Larissa Bekker Thesis Editorial

97 / CHAPTER TWO : HAPPY OBJECTS AND THE E’RWODY BRAND In order to find an affective aesthetic for SUpport, I decided to find inspiration in a society known for their struggle with mental health – Japan. Within their work-orientated society, research has shown that the Japanese society has taken refuge in a cultural phenomenon called “kawaii”, translated means ‘lovable’ or ‘cute’. Kawaii is a word that describes the “infantile”, “delicate” and “pretty” (Younker, 2006:99). Although being a concept/practice that was only thrust into the limelight during Japans 1970’s rise in consumer culture, Kawaii stems from old Japanese traditions such as ‘bonsai’ and ‘haiku’ (Garger, 2007). Today, however, Kawaii is ubiquitous in Japanese culture as it provides an “appealing anodyne in a country marked by nostalgia for childhood and rigidity of its social hierarchy” (Garger, 2007) along with an escape from daily stressful phenomenon and practices. Within Japan, Kawaii has been applied to almost everything from stationary to public signs - Its popularity within Japan is not limited to only children. Kawaii or ‘cuteness’ as said by Garner (2017) “is a function of resemblance to human infants, to whom we’re programmed to respond sympathetically to because of their helplessness”. It is thus very easy to see the appeal for Kawaii in a rigorous society such as Japan. Especially as it provides Japanese youth with the potential to use the application of Kawaii in their daily lives to experience a form of childhood and freedom. For this reason, I decided to let my branding be inspired and influenced by the aesthetic language of ‘Kawaii’ or as will be referred to within this article “cuteness”. Combined with general research about mental health, I was also inspired by the nature and figure of the dolphin – particularly due to its symbolic significance it has within the mental health community.

CHAPTER TWO : HAPPY OBJECTS AND THE E’RWODY BRAND / 98 The dolphin is known to symbolize a wide variety of things with each culture having its own interpretation. However, when looking at it in relation to mental health the following symbolisms stand out: peace and harmony, protection, playfulness, strength and cooperation. In short, dolphins are a reminder to look for the good in everyone, protect others in need, “keep a sense of humour about our lives” , to speak our minds and reveal our true selves and lastly they represent a level of selflessness and cooperation that most people struggle to achieve (Harris, n.d.). All things which can contribute to the empowerment of the SUpport brand. Instead of forcing someone and overwhelm- ing them with help, we need to be like a dolphin - nudging and guiding them towards a healthier mind. FIGURE 21

99 / CHAPTER TWO : HAPPY OBJECTS AND THE E’RWODY BRAND 1 2 3 4

CHAPTER TWO : HAPPY OBJECTS AND THE E’RWODY BRAND / 100 Therefore, in order to visually represent all these things along with the ideas present by the “cuteness” approach, the Irrawaddy Dolphin (Figure 21) assumed the role of mascot for the brand. Subsequently, the campaign of E’rwody was created – a logo detached from any direct association with mental health (Figure 22);instead focusing “nudging healthy minds” and fostering new relations within the student community. The simplistic shape of the logo was created with the intent to allow for interpretation - providing students with the freedom to be affected by it in different ways. The E’rwody logo evolves into a manifestation of a ‘happy object’. It’s non-representational structure allows it to avoid the production of pre-conceived meanings or attributions; however, along the same lines its affective power as a ‘happy object’ means that its judgment as being something ‘cute’ or ‘kawaii’ is already made – produced through its relation with the human subject and their being/ past experiences (Ahmed 2010). In other words, the “extended self (the inorganic, embodied self) intra-acts with the E’rwody to co-create and co-produce affection” (Mcphie 2018:145). Through this process, the subjects past experiences of for instance: childhood intra-acts with the E’rwody - establishing a relation between its ‘cuteness’ and “the desire to enter, if only for a moment, a state of being that renders the world unthreatening and playful comprises a compelling link between the aesthetics of cute and cute affect” (Dale 2017:5). Put differently, it draws on past experiences of a stress-free youth; of childhood toys and animations, thus, we already perceive it as bringing us joy and affecting us in a positive way due to their social attribution as goods that bring joy. Its aim is to provide students with an object which they can be affected by in some sort of positive manner (notably; cuteness triggers a specific affective response). This is an important shift from the biomedical discourses which construct many aesthetics tied to mental health- as it does not pre-determine someone’s rela- tion to it, but instead is created through the process of the relation and interaction.

