Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

Imagining Evil

It is in a way easier to imagine evil actions than we often suppose, but what it is thus relatively easy to do is not what we want to understand about evil. To argue for this conclusion I distinguish between imagining why someone did something and imagining how they could have done it, and I try to grasp partial understanding, in part by distinguishing different imaginative perspectives we can have on an act. When we do this we see an often unnoticed asymmetry: we do not put the same demands on our understanding of wrongdoing as on that of most everyday, morally acceptable, actions. Il est relativement facile d’imaginer des actes maléfiques, plus facile que ce que nous sommes prêts à supposer. Mais ce qui est ainsi facile à imaginer n’est pas ce que nous souhaitons comprendre à propos des actes maléfiques. Pour étayer cette conclusion, je distingue entre comprendre pourquoi quelqu'un fait ce qu'il fait et imaginer comment cette personne aurait fait une telle chose; j'essaie aussi de saisir ce qu'est la compréhension partielle, du moins en partie, en distinguant entre elles les différentes perspectives imaginaires d’un même acte. C’est ainsi qu’apparaît une asymétrie qui passe souvent inaperçue: nous n'imposons pas les mêmes exigences à l'égard de notre compréhension d’actes répréhensibles qu'à l’égard d’actions quotidiennes moralement acceptables.

Imagining Others

It is often argued that the ability to imagine what others think and feel is central to moral functioning. In this paper, I consider to what extent this is true. I argue that neither the ability to think of others as having representational mental states, nor the ability to imagine being in their position, is necessary for moral understanding or moral motivation. I go on to argue that the area in which thinking about others’ thoughts and feelings appears to play the largest role is that of supererogatory actions. Being able to get on well with others seems to be importantly predicated on our ability to think about their thoughts and feelings and being able to take up their perspective. However, when it comes to grosser moral norms and restrictions, such as harm norms, there is little reason to think that thinking about others’ thoughts and feelings plays a central role in understanding such norms or being motivated by them.

Plan estratégico Imagining Ltda. 2010-2015

IMAGINING LTDA, es una empresa de publicidad, que decide aventurarse en un plan de reestructuración antes de ver el cierre como una posible opción. En ese sentido se empieza un total plan donde prácticamente se desarma lo poco que había en la empresa y se empieza de cero. El principal resultado es que se logra desarrollar un modelo de negocio planteado como “Agencia de Publicidad Express”, que logra integrar una serie de componentes estratégicos, que separados son diferenciales muy débiles, pero juntos se integran y se convierten en un gran diferencial estratégico generador de ventaja competitiva. Haciendo un estudio profundo, de la industria, el sector y la demanda, se puede ver que es un campo muy competido y hacinado sobretodo, sin embargo existen algunas necesidades en canal y cliente muy fuertes, que permiten desarrollar un modelo diferente en publicidad, que es en lo que IMAGINING, decide enfocarse para ser diferente y atacar exclusivamente como agencia a las empresas denominadas como “PYME”. Todo esto resulta enfocándose en un sistema organizacional que permite una eficiencia y una concentración de decisiones que le permite a la empresa ir consolidándose con la rapidez que el cliente necesita y que solo IMAGINING puede ofrecer. El enfoque de mercado, por supuesto gira en base a las 4 P’s del mercadeo, que diferencian un producto que se hace a través de los estándares de calidad y la forma como se va a promocionar y vender ante las personas, con una política de precios lo suficientemente competitiva y accesible para el mercado que se aspira conquistar. De ahí se deriva un concepto de vender publicidad fácil y objetivamente sin que haya diferencias de uno a otro cliente. Financieramente el modelo resulta ser muy atractivo, y vendiendo relativamente poco se pueden recuperar márgenes de inversión muy altos puesto que la utilidad es muy alta en el negocio y más cuando no se sub contratan las cosas sino se quiere hacer todo directamente como lo hace IMAGINING.

