Context: Deeper_Web Research by Darnel Bailey

DARNEL BAILEY

FASH30009 RESEARCH APPENDIX

CONTENTS

PROLOGUE:

4-9

REFLECTION:

40-41

PILLAR 1:

10-17

DATA:

42-45

PILLAR 2:

19-23

METHODOLOGY:

46-47

PILLAR 3:

24-29

PREPAREDNESS:

48-49

PILLAR 4:

30-37

METHODOLOGY:

50-51

PILLAR 5:

38-39

REFERENCES:

58-67

MIRO LINK

https://miro.com/welcomeonboard/UW9mS2g2Y1RMTXBXRWtTQ3BvemlsZ2VkQk4yQVU4ZkU5THFLbFFzbzYzY1RnS0xVTjNvaE1Mb2czRnBMMENCT3wzMDc0NDU3MzU4NjUzOTYwODY0?invite_link_id=826233420250

PROLOGUE MY LINK TO THE TOPIC

PROLOGUE

fig 1.

fig 2.

The focus of bizarreness and disruptive communication came from my own interest in creating unorthodox and surreal art but upon trying to evaluate the reasoning, I had no idea so I wanted insight into why people had a penchant for it.

fig 4.

fig 3.

Through evaluating the landscape I found that there were multiple contexts forming potential reasonings for enthusiasm toward strangenessthese are outlined in my research pillars- Categorisation, the internet, psychological response, historical influence and the role of identity. A common theme I came across was that it tended to be a younger, more creatively and digitally inclined audience who had a noticeable attraction toward the topic, my preliminary research led me to my problem being:

WITH THE OVERWHELMING RANGE OF COMMUNICATION AND ENTERTAINMENT - IT’S DIFFICULT TO EFFECTIVELY APPEAL TO THE FATIGUED DIGITAL NATIVES WHO VALUE FRESH IDEAS AND VISUALS. THEY HAVE MORE SOCIAL AND ECONOMIC POWER THAN EVER SO IT’S IMPORTANT TO CAPITALISE ON THEIR LIMITED ATTENTION 5

OPPURTUNITY

TO PROVIDE FRESH AND RELEVANT COMMUNICATION FOR CYBER CITIZENS USING FORMS SUCH AS IRREVERENT HUMOUR, UNORTHODOX DESIGN AND NEO- DADA PRINCIPLES TO ENTICE AND ATTRACT THEM TOWARD EDUCATION, BRANDS AND ENTERTAINMENT.

[fig 5]

7 7

“

Art respects the masses, by confronting them as that they could be rather than conforming them to a degraded state

“

-Theodore Adorno, Aesthetic Theory

PILLAR 1: CATEGORISATION

fig 7.

fig 6. Because these words tend to mean something out of the ordinary it’s difficult to define, but the usage of examples can be a good visual aid in understanding. I asked a pool of research participants to name brands and companies they identified as disruptive or bizarre in their respective landscapes.This was useful in evaluating what the audience defines as outlandish from their perspective. It also helped in helping me find examples to visualise the concept more confidently.

In order to understand why people are interested in disruption and bizarre design it’s important to define what they mean:

DISRUPTION

WHAT IS IT?

[1]

disruption noun: disruption; plural noun: disruptions; noun: digital disruption 1. disturbance or problems which interrupt an event, activity, or process. “the scheme was planned to minimize disruption” 2. adical change to an existing industry or market due to technological innovation. “no industry is immune to digital disruption” INTERFERENCE

UNSETTLED

DISORDERLY

BIZARRE WHAT IS IT?

[2]

[BIZ-AR] adjective: bizarre very strange or unusual. “a bizarre situation” Sometimes confused with ‘Bazaar’

WEIRD

PECULIAR

OUTLANDISH

fig 8.

1010

11 11

PILLAR 1: CATEGORISATION

PLATONIC FORMS: PLATO

Two theories I found effective in helping characterise my two focuses were Plato’s theory (Greek Philosophy) of forms and Levi Strauss’ theory of binary opposites (1900s Anthropology):

fig 11.