101 / CHAPTER TWO : SUMMARY CHAPTER SUMMARY This chapter has discussed how a more relational way of knowing can provide us in moving away from tradditional and Blahuevggeeelmt’sohniisctorical ways of designing. I explored Andrew contextualisation of design as shifting from form to content to context through three consecutive and intertwined phases. After which Tim Holloway’s conceptualisation of design was expanded upon, firstly defining fixed and interactive practices as passive and pre-established by applying them to my Do you feel weighed down interventio n. Leading to the unpacking of the E’rwody sticker initiative which discussed relational design as producing relations through audience participation and interaction – allowing for the generative accumulation of unexpected responses. Lastly, I discussed how the qualities of the Japanese ‘Kawaii’ and theories of cuteness integrated with theory allowed the establishment of the E’rwody brand, where meaning is established by students and their relation and interaction with it.

CHAPTER TWO : SUMMARY / 102 reprreesseentational generative feedback loop happy object

103 / CHAPTER THREE CHAPTER THREE

CHAPTER THREE / 104

105 / CHAPTER THREE : INTRODUCTION INTRODUCTION Within this chapter I will discuss the integration of previously explained theoretical frameworks, processes and methodologies and how it has been able to inform my final design processes. I will be referring to my animation workshop – Tell my Story – and expand upon my multi-modal initiation, process and the presentation of its documentation. As a designer that makes use of relational design methodologies, the outcomes of this workshowporkshop were based on the process and the affective relations it produced instead of the design object itself. The goal of my workshop is to facilitate engagements surrounding mental health between students, highlight how mental health is an extension of our environment and foster the creation of a student commsutnuidtyent community where mental health discourses become decdoencstornusctreudcted as students create their own caring and empowering community.

CHAPTER THREE : INTRODUCTION / 106

107 / CHAPTER THREE : TELL MY STORY WORKSHOP TELL MY STORY WORKSHOP As with any public event, the ‘tell my story’ workshop required physical and online promotion with the intention of attracting as many participants as possible. Achieving this aim through the creation of a dual-purpose stop-frame animation (Figure 23). Simultaneously promoting the workshop and being a stop- frame animation instructional- streamlining comprehension through opting for the usage of visual language in the form of an animation over written physical instructions. The E’rwody mascot further assumed the role of visually communicating these instructions – jointly integrating and increasing familiarity of itself within the student community. Notably as the E’rwody’s creation was foregrounded on it being a ‘happy object.’ It aided the video in affectively communicating emotions of joy and happiness to its viewer. This can be said to have enabled the workshop to affect students in a positive way (footnote to explain), even before taking place. Correspondingly, the context and time of the workshop played a similarly crucial role in its success due to their influence on the way in which the audience received and interpreted the lunchtime. I specifically selected these aspects due to the overwhelming and chaotic nature of the context at that particular time. Especially as most students use the Neelsie during their lunch time break – escaping from classes and studying – I decided to attempt to use the workshop in order to create a small breather in a fastpaced environment. Like the E’rwody logo, animation affects how we perceive it to bring us happiness the moment it enters our vision – to most it reminds us of the joyous time of childhood, when life was stress free. The question therefore arises of: If something as attention grabbing as recycling had the ability to pause the winding clock for just a moment, what will something as re- latable as mental health be able to achieve? Especially when combined with Relational Design

