ith in th e h isto ry of id e a s or m o re specifically w ith in th e h isto ry of scien ce. Initially, h o w ev e r, F o u c a u lt’s p o in ts of d e p a rtu re se e m bew ild erin g ly d iv e rse : from h is earlier s tu d ie s of p sy ch o lo g y in M a d n e s s a n d C ivilisation (1961) a n d th e b irth of m o d ­ e m m ed icin e in T h e B irth o f th e Clinic (1963), th ro u g h th e m u ch m o re a p p a ­ re n tly eclectic g ro u p in g of philology, biology a n d political eco n o m y to b e fo u n d in T he O rder o f T h in g s (1966), to th e stu d y of crim inology in D iscipline a n d P u n ish m e n t (1975) a n d finally to th e p ro je c te d six vo lu m e an a ly sis in T he H isto ry o f S e x u a h ty (1976). Y et b e h in d th e in v e stig a tio n s of th e s e v arie d p h e n o m e n a lie tw o c e n tra l in te rc o n ­ n e c tin g th e m e s : th e d e v e lo p m e n t of c e rta in form s of ra tio n a lity w h ic h p o sit 'm a n ' a s b o th th e su b je c t a n d o b je c t of k n o w le d g e ; secondly, th e com plex re la ­ tio n s b o n d in g p o w e r a n d k n o w le d g e w h ic h a re im plicit to su c h form s of r a ­ tio n ality. T h e h isto ric al focus of 6 F o u c a u lt’s w o rk h a s th u s b e e n th a t m o ­ m e n t w h e n m a n c o n s titu te s h im s e lf in W este rn cu ltu re a s b o th th a t w h ich m u s t b e c o n c e iv e d o f a n d th a t w h ich m u s t b e k n o w n , th a t is th e p erio d of th e la te e ig h te e n th a n d early n in e te e n th ce n tu ry . Prior to th is, h e h a s arg u e d , th e re w a s no specific d o m ain of k n o w ­ le d g e p ro p e r to ‘m a n ’ him self. T h e m o d ­ e rn n o tio n of m a n a s a u n ita ry a n d u lti­ m a tely k n o w a b le su b je c t is th e p ro d u c t of a n h isto rical p ro c e ss a n d o n e th a t is fo rm u late d in th e a p p e a ra n c e of all th a t w e u n d e r s ta n d to d a y b y th e h u m a n a n d social sc ien c es. F o u c a u lt’s w o rk c a n th e n b e s t b e v ie w e d a s a n a tte m p t to u n d e r s ta n d h o w th e h u m a n a n d social sc ie n c e s b e c a m e h isto rically p o ssib le, to m a p o u t th e c o n d itio n s th a t e n a b le d th e ir em e rg e n c e , a n d to in d ic a te th e c o n s e q u e n c e s of th e ir ex iste n ce. T he fulcru m of th e s e in v e stig a tio n s h a s b e e n th e id e a th a t th e h u m a n a n d social sc ie n c e s re p r e s e n t n o t only th e e m e rg e n c e of n e w form s of k n o w le d g e a b o u t 'm a n ' b u t also th e d e v e lo p m e n t of n e w form s a n d m o d a lities of p o w e r ov er m an. T h e reflexive rela tio n s of p o w e r a n d k n o w le d g e w h ich F o u cau lt h a s s o u g h t to d e fin e re q u ire a fu n d a ­ m e n ta l sh ift in o u r u s u a l u n d e rs ta n d in g of th e s e co n c e p ts. T h u s p o w e r c a n n o t b e re g a rd e d only, a s it o fte n h a s b ee n , as a n e g a tiv e force w h ic h m a k e s itself k n o w n th ro u g h th e o p e ra tio n s of re p ­ ressio n , exclu sio n , lim itatio n or c e n so r­ ship. P o w e r m u st also b e re c o g n ise d in its p o sitiv e form s w h e n it e n a b le s th e p ro d u ctio n of k n o w le d g e : . . . th e p ro b le m is n o t th e refo re th a t o f d e te rm in in g h o w p o w e r s u b ju g a te s k n o w le d g e a n d m a k e s it s e rv e its en d s, or h o w it im p rin ts its m a rk on k n o w ­ led g e, im p o s e s on it ideological h m its. N o b o d y o f k n o w le d g e can b e fo rm e d w ith o u t a s y s te m o f co m m u n ica tio n , re ­ cords, a ccu m u la tio n a n d d isp la c e m e n t w h ic h is in its e lf a fo rm o f p o w e r a n d w h ich is h n ke d , in its e x is te n c e a n d fu n c tio n in g , to th e o th e r fo rm s o f p o w e r. C o n v ersely n o p o w e r can b e e x e r c ise d w ith o u t th e extra ctio n , a p ­ propriation, d istrib u tio n or re te n tio n o f k n o w le d g e . On th is level, th e re is n o t k n o w le d g e on th e o n e sid e a n d so c ie ty on th e other, or sc ie n c e a n d th e sta te , b u t o n ly th e fu n d a m e n ta l fo rm s o f p o w e r /k n o w le d g e . . . ’ F o u c a u lt's in s is te n c e on th e rec o g n itio n of th e p o sitiv e, p ro d u c tiv e c h a ra c te ris­ tic s of m o d e rn m o d a lities of p o w e r of­ fers a n a lte rn a tiv e to th e ideological c ritiq u e of sc ie n c e in w h ic h p o w e r a p ­ p e a rs only a s a co rru p t or d isto rtiv e force. If th e k n o w le d g e s of ‘m a n ’ p ro ­ v id ed b y th e h u m a n a n d social sc ie n c e s a re a b le to se rv e th e n e e d s of p o w e r th is is n o t a ttrib u ta b le to th e veils of ideo lo g ical m y stificatio n b u t to th e ir ab ility to d efin e a c e rta in field of em p iri­ cal tru th , w h a t F o u c a u lt h a s called a 'p o litics’ or ‘reg im e of tr u th ’. P o w er, th e re fo re , d o e s n o t s ta n d o u tsid e of tr u th a s th e p o te n tia l tra n s g r e s s o r of th e b o u n d a rie s of le g itim a te scien tific k n o w le d g e ; p o w e r is itse lf alre ad y tr u th a n d th e v ery te rra in u p o n w h ich k n o w le d g e is p o ssib le: T h e im p o rta n t th in g here, I b eliev e, is th a t tru th is n 't o u tsid e p o w e r, or la c k­ in g in p o w e r: co n tra ry to th e m y th w h o s e h isto ry w o u ld re p a y fu rth e r stu d y , tru th is n 't th e re w a rd o f fre e spirits, th e child o f p r o te c te d so litu d e, n o r th e p riv ile g e o f th o s e w h o h a v e s u c ­ c e e d e d in lib e ra tin g th e m s e lv e s. T ruth is a th in g o f th is w orld: it is p ro d u c e d o n ly b y virtu e o f m u ltip le fo rm s o f c o n ­ stra in t. A n d it in d u c e s reg u la r e ffe c ts o f On Foucault Scientific frameworks pow er. Each so ciety h as its regim e o f truth, its ‘general politics' o f truth: th a t is, the ty p e s o f discourse w hich it ac­ cep ts and m a kes function as true: th e m echan ism s and in sta n ces which en a ­ ble one to distinguish b e tw e e n true and false sta te m e n ts, th e m ea n s b y w hich each is sanctioned: th e tech n iq u es and procedures accorded value in th e ac­ quisition o f truth; th e s ta tu s o f those w ho are charged w ith saying w hat counts as true.2 F o u cau lt is n o t n e c e s sa rily co n ­ c e rn e d w ith th e 'c o r re c tn e s s ’ or o th e r­ w ise of th e co n c e p ts, m e th o d s a n d co n ­ te n t of th e m o d e rn sc ie n c e s b u t w ith th e effect of p o w e r w h ich is linked to th e institution and functioning o f an or­ ganised scientific discourse w ith in so ci­ ety. It is a q u e s tio n of w h a t a n d w h o g o v e rn s scientific s ta te m e n ts so a s to c o n s titu te a s e t of p ro p o sitio n s, a d is­ cu rsiv e form ation, w h ic h is a c c e p te d as tru e ; A t this level it is not so m uch a m a tter kn o w in g w h a t external p o w er im poses its e lf on science, as w h a t e f­ fe c ts o f p o w e r circulate am ong scien ­ tific sta tem en ts. D is c ip lin a ry P o w e r F o u c a u lt's m o st w id ely re a d w o rk Dis­ cipline and P unishm ent, first p u b lis h e d in 1975, re tu rn s to th e a n a ly sis of a sin g le d isc o u rs e /in s titu tio n rela tio n w h ich h a d p ro v id ed th e s tr u c tu re of his ea rlier s tu d ie s of M a d n ess and Civilisa­ tion a n d The Birth o f th e Clinic. It c h a rts th e o rigins of th e p riso n a n d th e d e ­ v elo p m en t of m o d e rn p en o lo g y d u rin g th e e ig h te e n th a n d early n in e te e n th c e n tu rie s . B ut in th is w o rk especially, th e im p licatio n s of F o u c a u lt’s an a ly sis re a c h far b e y o n d h is im m e d ia te su b je c t m a tte r, a n d th e b ro a d e r th e m e of th e book is th e e m e rg e n c e of a n en tirely n e w form of p o w e r a n d m e a n s of dom i­ n a tio n w h ich d efine, w h a t F o u c a u lt h a s called, a ‘d iscip lin ary so c ie ty ’. T he e m e rg e n c e of th is n e w form of p o w e r is tra c e d th ro u g h th e c h a n g e s w h ich o ccur in th e c o n c e p t of p u n is h m e n t from a sy ste m of re trib u tio n to a sy ste m of reform . It involves th e g ra d u a l r e ­ p la c e m e n t of ty p e s of p u n ish m e n t w h ich a re sp e c ta c u la r, ritu a listic an d m a n ifestly violent, a n d in w h ic h th e b o d y of th e o ffe n d er w a s th e d irec t an d im m e d ia te ta r g e t of re trib u tio n , b y a m o re m o d e st, d isc re te a n d s u b tle m e a n s of co rrec tio n a n d tra in in g w h o se ta r g e t w a s no lo n g e r th e b o d y of th e of­ fe n d e r b u t h is ’so u l’, u n d e rs to o d in te rm s of su b jectiv ity , c o n sc io u sn e ss and p erso n a lity . It w ould, sa y s F o u cau lt, b e a m is ta k e to s e e th e s e c h a n g e s sim ply a s th e in e v ita b le triu m p h of re a so n ov er b a rb a rism , th e re p la c e m e n t of a ty ran n ical a n d b ru ta l reg im e b y a m ore h u m a n e a n d b e n e v o ­ le n t sy ste m . It w a s, of co u rse, p rec isely th e s e th in g s b u t it w a s also th e im ­ p le m e n ta tio n of a m ore p e rv a siv e an d m o re c a lc u la te d form of p o w e r a t th e h e a rt of w h ich lay th e ex e rc ise of d isc ip ­ line: Discipline m a y b e identified neith er w ith an institution nor w ith an ap­ paratus; it is a typ e o f pow er, a m o d ­ ality for its exercise, com prising a w hole s e t o f instrum ents, techniques, proce­ dures, levels o f application, targets; it is a ‘ h y sic s' or an anatom y o f pow er, a p technology3 F o re m o st a m o n g st th is 'tec h n o lo g y ' of discip lin ary pow er a re th e m e c h a n ism s of su rv eillan c e for w h ich Je re m y B e n th a m ’s 'P a n o p tic a n ' p ro ­ v id e d th e id e al m odel. A s originally e n ­ v isa g e d b y B e n th a m th e P an o p tic an w a s an a rc h ite c tu ra l co n stru c tio n : a c e n tra l to w e r is en c lo se d by a circular b u ild in g w h o s e cellu lar s p a c e s a re o p e n on th e in sid e a n d th e ir o c c u p a n ts ex ­ p o se d to th e u n re m ittin g g a z e th e to w e r affords. In th is field of u n in te r ­ r u p te d visibility, in w h ich only th e o b ­ se rv e r re m a in s u n se e n , it b e c o m e s p o s ­ sib le to co m p are in d iv id u als to ea ch o th e r a n d to im p o se a sy ste m of form al eq u a lity , th e re b y ex e rcisin g a n o rm alis­ in g ju d g e m e n t. Y et b y p ro v id in g th e m e a s u re of co m p ariso n th e m e c h a n ism s of su rv eillan c e m ak e it p o ssib le to g a u g e d iffe ren ce s b e tw e e n individuals. S u rv eillan ce is ab o v e all a n ex e rc ise of h ie ra rc h ic al o b se rv a tio n . T h e P a n o p tic a n w a s th e p