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The brief for UNIT 11 Preparation for progression in art and design

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The brief for UNIT 11 Preparation for progression in art and design

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An online forum for students across the UK

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The Student Room, Get Revising and Marked by Teachers are trading names of The Student Room Group Ltd.

Register Number: 04666380 (England and Wales), VAT No. 806 8067 22 Registered Office: International House, Queens Road, Brighton, BN1 3XE

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The Student Room, Get Revising and Marked by Teachers are trading names of The Student Room Group Ltd. Register Number: 04666380 (England and Wales), VAT No. 806 8067 22 Registered Office: International House, Queens Road, Brighton, BN1 3XE

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This is where you will create evidence of all your work towards your future. This is either UCAS application on to HE or into the work place. IN BOTH CASES you must make a portfolio and some online presence in the form of an industry related social media or website.

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Great portfolio advice from The Photographer's Gallery and photographer Jason Evans

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Great portfolio advice from The Photographer's Gallery and photographer Jason Evans

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The Photographers' Gallery - Portfolio Advice for Young People

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Preparing your portfolio can be a daunting task, so we've put together some advice direct from and for young people who are considering applying for an HE or FE education course in the UK.

With thanks to photographer and course leader Jason Evans, plus all the course participants.

Special thanks to the Eranda Foundation for its support of the Pathway programme.

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Some portfolio advice from Plymouth university ....try to find online advice from your choices if they have any.

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Our teaching team would normally like to meet you face to face. In exceptional cases you may be able to email an e-folio, possibly followed by a telephone interview. The e-folio option is normally only for international students who are studying abroad.

What makes a good portfolio?
Please bring a careful selection of your work. Ask advice from current tutors if this is possible. Remember that we are looking for your creative ability and potential, so it is vital to show us how you generate ideas, how you develop projects and how you resolve your final outcomes.

We ask student to bring the following:

1. Sketchbooks or workbooks that demonstrate the starting point of projects and their development. These should contain: your own images with annotated comments; research and analysis of the work of others; indications of how a project develops over its duration (reshoots, rethinking, etc.); ideas about the selection of images from what you've made (the editing of your work).

2. Finished images in print form, within a portfolio case or box (a container that is easy to carry and can be put on a table in order to view its contents effectively. Select a range of work, where possible, to show us the range of your experience, abilities and interests.

3. Written work, in the form of two essays, so that we can gain an insight into the way in which you write more formally. It is useful if these are copies that you can leave with us, as it is difficult to read these when we meet.

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Our teaching team would normally like to meet you face to face. In exceptional cases you may be able to email an e-folio, possibly followed by a telephone interview. The e-folio option is normally only for international students who are studying abroad. What makes a good portfolio?

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Use this to help you start the writing off

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Interesting article about the modern challenges of film photography as opposed to digital. This is a great source for your theme Photography is Magic!

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© The Anonymous Project

From losing tripods in The Gambia to finding commonalities in humanity, six photographers discussed the realities of using film at our exclusive event
Brighton-based camera manufacturer Intrepid Camera Co. has teamed up with British Journal of Photography to launch the Intrepid Enlarger. With the Kickstarter campaign closing tomorrow, we look back at the highlights of last week's event Film Photography: Modern Challenges.
During last week's talk at British Journal of Photography's headquarters in east London, we deconstructed the challenges of working with film in the 21st century. Our audience came face-to-face with leading and emerging artists in a debate designed to inspire and ignite curiosity.

Among the speakers was fashion and portrait photographer Katie Silvester; lecturer and film photographer Ellen Jane Rogers; documentary photographer Aria Shahrokhshahi; darkroom specialist Mike Crawford; and analogue archivers The Anonymous Project, who came together to discuss the trials and tribulations faced by contemporary film photographers.

From the comforting "clunky sound" of Katie Silvester's camera shutter to Aria Sharokshahe's passionate description of the "feel of film photography", we unearthed a myriad of experiences and perspectives on the subject. Find out what we learned from the refreshingly honest discussion below.

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Film Photography has more in common with bee harvesting than you would think

American photographer Katie Silvester presented exclusive images from her ongoing project . is, in Silvester's own words, a documentary series of "real life lovebirds"; the aim of the project is to explore "people simply doing what they love". P Honey, Silvester's first and only subject to date, is a beekeeper whose love for bees translates into jars of honey and raps uploaded onto YouTube. While the project was meant to illustrate the love between subject and object, it also provided Silvester with the opportunity to re-engage with her own love of film. During the shooting of , Silvester realised "how much these two principles - photography and beekeeping - had in common. P Honey and I both genuinely enjoy the process, and patience involved, as much as the outcome of our own crafts." Most illuminating was Silvester's comparison between snacking on honey and working in the darkroom: "the honey exploded out of the cones and onto my tongue with the same warmth you get whilst watching an image appear in the developer."

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Getting physical in the darkroom is a joy only afforded by film

Taking us through the elaborate and intricate process behind , Ellen Jane Rogers reinforced the enjoyment that comes with the toil and labour of film. "I reverted to the age-old technique of mucking about in the darkroom ". At a time when most of our activities are undertaken digitally, Rogers convinced us all of the magic of simply making. allowed her to once again "work with [her] hands. It wasn't just a digital process where I was constantly shooting - I was able to stick images and to get dirty in an analogue way. This is so important to my process". Rogers used varying methods of masking, burning and dodging in the darkroom to create her ethereal images.

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Tripods are pretty hard to come by in The Gambia

Shahrokhshahi took us to the 35° heat of The Gambia where he spent over a month documenting Kalidou, a 23-year-old man with a degenerative eye disease. While Shahrokhshahi was fortuitous in that his film never ran out, he came up against a different problem: "The Gambia is the definition of supply and demand. They only have what they need and I had lost my tripod," he recalled. "Kalidou and I had to spend three days walking around the capital trying to find one until eventually, we came across this guy fixing digital point and shoots." "Kalidou and his family weren't used to a camera that doesn't immediately show the image on a screen. We couldn't see these latent images, so a lot of the time it became this collaboration. We became intertwined in the picture making together. I had to rely on [Kalidou and his family] trusting that what I was doing would be truthful, dignified and respectful."

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You have to be willing to adapt

As with any art form, the refusal to keep up with new technologies can prove fateful. After spending over two decades as a printer and film photographer, Crawford found that working exclusively with film was no longer feasible. "I've seen a lot of changes. Ten years ago I started printing digitally as I had to eat," he explained. To keep up with the pace of change Crawford realised that "continuing solely in the darkroom was not an option; the market had changed so much."

