Whitewashing and colourism is prevalent in the Hollywood film industry due to decades of institutional racism, unconscious and implicit bias of professionals in the industry combined with the misconceptions of the success factors in film. This study will explore the capabilities of artificial intelligence helping the industry professionals of Hollywood film fight against whitewashing. The research of AI and AI-human interactions are a relatively young phenomenon, let alone combining artificial intelligence with the creative process of creating a cast. This means that the whole research is a relatively new territory and will be examined from an exploratory point of view. The findings of this paper suggest that AI certainly has the capabilities to help Hollywood make more diverse casts with more equal representation of people of colour, but technology needs to face and overcome the biases of its own first. / Whitewashing och colourism är utbredda fenomen i filmbranschen i Hollywood. Detta är en konsekvens av årtionden av institutionell rasism, omedvetna och indirekta fördomar hos branschfolk, i kombination med missuppfattningar om framgångsfaktorerna i filmer. Denna studie kommer att undersöka möjligheten att använda artificiell intelligens som ett hjälpmedel för professionella inom filmindustrin i Hollywood i kampen mot whitewashing. Forskningen av AI (artificiell intelligens) och AI-mänskliga interaktioner är ett relativt nytt fenomen, likaså att kombinera artificiell intelligens med den kreativa processen av att skapa en gjutning. Detta innebär att forskningen kring ämnet är ett relativt nytt område och kommer att undersökas ur en utforskande synvinkel. Resultatet av denna avhandling tyder på att användningen av AI som ett hjälpmedel kan resultera i mer varierande rollbesättningar, med bredare representation av färgade personer, men tekniken måste till att börja med möta och övervinna sina egna fördomar.

M. Tech. (Department of Visual Arts and Design: Fine Arts, Faculty of Human Sciences), Vaal University of Technology. / Problem statement This study investigates black women’s diverse hairstyles through art. The main research question is: How can black women’s diverse hairstyles be understood through art to appreciate the meaning attached to these hairstyles? The research question is informed by a black feminist theory. Objectives of the study Based on the research problem, the objectives of the study were first, to find out how black women’s diverse hairstyles could be understood through art to appreciate the meanings attached to these hairstyles. Secondly, to examine similarities and/or differences between how Lebohang Motaung (hereinafter referred to as Motaung) and Lorna Simpson (hereinafter referred to as Simpson) construct and express meanings of diverse hairstyles in their artworks. This was done by means of analysing the two artists’ artworks. Thirdly, to find out what or who influences Motaung’s choice of hairstyles, which was done by conducting an in-depth individual interview with Motaung. Fourthly, to find out what or who influences Simpson’s choice of hairstyles, which was done by reviewing the literature on Simpson. Fifthly, to explore how Motaung and Simpson interpret their physical appearance based on their hairstyles. Research design and methodology The empirical investigation focused on analysing black women’s diverse hairstyles by means of analysing artworks of Motaung (black South African female artist) and Simpson (black American female artist). This study contextualises black women’s artworks as visual responses to patriarchal, social subjugation and objectification of black women’s hair, by using black feminist epistemology through artistic production. Data collected through visual material were analysed using Barnet’s (2011:37-38) critical analysis of artefacts strategy. Barnet’s steps of critical analysis include description of the artefact, interpretation of the artefact, analysis of the artefact and personal report. The analysis of the artworks enabled the researcher to compare and contrast the artworks of the two selected participants. The researcher first analysed the black South African contemporary female artist, Motaung’s (b.1992), work as a visual form of resistance to masculine control of images of black women’s hairstyle representations and self-definition. The researcher believes that Motaung creates self-defined artworks that appreciate the beauty of black women’s hair and she demystifies the ambiguous meaning attached to black hairstyles. Secondly, Simpson’s (b.1960) artworks were analysed in the study to understand what or who influences her choice of hairstyles. The researcher found it appropriate, for her study, to focus on Simpson, because she is a prominent contemporary black American feminist artist, who explores the concept of black hairstyles, focusing on themes such as race, gender and identity formation. Furthermore, one in-depth, individual interview was conducted with Motaung. The analysis was based on black feminism that enabled the researcher to listen to Motaung’s views and be part of her portrayal of black women’s diverse hairstyles. The qualitative data collection and methodology were guided by ethical considerations of the Vaal University of Technology for undertaking research. Ethical procedures were followed regarding selected participants for both artwork analysis and the interview. Five themes emerged from this analysis, namely Motaung’s personal background, black hair politics, conceptual work, choice of medium and working process, art influencers and artwork clarification. Black women’s diverse hairstyles In contemporary times, black women’s hairstyle representations are highly politicised as black people strive to reclaim their identities. The changing meaning of what is good hair for black women is highly controversial; some black women consider natural hairstyles as good and authentic hair for black women, because they embrace the Afrocentric beauty standard that was degraded by whites since the colonial era. On the other hand, other black women are comfortable with altered hair that is viewed as a European beauty standard, because altered hair has become part of black women’s culture and identity. The literature review suggests that historically, narrow European-centric beauty standards have deemed black women’s natural features as unattractive and unprofessional, especially their textured, curly to kinky hair. These restrictive ideals have left black women in a compromised position, having to adhere to certain societal norms for the sake of upward mobility, whether that is getting ahead professionally or fitting into a myriad of social environments in which they can be accepted. Main findings From the literature review, the study found that there are controversial viewpoints regarding what is or is not suitable for black women in terms of their hairstyles. The controversy led to black women’s hairstyles being discussed constantly in binary opposition of good/ bad hair, natural/ unnatural, Afro-centric/ Eurocentric, authentic/ inauthentic, African/ Western, low/ high self-esteem, amongst others. The literature further indicates that there is a need to conduct a study that embraces diverse (both natural and unnatural) hairstyles to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. From the analysis of the two artists, Simpson’s works were found suitable for this study because her body of work links with that of Motaung’s, in terms of concept, style, theory, content and technique, despite the fact that these artists are located in different geographical contexts and settings. From the individual interview, the study found that Motaung was prompted by black hair politics, such as the politics of exclusion of black hairstyles, such as afros and braids in educational institutions and work places. Such politics inspired her to create artworks on black women’s diverse hairstyles. Motaung focused on natural hairstyles because she wanted black women to see what they can do with their natural hair. By using natural hairstyles, Motaung wanted to challenge the misconception that natural hair is not beautiful. The study also found that Motaung focused on unnatural hairstyles because there is bias against black women who wear synthetic hair. Motaung created artworks using synthetic hair to make a bold statement that synthetic hair is not fake hair but rather extra hair, which black women can use to self-express and self-define. Recommendations ● The study recommends that self-definition is a black feminist strategy that black women can use to self-insert and self-represent using diverse hairstyles. The act of insisting on black women’s self-definition validates black women’s power as human subjects, against structural patriarchal forces and beauty standards that are continuously set for black women. ● The study recommends that it is significant for black women to embrace diverse hairstyles, to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. ● From the artworks of Motaung and Simpson, the study recommends that it is significant for black female artists to produce artworks on diverse hairstyles to diminish oppressive structures that are placed on black women’s hairstyle representations.