e rfe c t m a n ­ ife sta tio n of d iscip lin ary p o w e r a n d th e p rin cip les of its fu n ctio n in g - if n o t r e ­ plication of its a rc h ite c tu ra l form — co u ld b e u tilise d in a v a rie ty of c o n te x ts o th e r th a n th e p e n a l in s titu tio n s for w h ic h it w a s in te n d e d . In th e ex te n sio n of its m e c h a n ism s of s u rv eillan c e a n d in th e co in cid e n ce of th e o rg a n isa tio n of th e p rison , th e h o sp ital, th e school a n d th e factory, th e d iscip lin ary te ch n o lo g y of 'p a n o p tic ism ' becam e d iffu sed th ro u g h o u t so ciety . T h u s w h ilst th e ini­ tial d e v e lo p m e n t of th e te ch n o lo g y of d iscip lin ary p o w e r m ay h av e b e e n d i­ r e c te d to w a rd s p ro h ib itiv e a n d r e p r e s ­ siv e fu n c tio n s its s u b s e q u e n t p ro lifera­ tio n in d ic a te s a n in h e re n tly p ro d u c tiv e a n d p o sitiv e cap acity . Discipline and P unishm ent s ta k e s o u t m o re clearly th a n an y o th e r of F o u c a u lt's w ritin g s th e c o n c e p tio n of th e n e c e s s a ry in te rd e p e n d e n c e of p o w e r a n d k n o w led g e , a c o n c e p tio n of p o w e r/k n o w le d g e rela tio n s. In d e e d it w o u ld b e im p o ssib le to co n ceiv e of th e e m e rg e n c e of th e form s of d iscip lin ary p o w e r w ith o u t th e e m e rg e n c e of a n a c ­ co m p an y in g field of k n o w le d g e w h ich p e rm e a te s a n d s u s ta in s th e m . T h e specific te c h n iq u e s of su rv eillan ce, d o c u m e n ta tio n a n d a d m in istra tio n of in d iv id u als w h ic h a re c o n s titu tiv e of th e form s of d iscip lin ary p o w e r a re th e p ro d u c t of th o s e n e w ‘ra tio n a litie s', th o s e n e w k in d s of k n o w le d g e a b o u t ‘m a n ’, th e h u m a n a n d social sc ien c es. T h e p ro v e n a n c e of th e h u m a n a n d s o ­ cial sc ie n c e s c a n n o t b e lo c a te d in so m e d is in te r e s te d se a rc h for p u re k n o w ­ le d g e sin c e th e ir o rig in s a re b o u n d to th e b irth of th o s e d iscip lin ary in s titu ­ tio n s - th e p riso n , th e asylum , th e h o s ­ p ital, th e school, th e facto ry - of w h a t F o u cau lt h a s called, th e 'c a rc e ra l n e t­ w o rk ’. The carceral netw ork, in its com pact or dissem inated forms, w ith its sy s te m s o f insertion, distribution, surveillance, ob­ servation, has been the g rea test su p ­ port in m odern society o f the norm alis­ ing pow er. The carceral textu re o f soci­ e ty assures both th e real capture o f the b o d y and its perpetual observation; it is, b y its very nature, the apparatus o f p u n ish m e n t that conform s m o st com ­ p le te ly to the n e w econom y o f p o w er and the in stru m en t for the formation of kn o w led g e th a t this very econom y needs. Its panoptic functioning enables it to p la y this double role. By virtue o f its m eth o d s o f fixing, dividing, record­ ing, it has b een one o f th e sim plest, crudest, also m o st concrete, b u t perhaps m ost indispensable conditions for the d evelopm ent o f th e im m en se ac­ tivity o f exam ination that ha s objec­ tified hum an behaviour. . . .1 am not saying that th e hum an sciences em erged from the prison. But, if th e y have b een able to produce so m a n y p ro ­ found changes . . . it is because th e y have b een conveyed b y a specific and n e w m odality o f pow er: a certain policy o f the body, a certain w a y o f rendering th e accum ulation o f m en docile and useful. This policy required th e involve­ m e n t o f definite relations o f pow er; it called for a technique o f overlapping subjection and objectification; it brought w ith it n e w procedures ofin d ividuahsm. The carceral n etw o rk consti­ tu te d one o f the arm atures o f this p o w er/kn o w led g e that has m a d e the hum an sciences historically possible. K now able m an (soul, individuality, con­ sciousness, conduct, w h a tever it is cal­ led) is the object-effect o f this analytical in vestm en t, o f this dom ination-observa­ tion .4 F o u c a u lt’s c o n c e p t of p o w e r/k n o w ­ le d g e re la tio n s a s in te g ra l to th e ex is­ te n c e a n d fu n ctio n in g of th e m o d e rn 7 On Foucault Scientific frameworks h u m a n a n d social sc ie n c e s ta k e s one b e y o n d th e id e a th a t p o w e r is alw a y s lo c a te d a n d e m a n a te s from a c e n tra l n e x u s of d o m in a tio n w h e th e r th is is s e e n as a n individual, a ru lin g cla ss or th e s ta te to a co n c e p tio n of m ultiple form s of d o m in a tio n w h ic h p e rm e a te th e social fabric. P o w e r is n o t so m u ch p o s s e s s e d a s ex e rc ise d th ro u g h th e m y riad in s titu tio n s a n d d isc u rsiv e p ra c ­ tic e s th a t e x ist a t all lev els of social life. C learly th is h a s c o n s e q u e n c e s for th e an a ly sis of p o w e r h e n c e th e c o n c e p t fo rm u late d by F o u cau lt of a ‘m icro­ p h y sic s of p o w e r’ w h ic h s e e k s to rev e al h o w th e m e c h a n ism s of p o w e r in a d is­ ciplinary so ciety o p e ra te ro u tin e ly a t th e level of ev e ry d ay life, lo c alised in th e m in u tia e of social rela tio n s, p r e s e n t in th e p ro saic e n c o u n te r of crim inal a n d crim inologist, p a tie n t a n d doctor, p u p il a n d te a c h e r, child a n d p a re n t. T h e P o litic s of th e Body A c o n s is te n t th e m e in F o u c a u lt's w o rk an d , in p articu la r, in h is a n a ly sis of d is­ cipline h a s b e e n w ith th o s e form s or ta c tic s of p o w e r w h ic h h a v e b e e n di­ r e c te d to w a rd s, p e rh a p s o n e could sa y in sc rib ed u p o n , th e body. T h e se form s or ta c tic s of p o w e r a re n o t m a n ife st as p h y sic al v iolence - in d e e d th e b o d y is to u c h e d a s little a s p o ssib le. R a th e r it is th e c a s e th a t th is p o w e r is re a lise d only b y th e su b je c tio n of th e b o d y a s th e o b ­ je c t of k n o w led g e ; a n d th e fu n ctio n of th is p o w e r lies in its ability to e x tra c t k n o w led g e , n o t p ain , from th e body. It is, I b elieve, in th is an a ly sis of h o w an d w h y th e b o d y b ec o m e s, a t a c e rta in m o­ m e n t in tim e, th e n e x u s of p o w e r/k n o w le d g e re la tio n s in a discip lin ary so ciety th a t F o u c a u lt's w o rk h a s b e e n of th e m o st p ro fo u n d im p o rta n ce . H is co n c ern w ith a n d h isto ric al co n c e p tio n of th e b ody, or, m ore precisely, w ith th o s e d is­ c o u rse s of th e b o d y w h ic h a re alw a y s h isto rically situ a te d , h a s p e rm itte d an u n d e rs ta n d in g of th e e n try of th e b o d y in to th e s p h e re of p o litic s: T h e b o d y is d ire ctly in v o lv e d in a p o liti­ cal field; p o w e r rela tio n s h a v e an im ­ m e d ia te h old u p o n it: th e y in v e s t it, m a rk it, train it, to rtu re it, force it to carry o u t ta sk s, to p erfo rm c e re m o n ie s a n d to e m it sig n s. T h e p o h tica l in v e s t­ m e n t o f th e b o d y is b o u n d up, in accor­ d a n c e w ith c o m p le x reciprocal rela­ tions, w ith its ec o n o m ic u se; it is larg ely a s a fo rce o f p ro d u c tio n th a t th e b o d y is in v e s te d w ith re la tio n s o f p o w e r a n d d o m in a tio n ; b u t, on th e o th e r h a n d , its c o n stitu tio n a s lab o u r p o w e r is p o ssib le o n ly i f it is c a u g h t u p in a s y s te m o f s u b ­ je ctio n . . . th e b o d y b e c o m e s a u se fu l fo rce o n ly i f it is b o th a p r o d u c tiv e b o d y a n d a s u b ju g a te d b o d y .5 F o u c a u lt's ea rlier h isto ric al stu d ie s, co v ers th e p e rio d of th e e ig h te e n th a n d early n in e te e n th c e n tu rie s . T he d e ­ v e lo p m e n ts of th o s e p h e n o m e n a h e is c o n c e rn e d w ith a re th e re fo re co n tin ­ g e n t to a se rie s of p ro fo u n d d e m o g ­ rap h ic, political, social a n d cu ltu ral c h a n g e s c o n s e q u e n t u p o n th e rise of in­ d u stria l cap italism . T h e q u e s tio n is if 8 ju n c tu re , a n d b y m e a n s o f a certain n u m b e r o f tra n sfo rm a tio n s, h a v e b e g u n to b e c o m e eco n o m ica lly u se fu l.5 th e e m e rg e n c e of th e form s of discipli­ n a ry p o w e r w h ic h F o u c a u lt h a s a n a ly se d in te rm s of q u ite specific d is­ cu rsiv e a n d in stitu tio n a l p ra c tic e s a re re la te d to th e s e o th e r lev els of th e so ­ cial form atio n an d , if so, in w h a t m a n n e r a re th e y re la te d . H e is carefu l to d is­ ta n c e h im self from a sim p le c a u sa l re la ­ tio n b a s e d u p o n th e M arx ist p rin cip le of econom ic d ete rm in a tio n : I b e lie v e th a t a n y th in g can b e d e d u c e d from th e g e n e ra l p rin c ip le o f th e d o m i­ n a tio n o f th e b o u rg e o is class. W h a t n e e d s to b e d o n e is s o m e th in g q u ite d if­ feren t. O ne n e e d s to in v e s tig a te h isto ri­ cally, a n d b e g in n in g from th e lo w e s t level, h o w m e c h a n is m s o f p o w e r h a v e b e e n able to fu n ctio n . . . .W e n e e d to s e e h o w th e s e m e c h a n is m s o f p o w e r, a t a g iv e n m o m e n t, in a p re c ise co n ­ F o u cau lt g o e s o n to s u g g e s t th a t it is n o t th e ex clu sio n of th e crim inal a n d th e in sa n e w h ic h s e rv e d th e in te r e s ts of th e b o u rg e o isie b u t th e te c h n iq u e s a n d p ro ­ c e d u re s th e m s e lv e s of su c h a n ex clu ­ sion. It w a s th e a c tu a l m e c h a n ism s of d iscip lin ary p o w er, th e a p p a r a tu s e s of su rv eillan ce, w h ic h b e c o m e politically u se fu l a n d le n t th e m s e lv e s to econom ic profit. In th e c a s e of th e facto ry or w o rk ­ sh o p d iscip lin e m ay h a v e b e e n ev o k ed a s a m o ral in c e n tiv e b u t th e im p o rta n ce of d iscip lin e in c re a sin g ly b ec o m e o n e of m ax im isin g p ro d u ctiv ity a n d th e re b y th e p ro fitab ility of lab o u r. T h e p h y sical d ivision of s p a c e a n d th e im p o sed s e g re g a tio n of in d iv id u als, th e carefully co n tro lled rh y th m of a c tiv itie s a n d th e im p o sitio n of rigid te m p o ra l s e q u e n c e s, b e c a m e co m m o n fe a tu re s of b o th th e p riso n a n d th e w o rk p lace. It is th is ‘ec o n o m y ’ of p o w e r w h ic h d is tin ­ g u is h e s d iscip lin e a n d w h ich p ro m p ts F o u c a u lt to v ie w it a s o n e o f th e g rea t in v e n tio n s o f b o u rg e o is s o c ie ty a n d as a fu n d a m e n ta l in s tr u m e n t o f in d u stria l ca p ita lism a n d th e ty p e o f s o c ie ty w h ich is its a cc o m p a n im en t. T h e e m e rg e n c e of a d