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Digital and film are not enemies

Hailing from Paris, The Anonymous Project closed the show with a discussion, and short film, showcasing their most beloved archive images. Founder Lee Shulman and head of development Emmanuelle Halkin, outlined how the project aims to collect, scan, catalogue and curate unique amateur colour photo slides from the last 70 years. While a presentation filled with poignant, moving photographs played behind them, the pair discussed how digital technologies gave film a new life. "By using the technology available to us today, we can now explore new and exciting ways of presenting our work and telling the stories, especially in terms of archiving, preservation and restoration." The advancement in preservation technology is what enables The Anonymous Project to "give a second life to the people often forgotten in these timeless moments captured in stunning Kodachrome colour."
Words: Alice Finney
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Click here to contribute to the Intrepid Enlarger Kickstarter - closing date is November 3, 7:00pm GMT. Pledgers will be given a reward of their choice and will be able to purchase the enlarger at a special price, before the release date. The Intrepid Enlarger Kickstarter is supported by British Journal of Photography. Please click here for more information on sponsored content funding at British Journal of Photography.

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Highlights from Film Photography: Modern Challenges

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From losing tripods in The Gambia to finding commonalities in humanity, six photographers discussed the realities of using film at our exclusive event

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Tate Modern website pages on the exhibition we saw

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Tate Modern website pages on the exhibition we saw

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For the first time, Tate Modern tells the intertwined stories of photography and abstract art

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Here are the images from the presentation on Friday

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CHECK BLOGS to help you make good INDEPENDENT RESEARCH

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CHECK BLOGS to help you make good INDEPENDENT RESEARCH

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An informal blog for notices, events, opportunities in photography....

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A resource to help your research and introduce contemporary working photographers

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As promised please find a PDF on the presentation I gave you all regarding the design cycle. Follow this principle for this a well ordered, coherent sketchbook that meets the assessment criteria. Also check out the Evidence for Assessment pages as what to include to meet each section of the cycle and assessment criteria.

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SKETCHBOOK HELP Design Cycle and Evidence for Assessment

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Use handout to digitally 'hand colour' and image...

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Can you access this episode of Black Mirror? If not let us know and we can show it in class

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Black Mirror | Nosedive Featurette [HD] | Netflix

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For 17-year-old Mary Amanuel, from London, it happened in Tesco. "We were in year 7," she remembers, "and my friend had made an Instagram account. As we were buying stuff, she was counting the amounts of likes she'd got on a post. 'Oooh, 40 likes. 42 likes.' I just thought: 'This is ridiculous.'"

Isabelle, an 18-year-old student from Bedfordshire who doesn't want to disclose her surname, turned against social media when her classmates became zombified. "Everyone switched off from conversation. It became: 'Can I have your number to text you?' Something got lost in terms of speaking face to face. And I thought: 'I don't really want to be swept up in that.'" For 15-year-old Emily Sharp, from Staines in Surrey, watching bullying online was the final straw. "It wasn't nice. That deterred me from using it."

It is widely believed that young people are hopelessly devoted to social media. Teenagers, according to this stereotype, tweet, gram, Snap and scroll. But for every young person hunched over a screen, there are others for whom social media no longer holds such an allure. These teens are turning their backs on the technology - and there are more of them than you might think.

While many of us have been engrossed in the Instagram lives of our co-workers and peers, a backlash among young people has been quietly boiling. One 2017 survey of British schoolchildren found that 63% would be happy if social media had never been invented. Another survey of 9,000 internet users from the research firm Ampere Analysis found that people aged 18-24 had significantly changed their attitudes towards social media in the past two years. Whereas 66% of this demographic agreed with the statement "social media is important to me" in 2016, only 57% make this claim in 2018. As young people increasingly reject social media, older generations increasingly embrace it: among the 45-plus age bracket, the proportion who value social media has increased from 23% to 28% in the past year, according to Ampere's data.

This is part of a wider trend. According to a study by US marketing firm Hill Holliday of Generation Z - people born after 1995 - half of those surveyed stated they had quit or were considering quitting at least one social media platform. When it comes to Gen Z's relationship to social media, "significant cracks are beginning to show", says the firm's Lesley Bielby.

She believes we will definitely see an increase in younger people quitting or substantially reducing their use. "And as younger Gen Zers notice this behaviour among their older siblings and friends, they too will start to dial down their use of social media."

As the first generation to grow up online, Gen Z never had to learn social media, or at least not exactly. They glided through every iteration: Facebook (2004), Twitter (2006), Instagram (2010) Snapchat (2011) in real time, effortlessly adopting each one. But a life lived in pixels from your earliest age is no easy thing.

"You start doing things that are dishonest," says Amanuel, who quit social media aged 16. "Like Instagram: I was presenting this dishonest version of myself, on a platform where most people were presenting dishonest versions of themselves."

Like Amanuel, Jeremiah Johnson, 18, from Luton, grew weary of the pressures of sustaining an online persona. "It's a competition for who can appear the happiest," he says. "And if you're not happy and want to vent about it on social media, you're attention-seeking."

After being "bugged" by his friends to get Instagram (he had stopped using Facebook aged 16), Johnson joined. He lasted six months. "If you're having a bad day and scrolling through it, you're constantly bombarded with pictures of people going to parties. Even if that's not an accurate portrayal of their lives, that's what you see. So I stopped using it. It became depressing. It was this competition of who's the happiest." He pauses. "Participating in that is not something I'm interested in."

Hyper-connected teens have been faced with a surfeit of clicks, retweets and likes - and the dopamine rush of online validation - since the neural pathways in their brains were formed.

"They're becoming overwhelmed with the responsibility of maintaining their social sites and with upholding the somewhat inflated persona many have created on these sites, where they are constantly seeking approval via the amount of likes they get for any given post," Bielby says.

Young people are breaking stereotypes by leaving social networks. Photograph: oneinchpunch/Getty

"The people who are the most honest about themselves do not play the game of Instagram," Amanuel says. "The game of Instagram is who can maximise their likes by being the most risque, outrageous or conformist as possible. I didn't want to play that game."

At school, social media can be a brutal barometer of popularity. "If you meet someone new and they ask for your Instagram and you only have 80 followers," says Sharp, "they're going to think: 'You're not that popular', but if you have 2,000 followers they're going to be like: 'You're the most popular person in school.'" Sharp quit social media at 13. "I'd rather not know what other people think of me."

A desire to build authentic, offline friendships motivated some to quit. "I'm so much better at real-life socialising now," says Amanuel. "Not just those people you accept on a friend request who are friends of a friend."

For Tyreke Morgan, 18, from Bristol, being a hard man to get hold of - he has no social media presence at all - has its advantages. "Everyone goes through other people to find me," Morgan laughs, "and when I hear that they're been trying to get hold of me I say: 'Great!' Why would I need 500 flakey friends?"