The platonic forms are the ideas that are the frameworks for the existence of everything and anything. Essentially, an unchanging set of rules that makes something that specific thing. An example is a chair, chairs come in all different shapes, sizes and designs all chairs serve one purpose, that purpose being the platonic form. The idea of a form exists in a way that cannot be destroyed as it is simply the truth. [3]

fig 9. fig 10.

The binary opposite theory by Levi Strauss is useful in determining the meaning of something by looking at its direct opposite. The meaning of something is provided by evaluating the qualities of what it is not [4]. For example, we know what is ‘ugly’ by knowing what is accepted as ‘beautiful’. This theory can be applied to such things as light and dark, good and bad and most simply, right and left. The usefulness of this theory is in confirming thoughts and definitions using a comparative method. fig 12.

BINARY OPPOSITES: STRAUSS 12 12

13 13

MIRO

PILLAR 1: CATEGORISATION

fig 13.

MIRO IMAGE

fig 13.

BOARD

PILLAR 1: CATEGORISATION

INSIGHT: DISRUPTION IS LARGELY BASED IN BIXARRE IMAGERY AND BIZARRE IMAGERY IS USUALLY SOMEWHAT DISRUPTIVE DATA

In order to make a disruptive effect innovation of some sort needs to take placedifferenciation from the norm.

Things that are new are generally seen as bizarre or strange.

They have a synergistic relationship.

PILLAR 2: INTERNET EFFECT

SOCIAL MEDIA A notable catalyst for my research into the project was the effect of the internet on consumers. I looked at the internet in 3 groups, social media, entertainment and culture. Social media: The 1% rule [5] dictates that around for every person who creates media on the internet, 9 people adapt and update, and 90 people consume- while it seems like like a large gap, when put into wider context it explains the virality of such things as memes and content like Tik Tok especially in a generation where 50 million people consider themselves to be content creators [6]

fig 14.

fig 17. Looking into entertainment- streaming is a big disruptor on how we consume, 95% of people interviewed by The Motley Fool agree that it’s transformed the way we watch [9].with the popularity of binge culture and the availability of any type of video anytime of the day as well as access to archived content from decades ago. Apps such as Tik Tok, Facebook, Snapchat & Twitter are also hugely influential on entertainmentthe bite sized content has caused our attention span to decrease from 12 to 8 seconds since 2000. [10] fig 18.

fig 15.

fig 16.

My primary research with Gen Z participants showed that they felt they were being over saturated with content online and they also expressed their interest in escapism over informative communication. This is for a number of reasons including stress relief, self care and distraction. [7]. Which makes sense considering 65% of Gen Z expressed mental health issues during a 2021 survey [8]

ENTERTAINMENT 19

PILLAR 2: INTERNET EFFECT

CULTURE fig 19.

DO YOU UNDERSRTAND GEN Z HUMOUR?

NO YES

fig 20.

The internet has also massively affected culture since becoming part of our daily lives. I looked at meme culture which is a digital communication tool primarily for younger audiences.

I have also briefly explored the shift in the perception of beauty and standardsduring netography research I found there are more accounts devoted to strange design and more extreme standards of attractiveness- some with millions of followers. This exposure can lead to influence the audience to transform the perception of what it means to be beautiful. - see cultivation in next chapter. fig 21.

80% of 28-65 year olds interviewed said they didn’t understand Gen Z humour. [11] This divide has been a contributor to the multiple subcultures & groups that there are on the internet, the impact memes have had on mainstream culture are apparent in the way younger groups are communicated to and the way they communicate with each other as it’s something they are exposed to every day. 100% of research participants aged 18-23 said they see memes most days. And 60% said they regularly send memes to their friends. [12].

PILLAR 2: INTERNET EFFECT

INSIGHT: YOUNGER GENERATIONS SUCH AS GEN Z ARE MORE INTERESTED IN ESCAPISM DUE TO BEING OVERWHELMED BY THE BREADTH OF CONTENT AVAILABLE TO THEM AT ANY GIVEN MOMENT Oversaturation led to stress + boredom of the media that they are presented with.

Too much social media+ advertising.

Still want digital stimulationjust not information.

PILLAR 3: PSYCHOLOGY There are many explanations for bizarreness and disruption to be a facet of interest, mostly explained through media and psychology theory- some key ones I have outlined are:

THEORY

RONALD INGLEHART’S POST MATRIALISM THEORY fig 24.