CHAPTER THREE : TELL MY STORY WORKSHOP / 108

FIGURE 23



111 / CHAPTER THREE : TELL MY STORY WORKSHOP Ahmed (2010:34) answers this question by play a small part within the workshop. Instead explaining how “if something is close to a emphasis is put on the spontaneous interactions happy object, then it can become happy by and relationships that occurred between the association”. This is particularly important for materials, the process of creating the animation the “tell my story” project. Firstly, as animation and participants. With the aid of volunteers and cartoons are associated with childhood, identified through SUpport t-shirts. These something you enjoyed which gives you happy relations were promoted as students were able memories along with the idea of craft and to make their own stop frame animation, through creating something personalized for yourself, arranging the material elements in specific something which you can form to your own ways it allowed them to express a particular vision. Hence there is already happiness feeling or emotion they were able to capture attached to this workshop. Secondly through their unique and personal stop frame narrative putting this workshop in a usually stressful place using an app called Icananimate. you can allow people to start associating that place with something different, something The incorporation of a narrative within the project happy. The effectiveness of the workshop was allowed for participants to engage with it on due to its subversion from a daily stroll in the a higher level – reasoning behind this being Neelsie as it played with the audiences’ specific that humans are natural story tellers. Sharing expectations of the Neelsie during lunch; stories can be said to have become a natural allowing for its breaking of the expected inter- way of communicating, aiding us in compre- actions to foster intrigue and engagement. hending and processing information. Notably Occurring through it challenging the conven- within our current society, sharing your story tions produced in that space – thus allowing has become increasingly more interactive and for a more memorable experience to be formed. accessible – allowing for more unique and personal experiences to be generated and Focusing on creating many to many relationships created. As contemporary media’s possibilities instead of following a top-down approach increase, the participant can become the narrator (Holloway 2012:11). Putting emphasis on its of their own story (Batterbee 2019). relational form as the presence and interaction its materiality and thus its content.Accordingly, within this context two small stages were set up with a variety of materials surrounding them (as can be seen in Figure 24) - all made by other students within a quick creative activity (each created simply with idea of communicating to a young, student audience). However, in order to fully embrace the relational design approach, a wide range of papers, clay and other material elements were placed next to each stage- encouraging any and every unique form of creative expression. Having said that, it is important to note that the materials only

CHAPTER THREE : TELL MY STORY WORKSHOP / 112 FIGURE 21

115 / CHAPTER THREE : TELL MY STORY WORKSHOP The workshop subsequently intended on making participants aware of the human-material assemblage that they are forming through expressing their feelings with the materials – where the story telling materials become physical extensions of the part- icipants. As Mcphie (2019:177) puts it, “[they become] extra -epidermatological limbs where [the participants] co-exist and where the narrative of [their] mental health is inscribed. ” This deeper level of engagement is important when viewing the manner in which groups cohere around a shared view towards certain things as being good, treating these but not others as sources of joy. We can choose to invest in the same source(s) of joy (object(s)) if it makes us happy, this is also true if we invest in the same objects as being those that should make us happy, in doing so we would be directed or oriented in the same mindset (Ahmed 2010:35). It is therefore highly important that the workshop allowed people to express their individual states of happiness, or their individual relation to objects which make them happy through something which is perceived as a collective happiness, this can slowly allow people to start influencing others to direct their happiness towards themselves. For instance, during the workshop, as one person started inter- acting, it would attract others to join in. Several students simply observed and conversed with others about the narrative they were busy creating. As crowds started to gather around the station, deep conversations about mental health started to occur – showing how the workshop became a social irritant as that which came from it extended beyond the animation station. Indicating that “We need to conceive of mental health as an ecologically distributed process for healthier narratives to emerge” (Mcphie 2019:298)