But when you are from a digitally native generation, quitting social media can feel like joining a monastery. Amanuel was recently asked by co-workers if she had Snapchat. "I said no," Amanuel remembers, "and I instantly heard, like, gasps. It was like I'd revealed something disgusting." She explained that she did have a Snapchat handle, but never used it. "Relief came out of their eyes! It was really weird."

Teenagers not ready to quit entirely are stepping back for a while. Dr Amanda Lenhart, who researches young people's online lives, conducted a survey of US teenagers, asking them about taking time off social media. "We found that 58% of teenagers said they had taken at least one break from at least one social media platform. The most common reason? It was getting in the way of schoolwork or jobs, with more than a third of respondents citing this as their primary reason for leaving social media. Other reasons included feeling tired of the conflict or drama they could see unfolding among their peer group online, and feeling oppressed too by the constant firehose of information."

Bielby agrees that young people are becoming more aware of the amount of time they waste online. Of the young people Hill Holliday surveyed who had quit or considered quitting social media, 44% did so, she says, in order to "use time in more valuable ways".

"I don't know how people doing their A-levels or GCSEs have the time for it," says Isabelle. "They're constantly studying, but their only distraction is social media." Rather than get sucked into a "mindless vortex of never-ending scrolling," as she puts it, when Isabelle isn't studying she prefers to be outdoors.

The fact that Gen Z have had their every move documented online since before they could walk, talk, or even control their bowels helps explain their antipathy to social media: it makes sense for them to strive for privacy, as soon as they reach the age when they have a choice over their online image.

"I've seen parents post pictures of their child's first potty online," says Amy Binns of the University of Central Lancashire. "You think: 'Why are you doing this to your child? They wouldn't want this to be public."

Gen Z has an interest in privacy that subtly sets them apart. "Young people want to get away from the curtain-twitching village, where everyone knows everything about you," Binns says. So while today's teens spend a lot of time online, they don't actually share that much personal information. And when they do share, it's strategic. "You're painting a picture of who you are and your image," says Binns. "It's your own shop window or brand."

"Framing a picture and posting it on there is not a five-minute thing," says Amanuel, explaining that any post will be well-thought-out in order to project a certain image and maximise likes. "It takes hours of deliberation."

"When social media started, we didn't really know what it was going to mean," says Binns. "Young people are more aware of the value of privacy than we were 10 years ago."

Amanuel says that the Cambridge Analytica story, with its exposure of widespread data harvesting, helped prompt her to get off social media, and many more young people seem to be turning against Facebook; on Tuesday, it was reported that the number of Facebook users aged 18 to 24 in Britain is expected to fall 1.8% this year.

Some of the teens I spoke to were concerned about how technologies such as Snap Map - a Snapchat feature that tracks your friends geographically, in real time - were spreading through their schools, and mistrustful of the privacy consequences of being surveilled by your followers wherever you go. "Snap Map is this big thing with a lot of my friends, but there is a sense of privacy that is being breached as well," Isabelle says.

Teenagers are also educated about the ramifications of an offensive tweet, or explicit picture, as well as the health consequences of too much screen time. "Young people are being taught in schools about sharing nudes and how tweets can travel around. They've seen the horror stories," says Binns.

Isabelle agrees. "Constant screen time damages your ability to see, and it also causes internal damage, such as anxiety." Studies have shown that social media use can negatively affect mental wellbeing, and adolescents are particularly susceptible: one nationally representative survey of US 13- to 18-year-olds linked heavier social media use to depression and suicide, particularly in girls. And 41% of the Gen Z teens surveyed by Hill Holliday reported that social media made them feel anxious, sad or depressed.

Jeremiah Johnson. Photograph: Anna Gordon/The Guardian

But quitting social media can create new anxieties. "Our research shows that the biggest fear of quitting or pausing social media is missing out," Bielby says. Some are more sanguine than others. "Do I miss out on stuff?" Morgan asks. "Yeah, of course. People find it hard to keep in contact with me. They say: 'It would be easier if you had this or that.' But I don't think it's that hard to type in my number and send a text. You're just not willing to do it."

Others struggle with the fear of missing out. "It's like everyone in your friend group has gone to a party without telling you," Johnson says. At times, he questions himself. "I second-guess myself a lot. There are some days I'm really convinced I want to reinstall it, not for myself, but because I want to appear normal."

Still, refuseniks such as Johnson may not be outliers for ever. In a world in which everyone is online, renouncing social media is a renegade, countercultural move: as quietly punk as shaving your head or fastening your clothes with safety-pins. Morgan has become a svengali for classmates wanting to escape. "My friends come to me and say: 'Tyreke, I don't have social media any more,' and I go: 'Why? I thought that's what you guys do.' And they say: 'Thanks to you, because of the things you said and the stuff you're doing.' It's quite cool."

Quitting social media is a determined move: apps including Facebook and Instagram are designed to be addictive. "Social media is so ingrained in teenage culture that it's hard to take it out. But when you do, it's such a relief," Amanuel says. She has received a lot of "admiration" from her peers for quitting. "They wish they were able to log off. People feel like social media is a part of them and their identities as teenagers and something you need to do," she says. "But I'm no less of a teenager because I don't use it."

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Logged off: meet the teens who refuse to use social media

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Generation Z has grown up online - so why are a surprising number suddenly turning their backs on Instagram, Facebook and Snapchat?

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any of the ideas in Jaron Lanier's new book start off pretty familiar - at least, if you are active on social media. Yet in every chapter there is a principle so elegant, so neat, sometimes even so beautiful, that what is billed as straight polemic becomes something much more profound.

The concept of random reinforcement, for example: addiction fed not by reward but by never knowing whether or when the reward will come, is well known. But Lanier puts it like this: "The algorithm is trying to capture the perfect parameters for manipulating a brain, while the brain, in order to seek out deeper meaning, is changing in response to the algorithm's experiments ... Because the stimuli from the algorithm doesn't mean anything, because they genuinely are random, the brain isn't responding to anything real, but to a fiction. That process - of becoming hooked on an elusive mirage - is addiction."

The restless scrolling, the clammy self-reproach afterwards ... we could recognise that as addiction quite easily, but the mathematical mechanism for having created it makes horrible sense (Lanier isn't that interested in culprits, though he finds all of Silicon Valley pretty callow).

He wears his tech credentials lightly, as he can afford to, having been there for the creation of the internet; he was chief scientist of the engineering office of Internet2 and there in the very first chat-rooms, whence he draws the conclusion that I found the least convincing: even at its incipience, online communication tended towards the hostile. "Sometimes, out of nowhere, I would get into a fight with someone ... It was so weird. We'd start insulting each other, trying to score points." Since this all predated algorithmic manipulation, and cannot be blamed on Facebook, he concludes that we have pack behaviours and solitary behaviours: in a pack, we become locked in internecine competition; on our own "we're more free. We're cautious, but also more capable of joy."