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Community Supported Agriculture (CSA) is a system whereby members purchase shares in a farm in the spring and then receive produce (maple syrup, meat, honey, vegetables, fruit, etc.) over the course of the growing season. The significance of this system is contested with critics, chiefly sociologist Julie Guthman (2008), asserting that CSA reproduces neoliberalism. Guthman's thesis on the relationship between practices, subjectivities, and political imaginaries is generative. My intervention is predominantly methodological. Guthman offers a systemic overview, in keeping with Michel Foucault's scholarship on governmentality, but does not explore the embodied nature of governmentality at the scale of the people involved. I contend that to understand how neoliberal governmentality plays out in CSA, we need to explore embodied practices at the scale of the people involved. I rely on Dorothy Smith's agent perspective and examine the practices associated with CSA for a discursive reading of those practices. My discursive reading employs J.K. Gibson-Graham's diverse economies approach. Participation in CSA cultivates a sense of connection to a local geographic community, and a community of practice, contrary to the seemingly individualized nature of the market transactions which form the basis of CSA. This sense of connection is supportive of prefigurative practices, farming practices, and activism. The relationality experienced by CSA farmers and members undergirds political activism, and the connection to communities of practice galvanizes and supports both discursive and protest practices. Attention to discourse at the scale of the individual provides insight into how discourses are co-produced and allows us to observe discourses in various stages of development, from those just entering the public square on social media, to those further developed, conceptually rich, with saliency for both farmers and members, and linked to political protest. The communities that exist in opposition to the individualization of neoliberalism, the production of discourse that both resists and reinscribes neoliberalism, and the practices that shape our subjects and political imaginaries, visible at this scale, provide insight into the connection between local and global discourses, and the connection between everyday practices and protest.

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