CHAPTER THREE : TELL MY STORY WORKSHOP / 116

117 / CHAPTER THREE : DOCUMENTATION D O CUMENTATION Throughout the duration of the workshop participants would leave behind their story artefacts for others to use, placing the human material assemblages back into the feedback loop. Each artefact became an extension of the mental narrative of its creator. As different objects and materials made by different participants were coupled together, it established a new affective connection between the audience and the world of things (Thobo-Carlsen 2017:102-103). As aforementioned, Relational Design is centred around the relations created within the process of the workshop and henceforth the sub sequential effects it produced, however these experiences can only ever exist in that space time along with the participants whom experienced it (Holloway 2012:49). It does not live outside of that and there- fore the experience lacks the momentum to further grow and develop. With that said, for this workshop I decided to document the experiences in two ways. Firstly, I documented the experiences through videography and photography (Figure 25) and secondly the experiences were documented through the stop-frame animations (Figure 26) which the students created; in addition to the names which they attached to their individual animation. Through documen- ting the process of the workshop along with what was produced through the human-object relations; I was able to share it on social media along with the Neelsie big screen. The importance of this is that it allowed for the participants narratives to be made available to be related to by other – through affective relations producing a more caring student community

CHAPTER THREE : DOCUMENTATION / 118 FIGURE 25

FIGURE 26



119 / CHAPTER THREE : CHAPTER SUMMARY CHAPTER SUMMARY This chapter aimed to iinntteeggrraattee my theoretical framework of a relational ontological perspective with my relational design and happy object methodology to inform minyfodrmesimgny pdreascigtincep.ractice. I referred to my “Tell my story workshop” and its facilitation of engageemnegnatgsements between students pertaining to mental health issues on campus. Establishing the workshop as a happy object by making use of the affective meanings attached to the medium of animation. Instead of focusing on the outcome of the work- shop, emphasis was put on the spontasnpeoonutsaninetoeurascitniotenrsactions that occurred between materials, the process of creating the animation and the participants.



^

mental health ^ being alive well

123 / ARTICLE CONCLUSION CONCLUSION

ARTICLE CONCLUSION / 124 This article has investigated and addressed the depiction of mental mheeanlthal health problems and mental illnesses in the medmiaedia and on Stellenbosch University campus. Research has been done to show how negative discourses in the media frame mental health sufferers (such as anxiety, depression, bipolar disorder, PMS, etc) as dangerous, aggressive, lunatic and/or diseased. I proposed in this article that by promoting counter disdciosucorsuersses and generating alternative messages through design, we are able to de-stigmatize the false representatfiaolsnes representations of mental health, educate society to support mental health sufferers and create a caring student community. Additionally, I employed and drew on relational design as an ontologoicnatlological methodology that services to foster this connected student commstundietyn.t communitRelational design is a tool that re-emrpeo-ewmeprsowers those who suffer with mental illnesses as the designer takes on the role of an enabler and the masses become the content-makers, storytellers and designer-participants. It is through relational design that students become reconnected to their environment (Stellenbosch University) and their fellow studsetnutds.ents. My E’rwody stickers and Tell-my-story animation project was also inspired by Kawaii design styles and techniques, also known as ‘cute’ designs or ‘happy’ objects, which I employed to move my participants through emotional affect. By branding and presenting my mental health campaign through a light, cuctuete and happy visual lens, I hope to provide a counter visual discourse to the stigmatized representations perpetuated in the media.

125 / SOURCES CITED LIST OF SOURCES Ahmedani, B. (2011). Mental Health Stigma: Alamy (2015). Funny man suffering from mental dis- Society, Individuals, and the Profession. J Soc Work order. [image] Available at: https://www.alamy.com/ stock-photo-funny-man-suffering-from-mental- Values Ethics, [online] 8(2), pp.41-416. Available at: disorder-93660641.html [Accessed 12 Sep. 2019]. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC324 Bantjes, J., Lochner, C., Stein, D. and Taljaard, L. 8273/pdf/nihms342711.pdf [Accessed 17 Sep.2019]. (2017). Global study aims to unpack mental health issues facing university students. [online] News.uct. Bantjes, J. (2018). Managing Student Mental Health. ac.za. Available at: https://www.news.uct.ac.za/arti- [online] www0.sun.ac.za. Available at: https://www0. cle/-2017-05-11-global-study-aims-to-unpack-men- sun.ac.za/lifesu/en/features/mental-health [Accessed tal-health-issues-facing-university-students [Accessed 18 Mar. 2019]. 18 Mar. 2019]. Bishop, C. (2010). Participation. London: Batterbee, I. (2019). The power of emotional Whitechapel. storytelling. [online] Medium. Available at: https:// uxdesign.cc/the-power-of-emotional-storytell- ing-dda2831b0b87 [Accessed 29 Sep. 2019]. Blauvelt, A. (2008). Towards Relational Design: De- sign Observer. [ebook] Yale art. Available at: http:// art.yale.edu/file_columns/0000/0076/blauvelt.pdf [Accessed 1 Sep. 2019]. Burr, V. (2003). Social constructionism. 2nd ed. New York: Routledge.