This flattens out some vital distinctions: there's a difference between getting together to talk to strangers about why your celibacy is a woman's fault, and mustering online to start the Arab spring. Silicon Valley has a distinctive way of looking at things: have big idea; iterate; fix; iterate again. It works well in software design, but it's possible that to apply to very complex systems (like human beings), the big idea has to be refined a little more before it's tested.

Jaron Lanier, photographed in 1990. Photograph: Rex Features

Lanier explicitly addresses this in chapter eight, Social Media Doesn't Want You to Have Economic Dignity, as he describes how our modern reality was seeded by that mindset, those peculiar yes/no certainties of the web's earliest creators. The internet was built with no way to make or get payments, no way to find other people you might like. "Everyone knew these functions ... would be needed. We figured it would be wiser to let entrepreneurs fill in the blanks than to leave that task to government ... We foolishly laid the foundations for global monopolies."

Given the network effect - that Uber only works if everyone is on it - a thousand flowers were never going to bloom. There's only room for one and it's a Venus fly trap. The same libertarian spirit also instituted the peculiar economics of the internet: software had to be free, because only that way would it be open ("everyone knew that software would eventually become more important than law, so the prospect of a world running on hidden code was dark and creepy"). Yet that meant programmers wouldn't be paid: they would create free code and make money by solving problems later.

And so the gig economy was born, this highly skilled field spreading its insecurity to low-skilled ones, food delivery, retail. Neo-Marxians would have something to say about capital in all this but Lanier emphatically doesn't claim to have all the answers. "Please take what you can use from me. I know I don't know everything," he says in a winsome footnote.

His most dispiriting observations are those about what social media does to politics - biased, "not towards the left or right, but downwards". If triggering emotions is the highest prize, and negative emotions are easier to trigger, how could social media not make you sad? If your consumption of content is tailored by near limitless observations harvested about people like you, how could your universe not collapse into the partial depiction of reality that people like you also enjoy? How could empathy and respect for difference thrive in this environment? Where's the incentive to stamp out fake accounts, fake news, paid troll armies, dyspeptic bots?

I finished this stark but exuberant account not fearing for the future so much as amazed the world wasn't already even worse.

Ten Arguments for Deleting Your Social Media Accounts Right Now is published by Bodley Head. To order a copy for £8.49 (RRP £9.99) go to guardianbookshop.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99.

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Ten Arguments for Deleting Your Social Media Accounts Right Now by Jaron Lanier - review

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any of the ideas in Jaron Lanier's new book start off pretty familiar - at least, if you are active on social media. Yet in every chapter there is a principle so elegant, so neat, sometimes even so beautiful, that what is billed as straight polemic becomes something much more profound.

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Gaga's social media guy talks about future of SM

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Gaga's social media guy talks about future of SM

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Troy Carter interview: Lady Gaga's manager on the future of social media

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Lisa O'Carroll: Knowing user behaviour spells success - and how a teenager's news-crunching website could be the next big thing

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Jennifer Golbeck: Your social media "likes" expose more than you think

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Do you like curly fries? Have you Liked them on Facebook? Watch this talk to find out the surprising things Facebook (and others) can guess about you from your random Likes and Shares.

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Alessandro Acquisti: What will a future without secrets look like?

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The line between public and private has blurred in the past decade, both online and in real life, and Alessandro Acquisti is here to explain what this means and why it matters. In this thought-provoking, slightly chilling talk, he shares details of recent and ongoing research -- including a project that shows how easy it is to match a photograph of a stranger with their sensitive personal information.

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What can be guessed about you from your online behavior? Two computer privacy experts - economist Alessandro Acquisti and computer scientist Jennifer Golbeck - on how little we know about how much others know.

The best indicator of high intelligence on Facebook is apparently liking a page for curly fries. At least, that's according to computer scientist Jennifer Golbeck (TED Talk: The curly fry conundrum), whose job is to figure out what we reveal about ourselves through what we say - and don't say - online. Of course, the lines between online and "real" are increasingly blurred, but as Golbeck and privacy economist Alessandro Acquisti (TED Talk: Why privacy matters) both agree, that's no reason to stop paying attention. TED got the two together to discuss what the web knows about you, and what we can do about the things we'd rather it forgot. An edited version of the conversation follows.
I hear so much conflicting information about what I should and shouldn't be posting online. It's confusing and unnerving not to know what I can do to protect myself. Can you both talk about that?
Alessandro Acquisti: My personal view is that individual responsibility is important, but we are at a stage where it is not sufficient. The problem is much larger than any one individual's ability to control their personal information, because there are so many new ways every week or every month in which we can be tracked or things can be inferred about us. It's absolutely unreasonable to expect consumers and citizens, who are all engaged in so many other activities, to also have the ability to continuously update their knowledge about what new tracking method the industry has discovered and to be able to fend it off. I think it's a larger problem that requires policy intervention.

Jennifer Golbeck: I agree with that. Even if you did have a person who wanted to be on top of this and was willing to dedicate themselves full-time to keeping track of what technology can do, and then try to make decisions about what they can post, they still actually don't have control.

Take language analysis, a really powerful tool where we look at the kinds of words that you use - not even necessarily obvious things like curse words, but things like function words: how often you use "I" versus "we," how often you use "the" versus "a," these little words that are natural in the way that you develop language and inherent to your personality. It turns out that those reveal all sorts of personal traits. There's a whole field of psycholinguistics in which people are doing deeper research into comparing the kinds of words you use and how often you use them with personal attributes, and that's not something you can understand or control.

AA: It's also difficult to predict how information you reveal now could be used five or ten years out, in the sense of new inferences that could be discovered. Researchers may find that a piece of information "A" combined with a piece of information "B" can lead to the prediction of something particularly sensitive - also in the sense of how this particularly sensitive information could be used. These are literally impossible to predict, because researchers every month come up with new ideas for using data. So we literally do not know how this will play out in the future.
What would a policy solution look like?
JG: Right now in the U.S. it's essentially the case that when you post information online, you give up control of it. So there are terms of service that regulate the sites you use, like on Facebook and Twitter and Pinterest - though those can change - but even within those, you're essentially handing control of your data over to the companies. And they can kind of do what they want with it, within reason. You don't have the legal right to request that data be deleted, to change it, to refuse to allow companies to use it. Some companies may give you that right, but you don't have a natural, legal right to control your personal data. So if a company decides they want to sell it or market it or release it or change your privacy settings, they can do that.

In Europe, users have more of a right to their data, and recently there was a decision in Spain where a man had sued Google because when people searched for him, it was coming up with information about financial problems that he had had a long time ago. He was basically arguing that he has a right to have this information forgotten about him. When we declare bankruptcy, for example, that stays on our credit report for seven years; it's not going to be there 30 years later. But a lot of this stuff on the Internet, including public-record stuff, does stick around well past the time that we would allow it to expire before, and users don't have control over that online.