iscip lin ary soci­ e ty c o rre sp o n d s to a p a rtic u la r h isto ri­ cal c o n ju n c tu re : th e g ro w th of n e w m o d e s of p ro d u c tio n c e n tre d u p o n th e facto ry a n d th e in c re a se of p o p u la tio n c o n c e n tra te d w ith in u rb a n com ­ m u n ities. T h e m e c h a n ism s of discipline, w h ic h F o u c a u lt d e s c rib e s a t le n g th in D iscipline a n d P u n ish m e n t, g a v e rise to a p o litica l a n a to m y o f th e b o d y, a cer­ tain w a y o f re n d e rin g th e a ccu m u la tio n o f m en docile a n d u sefu l. T he te c h n iq u e s of d iscip lin ary p o w e r e n a ­ b le d th e im p ro v e m e n t of th e efficiency a n d p ro fitab ility of lab o u r. In so far th a t d iscip lin e is a p o w e r w h ic h e n g a g e s a n d in filtra te s th e p h y sic al cap ab ilities of in d iv id u als c a u g h t w ith in its m e c h a n ism s w e c a n s p e a k of a politics of th e b ody. B u t d iscip lin ary p o w e r also e n g a g e d th e b o d y a s a ‘sp e c ie s' b o d y a n d it g a v e rise to a ‘p o litics of p o p u la ­ tio n ’, th e focus of w h ic h w a s a se rie s of re g u la to ry co n tro ls effectiv e a t th e level of th e ‘so c ial’. A s th e p ro b lem s c a u s e d b y th e ra p id e x p a n sio n of u rb a n p o p u la ­ tio n s b e c a m e m o re e v id e n t th e n e e d for p o litical co n tro l a n d in te rv e n tio n b e ­ ca m e m o re n e c e s sa ry . In th is c o n te x t th e b o d y to o k on a n e w a n d cru cial im ­ p o rta n c e a s th e b e a re r of th o s e q u a l­ ities of fertility, h e a lth a n d sic k n ess, s tr e n g th a n d w e a k n e ss, w h ic h w e re s e e n a s v ita l to th e fu tu re of so c iety an d th e n a tio n a s a w h o le. H en ce w e ca n u n d e r s ta n d th e sig n ifican ce a n d im p o r­ ta n c e of th e p ro liferatio n of th e d is­ c o u rse s of se x in th e n in e te e n th c e n tu ry a n a ly se d b y F o u c a u lt in T h e H isto ry o f S exu a lity. C o n tra ry to th e p o p u la r m y th w h a t is in volved in th is ‘in c ite m e n t to d isc o u rs e ' is n o t a re n u n c ia tio n of p le a ­ s u re n o r a re je c tio n of th e flesh b u t an in te n sific atio n of th e b o d y th ro u g h th e On Foucault Scientific frameworks co n c ern for its h e a lth a n d vitality. T he o rg a n isa tio n a n d th e a rtic u la tio n of th e d isc o u rs e s of se x u a lity in th e n in e te e n th c e n tu ry p ro d u c e d a n e w c o n c e p tio n of th e b o d y w h ic h b e c a m e th e focus of discipline n o t only as a m e a n s to re n d e r it m o re p ro d u c tiv e b u t also m ore m orally a n d phy sically h e a l­ th y . T h e effect of th is w a s to su b je c t th e b o d y in a n e v e r m ore d e ta ile d w a y to e n d le s s m edical a n d p sychological e x a m in a tio n a n d to th e m e c h a n ism s of su rv eillan ce. P h o to g ra p h y a n d P o w e r P h o to g ra p h y h a s b e e n h isto rically im ­ p o r ta n t to th e fo rm a tio n of th e d is­ c o u rse s of th e b o d y w h ic h h a v e b e e n su c h a vital c o n s titu e n t of discip lin ary p o w er. In p a r t th is w a s d u e to th e w id e ­ sp re a d b elief in th e o b jectiv e n a tu re of th e p h o to g ra p h ic p ro c e ss w h ic h e n ­ su re d its p riv ile g ed p o sitio n in th e p ro ­ c e d u re s of scientific in v e stig a tio n an d w h ic h m e a n t th a t th e p h o to g ra p h ic im a g e w o u ld b e re g a rd e d a s a form of em p irical tr u th or ev id en c e of th e real. B ut clearly involved h e re w a s n o t th e d isco v ery of p re -e x is te n t tr u th s w h ich th e ca m e ra so m e tic u lo u sly re v e a le d b u t th e c o n s tru c tio n of n e w k in d s of k n o w le d g e a b o u t th e in d iv id u al in te rm s of visible p hysiological fe a tu re s b y w h ic h it is p o ssib le to m e a su re a n d co m p are ea c h in d iv id u al to a n o th e r. P h o to g ra p h y , th e re fo re , w a s c o n tin g e n t to o th e r m e th o d s u s e d in th e o b s e rv a ­ tio n a n d classificatio n of individuals, form ing a p a r t of th e m e c h a n ism s of su rv eillan c e a n d th e e x e rc ise of a n o r­ m alising, discip lin ary p o w er. T h e com pilation of p h o to g ra p h ic re ­ cords, o fte n u s e d in co n ju n ctio n w ith te c h n iq u e s of p hysiological m e a s u re ­ m e n t a n d w ritte n d o cu m e n ta tio n , b e ­ ca m e com m on p ra c tic e for a v a rie ty of scien tific discip lin es. T h e em p lo y m e n t of p h o to g ra p h y in th e fields of a n ­ th ro p o logy, m e d icin e a n d crim inology, in p articu la r, d ra w s to g e th e r a w h o le se rie s of d isc u rsiv e o p e ra tio n s levelled a t th e b o d y a n d o rg a n ise d alo n g th e a x e s of race, cla ss or g e n d e r. S ub ject to th e g a z e of th e c a m e ra th e b o d y b e ­ ca m e th e o b je c t of th e c lo se st scrutiny, its su rfa ce co n tin u ally ex a m in e d for th e sig n s of its in n a te physical, m e n ta l an d m o ral inferiority. F rom th is sc ie n c e of co rp o rea l se m io tics th e re e m e rg e d n e w form s of k n o w le d g e a b o u t th e in d i­ v id u al a n d n e w w a y s of m a p p in g d e ­ prav ity. T h e se sim ple, alm o st b a n a l im ­ a g e s c a n n o t re v e a l th e full com plexity of th e p o w e r/k n o w le d g e rela tio n s w h ich lie b e h in d th e ir su rfa c e b u t, as Jo h n T a g g h a s in d ic ated , th e y re ta in th e tra c e s of th e ir fu n ctio n in g : The bo d y isolated; th e narrow space; the subjection to an unreturnable gaze; th e scrutiny o f gestu res, faces and fe a ­ tures; th e clarity o f illum ination and sharpness o f focus; th e n a m es and the n u m b er o f boards: th e se are th e traces o f pow er, reduplicated in num berless im ages, rep ea ted cou n tless tim es, w h en ever th e photographer prepared an exposure, in police cell, prison, con­ sultation room, asylum , H om e or school.7 T h e h isto ric al in v e stig a tio n of p h o to ­ g ra p h y a s a m e c h a n ism of su rv eillan ce in th e ex e rcise of d iscip lin ary p o w e r r e ­ m ain s an im p o rta n t in itiativ e. T h e w ork of J o h n T ag g , m y self a n d o th e rs h av e b e g u n th is ta s k th ro u g h a se rie s of a n a ly se s w h ic h h a v e c o n c e n tra te d u p o n th e u s e s of p h o to g ra p h y in th e la te n in e te e n th c e n tu ry w ith in su c h fields a s crim inology, m ed icin e, a n ­ th ro p o lo g y a n d eu g e n ic s. B ut an h isto ri­ cal p e rsp e c tiv e is only n e c e s sa ry an d d e fe n d a b le a s a m e a n s of h elp in g u s to u n d e r s ta n d th e p r e s e n t a n d allo w in g u s to c r e a te th e a p p ro p ria te a n d effectiv e m e a n s of w o rk in g stra te g ic a lly w ith in th e re la tio n s of p o w e r a n d k n o w le d g e w h ic h cu rre n tly e n d u re . T h e force an d v a lu e of F o u c a u lt's id e a s a re o w e d to th e fac t th a t w e c o n tin u e to live in a so c ie ty w h ic h is c h a ra c te rise d , p e rh a p s in c re a sin g ly so, b y th e form s of d isc ip ­ line a n d m e c h a n ism s of su rv eillan ce w h ic h h e h a s id en tified . H o w ev er, a m ajor criticism of F o u c a u lt’s w o rk h as b e e n th a t it c r e a te s a p ic tu re of so ciety in w h ic h th e p re s e n c e of p o w e r is so p erv a siv e, so d iffu se a n d p o ly m o rp h o u s th a t it w o u ld a p p e a r to m ak e im p lau si­ b le an y form of re sis ta n c e . F o u c a u lt’s re s p o n s e h a s b e e n to in sist th a t w h e r e ­ v e r th e r e is p o w e r th e re is th e p o te n tia l for its re sis ta n c e . B ut ju s t a s th e form s of p o w e r a re lo calised a n d specific so sh o u ld b e th e form s of re sis ta n c e . W e m u s t e n g a g e p o w e r a t th e p o in ts of its a p p lica tio n a n d o p era tio n ; th a t is, w ith in th e p a rtic u la r d o m a in s of k n o w ­ le d g e a n d th e p a rtic u la r in stitu tio n s th ro u g h w h ic h it is o p era tiv e. This m e a n s th a t th e re c a n n o t b e a n o verall s tr a te g y for a n o p p o sitio n al c u ltu ral p olitics of p h o to g ra p h y ; on th e c o n tra ry it is n e c e s s a ry to d ev e lo p a lte rn a tiv e w a y s of w o rk in g w ith p h o to g ra p h y , a n d to d ev e lo p d iffe ren t p h o to g ra p h ic form s a n d d e v ic e s s u ita b le to th e v a rie d co n ­ te x ts in w h ich th e p h o to g ra p h is p la ce d a n d u se d . 1 Quoted in Sheridan, The Will to Truth, p 131. 2 Foucault, Power/Knowledge, p 131 3 Foucault. Discipline & Punishm ent, p.215. 4 Discipline & Punishm ent, pp.304-5. 5 Discipline & Punishment, pp 25-6. 6 Power/Knowledge, pp 100-1 7 Tagg, 'Power and Photography', pp 44-5 Camerawork gratefully acknowledges The Royal Anthropological Institute for perm is­ sion to reproduce photographs S e le c t B ib lio g ra p h y M ajor te x ts b y F o u cau lt M adness and Civilisation Tavistock, 1967 (1961) The Birth o f the Clinic Tavistock, 1973 (1963) The Older o f Things Tavistock, 1970 (1966) The Archaeology o f Knowledge Tavistock, 1972 (1969) Discipline and P unishm ent Allen Lane, 1977 (1975) The History of Sexuality Allen Lane, 1979 (1976) Power/Knowledge (ed C Gordon) Harvester Press, 1980 (dates given in brackets refer to the publication of the original French edition) W orks on F o u cau lt Alan Sheridan, M ichel Foucault: The Will to Truth, Tavistock, 1980 Barry Smart, Foucault, Marxism and Critique, RKP, 1983 Mark Poster, Foucault, Marxism and History. Polity Press, 1984 W orks on p h o to g ra p h y w ith refe re n c e to F o u cau lt John Tagg, 'Power and Photography, Screen Education, Autumn 1980, no.36, pp. 17-55. Frank Mort, 'The Domain of the Sexual', Screen Education, Autumn 1980, no.36, pp. 69-84 Frank Mort and Nicholas Green, 'Visual Representation and Cultural Politics', Block, no.7, 1982, p p .59-68. David Green, Classified Subjects: Photography and Anthropology', Ten/8, no. 14, 1984, pp 30-37 Robert McGrath, 'Medical Police', Ten/8, no. 18, 1984, pp.13-18. David Green, A Map of Depravity', Ten/8, no. 18, 1985, pp.36-43. David Green, 'Veins of Resemblance: Francis Galton, photography and eugenics', Oxford Art Journal, vol 7, no. 2, (forthcoming). 