A Brief Exploration of ‘Brand as Myth’ in Boatbuilding

My creative work has spanned multiple industries over two decades: surf, travel, development, natural history, climate security, and more recently, sailing. Throughout this time, branding has been an ever-present force, influencing ideation, financing and shaping narratives and creative outcomes in ways both subtle and profound.

In an era dominated by visual culture with strong multimedia and social media influence, brands transcend their origins to become cultural signifiers. They embody stories, shape identities, dilute history, influence ideology, and mirror societal values as they aquire mythological status.

PBS Idea Channel, 2015

Throughout my recent journey in developing our family’s science and art initiative – self-building a wooden catamaran sailboat to create a Floating Stories Lab – I’ve discovered how the ‘brand as myth’ (PBS Idea Channel, 2015) theory presents itself strongly within the boatbuilding industry and its evolution.

The historical roots of boat design is a fascinating rabbit hole. Before the era of celebrated designers emerging as the flagbearers of sailing innovation, boat design was deeply rooted in the cultural fabric of maritime societies. Polynesians (Wharram & Boon, 2020), Hawaiians, Vikings, Australian Aboriginals (Briggs, 2023), and other seafaring cultures used materials readily available to create ocean-going vessels for wandering the seas that were the embodiment of their community’s collective wisdom and environmental attunement. These boats were a physical manifestation of traditional ecological knowledge and cultural stories, encapsulating the communal identity, seafaring mythology, and navigational knowledge passed down through generations.

The design of a Polynesian outrigger canoe or a Viking longship, for instance, was steeped in the ethos of the people it belonged to, with every curve and sail reflecting the intimate relationship between the sailors, their ancestors, communities they interacted and traded with, and the vast ocean. The symbiotic bond between culture and craft in these early maritime societies laid the keel for what would become a rich history of boat design, long before individual names and brands became influential in driving sailing brand mythology.

As modern history evolved, along with it industrialized capitalism, the craft and persona of individual sailboat designers moved to the forefront of brand identity, their names synonymous with innovation, craftsmanship, the intrepid spirt of ocean voyaging, and in some cases, even political or social ideologies. Iconic designers bestowed upon their creations a distinct signature, a hallmark of quality and design prowess that spoke directly to the designers’ ethos and sensibilities.

However, in today's recreational sailing industry, there has been a notable shift towards celebrating corporate brands over individual designers. Brands like Beneteau, Meta Yachts, and Hallberg-Rassy have become symbols of comfort, adventure, and elegance, respectively, often overshadowing the legacy of historical maritime culture and the unique visions of individual designers.

The branding evolution within sailing mirrors a broader postmodern consumer shift, where brands convey collective stories and experiences that resonate across diverse audiences. Barthes (1957) recognized objects laden with cultural significance as modern myths, and today’s popular sailing brands, through their narrative power, evoke meanings that go beyond their functional purpose.

The modern sailing brand’s narrative goal is predominately mass appeal. However, as production expands to drive profitable growth, there is a consequential dilution of cultural and ecological knowledge, as well as the unique visions and ideals of once-celebrated designers. This dilution gives rise to a more homogenized yet widely relatable brand mythology that transcends individual legacy and cultural history, reaching the vast waters of global marketability. Flipping through the pages of Yachting World (“Best Yachts of 2023,” 2023), glossy narratives of brand myths dominate, overshadowing the human stories that lie beneath in a compelling yet captivating manner. McLuhan's (McLuhan, 1964) adage, “the medium is the message,” fits within this phenomen, where branded sailboats signify both literal and metaphorical voyages but may also serve as conduits for the propagation of commercial narratives that overshadow the genuine human experiences behind them.

It is interesting to tie in postmodern discourse here. Deleuze and Guattari's (1987) rhizome concept stands out as shining a light on the decentralized, non-linear experience of sailing, a stark contrast to hierarchical structures. It parallels sailors' open-ended navigation across the unpredictable sea, suggesting a fluid, interconnected exploration (Deleuze & Guattari, 1987). Sailing brands, then, are able to encapsulate diverse narratives, from romanticized escapism and mass produced luxury, to values of community and sustainability, depending on their overarching goals and ownership structures.