So Europe is saying users have a right to own their data in a certain way, and in the U.S. we don't have that. That's one of the spaces where there are some clear and straightforward legal solutions that could hand control, at least in some part, back to the users.

"There are a number of ways in which transparency control can be bypassed or muted." Alessandro Acquisti

AA: If you go back to the 1970s, the Organization for Economic Cooperation and Development (OECD) - so not exactly an anti-business or anti-capitalist organization - came up with a number of principles related to handling personal data. These Fair Information Practices, or FIPs, were guidelines for what policymakers could do to make the handling of personal information fair.

If you look at those principles, and then you look now at the state of policymaking in the United States when it comes to privacy, you see a significant difference. The policymaking effort in the U.S. focuses almost exclusively on control and transparency, i.e. telling users how their data is used and giving them some degree of control. And those are important things! However, they are not sufficient means of privacy protection, in that there are a number of ways in which transparency control can be bypassed or muted. What we are missing from the Fair Information Practices are other principles, such as purpose specification (the reason data is being gathered should be specified before or at the time of collection), use limitation (subsequent uses of data should be limited to specific purposes) and security safeguards.
Alessandro, in your talk you mentioned an experiment in which it took only 15 seconds for transparency - in this case, a privacy policy - to be rendered ineffective for users.
AA: Indeed. A very interesting aspect of that experiment is that people do remember what we told them about how we would use their data. But adding this delay between the time that we told them how their data would be used and the time where we actually started asking them to make choices about their data was enough to render that notice ineffective. That's probably because their minds started wandering.

JG: We are actually in the middle of a project where we've been showing people the Facebook privacy policy, and then alternatively having them watch this interactive video called "Take This Lollipop," which is one of my favorite privacy-oriented things online. It's an interactive personalized horror movie where this creepy stalker guy looks at your Facebook profile - which is generated because you click "Connect with Facebook" when you go to the website - and he looks at all your pictures and gets really angry and then kind of tracks you down.

When it first came out, I remember thinking, "Oh, I'm not going to bother trying this, because I'm one of the people in the world who knows the most about Facebook privacy settings. I have them cranked up so high; there's no way it could possibly see anything on my profile." A week later, I thought, "Well, you know, let's click on it and see," and it got all this data that I didn't think it could get. I remember thinking, if I don't understand what kind of data is being given to apps, how can anybody else understand?

We found that having people watch the video made them more informed and understand better what information was being shared than anything else. Now that doesn't necessarily mean it's the way that you want to convey a privacy policy, because it does show deep risk in some of this information being shared when it's not necessarily as risky as that video conveys, but I think this is an interesting point.

AA: To explain this phenomenon I borrow the term "rational ignorance." Rational ignorance has been used in other fields to refer to situations where people rationally decide to remain ignorant about a certain topic because they expect that the costs involved in making an effort will not be offset by the benefit of getting this information. Sometimes, in privacy, we may feel the same way. Sadly, sometimes correctly so: we may do everything to protect ourselves and do everything right, and still our data is being compromised or used in manners that we don't know about and don't want. And therefore, some of us may give up, and decide not even to start protecting ourselves.

"It's really important that people understand that there are computational techniques that will reveal all kinds of information about you that you're not aware that you're sharing." Jennifer Golbeck

JG: At the same time, the thing that I've had a hard time communicating in the years that I've been doing this work is for people to really understand that we can find things out computationally that they're not sharing explicitly. So you can "like" these pages, you can post these things about yourself, and then we can infer a completely unrelated trait about you based on a combination of likes or the type of words that you're using, or even what your friends are doing, even if you're not posting anything. It's things that are inherent in what you're sharing that reveal these other traits, which may be things you want to keep private and that you had no idea you were sharing.

So on the one hand, it's true that even if you know about all these computational techniques, you can't necessarily protect yourself. On the other hand, it's really important that people understand that there are computational techniques that will reveal all kinds of information about you that you're not aware that you're sharing.
How is what's happening on the Internet different from people analyzing the way I dress, cut my hair, where I work or where I live? I don't give people on the streets permission to judge those things, but they do it anyway.
AA: It's different on at least two grounds. One is scale. We are talking here about technologies that vastly increase the kind of abilities that you're describing. They make them more sophisticated. They allow many more entities - not just the friends you meet in your day-to-day life, but entities across the world - to make inferences about you. This data remains somewhere and could be used later to influence you.

The second is asymmetry. We all grow up developing the ability to modulate our public and private spheres, how much we want to reveal with friends, how much we want to protect. And we are pretty good at that. But when we go online, there is an element of asymmetry, because there are entities we don't even know exist, and they are gathering continuously information about us.

"The point is, we really don't know how this information will be used." Alessandro Acquisti

To be clear, I'm not suggesting that all this information will be used negatively, or that online disclosures are inherently negative. That's not at all the point. The point is, we really don't know how this information will be used. For instance, say I'm a merchant - once I get information about you, I can use this information to try to extract more economic surplus from the transaction. I can price-discriminate you, so that I can get more out of the transaction than you will.

That's why I'm interested in working in this area, not because disclosure is bad - human beings disclose all the time, it's an innate need as much as privacy is - but because we really don't know how this information will be used in the long run.

JG: You pick what clothes you wear, you pick the neighborhood you live in, you pick the job that you have - and in some way you know what that's saying about you. Say you're Catholic. Some people are going to associate one thing with you being Catholic, and some people are going to associate another. You have an easy way to understand what all the reactions will be.

But the kinds of things that we're talking about online aren't things that you can necessarily anticipate. One example of this is a pretty early project from a couple of undergrads at MIT called " Project Gaydar." They were able to infer people's sexual orientation by completely ignoring anything that the person had actually said and instead looked at the person's friends and what they had disclosed about themselves. So even if you're a person who wanted to keep their sexual orientation private, we can still find it out, and there's nothing you can do about it.

We have such a huge base of data - hundreds of millions of people, combinations of actions, likes and words. By themselves, it's a pile of traits that doesn't mean anything. Yet we can detect small patterns among these hundreds of millions of people to pretty accurately infer information that has basically no relationship to what they're choosing to disclose.
Once those algorithms are mapped out, how do you keep them from being used for evil? Do you worry your research could be used by less genuine entities?
JG: I sometimes tell people that I feel a bit like I'm working on the Manhattan Project. But I actually approach this from a scientific perspective. I'm interested in the science of it, and I think pretty universally, with very few exceptions, it's always worth doing the science. And in fact, what we're doing to infer these things can actually be used to teach people how to protect themselves. One of the things that we learned through this research is that the more data we have about people, the easier it is to make inferences about them. That has led me to be a regular purger of all my information online. That's a lesson that comes out of the science.