9 The illustrations that accompany the foregoing account of one of the most rc.markable scientific undertakings of modern times, boasted the Illustrated Times, have been engraved in every in­ stance from photographs . . . . Scientific fremeworks Photography and the making o f history Brunei’s Great Eastern Steamship 1985 marks the 150th anniversary of the building of the Great Western Rail­ way from London to Bristol, one of Isambard Kingdom Brunei's most noted achievements. This, and other enterprises, are the focus of a new exhibition, B runei's Kingdom . The exhibition, significantly subtitled photography and the making of history, explores ways in which photography, itself an instance of technological development, contributed to the reporting of current events and therefore to the creation of a particular view of nineteenth century 'progress’ that has come to inform our historical perspective. This was especially evident in the case of Brunei's last major project: the Great Eastern 10 steamship - known until after its launch as Leviathan. The exhibition catalogue investigates and charts the role of photography in recording this particular episode in history: • Almost everything about the Great Eastern - its vast scale, its design, its purpose, its method of construction, and, eventually, the dimensions of its commercial failure - was without prece­ dent, even by Brunei's high standards. . . .There was something else com­ pletely new about the Great Eastern as well. Almost from the time when its gargantuan form first began to rise over the mean rooftops of Blackwall in 1854, right through to its troubled launch in the winter of 1857-58, the Great East­ ern was comprehensively photo­ graphed - the first major engineering work, aside from the Sydenham Crystal Palace of 1854, to receive the systema­ tic attention of the new medium. The men who engaged in this work, negotiating the mud and debris of the Napier Yard with their cumbersome photographic equipment, were not there through curiosity, for scientific ex­ periment, or leisure. Nor were they in pursuit of anything that could, by any stretch of the Victorian imagination, be called 'the picturesque’ They were . there consciously to make photographic documents, and they were there for money. • The decade of the 1850s coincided with a significant growth in the extent and influence of the Press, whose role Photography and the making of history Scientific frameworks w a s b e in g tra n sfo rm e d b y social a n d eco n o m ic d e v e lo p m e n ts. T w o o v e rla p ­ p in g e v e n ts c o n trib u te d sig n ifican tly to th is su rg e in th e p rin t m ed ia. O n e w a s th e ab o litio n of th e sta m p d u ty on n e w s p a p e r s in 1855. T h e o th e r w a s th e w a r a g a in s t R u ssia in th e C rim ea (1854-56), w h o s e n o v elty a n d p o p u la r­ ity u n le a s h e d a tre m e n d o u s p u b lic a p ­ p e tite for in form ation. T h e illu stra te d p a p e rs w e re forging n e w a n d v ery m o d e rn links b e tw e e n n e w s a n d im ag ery , le n d in g th e r e p o rt­ in g of e v e n ts a n o th e r d im e n sio n a n d in ­ te n sity . A s th e p o p u la r h u n g e r for w a r in fo rm atio n sp illed o ver in to th e re p o r t­ in g of o th e r c u rre n t e v e n ts, th e Great Eastern d re w c o n sid e ra b le P re ss a t te n ­ tio n , b o th w ritte n an d visual, w h ich a c ­ c e le ra te d a s th e sh ip n e a re d co m p le­ tion. • S te re o c a rd s c o n s iste d of tw o p h o to ­ g ra p h s ta k e n from slig h tly d iffe ren t v ie w p o in ts w h ich , p a s te d sid e by sid e o n a card , c re a te d th e illusion of th re e d im e n sio n s w h e n o b se rv e d th ro u g h a b in o c u lar v iew fin d er. A t th is tim e th e y w e re w ell on th e ir w a y to b ec o m in g th e p o p u la r cra z e w h ich , to g e th e r w ith th e m a ss-p ro d u c tio n of cartes-de-visite p o rtra its , m ark s th e b e g in n in g of th e in d u stria lis a tio n of p h o to g ra p h y . • T h e Great Eastern p h o to g ra p h s of C undall, H o w lett, a n d D o w n es a re r e ­ m a rk a b le in m an y w a y s - in th e ir p ic to ­ rial q u alitie s, in th e skill a n d vision of th e ir m aking, in th e v isu al c a p a b ilitie s th e y so stu n n in g ly rev e al th e y o u n g m ed iu m of p h o to g ra p h y a s p o sse ssin g . V iew ed to d a y , th e y still o p e n u p s c e n e s of g ig a n tic in d u stria l e n te rp ris e w ith a n im p a ct a n d im m ed iacy th a t ca n only h a v e filled th e ir V ictorian a u d ie n c e w ith a m a z e m e n t a n d aw e. B ut th e y a re im p o rta n t for o th e r re a s o n s too. T h ey sh o w th e im p a c t of p h o to g ra p h y on illu stratio n , a n d p ro ­ v id e rich g ro u n d on w h ic h to co m p are p h o to g ra p h ic a n d n o n -p h o to g ra p h ic re p re s e n ta tio n . T h ey sig n a l n e w roles for th e n e w m e d iu m - a s ev id en c e, a s ra w m a te ria l for th e P re ss, as co m ­ m o d ities in th e m a rk e t place. M u ltip lied a n d m o v in g o u t in to th e w o rld — in d i­ rectly via th e illu stra te d p a p e rs, d irectly v ia th e s te re o c a rd — th e Great Eastern p h o to g ra p h s a c q u ire d a n e w sig n ifi­ ca n ce , re -p re s e n tin g e v e n ts w h ich co u ld n o w b e co n su m ed , se c o n d -h a n d , a lm o st a s th e y h a p p e n e d . P h o tao g ra p h y e n tra n c e d th e s e c o n d -h a n d e x ­ p e rie n c e , s e t n e w s ta n d a r d s a n d n e w d im e n sio n s for th e vicario u s c o n s u m p ­ tio n of reality . It b e g a n to co n trib u te , in a v ery m o d e rn w ay , to th e re p o rtin g of c u rre n t e v e n ts - a n d th e re fo re to th e w id e r ch ro n ic les of h isto ria n s. Brunei's Kingdom was researched by Rob Powell and produced by Watershed. An 80page, duo-tone catalogue written by Rob Powell accompanies the exhibition. Dates: Watershed, Bristol (June 11 - July 27); Plymouth Arts Centre (August 3 - August 30); Bradford Museum of Photography (Sep­ tember 10 - October 6). 11 Technology at work A n e le g a n tly d ressed w o m a n is se e n in th e p o se of a sk ille d g y m n a st. The co n tra st b e tw e e n h er s ty le of d ress, a sm artly cut suit, and h er p ose, creates su rp rise, an ap paren t paradox. A rh eto ric al device, fam iliar e n o u g h in a d ­ v ertisin g , is u s e d to in trig u e th e rea d er. T his p a rtic u la r a d v e rtis e m e n t is o n e of a s e rie s p ro m o tin g v ario u s ty p e s of n e w te ch n o lo g y in a m a g a z in e ca lle d W hich C o m p u ter. W e c a n re a d th e im a g e a s th e w o m a n p u ttin g on a p erfo rm an ce , b e in g s e e n b y a h id d e n au d ien c e. A w a re of th e e y e s u p o n her, s h e p lay s h e r p a rt, e v id en tly w ith c o n su m m a te e a se . H er c lo th e s sh o w h e r a s u p w a rd ly m obile, c a p a b le a n d b u sin e sslik e : by e x ten sio n , th e stro n g individual, th e w in n er. A n d th e p o sitio n of h e r body sh o w s a n o th e r sid e of her, a p h y sical s tr e n g th a n d s u p p le n e s s w h ic h co m p le­ m e n ts h e r c o m p e te n c e a n d d e te rm in a ­ tion. U nusually, a n d u n lik e m o st r e p ­ re s e n ta tio n s of w o m en , th is p a rtic u a lr im a g e is n o t a n in v itatio n to a sp e cta cle . T h e re is a c tu a lly n o th in g to se e . W e ca n s e e n e ith e r th e w o m a n ’s face, no r h e r body. W e are, in fact, in v ited to iden tify w ith h e r , ra th e i th a n to f e a s t our ey es. T h ro u g h th e u s e of p ara d o x , th e a d v e r­ tis e m e n t a p p e a ls to th e wom an r e a d e r ’s e x p e rie n c e of d islo catio n b e t­ w e e n th e d iffe ren t p a r ts of h e r life: w o rk e r/tra d e u n io n ist, w o rk e r/d o m e stic w o rk er, s tro n g /w e a k , to u g h /e m o tional, p h ysically fit/e x h a u s te d , healthy/ill, a n d so on. It a p p e a ls to th is e x ­ p erie n ce , b u t sim u lta n e o u sly im p o ses a re so lu tio n to th e s e conflicts - w o rk a n d p lay a re a ssim ila te d in to th e sa m e act. In d ee d , if w e look a t th e c a p tio n it b e ­ co m es obvious th a t th e a d v e rtis e m e n t is a d d r e s s e d to w o m en , p ro b ab ly s e c ­ re ta rie s, ty p is ts or clerks w h o a re likely to b ec o m e VDU (V isual D isplay Unit) o p e ra to rs. W ith Word, yo u e a sily d is ­ co v er a n e w p o w e r, sa y s th e cap tio n . T h e g y m n a stic p o w e r sh o w n in th e im a g e e q u a te s w ith th e n e w skills th e s e c re ta ry w ill a c q u ire w ith th e in tro ­ d u ctio n of 'W ord'. T his n e w p o w e r h a s o th e r m e an in g s, too. T h e ex p e n siv elooking su it a n d w ell-g ro o m e d h air of th e w o m a n in th e im a g e im ply n o t only a m e tic u lo u s a tte n tio n to h e r a p p e a r ­ an c e, b u t a h ig h incom e —a n e w s p e n d ­ in g p o w er. A n d th e su it h a s a m a s ­ culine, se v e re c u t —a ladylike inv asio n of m ale p o w er, p e rh a p s. If w e re stric t o u r look to th e to rso of th e w o m an , ig n o rin g th e r e s t of th e im ag e, w e c a n s e e w h a t looks very m u c h like th e b ac k v ie w of a ty p is t a t w o rk . T he im a g e se e m s to w o rk by s u g g e s tin g th e co n v e n tio n a l n a tu re of th is p o se, th e n s u b v e rtin g it e lse w h e re , p articu la rly by th e p o sitio n of th e w o m a n ’s le g s. In a n o th e rw is e blacka n d -w h ite im age, th e fe e t a re tin te d a b rig h t, lum in o u s g re e n . T h e re is an e x a c t colour m a tc h w ith th e d ig its on th e VDU, p ro m in e n t a g a in s t a black b ac k g ro u n d . T h e g re e n is r e p e a te d in, a n d th e re fo re fu rth e r m a rk e d by, th e 12 fast operators women at the workstation Anita Phillips m o n ito r-sh a p e d re c ta n g le w h ich c o n ­ ta in s th e o verall im ag e. T h e im a g e th u s fo c u sse s o n th e le g s a n d fe e t of th e w o m an , sh iftin g a w a y from th e arm s a n d h a n d s w h ic h a re in c o n s ta n t u s e by a ty p is t or VDU o p era to r. T h e in v ersio n of a rm s a n d leg s, h a n d s a n d fe e t w o rk s to e m p h a s is e th e p h y sic al a n d g y m n a s­ tic p o w er, w h ic h th e n c o n n o te s o th e r ty p e s of p o w er. T h e a d v e rtis e m e n t d o e s th is, a s m a n y a d v e rtis e m e n ts do, to co n c ea l n e g a tiv e c o n n o ta tio n s of th e p ro d u c t in q u e s tio n , in th is c a s e w o rd p ro c e sso rs. T h e w o m a n is sh o w n as d y nam ic, activ e, skilled, p o w erfu l. For w o m e n re a d e rs, it is fla tte rin g to th e ego. B ut e g o s a re n o t all th a t is a t sta k e . T h e yo u of th e c a p tio n ca n also b e re a d a s a n a d d re s s to th e em ployer, th e alm o st ce rta in ly m ale b o s s w h o w ill b e p ay in g for th e e q u ip m e n t. A s a re s u lt h e w ill a c h ie v e a n e w p o w er: th e p o w e r to e x tra c t a h ig h e r level of p ro d u ctiv ity from h is e m p lo y ee s a n d to force th e m to im p ro v e th e ir p erfo rm an ce . A c re a tiv e in tro d u c tio n of n e w te ch n o lo g y could m e a n job e n ric h m e n t, sh a rin g of d e c i­ sio n -m ak in g in th e office, w o m e n e n te r ­ in g in to e x e c u tiv e roles, s h o rte r w o rk ­ in g h o u rs, m o re flexible w o rk in g a r­ r a n g e m e n ts so th a t ch ild ca re co uld b e in te g r a te d in to a w o m a n ’s w o rk in g life. B ut m icrochip te ch n o lo g y is b e in g in tro ­ d u c e d a t a tim e of rec essio n , a s a w a y of m a k in g sa v in g s. S h arin g of d ec isio n ­ m a k in g rem a in s a ru m o u r, d e s p ite a Fast operators With Word, you easily discover a new power S«i v n u M l- >»\ (I|IK>MII4| W i U l i liH \ • Mil M.