A post war theory that focuses on value, there is an emphasis on quality of life and expressing oneself over physical & economic security. [15] Harder times call for a focus of personal values over material items. This is applicable when talking about our increased social perception due to media oversaturation and fake newsmaking us more accepting of absurd visuals and ideas.

PIAGET’S COGNITIVE DEVELOPMENT THEORY (1950) As our brain develops we go through different stages, the sensorimotor, preoperational, concrete operational and formal operational stages. This model is effective in showing these. This is a useful theory when applying it to digital natives and shows that as we grow up with exposure to more media we can apply more abstract and analytical thought to what we see allowing for more conceptual media. [13]

fig 22.

GERBNER & GROSS’ CULTIVATION THEORY (1962) We are impacted by long term media exposure and it impacts our perception of the world around us and how we choose to conduct ourselves.[14] The theory was written for television but applies to the internet as well, possibly even more so considering its involvement in our everyday life. E.g exposure to more strange entertainment the stranger our taste becomes.

FREDERIC JAMESON’S POSTMODERNISM THEORY A departure from modernism which was defined by science, truth and rules: this table defines the differences well. [14] The usefulness of this theory can be summarised as allowing the marrying of culture and art to happen which is relevant today as we are such a visually inclined society- screens are everywhere so design has such place. The departure from science and rules means design is experimental and ever changing.

fig 25.

fig 23.

PILLAR 3: PSYCHOLOGY

fig 26.

COGNITIVE DISRUPTION Subversion of expectations causes our self-talk frequency to rise (which is how much we talk to ourselves) in order to help unpack the things that we see before us. It helps deal with stress and loneliness in order to process the things going on around us. [17]

THEMES

fig 27.

Common themes in bizarre and disruptive visuals tend to belong to either horror or humour (sometimes both). These are both demanding of emotional responses because they are based on reaction rather than deep thought. [18] These responses are shared with the internet’s interest in pimple popping videos and true crime podcasts- it’s a thrill without any risk so we are able to enjoy excitement from comfort.

fig 28. 26

PILLAR 3: PSYCHOLOGY

INSIGHT: THE EVOLUTION OF SOCIETY HAS LED TO THE NORMALISATION OF MORE CONCEPTUAL AND IRREVERENT MEDIA: PEOPLE TEND TO ENJOY AND DEMAND IT We can see by the concentration of bizarre media that is mainstream and widely accepted.

The internet has an integral role in the transformation of societal norms.

Product of a post materialist & postmodern society

PILLAR 4: HISTORY

PRE 1900

fig 29.

I looked toward cave paintings and the purpose of art that predated language. I found that they were used for symbolic and religious function- to illustrate the world around them in a visual way, communicative in the same way that we use emojis today. Images can be used outside of language as tonal confirmation and a language within itself. [19]

Literary examples of strange communication are religious texts such as the bible, not meaning strange as a way to trivialise religion, but strange in that its amazing the texts shaped cultural frameworks for centuries to come and it’s unimaginable today for something as such to come around. Another area I briefly looked at was the renaissance era of painting, this was a time where there was a notable increased awareness of nature [20]. But the subject matter was largely still based in reality (or the perception thereof), because religious society was still such a large part of society art was mainly used to serve the illustration of the civilisation and its standard belief fig 30. fig 31.

PILLAR 3: PSYCHOLOGY

fig 32.

DADAISM

The dadaist manifesto was written in 1916 by Hugo Ball in response to the tension at the time caused by WWI. The movement was categorised by absurdism, whimsy, spontaneity and humour. It was made to weaponise the nonsense that was the war against itself. [21]

Surrealism came about shortly after dadaism, in 1924 as tensions were yet again rising toward a world war. The term was defined by Andre Breton in his surrealist manifesto as:

“pure psychic automatism*, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.”

fig 33.

*Automatism: an action performed involuntarily or unconsciously

LANDSCAPE

The movement used a lot of ‘found objects’ as part of their exhibitsthese changed the meaning of what art was meant to be at the time and transformed the classist point of view on what was considered ‘good art’. Dadaism was short-lived, as World War II came around a lot of the artists went into hiding and the movement collapsed. [22]

SURREALISM

NOTES COLLECTED FROM SCHOOL I FOUND USEFUL

POST 1900

fig 35.