You're right that this stuff is going to get into the hands of companies, governments, and could potentially be used in evil ways. I don't think not doing the science is the solution to that. As Alessandro said earlier, the only solution is a legal one where people have control over how their data is used and there are limitations and real regulation on data brokers and other companies that have this data.

AA: I doubt that even the best researchers are able to give ideas to the industry that have not already come up or will not come up soon by themselves. In the best scenario, we are maybe one or two steps ahead of the game. And that would be important, because it's about raising awareness among individuals and among policy makers about things that are about to happen, or have started to happen.
Featured artwork by Dawn Kim.

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What are you revealing online? Much more than you think

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The best indicator of high intelligence on Facebook is apparently liking a page for curly fries. At least, that's according to computer scientist Jennifer Golbeck (TED Talk: The curly fry conundrum), whose job is to figure out what we reveal about ourselves through what we say - and don't say - online.

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There is lots of information, talks and reviews of the Biennial. If you went to it - remember to write about this in the Unit 11 paddle and your UCAS statement

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Harley Weir underlines shared humanity by focusing on domestic and intimate details against a backdrop of displacement and uncertainty.

Harley Weir (UK) b.1988 lives and works in London having graduated from Central St Martins College of Art and Design with a BA in Fine Art in 2010. Her first solo exhibition was Boundaries at Foam, Amsterdam (2016/17). Last year she exhibited work at The Belly and the Members, curated by Antonia Marsh at Cob Gallery, London (2017). She has published three books: Homes with Loose Joints (2017), Paintings with Loose Joints (2017) and most recently, Function with Baron (2018).

To accompany the exhibition, second edition of the photobook Homes has been released, published by Loose Joints.
Find out more about other Brighton Photo Biennial exhibitions

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Watch: Brighton Photo Biennial 2018 Artist Harley Weir | Photoworks

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Photographs taken immediately before and during the destruction of the migrant and refugee camp in Calais known as The Jungle.

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Photo month in London throughout Oct and Nov

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Photo month in London throughout Oct and Nov

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photomonth - East London Photography Festival

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UCAS connects people to University, post Uni studies including teacher training, apprenticeships & internships. Find all the information for your next step.

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DEVELOP is a programme of events aimed at 16-24 year old aspiring photographers

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DEVELOP is a programme of events aimed at 16-24 year old aspiring photographers

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DEVELOP: Preparing for a Career in the Photography Industry

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Photography competition for young people

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Photography competition for young people

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You will get an exhibition and prize money if you win!

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Photographic competition - Economic and Social Research Council

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Social science research plays a vital role in our society. From big ideas to the most detailed observations, social science affects us all every day - at work, in school or college and within our communities. Social science makes our lives better - it helps society to become enriched, healthier, more resilient and sustainable.

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Artist makes painting of his Tinder connections...

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Current exhibition about the internet and photography, social media and other ideas 

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Current exhibition about the internet and photography, social media and other ideas 

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This exhibition presents the work of 11 contemporary artists and groups seeking to map, visualise and question the cultural dynamics of 21st Century image culture. Importantly, it investigates the systems through which today's photographic images multiply online and asks what new forms of value, knowledge, meaning and labour arise from this endless (re)circulation of content.

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Video introduction to The Photographer's Gallery site 

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Video introduction to The Photographer's Gallery site 

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A photographer looking at social media and self image

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A photographer looking at social media and self image

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Behind every selfie are hundreds of discarded snaps - slightly more flawed clones in less flattering lighting, tilted a fraction of a degree, with or without the puppy dog filter. Everyone knows the final product is an illusion of candor and spontaneity. There's an unspoken rule that what actually ends up on Instagram has been choreographed and airbrushed into something that does not remotely look like real life. In fact, it has gotten so meta that model Emily Ratajkowski can amass millions of likes based on this rule while lampooning said rule in a video made with the sole aim to garner even more likes. So why do we keep falling for it?

In her series Body Dysmorphia, photographer Scarlett Carlos Clarke focuses on the grip heavily manipulated selfies has on our offline lives, especially for women: "Although some girls maybe feel totally insecure and vulnerable and full of self-loathing, there's a narcissistic element that they can't stop feeding with the selfie," she says. She notes that she isn't making a moral judgment either way, necessarily. "I'm more just trying to get people to question this idea. I just think it's an interesting concept that's happening at the moment." In fact, she acknowledges selfies can be empowering, especially when they are honest depictions of ourselves. It's the excessive retouching, faked perfection, and addictive nature of online validation that she finds fascinating and even a bit creepy.

In her last photo series, She, Carlos Clarke deconstructed the image of the ideal woman created and expected by men. "With that series, I was being like almost 'fuck you' to guys," she explains. "Is this what you want? A perfect woman who's emotionless and does what she wants you to do? It was reversing that idea." In Body Dysmorphia, she turns the lens on the ideas of female perfection created and perpetuated by women themselves, asking what perfection is and whether this perfect woman even exists.
What inspired you to do the "Body Dysmorphia" series?
Scarlett Carlos Clarke: I started to see loads of people on Instagram and social media just altering their faces with weird apps. Also, not even people doing that, but just creating a persona for yourself, and then having to live up to that, and that almost being more interesting than the real person. You see, even in a Kardashian kind of way, smoothing the skin out, crazy retouching - that's so accessible now because it's on your phone. It's kind of seen as really normal now to do that, and then when you meet these people in real life, they're just a completely different person.

It's quite telling of our time that people feel this need to project what they think is the perfect image of themselves out in the world. You have this mixture of, they're insecure about themselves, so they put up these images, and yet there's also this really narcissistic element where they're really self-obsessed and there's this massive ego going on as well. It's a weird mix of self-loathing and self-obsession.

"It's like a short-term release of endorphins, and then it's over, and then probably back to the self-loathing" - Scarlett Carlos Clarke

That is such a contradiction in and of itself, people who loathe themselves and yet are addicted to seeing these images of themselves. How do you think people reconcile that in their heads?
Scarlett Carlos Clarke: I think to them, posting a selfie where they are the person that they want to be, where they are this perfect image, gives them pleasure for probably about 15 seconds. It's like a short-term release of endorphins, and then it's over, and then probably back to the self-loathing.

When you have manic depression or something, you will grow up and you won't like the person you are, and then you create a person that you want to be. And then that catches up with you, and it always does. I've seen it happen so many times. A lot of people want to escape from where they've come from or what they've grown up in and create this persona because it's more fun, it's more interesting, they think it will get them more work being crazy, happy, jolly, not having any emotions. And then it catches up with them. I've seen people constantly feel the need to feed social media but they don't want to, but they can't stop. It's like a proper addiction.
As content creators, artists, etc. we're often told to curate our social media to build a brand. It's almost forced into us. How can we escape this if we're expected to do this for our careers?
Scarlett Carlos Clarke: If you know who you are as a person, and you're just doing it because of your art, then that's a different thing. But if you are really getting heavily involved in it emotionally, you need to take a step back and reassess who you are. If it's all just a massive lie, and you're taking it seriously. As an artist, I think you can mess around with it, because if you look back in time, people like Cindy Sherman were doing that in their art with self-portraiture. I think that's a really interesting idea, but it's about not taking yourself too seriously if you are doing it.