-i« i i i l n s h . h UIi n I | * i \ v «-i h.mcls i n t h e r.asilV 1m-si h . h i f t t i • v m i< }hissiI>{«' Word on M acintosh. MICROSOFT Right. First tim e. n u m b e r of a rtic le s 1 w h ic h p o in t to th is po ssib ility. Jo b s a re b e in g de-skilled, r e ­ d u c e d to a se rie s of re p e titiv e ta sk s. Som e jobs invariab ly d isa p p e a r. 'N a tu ra l w a s ta g e ', w h ic h h a p p e n s w h e n so m e o n e le a v e s th e ir job or r e ­ tire s a n d is n o t rep la ce d , th ro w s m ore a n d m ore y o u n g p e o p le o n to th e dole q u e u e . T h o se in w o rk a re e x p e c te d to do m ore, a n d th e c o m p u te r a t th e w o rk ­ s ta tio n c a n b e p ro g ra m m e d to m onitor e a c h individual w o rk e r's p erfo rm an ce. T ec h n o logy sp ie s on th e w o rk e r (w om en) for th e em p lo y ers a n d m a n a ­ g e rs (m en). F e a r of job loss, th e n , b e ­ co m es in T h a tc h e r's B ritain a so u rc e of in te n s e a n d p ro lo n g e d s tr e s s for th e w o m a n VDU o p e ra to r, p u s h e d to th e lim its of h e r p ro d u c tiv ity a n d e n d u r­ an ce, h a n g in g on for d e a r life to h e r h a rd -w o n p la c e in th e la b o u r force. T h e s tu d ie d e m p h a sis u p o n th e p h y sic al h e a lth a n d s tr e n g th of th e w o m a n in th e a d v e rtisin g im a g e c o n c e ­ als so m e th in g e lse - th e in h ib itio n of m o v e m e n t of th e VDU o p e ra to r a n d th e d a m a g in g effec ts th a t th is w o rk h a s on th o s e w h o do it. T h e list of p h y sic a l ills re p o rte d b y VDU o p e ra to rs is e x h a u s ­ tive. It in c lu d es ey e d iso rd ers, skin ra s h e s , sto m a c h p ain s, h e a d a c h e s , in ­ flam m atio n of h a n d s a n d w rists (ten o sy novitis), v arico se vein s, b o w el a n d b la d d e r p ro b lem s, n a u s e a , irritabil­ ity, fa tig u e a n d d e p re ssio n . VDUs m ay also h a v e a harm ful effect u p o n th e d e ­ velo p in g fo e tu s of p re g n a n t w o m en o p e ra to rs. VDUs em it X -rad iatio n (norm ally a s ­ so c ia te d w ith c a n c e r tr e a tm e n t a n d 'Xr a y s ’) a s w ell a s o th e r form s of ra d ia ­ tion. T his k in d of ra d ia tio n is k n o w n to b e c a p a b le of c a u sin g b irth d efe cts. B e t­ w e e n M ay 1979 a n d M ay 1980, four o u t of five VDU o p e ra to rs a t th e T oronto S tar n e w s p a p e r classified a d s d e p a r t­ m e n t g a v e b irth to b a b ie s w ith c o n g e n i­ ta l b irth d e fe c ts: clu b foot, cleft p a la te , an u n d e rd e v e lo p e d ey e a n d m u ltip le h e a rt a b n o rm a lities. Since th e n a n u m b e r of ‘c lu s te rs ' of b irth p ro b lem s of VDU o p e ra to rs h a v e b e e n lo c ate d all ov er th e w orld. T h ey h av e in c lu d ed m is­ c a rria g e s, se v e re b irth d efe cts, stillb irth s a n d n e o n a ta l d e a th s . Al­ th o u g h X -rad iatio n lev els from VDUs a re w ell b e lo w le g a l lim its, th e re is b a s i­ cally no sa fe level of e x p o su re to su c h rad iatio n . A n d th e lo n g e r th e e x p o su re to X -radiation, th e g r e a te r th e likeli­ h o o d of so m e form of ra d ia tio n injury. So far, very little re s e a rc h h a s b e e n d o n e on th e e ffec ts of lo n g -te rm in te n siv e e x ­ p o su re to lo w lev els of rad iatio n . M any B ritish tr a d e u n io n s n o w h a v e a policy of ad v isin g b ra n c h e s to n e g o tia te so th a t p r e g n a n t w o m e n c a n tra n s fe r to non-\h3U w o rk if th e y w ish to. T en o sy n o v itis is th e o th e r m ajor h e a lth p ro b lem w h ic h h a s b ec o m e w id e s p re a d w ith th e in tro d u c tio n of n e w te ch n o lo g y . 'T en o ', a s it is u su a lly called, is c a u s e d by co n tin u o u s or r e ­ p e titiv e arm or h a n d m o v e m en ts, a n d le a d s to sw ellin g a n d p a in in th e m u s ­ cles a n d te n d o n s . If it is n o t tr e a te d a t a n early s ta g e (and it h a s o ften b e e n m is-d ia g n o se d by th e m ed ical p ro fe s­ sion), th e su ffe re r c a n b ec o m e p e rm a ­ n e n tly d isa b le d , lo sin g th e u s e of on e h a n d or arm a lto g e th e r. T he d ra m a tic in c re a se in 'te n o ' is d u e p a rtly to th e m o d e rn elec tro n ic k ey b o ard , w h ich al­ lo w s a n o p e ra to r to k ey in d a ta a t th e r a te of u p to 36,000 k e y -stro k e s p e r h o u r, all d a y long. W h en jo b s a re h a rd to com e by, w o rk e rs te n d to h a n g on to th e m , e v e n if th e y a re o v erw o rk e d a n d h a v e b e g u n to n o tic e v ario u s a c h e s ad p ain s. A t B ritish T eleco m 's C ardiff C o m p u ­ te r C e n tre, th e c o m p u te r w a s p ro g ra m ­ m e d to co llect s ta tis tic s on th e s p e e d of keying-in, n u m b e r of erro rs m a d e a n d tim e a w a y from th e k e y b o a rd of ea c h VDU o p e ra to r, co n tin u o u sly . A ny w o rk e r fo u n d w a n tin g w a s b ro u g h t in fro n t of m a n a g e m e n t a n d re p rim a n d e d . H alf a d o z e n o p e ra to rs w e n t d o w n w ith te n o sy n o v itis: o n e lo st th e u s e of h e r left h an d , p e rm a n e n tly . It is clear th a t th e 'n e w p o w e r’ g a in e d h e re is th e p o w e r of th e m a n a g e r or b o ss to t e r ­ ro rise th e w o rk e r by co n tin u o u s su rv e il­ la n c e in to w o rk in g fa s t for p ro d u ctiv ity p u rp o se s. T h e w o rk er, b y c o n tra st, is crip p led for life. S he h a s lo st th e p o w e r of p a r t of h e r body. By now , th e u s e of a 13 Fast operators T echnology at work g y m n a stic p o sitio n in th e a d v e rtisin g im a g e b e g in s to look like a r a th e r d e s p ­ e r a te n eg a tio n . W hile u n e m p lo y m e n t w e a k e n s th e ability of th e w o rk e r to d e fe n d h e rse lf from h e r m a n a g e r or em ployer, or to sim ply c h a n g e jobs, in a lo n g e r te rm , it m ay b e p o ssib le to w re s t so m e a d v a n ­ ta g e s from n e w te ch n o lo g y . N ew te ch n o lo g y re p r e s e n ts th e m o st re c e n t ex a m p le of office w o rk ’s g ro w in g a s ­ c e n d a n c y o ver m a n u a l w ork, th e w h ite collar e x p a n sio n a s th e b lu e collar d e ­ clines. W om en a re a lre a d y em p lo y ed in la rg e n u m b e rs in th e office, a n d it is th e ty p is t or se c re ta ry w h o is likely to b e ­ co m e th e n e w VDU o p e ra to r in th e w o rk sta tio n . T his m a y b e h a rd ly ideal, b u t d u rin g a re c e ssio n a t le a s t a p ro p o r­ tio n of w o m e n w ill b e a b le to h a n g o n to th e ir p la c e in th e la b o u r force. S tre n g th is n o t re q u ire d for th e o p e r­ atio n of an y kind of n e w te ch n o lo g y , so in th e lo n g ru n it is g o in g to b e m ore a n d m o re difficult to k e e p th e s e jobs for th e boys. C y n th ia C o c k b u rn 's B ro th e rs2 d e s c rib e s h o w in th e p rin tin g in d u stry , w h e re cra ft u n io n s h a v e m a in ta in e d a m a le c lo sed sh o p for c e n tu rie s , com ­ p u te ris e d p h o to c o m p o sitio n b e g in s to o p e n d o o rs to w o m en . S he c ite s a m ale co m p a s sa y in g m o re w o m e n w ill co m e in, ye s, a n d to m e th is is a b a d thing. A n o th e r sa id : I th in k th e re is a r e s e n t­ m e n t a b o u t girls c o m in g in to th e in d u s ­ try. It is a th rea t, a d e fin ite th re a t in th a t s e n se . S he p o in ts o u t th a t m e n in th e p rin t h a v e also b e e n u n d e rm in e d in th e ir s e n s e of in te lle c tu a l su p e rio rity to w o m e n b y th e r e c e n t e n try of w o m e n in to jo u rn alistic a n d a d m in istra tiv e p o s ­ itio n s in p u b lish in g . T h eir a rg u m e n t h a s lo st m u c h of its cu rre n c y in to d a y 's Bri­ tain , w ith o b v iously c a p a b le w o m e n in so m e very p ro m in e n t p o sitio n s, a lb e it a tin y m inority. M uch of th e id eo lo g ical u n d e rp in ­ n in g of th e m a le cra ft or m a n u a l w orker, ta k in g h o m e a fam ily w a g e to s u p p o rt a w ife a n d fam ily, h a s n o w d isa p p e a re d , w ith eq u a lity le g isla tio n e n s h rin in g th e p rin cip le of e q u a l o p p o rtu n ity a n d e q u a l re w a rd , a n d th e sim p le fac t th a t w o m en a re refu sin g to h a n d o v er th e ir jo b s to m en. B ut for VDU o p e ra to rs to g e t a b e t­ te r d e a l from n e w te ch n o lo g y , to im ­ p ro v e th e ir jo b se c u rity a n d c a re e r o p ­ p o rtu n itie s, to s e t p ro te c tio n from ill h e a lth , d e c e n t fin an cial re w a rd s a n d th e re o rg a n is a tio n of w o rk in g p ra c tic e s to in te g r a te w ith ch ild care, th e y w o u ld n e e d to h a v e th e s u p p o rt of a la b o u r m o v e m e n t w h ic h w h o le h e a rte d ly s u p ­ p o rte d th e m a n d w a s re sp o n siv e to th e ir n e e d s. T h ey do n o t h a v e th a t. T he la b o u r m o v e m e n t in B ritain is u n ­ Short Cuts to Sharp Looks 14 eq u iv o cally m a le -d o m in a te d a n d fig h ts for m ale w o rk e rs' d e m a n d s. T h e first u n io n s w e re m en -o n ly clu b s, a n d th e tra d itio n h a s e n d u re d . T h e re a re alm o st no w om en tr a d e u n io n le a d e rs. 'W o m e n 's is s u e s ' a re p u s h e d to th e e n d of th e a g e n d a a n d w o m e n m e m b e rs ’ v iew s, if th e y a re h a rd y e n o u g h to e x ­ p re s s th e m , a re m o re or le s s ig n o red . P e rh a p s th e sin g le m o st difficult p ro b ­ lem w o m e n face w
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      • tagscontemporary practice & processes,photographic,seminar,discussion,analysis,attitudes to photography,talk,british photography
      • titleCamera Obscured? Perspectives on contemporary British Photograhy seminar series