Imagining migration: Placing children's understanding of 'moving house' in Malawi and Lesotho

Research pertaining to children's geographies has mainly focused on children's physical experiences of space, with their 'imagined geographies' receiving far less attention. The few studies of children's imagined geographies that exist tend to focus on children's national identities and their understanding of distant places. However, children's lives are not necessarily static and they often move between places. Research has not so far considered children's images of these transitional spaces or how such images are constructed. Through an examination of over 800 thematic drawings and stories, regarding 'moving house, produced by children aged 10-17 years in urban and rural communities of Lesotho and Malawi, this paper explores southern African children's representations of migration. The research considers how ideas of migration are culturally-constructed based on notions of family, home and kinship, particularly in relation to the fluid family structure characteristic of most southern African societies. The results suggest that most children imagine migration as a household rather than an individual process.. rarely including micro -migrations between extended family households in their drawings. Further, children's images of migration are place-rooted in everyday life experiences. Their representations concentrate on the reasons for migration, both negative and positive, which are specifically related to their local social and environmental situations and whether house moves take place locally or over longer distances. The paper concludes by exploring the implications of these conceptualisations of moving house for children's contemporary migration experiences, particularly in light of changing family structures due to the effects of the HIV/AIDS pandernic. (c) 2005 Elsevier Ltd. All rights reserved

Imagining migration: Placing children's understanding of 'moving house' in Malawi and Lesotho

Research pertaining to children's geographies has mainly focused on children's physical experiences of space, with their 'imagined geographies' receiving far less attention. The few studies of children's imagined geographies that exist tend to focus on children's national identities and their understanding of distant places. However, children's lives are not necessarily static and they often move between places. Research has not so far considered children's images of these transitional spaces or how such images are constructed. Through an examination of over 800 thematic drawings and stories, regarding 'moving house, produced by children aged 10-17 years in urban and rural communities of Lesotho and Malawi, this paper explores southern African children's representations of migration. The research considers how ideas of migration are culturally-constructed based on notions of family, home and kinship, particularly in relation to the fluid family structure characteristic of most southern African societies. The results suggest that most children imagine migration as a household rather than an individual process.. rarely including micro -migrations between extended family households in their drawings. Further, children's images of migration are place-rooted in everyday life experiences. Their representations concentrate on the reasons for migration, both negative and positive, which are specifically related to their local social and environmental situations and whether house moves take place locally or over longer distances. The paper concludes by exploring the implications of these conceptualisations of moving house for children's contemporary migration experiences, particularly in light of changing family structures due to the effects of the HIV/AIDS pandernic. (c) 2005 Elsevier Ltd. All rights reserved

Remembering and imagining: the role of the self

This study investigated whether temporal clustering of autobiographical memories (AMs) around periods of self-development ( [Rathbone et al., 2008] and [Rathbone et al., 2009]) would also occur when imagining future events associated with the self. Participants completed an AM task and future thinking task. In both tasks, memories and future events were cued using participant-generated identity statements (e.g., I am a student; I will be a mother). Participants then dated their memories and future events, and finally gave an age at which each identity statement was judged to emerge. Dates of memories and future events were recoded as temporal distance from the identity statement used to cue them. AMs and future events both clustered robustly around periods of self-development, indicating the powerful organisational effect of the self. We suggest that life narrative structures are used to organise future events as well as memories.

Britain and the Commonwealth: confronting the past - imagining the future

This is an extended version of Philip Murphy's inaugural lecture as director of the Institute of Commonwealth Studies, delivered on 23 February 2011. It traces the relationship of the UK with the wider Commonwealth over 40 years, paying particular attention to the rhetoric of governments and opposition parties from Wilson and Heath to Cameron. It examines the reasons for the Commonwealth being relegated to a peripheral role in British foreign policy, especially European preoccupations and the issues of Rhodesia and South Africa. It argues that the Commonwealth remains of considerable practical and enormous symbolic importance to the UK. The British government should engage with the Commonwealth more than it has done in the recent past and the Commonwealth should be both open to and critical of its imperial past.

Self, memory, and imagining the future in a case of psychogenic amnesia

We report a case of psychogenic amnesia and examine the relationships between autobiographical memory impairment, the self, and ability to imagine the future. Case study JH, a 60 year old male, experienced a 6 year period of pervasive psychogenic amnesia covering all life events from childhood to the age of 53. JH was tested during his amnesic period and again following hypnotherapy and the recovery of his memories. JH’s amnesia corresponded with deficits in self-knowledge and imagining the future. Results are discussed with reference to models of self and memory and processes involving remembering and imagining.

Imagining multicultural London: containment and excess in snatch

Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus this article explores the tension between the genre, representation and Jewish identity.