[23]

The movement was about exploring the unconscious mind rather than realism and illustrating our surroundings much like previous popular art movements. Much like popular culture today, surrealism was highly intertextual and used not only pop culture references but ethnographically sourced items- mostly in an attempt to criticise colonialism and imperialism. The uncanny was also a prevalent theme in surrealism, something so familiar and disturbing at once creates a dichotomous response between comfort and fear- conflicting ideas was at the heart of the movement, to cause disruption.

fig 36.

fig 34.

PILLAR 3: PSYCHOLOGY

SURREALISM

fig 37.

While the popularity of surrealism died out in WWII, it left its influence on mainstream culture in such things as advertising. It seems that surrealism is an evolution of dada, and meme culture is a more mainstream casual amalgamation of the two, it can be described as a neo- dada.

Their existence is to be adapted and shared, placed into different contexts and require little knowledge or time to understand (or not understand, sometimes that’s the point) hence the virality of them. Characteristically memes are defined by intertextuality, humour, irreverence and more recently absurdity and non-sequitur themes. [24] These movements are heavily relevant in the understanding of bizarre and disruptive entertainment media because they are all prime examples and are products of their time.

MEME CULTURE Meme culture is an ever- transformative entertainment and cultural tool mainly used by the digital generation. Since its original conception in 2001 with ‘rofl copter’ it has transformed massively. fig 38.

fig 39.

fig 40. 34

PILLAR 3: PSYCHOLOGY

INSIGHT: TIMES OF HIGHTENED SOCIAL UNREST TEND TO CORRELATE WITH AN INTEREST OR ACCEPTANCE OF THE BIZARRE Most noteable bizarre movements in art take place during, or around times or war.

The internet contributes toward the modern social unrest

More information = increased social perception

PILALR 5: IDENTITY

IDENTITY

Here are the question’s I have sent in order to gather these insights:

& ITS ROLE IN INTEREST fig 41.

Because the topic of identity is highly personal and different depending on the person you ask, I am yet to gather an insight I deem appropriate for this research pillar. I have so far explored the relationship between queer identity and creative outlets of expression. There is occupational segregation that is the result of societal othering of the LGBT+ community.

WHAT WOULD YOU CONSIDER TO BE YOUR INFLUENCES? INCLUDING FIGURES AND ART MOVEMENTS?

DO YOU THINK IDENTITY PLAYS A BIG PART IN OUR TASTE? WHAT IS THE SORT OF AUDIENCE YOUR WORK TENDS TO ATTRACT? WHAT ROLE DO YOU THINK THE INTERNET HAS PLAYED IN THE SUCCESS OF BIZARRE/ UNORTHODOX ENTERTAINMENT? (ART, FILM CONSUMPTION HABITS) Homosexuality was only partially legalised in 1967, throughout history people who don’t identify as heterosexual were shunned from more ‘serious’ roles such as politics or anything that held societal power. [25] Because the arts are largely involved with self expression, the community itself and many figures throughout history were said to be or proved to be belonging to a queer identity and this was a place where they were more likely to be accepted or able to work away from governmental pressures.

WHAT DO YOU THINK MAKES AN EFFECTIVE DESIGN WHEN TRYING TO CAPTIVATE YOUR TYPE OF AUDIENCE? WHAT DO YOU LOOK FOR WHEN YOU’RE BEING MARKETED SOMETHING? WHAT ARE SOME TRENDS/ CLICHES YOU’VE NOTICED IN YOUR INDUSTRY? WHAT DO YOU THINK THE FUTURE OF THE INDUSTRY IS?

FASHION FUTURES PROJECT ON LGBT TOKENISM AND ERASURE

DO YOU VALUE UNCONVENTIONAL DESIGN AND DISRUPTION? IF SO, WHY?

WHAT DO YOU THINK THE LINKS ARE BETWEEN QUEER ARTISTRY AND INNOVATION?

fig 42.

I am waiting for primary responses from a few artists one of which includes avant garde, surreal celebrity photographer Mateus Porto who is a queer identifying artist that I belive would have valuable insight into how his identity affects his work and how his work affects his identity.’