SOURCES CITED / 126 Clair, M., Daniel, C. and Lamont, M. (2016). Destig- matization and health: Cultural constructions and the long-term reduction of stigma. Social Science & Medicine, 165, pp.223-232. Corrigan, P. and Rao, D. (2012). On the Self-Stigma Curtin, B. (2006). Semiotics and Visual Represen- of Mental Illness: Stages, Disclosure, and Strategies tations. [online] arch.chula.ac. Available at: http:// www.arch.chula.ac.th/journal/files/article/lJjpgMx2i- for Change. The Canadian Journal of Psychiatry, iSun103202.pdf [Accessed 21 Mar. 2015]. 57(8), pp.464-469. Corrigan, P. and Watson, A. (2002). Understanding Corrigan, P. (2018). The Stigma Effect. the impact of stigma on people with mental illness. Counselors Associates (2018). #mentalhealthcontin- World psychiatry : official journal of the World Psy- chiatric Association, [online] 1(1), pp.16-20. Avail- uum. [image] Available at: https://twitter.com/coun- able at: https://www.ncbi.nlm.nih.gov/pmc/articles/ selorsassoc/status/987025447937552384 [Accessed PMC1489832/ [Accessed 18 Mar. 2019]. 22 Apr. 2019]. Dale, J. (2017). The aesthetics and affects of cute- ness. New York: Routledge.

127 / SOURCES CITED Farrelly, M. (2015). The Discursive Construction of Mental Health Problems in Irish Print News Media. Ph.D. Dublin City University. Fee, D. (2000). Pathology and the postmodern. Thousand Oaks, Calif: SAGE. Garger, I. (2007). Global Psyche: One Nation Under Cute. [online] Psychology Today. Available at: https://www.psychologytoday.com/us/arti- cles/200703/global-psyche-one-nation-under-cute [Accessed 3 Nov. 2018]. Goffman, E. (1990). Stigma. New York: Penguin Books. Gregg, M. and Seigworth, G. (2010). The affect Happer, C. and Philo, G. (2013). The Role of the theory reader. North Carolina: Duke University Press. Media in the Construction of Public Belief and Social Change. Journal of Social and Political Psychology, 1(1), pp.321-336. Harris, E. (n.d.). The Dolphin Spirit Animal. [online] Spiritanimal.info. Available at: https://www.spiritan- imal.info/dolphin-spirit-animal/ [Accessed 10 Sep. 2019].

SOURCES CITED / 128 Haslam, N. (2000). Psychiatric categories as natural Holloway, T. (2012). Practising Relational Design. kinds: Essentialist thinking and mental [ebook] issuu. Available at: https://issuu.com/timo- holloway/docs/practising_relational_design [Ac- disorder. Social Research, 67(4), 1031 – 1058. cessed 1 Jun. 2019]. Holloway, T. (2012). Defining Relational Design. Holloway, T. (2012). Conversations — Dialogue and [ebook] issuu. Available at: https://issuu.com/timo- Discourse from Relational Design. [ebook] issuu. Available at: https://issuu.com/timoholloway/docs/ holloway/docs/defining_relational_design_issuu conversations_relational_design [Accessed 1 Jun. [Accessed 1 Jun. 2019]. 2019]. Hugo, M. (2019). SUpport - Mental Health Task Team. [online] Facebook.com. Available at: https:// www.facebook.com/pg/SUpportStudentMental- Health/about/?ref=page_internal [Accessed 10 Sep. 2019]. Icanotes.com. (2018). Ways Mental Illness Is Com- monly Misrepresented in the Media. [online] Avail- able at: https://www.icanotes.com/2018/04/11/ ways-mental-illness-is-commonly-misrepresent- ed-in-the-media/ [Accessed 6 Sep. 2019].. Imgur (2014). Irrawaddy Dolphin. [image] Available at: https://imgur.com/gallery/CaGYM [Accessed 24 Sep. 2019].