      • subtitlePerspectives on contemporary British Photography 1. Young British Photographers. This is the first in a series of seminars to assess the current state of British photography by examining the ways that photography is used in our society and hightlighting the conflicts of interest that arise. Y.B.P. is the title of an exhibition currently touring Britain which consists of prints produced over the last 5 years by 14 Young Photographers. In order to indicate the standard of work being produced by a new generation of photographers, those involved in that exhibition have been invited to discuss the following questions: 1. Has there been a renaissance in British photography? 2. Have photographers created sufficient new outlets for photography? 3. Has there been a change in the public's attitude to photography? Participants include Mark Edwards, Brian Griffin, Neil Guilliver, Larry Herman, Paul Hill, Simon Marsden, Ron McCormick, Chris Steele-Perkins, Paddy Summerfield, Homer Sykes, John Wall, John Webb, Valerie Wilmer, Richard Wood, Peter Turner (chair)
      • dimension1 page
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Neil Gulliver
      • creditsCo-optic
      • relatedPhotography on the Curriculum 0000085 Women in Photography 0000088
      • locationAldgate East, London, UK
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      • origination_date1975
      • origination_year1975
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      • archiveFour Corners Bishopsgate
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      • authorFour Corners, WiIf Thust
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      • tagsrole play,experiment,project
      • titleIs That It? - Wilf Thust
      • subtitlePrinted programme to accompany the film. Includes detailed information of contributors and supporters plus explanation of the project
      • dimension31
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      • copyrightFour Corners, Wilf Thust
      • credits
      • relatedWilf Thust http://maydayrooms.org/archives/four-corners-wilf-thust/
      • locationBethnal Green, London, UK
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      • origination_datejanuary 1986
      • origination_year1986
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      • pdf_textI THAT I S T 16 mm C olour i i 8i 3i im lns m M i i 11 i 1111 i i i ............... 1 m 111 FOUR i m usic and photos from and with young people in east london , “i That lr s t «if T u t s /l h s fi v l e nov,^U»'“ "!Seoucr » » eU' eASr ^ o ^ s — -powekfuiS a t Four « a l G reen w a s ?®1th e r e c e n t F ilm directed F e stiv a l- \ r corners r thc benefit S§3S^s w ^ includ ed L on don £ That vVilf jy even « 'ade' , s East Side. and ^ shoWing T h u st i n g a f l f tth l t ^ ro se R o c k is Glm b f a orU SyWSTu o « experunenta teenagers in th with a young *hat th th e This film is d i st ri bu ted ““ T h o u g h the central s^e ted during in 6 parts as 16 mm film racism enaf^ ro v isa U o n s, by LONDON FILM MAKERS CO-OP l i d s ’ oWI\ M aintains that VVUfThust ^ m a 3 Yds o n g m a i antvracist not to make an ^ simply to film a3t£ a feds to develop allow th e * ti 0n , p i* * s their own ^ “"tnterference- 42 G L O U C E S TE R AVE LON DON NW1 in 2 parts on UMATIC by LONDON VIDEO ARTS But finding dgal wlth it. 23 FRITH STREET there, h e h a d t g film a9 h is LONDON Wl he r e g a l e j f persona resy material- se to the as video VHS by AL BA NY VIDEO D I ST R I B UT I O N DOUGLAS WAY LON DON SE 8 4AG as 16mm film in 2 parts by FOUR CORNERS LTD 113-115 ROMAN ROAD BETHNAL GREEN LOND ON E 2 Informat ion can best be ob ta ine d through FOUR CORNERS FILM WO RKSHOP INTRODUCTION In 1982 Channel Four agreed to fund a number of film workshops in line with their declared policy of support for 'experimental' and' innovative' work. My project formed part of a joint application from the Four Corners Workshop in Bethnal Green, East London. I wanted to create an open workshop for teenagers, overseen by myself. The idea was that over a period of time short films would emerge, films almost like minutes of the workshop meetings , a record of the meeting of film/ image maker and the teenagers. It took three years to work through my objectives, and even after that period I felt it was only a beginning. With the same group and starting point very different projects could have evolved. 6 short films were produced. They deal with the feelings and experiences of youth in the East London Borough of Tower Hamlets seen against the statistics that surround and affect, sometimes even represent them, becoming almost an image of them. The films are about proportions - formal, political, emotional. A dense montage created from simple, almost crude graphics. I couldn't and had no wish to compete with the sophisticated technology of television. I wanted to bring film-making nearer to the teenagers, make it available. At the same time I wanted to record and contextualise some of their activities. The films seem to work best when shown in places where discussion with teenagers perhaps about the representation of teenagers qji film — is possible* lhough the filnio snare a title and compositional elements , each film or segment has its own theme. I would recommend showing not more than one film at any single screening, and not necessarily Scene 1 Any of the films could be used in . conjunction with this booklet and/or another short youth film for comparison. The notes are to clarify the content of each film, to enable the potential hirer/user to select which film or films might best suit the requirements of his/her own group/class/audience. 4- IMAGES OF IMAGE IMAGES OF seen* IMAGE 5 A PRELIMINARY NOTE Although I sense and experience the vitality, freshness and energy of youth out on the streets and in school, at home I get a different impression. Images of youth in magazines and newspapers appear made-up, unreal. Surface images, the people don't come through. The teenagers seem to be deliberately withheld and separated from me. I met young people in the workshop sessions. I picked up on their conversations, listened to their music, looked at their scrawls and their pictures. But in the film I chose to frame their material rather than simply present it. I overlaid cards, shapes, statistics. I felt I hadn't formed a close relationship to those coming.This film opens up the attempts to communicate in a group where different classes, races, ages meet. With the use of grids and doors I tried to suggest ways in which teenagers are hidden, hiding or separated, perhaps caught in boxes, places where I have no access, no influence. I went to the Youth' Office. I asked for hours, for paid session work. I listed qualifications, I was assessed. I became a Tutor. All I really wanted was to get in touch with a group of young people. ( o Through STATISTICS I asked the youth leader about those who didn't fit easily into youth clubs. He talked about the 'unclubbable*: You always had those people through the Fifties and the Sixties, those who just won't accept any sort of structure ... He spoke of there being less resources now for more people: ... because lots of young people have enforced leisure. They are unemployed during the day and come to the youth club. He mentioned the imbalanced ways in which money was spent on youth: It is fair to say that activities like football, boxing, sport are the ones which have most money invested in them. Traditionally these are the activities being demanded and so this has been established. Activities for girls are only very recently seen as priorities at all ... It is difficult if you have a centre or a club that has been dominated by boys to introduce girls into it. They will be overruled by boys who don't feel like taking them on equal terms. 7 scene YOUNG PEOPLE There are lots of Youthclubs and Centres in the areas where Bengalis live and you wouldn't see any in these centres (any Bengalis) and that again is because it has been dominated so long by another group. It is a question of shifting the balance. Through GRAPHICS — LYRICS I felt caught up in statistics, numbers, categories and. stereotypes. I needed to find a graphic solution to demonstrate imbalance and injustice. I subdivided the frame throughout the film. Those who traditionally get the roughest deal are shown in the lower right hand corner. I tried my own lyric: 1 don't like 'selected' people I don't want to work with 'the best' 1 find that unreal and against my sense of justice Why should anyone be 'more' or 'less' than anyone else? % Later the film-making process was helped — with the lyrics and the music of another group of teenagers, young people not shown in the film: It is all a cover with layers above us not what we really .,. it is not what we are it's a cover, it's a cover Through ACTING My mind working on statistics. Their minds working through melodrama. A group of girls came to the sessions. They loved acting, improvising, pretending, singing, giggling, screaming. They had a good time. But they were cool towards us...What do we expect from and act out in front of young people? Vhat do they want from us and act out in front of adults? Do we have anything in common? WORK WITH yOUNG PEOPLE? Through QUESTIONS The relationship between the teenagers and those who run the workshops is constantly uncertain and full of questions. Questions become an image in themselves. How do you express this in film? Both sides were curious. The teenagers about their relationship to each other ... the adults in their relationship to the teenagers. I brought statements from the kids and comments from adults very closely together this is not what took place directly. I wanted to bring out the hidden antagonism and the unasked questions. And finally I wrote a question on a card ... an almost unanswerable question, but one that can't be pushed aside or ignored: Why do we work with young people? 10 IMAGESOF I noticed that perhaps the most popular topic of conversation in our workshop was school. School - the workplace. Naturally they are full of it and used the fairly removed situation of our workshop to let off steam. Here the teenagers improvised, we could have gathered enough material for a fiction film, but we didn't want to go that way. In this film I wanted to put different views of school and different ways of presenting it next to each other. So there are acted pieces alongside interviews, written information alongside historical quotation. Through A C T I N G Diana: So I go to her, 'Don't you throw me out of this classroom, right. ' And she says, 'Don't you give me none of your mouth. ' And I said, 'I give you as much mouth as I give my Mum. ' I said, ' I will bring my Mum down here to school, then you will see ... 