HOW WOULD YOU DESCRIBE/ CATEGORISE THE WORK YOU DO?

fig 43.

fig 44. 39

REFLECTION Throughout the project, I have been progressively more confident on what the meaning of ‘bizarre disruption’ is. At the very beginning, I struggled to find what I wanted to discover more about. I began with looking at ‘ugly’ and why people are interested in things that defy convention. I eventually moved to look at absurdism, surrealism and dadaism in contemporary culture but I found difficulty in finding a term that encompassed all of these ideas that I wanted to talk about. I eventually landed on bizarre/ unorthodox as an umbrella term. Although I found it very hard to manage the amount of information at the beginning I quickly found my stride during the early presentation stages. Visuals were an important part of the project- another thing that I eventually found easier. It’s difficult to illustrate the future of a topic that is defined by innovation.

I think that overall, throughout the project I demonstrated a sound understanding of the different definitions of bizarreness and disruption and managed to demonstrate that each week in the presentations. The presentations are something that I found very helpful throughout the project as they helped me to checkpoint my work and helped me learn when to stop in a certain area- I usually spend too long on a certain area. Overall I’m happy with how my project turned out but one thing I am adamant about finishing is the final research pillar, I’m disappointed I don’t have an insight for it yet but I valued the primary research too much to make an insight based on too little information.

fig 45.

DATA

LINK TO 25 MINUTE FOCUS GROUP RECORDING

43 43

DATA

METHODOLOGY

PREPAREDNESS

52 52

ILLUSTRATIONS

[fig 1] Own Image [fig 2] Own Image [fig 3] Own Image [fig 4] Own Image [fig 5] https://playgroundapp.com/communities/matt-1 [fig 6] https://www.etsy.com/uk/market/taxidermy_teeth [fig 7] https://www.nytimes.com/2019/09/30/style/balenciaga-givenchy-valentino-paris-fashion-week.html [fig 8] Own Image [fig 9] https://www.ikea.com/gb/en/p/stefan-chair-brown-black-00211088/ [fig 10] http://www.scandalon.co.uk/philosophy/plato_good.htm [fig 11] https://www.cydecosse.com/prints/fire-and-ice/ [fig 12] https://www.slideshare.net/amyestrop/binary-opposition-theory [fig 13] Own Images [fig 14] https://en.wikipedia.org/wiki/1%25_rule_(Internet_culture) [fig 15] https://www.forbes.com/sites/johnkoetsier/2021/04/11/26-million-fake-faces-ai-generatedpeople-are-the-future-of-the-metaverse-celebrity-and-perhaps--all-of-us/ [fig 16] Own Image [fig 17] https://www.shitpostbot.com/sourceimage/egg-on-face-59ecc0e66bf32 [fig 18] https://muckrack.com/blog/2020/07/14/how-declining-attention-spans-impact-your-social-media [fig 19] Own Image [fig 20] https://sketchersunited.org/posts/1758424 [fig 21] Own Image [fig 22] https://www.psychologynoteshq.com/piagetstheory/ [fig 23] https://4you2be.wordpress.com/2011/09/23/cultivation-theory-2/ [fig 24] http://www.msrblog.com/arts/sociology/post-materialism.html [fig 25] https://owlcation.com/humanities/Postmodernism-Explained [fig 26] https://herveyjumperlab.ucsf.edu/research/cognitive-disruption-and-recovery-adult-intrinsic-brain-tumors