"I've seen people constantly feel the need to feed social media but they don't want to, but they can't stop. It's like a proper addiction" - Scarlett Carlos Clarke

Your photo series only depicts women. Why do you think this is an issue that affects women uniquely?
Scarlett Carlos Clarke: It is mainly women. Obviously, some guys probably get into doing it, but it's quite a female thing to want to project a perfect image of your body. There's a lot of pressure for women to be doing careers, looking great, seemingly being really happy in their lives. Women feel a lot more pressure to put that out because of what's happening with everyone else. Everyone's kind of egging each other on.

The problem with Instagram is it causes a lot of jealousy between females, especially if people are projecting this ideal life. I think people get annoyed by it. It makes people feel like, "I'm not having a good time." It's more if you're feeling vulnerable, and then you go on Instagram and you see that everyone's having the best time ever, but obviously it's just editing the best moments down.

Women have always felt more pressure to look good, and I think it's just kind of one step up from makeup. Because it's really accessible, it's kind of become more normal to edit how you look now. Before, retouching was something that photographers or retouchers did, but now you can do it in seconds on your phone with simple tools like "smooth" and "refine"-It's like the face you've always wanted and it only costs 99p. I think it's like an addiction where you constantly need more hits.
A lot of feminists have embraced the selfie as a tool of empowerment. Can this have the opposite effect?
Scarlett Carlos Clarke: The people who have done that are doing it in a really honest way, like posting pictures of themselves with their spots or writing stuff about what's going on in their lives. Even though that's good, most of the girls who are doing that are already established in quite a big way and they've got their own thing going on, they've got their careers. Whereas most girls don't really have that and they're probably sitting at home on their phones. What's going on is people creating this image of themselves and then not going out and socializing or they don't want to, because they prefer the thing they've created.
As a photographer, do you know people who will spend ages doing the retouching, doing the staging, doing all this stuff just for one image?
Scarlett Carlos Clarke: I know at least three people who will go about setting up almost a photo shoot. Just to have in the backlog, to always have the backup to post stuff. This is what's happened in the industry. If you are a photographer or a model, you are told that you need to be projecting this thing. I think it's rubbish. I think if your work is good, that will shine through. There's loads of pressure to project, "Your whole life is one of your shoots."
A lot of these issues have clearly been exacerbated or made visible by the rise of social media. Why did you choose a more retro style for the shoot?
Scarlett Carlos Clarke: I didn't want it to be a modern thing with like iPhones and stuff. I thought it was more aesthetically pleasing to do it as if it were from a different time. I thought it was a bit more timeless. Also, in the 50s, there was the idea that women should stay at home and pamper themselves and make themselves look good. So it was kind of the idea of women being at home, just looking at themselves in magazines or in the mirror or on the back of the vinyl records.

I wanted that really vacant feel, where the girls are not really present. It's a comment that you're this beautiful girl, but you're kind of empty and you don't really know what you're going to do in life. You've got this amazing projection of what you are, but you're really ungrounded. You basically don't know who you are when you're a young woman, a lot of the time. You're still finding out who you are. I guess that's also a positive of this whole thing. Maybe it's a way for people to learn about themselves and find out who they are.

Photography Scarlett Carlos Clarke, styling Samia Giobellina, styling assistant Skye-Maree Dixon, set design Penny Mills, hair Jake Gallagher, make up Scarlett Burton, nails Pebbles Aikens, models Lily Newmark, Sydney Lima, Luisa le Voguer Couyet, Max Blatt, Eilidh Duffy

Picture 4- From left to right: Sydney wears velvet dress Helen Lawrence, knickers and garter Fifi Chachnil, stockings Agent Provocateur, velvet embroidered shoes Rochas, strass clip earrings Gillian Horsup at Grays Antique. Lily wears silk dress Natasha Zinko, knickers Bordelle, stockings Falke, satin mules Agent Provocateur, glove and rings Gillian Horsup at Grays Antique
Picture 8- Luisa wears ruffle blouse Found and Vision, latex high waisted knickers Atsuko Kudo, fishnet tights Pamela Mann, patent leather boots River Island, strass clip earring Gillian Horsup at Gray's Antique, organza ribbon worn around neck stylist's own

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Is our obsession with our social media image dangerous?

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Behind every selfie are hundreds of discarded snaps - slightly more flawed clones in less flattering lighting, tilted a fraction of a degree, with or without the puppy dog filter. Everyone knows the final product is an illusion of candor and spontaneity.

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Use this as a tick sheet what have you done? Not done?

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The 'masks' we wear behind social media....could be an idea!

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The 'masks' we wear behind social media....could be an idea!

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The dystopian satire tackling sexism in the social media age.

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Make Me Up / UK / 2018
84 mins  / BBFC Cert. tbc
BBC, Creative Scotland, 14-18 Now and Hopscotch Films present a Hopscotch Films Production with NVA

Written, Designed, Edited and Directed by Rachel Maclean
Starring Rachel Maclean, Christina Gordon, Colette Dalal Tchantcho
Music Scott Twynholm
Director of Photography David Liddell
VFX Supervisor Jason Hillier
Line Producer Carolynne Sinclair Kidd
Executive Producers Sud Basu, Mark Bell, Clara Glynn, David Harron, Mark Thomas, Jenny Waldman
Producers John Archer, Angus Farqhuar

In Make Me Up, multimedia artist Rachel Maclean has created a world that is both seductive and dangerous; a place where surveillance, violence and submission are a normalised part of daily life. She tackles these contradictions head-on and never balks at pushing boundaries.

This darkly-comic film takes a satirical look at the contradictory pressures faced by woman today. It examines how television and social media can be fun and expressive spaces to explore identity, but simultaneously a gilded prison that encourages women to conform to strict beauty ideals.

Siri wakes to find herself trapped inside a brutalist candy-coloured dreamhouse. Despite the cutesy décor, the place is far from benign, and she and her inmates are encouraged to compete for survival while being watched over by surveillance cameras, 24/7.

Presiding over the group is an authoritarian diva who speaks entirely with the voice of Kenneth Clark from the 1960s BBC series Civilisation. As she forces the women to go head-to-head in a series of demeaning tasks, Siri, with the help of fellow inmate Alexa, starts subverting the rules and soon reveals the sinister truth that underpins their world.