Wharram & Boon, 2020

The arduous search for a low-impact, affordable, easy-to-maintain sailboat led me to James Wharram Designs, a family business rooted in the ethos of simplicity, accessibility, and sustainability (James Wharram Designs | Unique Sailing Catamarans, Inspired by the Double Canoes of the Polynesians, n.d.). Inspired by the upcoming documentary Women & the Wind (Kiana Weltzien, 2023), of which I am currently producing, and recent studies on the environmental impact of fiberglass (Ciocan et al., 2020), my family and I were drawn to Wharram's legacy of challenging industry norms, advocating for community and ecological harmony, and gender equity (Wharram & Boon, 2020). Our recent decision to build a wooden double canoe/catamaran sailboat reflects our commitment to preserving traditional craftsmanship, cultural knowledge, and embracing regenerative practices in sailing, our creative practice, and our lives. (For once, too, the affordable option is also the more sustainable one.)

Kiana Weltzien, 2023

As a creative practioner, I am acutely aware that the stories I create and facilitate, along with the brands I choose to relate with through my practice, become integral parts of our journey, reflecting my values, aspirations, and ever-evolving mythos. I move forward along this journey carefully aligning my creative practice and decision-making process with values of social and environmental regeneration.

References:

Best Yachts of 2023. (2023). Yachting World, March 2023.

Briggs, V. (2023). Seafaring: Canoeing Ancient Songlines. Magabala Books.

Ciocan, C., Kristova, P., Annels, C., Derjean, M., & Hopkinson, L. (2020). Glass reinforced plastic (GRP) a new emerging contaminant—First evidence of GRP impact on aquatic organisms. Marine Pollution Bulletin, 160, 111559. https://doi.org/10.1016/j.marpolbul.2020.111559

Deleuze, G., & Guattari, F. (1987). A THOUSAND PLATEAUS: Capitalism and Schizophrenia. University Of Minnesota Press.

James Wharram Designs | Unique sailing catamarans, inspired by the double canoes of the Polynesians. (n.d.). Retrieved April 1, 2024, from https://www.wharram.com/

Kiana Weltzien (Director). (2023, February 28). Women & the Wind: THE DOCUMENTARY - TEASER TRAILER. https://www.youtube.com/watch?v=jOydodbdXWw

McLuhan, M. (1964). Understanding Media: The Extensions of Man.

PBS Idea Channel (Director). (2015, October 14). Have #BrandsTM Become Mythological? | Idea Channel | PBS Digital Studios. https://www.youtube.com/watch?v=U4v-hgF9k-o

Wharram, J., & Boon, H. (2020). People of the Sea. Lodestar Books.

Hyperreal Connections: Postmodernism, Rhizomes, and Hope For New Sincerity in Postmodern Media

This discussion delves into the complex interplay between postmodernism, the rhizomatic theory of Deleuze and Guattari, and the rapidly evolving landscape of contemporary media. Following a winding path, I explore how postmodern media presents nuanced terrain, reflecting society’s complexities whilst simultaneously challenging audiences to find sincere meaning amidst its multiplicity.

Postmodernism, a term encompassing a range of cultural, philosophical, and artistic movements, emerged as a critique of modernism in the late 20th century. Central to postmodernism is the rejection of grand narratives or ‘metanarratives’ - overarching, universal interpretations or assumptions about the world and our human experience (Lyotard, 1984), favoring instead a celebration of pluralism, ambiguity, and the multiplicity of meaning. By employing literary devices such as irony and cynicism, postmodernists often attempt to blur the boundaries between high art and popular culture .