'Right, so I walked out of my school and my Mum says, 'What are you doing at home?', she says, 'Go back to school. ' It was really embarrassing, back I went to the old school and all the teachers were laughing at me. Miranda: Do you think that is right then, them laughing at you in front of people? II scene 2 Through INTERVIEWING Barbara (a Mather): When you've got to explain yourself, sometimes it's got to be done in situations where you haven't got any time or space, so therefore it will come out noisy, sort of way, because you haven't had that experience of talking in these situations. Teacher: If we make smaller classes it means we have got less non-teachipg time. We have lost teachers in art and drama and dance classes, the type of things that the kids like doing. There is less and less choice, it means more vandalism and more assaults on staff and court cases. There is less time for those who neeed extra help and the effect of this system is to cause nearly half our children to leave school with a sense of failure and a distaste for further education. tz Through written INFORMATION Fifth form : social studies: CLASS DIFFERENCES The social ladder Tower Hamlets prof./managerial lower professional ski 1led semi-ski lied unski lied 6% 27% 28% 23% 12% London England 10% 35% 25% 18% 9% 16% 31% 26% 18% 6% a fifth former writes: ... I think that there should be these classes dividing up our society. Without them everyone would be on equal terms, there would be no leader or anyone at the bottom. .. I ask in the film: 'What did you say?' 'I don't understand your argument?' Through historical REFERENCE In the Seventies Ted Johns from the Isle of Dogs suggested: Schools could be kept open and used by parents, toddlers, non-parents, the unemployed, and the elderly all year round. Imagine if Mum's friend was sitting there learning French too ... the carpenter might help with the woodwork class. . . An ILEA school representative said: The curriculum could be rebuilt around the interests of the children, the examination at 16 would be abolished and replaced by an individual assessment which enables all children to succeed. " /3 □ur 'advanced' society holds no advantages for those referred to as 'at the bottom' or 'the bottom 40%'. Images as Metaphors: I asked Barbara about the expression 'bottom of the heap’. Barbara: Oh yeah ... when that girl said 'beggars can’t be choosers' I think that comes from being working class, that you are at the bottom of the pile ... it is the bottom of the society heap. Through LYRICS From the teenagers: Up and down Up and down, down Up and down, down, down Up and down, down, down, down Down there we are labeled they call it the bottom wi th not much to say the end of the ladder whatever, whatever You press on but you haven't won you haven't won IMAGES OF Through IMPROVISATIONS Two months into the sessions a group of girls chose to improvise around racism. It seemed almost a response to the anti-racist posters and stickers pinned around the workshop. They wanted something out of their system. Improvisation gave them the chance to express racist ideas - yet at the same time expose them. girl 1 You shouldn't go out with him. : girl 2: What's wrong with him. Different col our that' all. s girl 1 They smell. : girl 2: I'm not staying here to be insulted. The pleasure in expressing racist remarks, even 'fictional' remarks, made me very uneasy. Hilary who worked with us at the time said: You know when we did the improvisation about one of the girls having a black boyfriend and we sort of did it for a few weeks and they got bored with it in the end, we never seemed to really get to it, to what their attitudes were. 3 ,9 5 0 ,0 0 0 O r a t in g s tm O n tio n confiG c a tio n IS scene CO Through HISTORY I was born in Germany in 1940 during the Second World War. My family had to escape from the advancing Russians in 1945. We fled to West Germany from the East. Many held Russia responsible for the division of Germany, not themselves, not German fascism. Our workshops coincided with the Auschwitz exhibition in 1983, shown in the East End. To know what happened to the Jewish people then, is, I am convinced, of the utmost importance for raising political consciousness now. In the film I give a brief and factual account of Hitler's fascist policy - on simple cards, a child could have done them. The cards counterpoint the workshop improvisations. Communism/Fascism Shirley (A Jewish teacher).: Oversimplified communism was very idealistic and worthy, hopes and aims for people as a whole; so that people should feel important and useful and needed. Now, you can't equate communism and fascism. Fascism has done the wrong thing and for the wrong reasons. What were the things said in favour of fascism? It puts people back to work after a period of big unemployment. But in Germany, what did it put people back to? To make armaments, make a world war. Gramsci: Fascism is the illegal aspect of capitalist violence. Fascism is the attempt to solve the problems of production and exchange with machine guns and revolvers. Through FACTS HITLER'S GERMANY 1933 1936 1939 1939 1942 Union offices destroyed. Unions made i1legal. Membership of Hitler Youth made compulsory. 'We are born to die for Germany.' Women represent 33% of the workforce but earn 40% less than men. 'They can't think logically or reason objectively,since they are ruled by emotion. ' KristalInacht. Synagogues destroyed. 'J* stamped on Jewish documents. Wannsee Conference on the 'Final Solution'. Beginning of mass gassing at Auschwitz. The Jewish death-toll 19391939-45 - Estimated war de< Soviet Union China Germany Japan Great Britain France Italy U. S. A Hoiland Yugoslavia Greece Poland British Empire Austria Hungary Rumania Belgium London Bethnal Green 20,000,000 10,000,000 4,500,000 2,000,000 450,000 450,000 410,000 290,000 210,000 170,000 140,000 130,000 120,000 110,000 70,000 60,000 30,000 20, 000 555 17 5,950,000 55,000,000 This is the first large scale war where no distinction is made between the military and civilian populations. Through emotional RESPONSE I give a crude account of the increasing horror of Hitler's fascism. I tried for the maximum emotional impact with minimal, non-sensational imagery. Towards the end of Scene Three I refer to the wartime Bethnal Green Tube Disaster. People ran to the tube for shelter. Someone fell running down the stairs ... 178 people died in the crush. I chose this local event because of its emotive connotations. It brings back the horror of sheltering in bunkers to avoid the falling bombs. It also raises the question of why this should happen at all, the reason of war. Teenagers wrote lyrics to acccompany the scene. They make links between war and racism: What do you think was the cause of it all? They were in a rush, for their lives But nothing did happen. No bombs. No panic. No nothing. So what was the cause of their dying? Not my make Not my taste Not my kind Not my class No good No response Never a friend Enemies War I $ IMAGESOF THE EASTEND Through living with PROBLEMS More and more boys turned up to our evening workshop sessions. A new set of improvisations — about a music promoter and a young band. They refused to compromise, to become commercial, to become 'posers'. When asked about living in the area all they said was 'It's alright'. To be an East Ender was nothing special. I asked a local man, Irish born, about his impression of youngsters in the area: Chris: The kids round here, they don't play nice and soft like what kids in other areas play, right, this area they are more liable to have a rock. In other areas they got to be polite, because they are surrounded by politeness all the time, politeness and sweetness, whereas round here, it is a different set-up, you know, you are living with problems all the time. .. ' Through living with A MYTH I listened to a lecture by Raphael Samuel on 'History and Myth in East London from Dickens to the Blitz.' : Dickens seems to make his expeditions through East London at night usually in the protective scene 4 shadow of a policeman , and whatever he happened to see there was cold and wet and dark 'making darkness visible rather than dispersing it'. One thing that Gustave Dare's illustrations represent is walls, prisons, and the whole of the East End appears as an enclosure, a prison and a face of darkness whereas the outer London is represented as a place of openness and light and beauty ... In relation to London as a metropolis on the whole one can say that the East End always represented a symbolic other, the poor, the chaos, the deviant. ... Today East London symbolises the days we have lost, friendly, neighbourly and sharing our hardships as it was in the late 19th century when the East End was represented as a kind of indigenous British equivalent of darkest Africa. .. Through living with FACTS I asked THIRRC (Tower Hamlets Information Resource and Research Centre) for statistical information on Tower Hamlets today. There are only 140,000 people living in the area compared with 600,000 at the turn of the century. But there are still enormous problems. I give a somewhat relentless account of this in the film: Tower Hamlets, a London borough, has the lowest percentage of non-manual workers in Inner London (9% compared with 14%) Tower Hamlets has the highest percentage of semiski1led and unskilled workers in Inner London (30% compared with 21%) Tower Hamlets has the highest percentage of unemployed people in the Inner London area (30% compared with 14%) On average, women earn two-thirds of what men earn. 20 Why isn't a housewife an 'economically active person?' Car ownership has declined since 1971 Owner occupiers: 4.6% 1982 9289 3993 148 2450 7225 4609 2800 Council tenants: 81% households in waiting households hard to let households waiting for shelter dwellings and flats are unfit for occupation households asking for transfer vacant properties 25% of council tenants want to move out of this area. Highest overcrowding in England The young and the socially mobile move out; the elderly, disabled and families with young children stay. 7600 households living in the 4th~9t-h floor 24 00 households living in 10th & above floors Highest proportion of tenants living above 10th floor in London Over 50% of people on the waiting list are si ngl e Life expectation is, at 63 years, the lowest in London <<the average life expectation in India is 34 years>> The Borough of Tower Hamlets has lost 90% of the land available for new buildings to the London Docklands Development Corporation on the Isle of Dogs. 21 Ian (unemployed): You know, I find the East End depressing'. ...And now it is all going private, for couples and single people who work in the City and so on, so the exodus of people is going to continue out and the ones who are left are going to be the poorest ones who feel more and more bitter. Through living with different LANGUAGES Chr is : The Cockney language actually is a mixture of Irish and Huguenot, you know, that's proper Cockney, and it has a bit of Yiddish in it as wel1 .. . Tower Hamlets has, over the past hundred years, been home to different ethnic and cultural minorities on a considerable scale. The best known of these are probably the East European Jews date nineteenth century onwards> and the Chinese (early to mid 20th century) . Tower Hamlets is the area with the largest number of pupils speaking languages other than English - 38%. Three quarters of them speak Bengali. 