Produced by Hopscotch Films with NVA, Make Me Up is a major commission for 14-18 NOW and the BBC, also funded by Creative Scotland. The film also forms part of Represent, a series of artworks inspired by the Representation of the People Act 1918, supported by the Jerwood Charitable Foundation.

http://www.hopscotchfilms.co.uk/makemeup

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Use this planner to plot your work over next 5 weeks before your first BIG deadline

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Read this and prepare before next Friday please....

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Start this BEFORE the crit and complete in the crit - after peer and tutor feedback

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2015 Trend Micro blog OUR DIGITAL FUTURES

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2015 Trend Micro blog OUR DIGITAL FUTURES

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OUR DIGITAL FUTURES is an exhibition in the offices of Trend Micro by Level 3 Photography students from City of Westminster College in Paddington, London.

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2016 Trend Micro blog SECURING OUR FUTURES

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2016 Trend Micro blog SECURING OUR FUTURES

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Trend Micro and City of Westminster College Photography students collaborate again for work along the theme 'Securing Our Futures'

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2017 Trend Micro blog OUR FUTURES WITH MACHINE LEARNING

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2017 Trend Micro blog OUR FUTURES WITH MACHINE LEARNING

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2018 Trend Micro blog OUR FUTURES WITH IOT

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2018 Trend Micro blog OUR FUTURES WITH IOT

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A site for A Level students to find ideas for art and design and photography projects

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all images are © the artist unless otherwise noted

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Primary Research Friday 11th January 2019

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Primary Research Friday 11th January 2019

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Angela Ruskin Portfolio and interview advice

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Angela Ruskin Portfolio and interview advice

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Look to see if you can find advice directly from the institutions you are applying to...

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Portfolio and interview preparation - Anglia Ruskin University

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Prepare your art portfolio for University interviews with help from the lecturers at Cambridge School of Art, Anglia Ruskin University.

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The current Education bit in UCAS should look like this....

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The current Education bit in UCAS should look like this....

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In an interview for a university course, it's important to show that you're well-rounded and that you know your subject

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Advice from Falmouth university on interview and portfolio prep

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Advice from Falmouth university on interview and portfolio prep

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Interview Information: Photography BA(Hons) | Falmouth University

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We invite all applicants who show potential to an interview. Interviews are two-way: they give you the opportunity to show your creative skills and interview us; and they help us to assess further your potential to succeed in your chosen subject.

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QUESTIONS THEY MAY ASK YOU AT INTERVIEW!

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QUESTIONS THEY MAY ASK YOU AT INTERVIEW!

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A very sad story - Instagram and Facebook say sorry! But how will this potentially change the future of social media???

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A very sad story - Instagram and Facebook say sorry! But how will this potentially change the future of social media???

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Facebook has said it is "deeply sorry" after it emerged a teenager who took her own life had viewed distressing content about suicide on social media.

Molly Russell, 14, died in 2017. Her father says he believes Instagram "helped kill my daughter".

Facebook, which owns Instagram, said graphic content which sensationalises self-harm and suicide "has no place on our platform".

Advertisers have raised concerns over their ads being next to such posts.

According to a BBC investigation, adverts for some UK High Street brands are appearing alongside graphic content about self-harm, depression and suicide on the social media app.

Instagram says adverts are not targeted to appear next to certain videos or content.

Ian Russell, Molly's father, previously told the BBC that after she died, the family began to look at the Instagram accounts she had been following from people who were depressed, self-harming or suicidal.

"Some of that content is shocking in that it encourages self harm, it links self-harm to suicide and I have no doubt that Instagram helped kill my daughter".

"Deeply upset"

On Wednesday, Facebook executive Steve Hatch responded, saying: "The first thing I'd like to say is just what a difficult story it was to read and I, like anyone, was deeply upset.

"I'm deeply sorry for how this must have been such a devastating event for their family."

When confronted with print-outs of Instagram posts showing graphic photos of self-harm, he said: "We'd have to make sure that we look at these and ensure that those are taken down if they are against our policies.

"If people are posting in order to seek help and in order to seek support from communities, the experts in this area tell us that is a valuable thing for them to do. It can help with recovery, it can help with support.

"If it's there to sensationalise and glamourise, of course it has no place on our platform, it shouldn't be on our platform. And if we need to work harder to make sure it isn't on our platform then we certainly will."

Adverts next to graphic posts

The BBC investigation found that some of the brands whose ads appeared next to disturbing images and videos included Dune, Marks and Spencer, the Post Office and the British Heart Foundation charity.

The companies were unaware of the problem, said they would never deliberately advertise next to such content and were committed to working with social media companies to tackle the issue.

Separately, ISBA - the trade body for advertisers - raised concerns about adverts appearing alongside Instagram posts.

Phil Smith, the head of ISBA, said: "Brands do not want to see their advertising appearing in this context.

"What we need is an independent oversight body funded by the industry potentially international in scope which stops the platforms marking their own homework and that can give confidence to the public, the politicians and the advertisers that content is being properly independently moderated."

Ian Russell said: "The truth is that the internet is making money out of other people's misery and it shouldn't be.

"I mean that's just dreadful, that's immoral - and it's not taking enough steps to prevent that - it's not taking enough steps to safeguard young people's lives."

Asked how brands can trust Facebook and Instagram, Mr Hatch said companies "want to make sure that we're living up to the responsibilities that they have of us and I think we can always improve".

"But there are areas where we've made significant amounts of investment, huge amounts of focus on trying to get this right. But it is recognised that this is a complex area."

Footwear retailer Dune said it was deeply shocked and saddened by the issue and would never deliberately advertise alongside such content, while Marks and Spencer said it would be "seeking additional assurances from Instagram".

The Post Office said it would "never target ads based on inappropriate or harmful content" and the BHF said "we will be asking Instagram to act swiftly to prevent such content from being so easily accessible, shared and to protect people from viewing it".

'Ads based on interests'

Instagram said: "We do not allow content that promotes or glorifies eating disorders, self-harm or suicide and work hard to remove it.

"However, for many young people, discussing their mental health journey or connecting with others who have battled similar issues, is an important part of their recovery.

"This is why we don't remove certain content and instead offer people looking at, or posting it, support when they might need it most.

"Ads on Instagram are not targeted to appear next to certain videos or content. Ads people see are based on interests, not the content you see above and below those ads."
If you've been affected by self-harm, eating disorders or emotional distress, help and support is available via the BBC Action Line.

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Facebook 'sorry' for distressing suicide posts

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Facebook has said it is "deeply sorry" after it emerged a teenager who took her own life had viewed distressing content about suicide on social media. Molly Russell, 14, died in 2017. Her father says he believes Instagram "helped kill my daughter".

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LIST OF RESOURCES YOU CAN USE TO HELP RESEARCH

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LIST OF RESOURCES YOU CAN USE TO HELP RESEARCH

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