One potent example of postmodernism in action is the The Simpsons, which, through its continual quoting and parodying of various cultural texts, constructs a worldview that is both critical and self-referential (Palmer, 2014). Such hyperconscious interplay of texts and meanings resonates with David Foster Wallace’s critique of postmodernism’s reliance on irony and cynicims, where he warned against the dangers of these devices becoming a self-perpetuating end rather than a means to unveil deeper or more diverse truths (Schoder, 2016).

Postmodernism’s reliance on irony and cynicism, Wallace argued, though once effective tools for revealing mid-20th century hypocrisies, have since become entangled and overused with the media, contributing to a pervasive sense of detachment and disillusionment (Schoder). This sentiment echoes Fredric Jameson's assertion that postermodernism is “the cultural logic of late capitalism,” where irony serves not as a vehicle for critique but as a symptom of a culture deeply embedded in consumerism and superficial engagement (Kellner, n.d.).

Schoder (2016)

The shift from parody to pastiche, highlighted by Jameson as a defining feature of postmodern culture, reflects a broader transition in media from critical satire to an emulation devoid of critical distance (Kellner). This evolution mirrors Wallace's concern over the loss of sincerity and depth in media, where the continuous recycling of styles and ideas risks leading to a cultural stagnation characterized by a fixation on the perpetual present and a disconnection from historical context. Wallace's apprehensions are also echoed here in the hyperpaced, profit-driven dynamics of today’s social media platforms, where the relentless production of content amplifies these issues to unprecendented levels.

Deleuze and Guattari's ‘rhizome’, an “A-centered multiplicity” with its emphasis on non-hierarchical, interconnected knowledge systems, thus provides a valuable framework for understanding this contemporary media landscape (Three Minute Theory, 2014). Unlike the tree model, which suggests a singular, rooted structure with a top and bottom, the rhizome embodies the idea of a ginger root: multiplicity, connection, and horizontal spread (Deleuze & Guattari, 1987). In the postmodern media environment, stories, styles and ideas proliferate across platforms, creating an intricate network of interconnected yet fragmented stories.

Three Minute Theory (2014)

Tyson Yunkaporta’s work extends the postmodernist discussion beyond the confines of literary and media critique to encompass a broader examination of knowledge systems and societal structures (Yunkaporta, 2019). Yunkaporta critiques the monocultural lens of Western epistemology and advocates for the integration of Indigenous perspectives that emphasize relationality, interconnectedness, and respect for the plurality of existence. This approach aligns with the rhizomatic idea of embracing multiplicity and interconnectedness, and challenges postmodernism's sometimes fragmented, nihilistic tendencies, suggesting a path towards a more holistic understanding of complexity and diversity.

Yunkaporta's emphasis on relationality and the importance of diverse knowledge systems resonates with Lyotard’s (1984) definition of postmodern knowledge, which seeks to “raise our sensitivity to differences and reinforces our ability to tolerate the incommensurable.” However, where Lyotard sees fragmentation as a characteristic of postmodern knowledge, Yunkaporta and Wallace point towards the necessity of weaving these fragments into a coherent, though not homogenized, web of understanding. They advocate for a synthesis of knowledge that doesn’t aim to erase differences or force uniformity but rather to create a richer, more nuanced understanding of the world.

The concept of hyperreality, introduced by Baudrillard, further complicates the media landscape, where the distinction between the real and the simulated blurs, and the proliferation of images and narratives creates a reality that is self-referential and detached from any original context (Gill, 2020). This hyperreality is a playground for postmodern irony and cynicism, yet as it spreads rapidly across digital platforms, it also presents a challenge for individuals seeking authenticity and connection in a media-saturated environment.

Wallace’s call for a new sincerity, a movement towards engaging with the world in a manner that acknowledges irony’s limitations and seeks deeper meaning, is particularly relevant here (Wallace, 1993). Rather than outright rejection of postmodern critiqiue, this new sincerity builds upon it, striving for a more enriched engagement with media and culture that is reflective, critical, and, importantly, constructive. This approach, like the rhizomatic principle of making connections across diverse narratives and perspectives, invites us to construct a more nuanced and interconnected understanding of our world.