129 / SOURCES CITED Kuntz, A. (2016). The responsible methodologist. Klin, A. and Lemish, D. (2008). Mental Disorders London: Routledge. Stigma in the Media: Review of Studies on Produc- tion, Content, and Influences. Journal of Health Communication, 13(5), pp.434-449. Krone, M. (2016). Campus Mental Health Practices and the Stigma of Mental Illness: A Quantitative Analysis of Student Affairs Professionals. Ph.D. Uni- versity of San Diego. Lawson, A., & Fouts, G. (2004). Mental illness in Disney animated films. Canadian Journal of Psychiatry, 49, 310 – 314. Mcphie, J. (2019). Mental Health and Wellbeing in MQ (n.d.). Who’s swearing to take on mental illness?. the Anthropocene. Singapore: Palgrave Macmillan. [image] Available at: https://www.mqmentalhealth. org/articles/whos-swearing [Accessed 30 Sep. 2019]. Pankonien, A. (2019). Art, Affect, and Materiality in the Construction of Collected Counter-Narratives: Nevolution. (2010). Diagramaxion : Network of Three Case Studies in Contemporary Art. [ebook] Relations. [online] Available at: https://nevolution. Available at: https://scholar.colorado.edu/arth_gra- typepad.com/theories/diagramaxion/page/2/ [Ac- cessed 30 Sep. 2019]. detds/40 [Accessed 1 May 2019].

SOURCES CITED / 130 Parent 24. (2018). 1 in 4 SA varsity students have been diagnosed with depression. [online] Available at: https://www.parent24.com/Family/Health/1-in-4- sa-varsity-students-have-been-diagnosed-with-de- pression-20181010 [Accessed 18 Mar. 2019]. Pitcher, S. (2013). Students’ Constructions of Mental Illness: Using Discourse Analysis to Develop Critical Language Awareness. Masters/Honours. University of Cape Town. Resnick, E. (2016). Developing citizen designers. Pulseuniform.com. (2018). Awareness Ribbons New York: Bloomsbury Academic. Guide Colors and Meanings. [online] Available at: https://www.pulseuniform.com/coffee-time/aware- ness-ribbons-guide-colors-and-meanings/ [Accessed 10 Sep. 2019]. Rose, G. (2016). Visual methodologies. Los Angeles : Sage. Ruiz, A. (2017). Against the Biomedical Model of Mental Illness. [online] Medium. Available at: https:// medium.com/invisible-illness/the-failures-of-the- biomedical-model-of-mental-illness-9e78059f0ac [Accessed 15 Sep. 2019].