5600 kids in Tower Hamlets' schools speak Bengali. 85% of Asians are under 35 years. In addition 40 different languages other than English or Bengali are spoken by 2000 kids in schools in Tower Hamlets. 265 different languages are spoken in ILEA schools. Asians, mostly Bengalis, face problems of housing, employment, language and education, They also suffer most from racial attacks. zz. More and more boys coming to the workshop demanding their own way. Tense and unpleasant situations develop. And our fears become apparent: Their aggression expressed in ways we could hardly cope with. Instead of joining forces with the teenagers (our objective) we came to realise the barriers between them and us. The film gives an account of this conflict. Through losing CONTROL ViIf: ... They sort of stream into the room and check every possible movable thing and let it go through their hands, just to check. Everything has a use, not necessarily that for which it was made. It could cut, or it could stick or scratch or scribble or make notices But then these are lively gestures. I kept some of the scribbles and scruffy drawings because they're nice to look at. But when we went to film in the underground station I wandered if we should remove the N. F. graffiti first. . lb scene IMAGESOF Wilf: When you went out to the door to say they couldn't come in any more — did you have any fear of facing the situation? Ric : Yes. It comes out in very clear ways. I fear that they'll push past and try to force their way in, so I tend to go out into the street and lock the door, then I find that I put my hand down to the waist and take my keys off the belt and put my keys in my pocket and just watch out for signs that things are going to get out of hand and I almost overcompensate, overexplain, to avoid it turning into a confrontation. Wilf: You felt provoked through their racism, didn't you? Ric: If they come out with racist statements it often sweeps away my sense of myself, I often find that I can't actually find a way of putting in words what I feel at that moment, so I just say 'that is racist' and often leave it like that. Through different IDENTITIES I play with the image of the Union Jack. On the one hand it is a sophisticated power symbol (with layers) and as such it is used by the British Movement. On the other hand it should stand for a multinational country. I took the eight triangles within the structure of the flag and let these shapes rotate in many different colours. The national and the multinational identity come into conflict in front of portraits of young people. One after the other each of these portraits reveals a new identity, a new person, though cumulatively the effect is impersonal. For me the scene reminds me of being a teacher in front of people you have to correct and select and control. Through different DEMANDS The audience hears recordings from difficult workshop sessions in which group leaders express fears of acting against their convictions, where boys fear they'll be thrown out/dismissed, where girls fear being singled out as 'slags' or left bored. The confusion eventually settles when the girls chose to allow the boys to continue attending. Improvisations continue: this time around glue-sniffing. Did this solve the underlying problems? There were too few of us to answer all the questions raised, too few to cope. EE9 H H ^ Hilary: When everybody raised that issue of why they called her a slag, the girls would all come up to me and whisper, 'Well, she is a slag you know Hilary'. And there never was the space, never the room to really tackle that. I think I never got what I wanted. I felt more like an organizer. Hilary: 1 think it is right to select. I mean it is right to clarify what you are getting from people, to develop a relationship and to get something from it. Wilf: What did you get out of it? Ric: What I got out of it? It is the sense of posing more relevant questions and that is what keeps it going from one week to the next But nothing is ever solved, you are just getting to the point of formulating the questions to ask and their interest goes off in another direction. 2 £ > Through the CONTROL POLICE Roland, the only black person in our workshop, a calm, straightforward character, got badly treated by the police. He took part in a demonstration demanding answers to some of the unsolved and suspicious circumstances surrounding the death of Colin Roach in Stoke Newington Police Station. ViIf: What happened to you on the Colin Roach demonstration? Roland: Trouble started when we got back to the narrow way. As if somebody had said 'O.K. boys, move in. ' All the vans started to race down the crowd ready to pick everyone up ... they threw me in the van I didn't pay no kind of attention ... I didn't say nothing ..but when I went to court I found out what they had written, this story about two old ladies frightened out of their lives ... as if 1 was running around disturbing the peace, because I happened to be running around with my camera, you know ....and then I got a conditional discharge, which means I am guilty of an offence and I got to keep out of trouble for two years ... that is trying to say 'Don't go on any other marches. ' Jason: Well, you can't beat the police. Wilf: But did you hear about policing the police? There is an organisation in Tower Hamlets called CAPA (Community Alliance For Police Accountability). They try to help in court, particularly black people. 27 scene IMAGESOF I talked to a friend of Roland who said: You see the police are not the enemy, the police are the visible tool ..when you do your work you get possessed by your work or dedicated and the police are dedicated. The racist ideas come from higher up, but this country, Britain, is so subtle, it doesn't openly declare that it doesn’t like people who are different. .. Through CONSERVATISM Ralph Samuel writes about Conservatives: A closely related Conservative fear has been that of aliens - first the Irish, then the Jews, lately the Caribbeans and Asians. In each case the stereotype constituted 'a photographic negative' of the Anglo-Saxon inhabi tants. Shirley: I Vhat people are after is this inward looking thing. We are protecting our property, we don't care that there are 6.5 million people in this country who are on or below the poverty line, we are concerned with protecting our nice green, our little houses and all our nice little collections of valuables ... From my point of view Britain is what we call a free society, but the fact that we have got a relatively free society is precisely used to silence people because they then turn this argument on your head and say 'Look, society over there is much worse ' and they use free society to silence dissent and criticism. 13 Through seeking CAUSES Wilf: Mast things have a cause and I have a right to ask why things happen the way they happen ... disasters, tragedies, accidents they are rarely unavoidable. Ian: ... well, even natural disasters like flooding can be avoided. In London we put a flood barrier up, but if you are hit by lightning out of the blue that might be a real accident. The further people develop and the more developed they are the less reason there is for accidents. Ve got to keep control. Shelter? Hiding? Panic? Incidents? What are the causes? How can we trace them? Learn from them? Avoid them? We went down to the underground station where people sheltered in the War. One of the boys had prepared questions: Do you think it was better in the past than it is now? Da you think you have more say now? What do you think people worry about nowadays? Do you mind immigrants coming into this country? Who do you think is in control of this country? Are you in control of what you do, like? What do you think about a Third World War? Are you afraid of it or are you just waiting till it happens? Through political ACTION I talked to Steve Evans, a young member of Tower Hamlets CND. He tackled the question most frequently asked in the workshop: How do you deal with bullies? Steve: There was a pamphlet released by the Government called 'How To Cope With A Bully', which is all about why we need nuclear weapons, and that was to combat CND ... But I don't think arms will achieve anything- ... You need enough people, I think now we are talking about ballot box revolution, we want to change the Government and force the new one to implement policies to help the working man ... The only thing that we can hope for is that people will realise what is happening to them, change their minds and not sit back in apathy. Barbara:...doing something different is like moving out ..That means you are taking more power which, you know, is really not on. But you got to do it for your own strength. 3o IMPROVI SATION and TAPE by memb ers of the M O N s l i d e 'shows D A Y W O R K S H O P Miranda Diane David Darren Paul Mason Martin Daven port Cottage Barnaby Barnaby Shine Donavan Gratten Ottolangue Me Cormack Wood Me Burney Langan Me Qeen Clai sse Roland Leigh Maria Tracy Mandy Mandy Jason Stuart Felix with Ric Mann Hilary Dunn and Wilf Thust and financial support from TOWER HAMLETS ARTS COMMITTEE SERVICE convers ati on s with Jerry Deeks Barbara Stokes and I.L.E.A, YOUTH Shirley Murgraff Chris Giff Sirus Noor Steve Evans statistical information from THIRCC Tower Hamlets Research and Resource Centre music initi at ed by Schaun Tozer El iz ab e th Annette Suzy Forhad Sho fique Mark Marian Dave Abdus Nowagi sh Nurul Mark Pompone Benne t Osborne Amhed Hoque Taylor Lewinsk i Maitby Salique Ali Khan Amin Monde sir Zaida Pat Sylvia Ashok Lee Andrew John Luthfur A jhar Abdus Farj ana Mike Khan My rie Felix Ali Coleiro Smi th Kingh am Rohman Khan Sabir Rolek Salique Monde sir with the support of Cathy John Jon Lane Lanc ast er Wilkinson recorded at TOWER HAMLETS YOUTH MUSIC WORKSHOP "The Steamroom" came ra rostrum work assis tance Patrick Wilf Nigel Peter Duval Thust at HUGH GORDON LTD Robiette Bishop sound Roge r Denis Ol l e rh ea d Cullum e di ting Wilf An the a Thust Kennedy p r od uc ed by FOUR CORNERS with under financial help from CHANNEL FOUR TELEVISION the ACTT Wo rkshop Declaration c FOUR CORNERS LTD FOUR M |Ii I I | 1985 a film by Wilf Thust CORNERS I .11 I j ! ! I I! I I i 113 ROMAN ROAD I2 Mi m r i i !i MINI i LONDON E 2 i i i i OHU ' iii1 i I 1 0,1 - 9 8 1 4 2 4 3
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• $this->validationErrors(array)
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App Constants

CakePHP Constants

PHP Environment

Included Files

Include Paths

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• 1/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/pear/numbers_words
• 3/opt/plesk/php/7.4/share/pear
• 4-> /var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/

Included Files

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