No abstract

In western culture today we are incessantly presented with an abundance of divergent political narratives, portrayed through an unprecedented volume of images, experienced at an unrelenting pace. As the conditions of our post-truth era continue to allow emotional interoperation to win over veracity, binary narratives thrive in the refuge of their own filter bubbles and echo chambers. We can identify prominent forms of right wing populism, which ensure that quests for rationality and truth are consistently outmanoeuvred -cast aside as needless, over-sincere and time-consuming pursuits. Advocates of a veracity of information are accused of seeking to reimpose the values of the political class and economic elite, which such forms of populism claim to aim to overthrow. Within this context, we are challenged to constantly question the multiple, fragmented and often conflicting political narratives, to which we are exposed through pictures.This essay seeks to explore the relationship between contemporary modes of image production and dissemination, the construction of political picture narratives, and the role and nature of our understanding of veracity today. Structured around two central arguments, this discussion will first reflect on the consequences of a distinct lack of online responsibility and accountability within the development of big tech in recent years.This will focus on the absence of robust regulation within global social media platforms, specifically in relation to image orientated political messaging. Key to consider, is the extent to which this has been seized and capitalised upon by right wing groups and populist political figures, across both Europe and the US. It can be argued that a profound disruption and manipulation of western political narratives, has served to benefit the advancement of populist and right wing political ideals and structures of power. Ultimately, this questions the role that a disregard for veracity has played in the erosion of trust in our western democratic systems.The second prominent area this essay seeks to address, is the role of creative practitioners in response to the context described above. Artists and activists as makers of images, can play a critical role in countering the dominance of right wing political narratives, with a distinct ability to contest the conditions defining our post-truth era. This is to consider the importance of both conceptual and philosophical interoperations of the role of creative image makers, but crucially to also focus on pragmatic practical considerations.Thus, examining what today's modes of digital intervention and resistance might actually look like. Furthermore, I will explore how strategies and tactics developed by artists could emerge as shared and transferable, with the potential to enact broader cultural and societal change. Proposing a methodology to navigate through the multiple narratives we are continually exposed to, through offering ways to decipher authentic, moral, ethical and rational debates, in amongst the easily d...

This article analyses the Harle Syke strike, 1915. Although the incident was understood to be significant by contemporary observers, the strike has been overlooked when examining tensions between trade unionism, class, and local autonomy in Lancashire at the time of the Great War. Using a combination of cotton industry records and newspaper archives, the article examines the relationship between Harle Syke and the rest of Lancashire, with specific focus on the local rivalry between the village and its closest neighbour, Burnley. It provides a narrative of the strike, as well as analysis of the dynamics of the relationship between trade unionism and the village. It also examines local community input into industry, local protectionism, and responses to county-wide standardisation and centralisation.

Jack Southern’s chapter explores the impact of the outbreak of war on the weaving districts of north-east Lancashire, with particular reference to Burnley, the ‘world’s weaving centre’, where 40% of male labour and 76% of female labour worked in the cotton industry.

The First World War fundamentally altered the cotton 'weaving belt' areas of Lancashire, and was, despite a temporary reprieve in 1919/1920, to spell the start of a slow, painful, economic and social decline. The disruption of trade arising from the war ultimately commenced the transformation of an area that prided itself on its independence and ability to 'make' money, to one that by the 1930s both operatives and owners looked to escape. As a reporter from the Burnley Express stated in 1930: 'I have heard scores of millowners say, "happen what may, my son isn't going in t'mill" a remarkable attitude in a county and industry where family tradition has always been strong.'1 The cotton industry had, up until 1913, experienced an 'Indian summer',2 and in some towns it was still expanding.3 There was a steadfast belief in the long term viability of cotton and in the global importance of cotton towns. Socially, however, a number of issues had developed which had been masked by the positivity emanating from the industry itself. The impact of the short, sharp drop in productivity and disruption caused by the outbreak of war caused these issues to manifest across social relations locally, and confidence to erode.