[fig 27] https://www.digitalspy.com/movies/a29947151/scary-movie-spoof-movies-killed-memes/ [fig 28] https://www.hindustantimes.com/art-and-culture/oldest-known-cave-art-was-made-by-neanderthals-not-humans/story-1nRzMhYLN5oVUKESP1RUdM.html [fig 29] Own Image https://www.hindustantimes.com/art-and-culture/oldest-known-cave-art-wasmade-by-neanderthals-not-humans/story-1nRzMhYLN5oVUKESP1RUdM.html [fig 30] https://fineartamerica.com/featured/hands-of-god-and-adam-by-michelangelo-michelangelo-buonarroti.html [fig 31] Own Image [fig 32]https://www.wikiart.org/en/marcel-duchamp/l-h-o-o-q-mona-lisa-with-moustache-1919 [fig 33] Own Image [fig 34] https://www.tate.org.uk/art/artworks/man-ray-cadeau-t07883 [fig 35] Own Image [fig 36] https://www.reddit.com/r/Art/comments/87ueva/ship_with_butterfly_sails_salvador_dali_ oils_1937/ [fig 37] https://www.business2community.com/marketing/old-spice-continues-dominate-viral-marketing-0770186 [fig 38] https://knowyourmeme.com/memes/roflcopter [fig 39] Own Image [fig 40] Own Image [fig 41] https://www.vogue.com.au/culture/features/an-investigation-into-the-history-of-voguing/ image-gallery/838a1a2765bc616979caf34e79dfac74 [fig 42] https://www.theguardian.com/environment/2020/sep/16/extinction-rebellion-go-floppy-when-arrested-complains-senior-met-officer [fig 43] Own Image [fig 44] https://www.instagram.com/orograph/ [fig 45] https://www.instagram.com/orograph/ [fig 46] https://terrible-reflection.tumblr.com/post/30738429842

REFERENCES

[1] Dictionary, O., 2021. disruption noun - Definition, pictures, pronunciation and usage notes | Oxford Advanced Learner’s Dictionary at OxfordLearnersDictionaries.com. [online] Oxfordlearnersdictionaries.com. Available at: <https://www.oxfordlearnersdictionaries.com/definition/english/disruption> [Accessed 3 October 2021]. [2] Dictionary, O., 2021. disruption noun - Definition, pictures, pronunciation and usage notes | Oxford Advanced Learner’s Dictionary at OxfordLearnersDictionaries.com. [online] Oxfordlearnersdictionaries.com. Available at: <https://www.oxfordlearnersdictionaries.com/definition/english/disruption> [Accessed 3 October 2021].

[14] Perera, A., 2021. Cultivation Theory: Definition and Examples | Simply Psychology. [online] Simplypsychology.org. Available at: <https://www.simplypsychology.org/cultivation-theory.html> [Accessed 29 October 2021].

[3] Dancy, R., 2007. Plato’s introduction of forms. 12th ed. Cambridge: Cambridge University Press.

[15] Our World in Data. 2021. Materialism and Post-Materialism. [online] Available at: <https://ourworldindata.org/materialism-and-post-materialism> [Accessed 3 October 2021].

[4] Gerbner and Gross, R., 1967. Cultivation Theory- TV effects. 11th ed. Cambridge: Cambridge University Press

[16] Encyclopedia Britannica. 2021. postmodernism | Definition, Doctrines, & Facts. [online] Available at: <https://www.britannica.com/topic/postmodernism-philosophy> [Accessed 19 October 2021].

[5] Baker, T., 2021. Summary of The 1% Rule by Tommy Baker | Summaries.Com. [online] Summaries. com. Available at: <https://summaries.com/blog/the-1-percent-rule> [Accessed 14 October 2021].

[17] Brinthaupt, T., 2019. Individual Differences in Self-Talk Frequency: Social Isolation and Cognitive Disruption. Frontiers in Psychology, 10.

[6] Garcia, E., 2021. The Creator Economy: How Social Media Influencers are Gaining Audiences, Earning Money. [online] WTTW News. Available at: <https://news.wttw.com/2021/09/13/creator-economy-how-social-media-influencers-are-gaining-audiences-earning-money> [Accessed 1 October 2021

[18] Richards, R., 2019. Transgressive clowns: between horror and humour. Comedy Studies, 11(1), pp.62-73.

[7] Detrimental, E., 2021. Escapism: Coping Skill or Detrimental?. [online] Fort Behavioral Health. Available at: <https://www.fortbehavioral.com/addiction-recovery-blog/escapism-coping-skill-or-detrimental/> [Accessed 6 October 2021] [8] Casey Foundation, A., 2021. What Are the Core Characteristics of Generation Z?. [online] The Annie E. Casey Foundation. Available at: <https://www.aecf.org/blog/what-are-the-core-characteristics-of-generation-z> [Accessed 11 October 2021] [9] The Motley Fool UK. 2021. Fool UK | Share Tips, Investing and Stock Market News. [online] Available at: <https://www.fool.co.uk> [Accessed 29 October 2021]. [10] Mcspadden, K., 2021. You Now Have a Shorter Attention Span Than a Goldfish. TIME magazine, [online] (Unknown), p.43. Available at: <https://time.com/3858309/attention-spans-goldfish/> [Accessed 15 September 2021]. [11] Own Survey Data: [16/10/21] [12] Own Survey Data: [16/10/21]