131 / SOURCES CITED Safmh.org.za. (2018).Young people and Mental Saleh, N. (2019). How Mental Health Issues Are Health in a Changing World- Snapshots and Solu- Damaged by Mass Media. [online] Verywell Mind. tions. [online] Available at: http://www.safmh.org. Available at: https://www.verywellmind.com/mental- za/documents/FINAL_Young_People_and_Mental_ health-stigmas-in-mass-media-4153888 [Accessed 6 health_in_a_Changing_World-_Snapshots_and_Solu- Sep. 2019]. tions.pdf [Accessed 19 Mar. 2019]. Simonsen, J. and Robertson, T. (2013). Routledge international handbook of participatory design. New York: Routledge. Srivastava, K., Chaudhury, S., Bhat, P. and Mu- Stellenbosch University (2019). Mental health jawar, S. (2018). Media and mental health. Industrial issues affect everyone. Join this important conver- sation.. [image] Available at: https://www.facebook. Psychiatry Journal, [online] 27(1), p.1. Available com/search/top/?q=stellenbosch%20university%20 mental%20health [Accessed 22 Apr. 2019]. at: https://www.ncbi.nlm.nih.gov/pmc/articles/ PMC6198586/?report=printable. Stellenbosch University Campus Health Ser- vices (2019). Statistic. [image] Available at: https:// www.facebook.com/Stellenbosch.University. CHS/?__tn__=%2Cd%2CP-R&eid=ARBkOquMs- dus0_uaHvc-hW2h8oZWuBRZs7vSQPNm-zC7zj0U- 4lIYcWE8THZCvu6RPiSaNlMyBt1WRYqd [Accessed 22 Apr. 2019].

SOURCES CITED / 132 Stellenbosch University Campus Health Services Stout, P., Villegas, J. and Jennings, N. (2004). (2019). Effective Strategies. [image] Available at: Images of Mental Illness in the Media: Identify- ing Gaps in the Research. Schizophrenia Bulletin, https://www.facebook.com/Stellenbosch.University. [online] 30(3), pp.543-561. Available at: https:// CHS/?__tn__=%2Cd%2CP-R&eid=ARBkOquMs- academic.oup.com/schizophreniabulletin/arti- cle/30/3/543/1933069. dus0_uaHvc-hW2h8oZWuBRZs7vSQPNm-zC7zj0U- 4lIYcWE8THZCvu6RPiSaNlMyBt1WRYqd [Accessed Student 1, A. and Student 2, A. (2019). Conver- sation with anonymous Stellenbosch University 22 Apr. 2019]. students. Stellenbosch University Equality Unit - Een- heid vir Gelykwaardigheid (2016). Mental Health First Aid. [image] Available at: https:// www.facebook.com/MatieSUrpass/?__tn__=%2C- d%2CP-R&eid=ARC2H-dmnX33c8MS58fje859c- dw03jmWWu7xtqFi-4EoQjx4e5oU011MFoCK- rBum7GKGiJV2xZ9zUiqZ [Accessed 22 Apr. 2019]. SUpport - Mental Health Task Team (2019). Pre- vious SUpport logo. [image] Available at: https:// www.facebook.com/SUpportStudentMentalHealth/ photos/a.2252675348321742/2264135783842365/?- type=3&theater [Accessed 30 Sep. 2019].

133 / SOURCES CITED Then & Now (2019). Introduction to Affect Theory: Brian Massumi & Eve Sedgwick. [image] Available at: https://www.youtube.com/watch?v=SeMS8QEYIQU [Accessed 28 Sep. 2019]. Thobo-Carlsen, M. (2017). The Affects of the Art Vinney, C. (2019). Social Constructionism Defini- Work. [ebook] Available at: https://www.academia. tion. [online] ThoughtCo. Available at: https://www. edu/33019271/The_Affects_of_the_Art_Work_On_ thoughtco.com/social-constructionism-4586374 [Accessed 7 Sep. 2019]. the_Material_Art_Object_and_the_Affective_En- counter_in_the_Art_Exhibition [Accessed 1 Sep. Younker, T. (2006). Lolita: Dreaming, Despairing, Defying. [online] Scholar.harvard.edu. Available 2019]. at: https://scholar.harvard.edu/files/younker/files/ lolita_-_dreaming_despairing_defying.pdf Vink, J., Wetter-Edman, K. and Aguirre, M. [Accessed 5 Nov. 2018]. (2017). Designing for Aesthetic Disruption: Altering Mental Models in Social Systems through Design- erly Practices. The Design Journal, [online] 20(1). Available at: https://www.researchgate.net/publi- cation/316166079_Designing_for_Aesthetic_Dis- ruption_Altering_Mental_Models_in_Social_Sys- tems_through_Designerly_Practices [Accessed 15 Apr. 2019].

SOURCES CITED / 134