[13] Verywell Mind. 2021. What Are Piaget’s Four Stages of Development?. [online] Available at: <https://www.verywellmind.com/piagets-stages-of-cognitive-development-2795457> [Accessed 29 October 2021].

[19] Magazine, S. and Jo Marchant, J., 2021. A Journey to the Oldest Cave Paintings in the World. [online] Smithsonian Magazine. Available at: <https://www.smithsonianmag.com/history/journey-oldestcave-paintings-world-180957685/> [Accessed 19 October 2021]. [20] Encyclopedia Britannica. 2021. Renaissance art | Definition, Characteristics, Style, Examples, & Facts. [online] Available at: <https://www.britannica.com/art/Renaissance-art> [Accessed 18 October 2021]. [21] Bayley, S., 2013. Ugly. New York, NY: Overlook Press. [22] Bayley, S., 2013. Ugly. New York, NY: Overlook Press. [23] 2021. [online] Available at: <https://quizlet.com/176306242/art-history-final-flash-cards/> [Accessed 25 October 2021] [24] En.wikipedia.org. 2021. Internet meme - Wikipedia. [online] Available at: <https://en.wikipedia. org/wiki/Internet_meme> [Accessed 29 October 2021].

[25] the Guardian. 2021. You think we’ve had 50 years of gay liberation? In the UK it’s barely four | Peter Tatchell. [online] Available at: <https://www.theguardian.com/commentisfree/2017/ may/23/fifty-years-gay-liberation-uk-barely-four-1967-act> [Accessed 29 October 2021] 61

BIBLIOGRAPHY

[3] Dancy, R., 2007. Plato’s introduction of forms. 12th ed. Cambridge: Cambridge University Press.

[15] Our World in Data. 2021. Materialism and Post-Materialism. [online] Available at: <https://ourworldindata.org/materialism-and-post-materialism> [Accessed 3 October 2021].

[4] Gerbner and Gross, R., 1967. Cultivation Theory- TV effects. 11th ed. Cambridge: Cambridge University Press

[16] Encyclopedia Britannica. 2021. postmodernism | Definition, Doctrines, & Facts. [online] Available at: <https://www.britannica.com/topic/postmodernism-philosophy> [Accessed 19 October 2021].

[5] Baker, T., 2021. Summary of The 1% Rule by Tommy Baker | Summaries.Com. [online] Summaries. com. Available at: <https://summaries.com/blog/the-1-percent-rule> [Accessed 14 October 2021].

[17] Brinthaupt, T., 2019. Individual Differences in Self-Talk Frequency: Social Isolation and Cognitive Disruption. Frontiers in Psychology, 10.

[18] Richards, R., 2019. Transgressive clowns: between horror and humour. Comedy Studies, 11(1), pp.62-73.

BIBLIOGRAPHY

[26] Medium. 2021. the misattribution of David Lynch and the categorisation of the weird. [online] Available at: <https://medium.com/@SimonXIX/the-misattribution-of-david-lynch-and-the-categorisation-of-the-weird-a13f0149bdda> [Accessed 21 October 2021].

[40]Medium. 2021. Memes Are the Quintessential Postmodern Art Form. [online] Available at: <https:// theodoregreenbaum.medium.com/memes-are-the-quintessential-postmodern-art-form-5fa5f694fdb0> [Accessed 6 September 2021].

[27] Gelbrich, K., Gäthke, D. and Westjohn, S., 2012. Effectiveness of Absurdity in Advertising Across Cultures. Journal of Promotion Management, 18(4), pp.393-413.

[41]En.wikipedia.org. 2021. 1% rule (Internet culture) - Wikipedia. [online] Available at: <https:// en.wikipedia.org/wiki/1%25_rule_(Internet_culture)> [Accessed 29 October 2021].

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