Yunkaporta’s Indigenous knowledge systems lens thus contributes a vital dimension to this conversation, emphasizing the value of stories that foster connection - to each other, to the environment, and to the myriad ways of knowing that populate our world. His critique of the commodification of trauma and identity within media content highlights a need for stories that transcend sensationalism and fragmentation and, instead, promote healing, understanding, and respect for diversity (Yunkaporta, 2023).

As postmodernism's language has given way to discussions of globalization and relational aesthetics, the challenge remains to navigate the remnants of its critique in a world marked by contemporaneity and an ever-expanding digital landscape (Palmer, 2014). The exhaustion of postmodernism's fashionable discourse does not signify the end of its relevance; rather, it invites a re-engagement with its foundational questions in the context of contemporary media's rapidly evolving forms and functions.

As we grapple with the multiplicity of meaning in contemporary media, the challenge is to not only deconstruct but to construct, regeneratively: to find ways of weaving together the fragmented threads of today’s media-saturate hyper-digital world into stories that affirm complexity, foster understanding, and and promote a more interconnected and respectful engagement with the myriad realities we inhabit.

References

Deleuze, G., & Guattari, F. (1987). A THOUSAND PLATEAUS: Capitalism and Schizophrenia. University Of Minnesota Press.

Gill, S. (2020, June 1). Introducing Jean Baudrillard’s concept of hyperreality. Desertofthereal. https://medium.com/desertofthereal/introducing-jean-baudrillards-concept-of-hyperreality-3ec73df477eb

Kellner, D. (n.d.). Fredric Jameson, biography. Retrieved March 14, 2024, from https://pages.gseis.ucla.edu/faculty/kellner/papers/JamesonJH.htm

Lyotard,  ean-F. (1984). The Postmodern Condition: A Report on Knowledge (Theory and History of Literature, Volume 10). University Of Minnesota Press.

Palmer, D. (2014, January 2). Explainer: What is postmodernism? The Conversation. http://theconversation.com/explainer-what-is-postmodernism-20791

Schoder, W. (Director). (2016, October 6). David Foster Wallace—The Problem with Irony. https://www.youtube.com/watch?v=2doZROwdte4

Three Minute Theory (Director). (2014, October 30). Three Minute Theory: What is the Rhizome? https://www.youtube.com/watch?v=gnteiRO-XfU

Yunkaporta, T. (2019). Sand Talk: How Indigenous Thinking Can Save The World. Text Publishing.

Yunkaporta, T. (2023, March 22). Transcript: TYSON YUNKAPORTA on Unbranding Our Mind [ENCORE] /328. FOR THE WILD. https://forthewild.world/podcast-transcripts/tyson-yunkaporta-on-unbranding-our-mind-encore-328

Critical Media Literacy in the Age of Information Overload

As a naieve undergraduate student in the early 2000s, I dreamed of ‘changing the world’ through a creative career informed by global explorations. Journalism lecturers often reiterated that media is the fourth estate of democracy; tasked with informing the public and keeping power in check.

In the ensuing two decades, the media landscape has been radically transformed by technology. Today, anyone with a smartphone and an internet connection can create and share content worldwide. Anyone can call themselves a ‘journalist’ or profess to be a ‘truth teller’.

However, the predominant experience of media consumption today is one of overload, confusion, and a tragic focus on the trivial at the expense of what counts: Justice. Truth. Wisdom. (The School of Life, 2015). In the ‘attention economy’ of our time, the pursuit of high-quality information is increasingly elusive (Hills, 2020).

The School of Life (2015)

Theodor Adorno of the Frankfurt School warned that mass media, which he termed the ‘culture industry,’ manufactures consent by promoting a homogenized culture to serve capitalist interests (Adorno & Horkneimer, 1993). Such standardization produces a passive and apathetic society, disconnected from the natural world, impairing critical thinking and increasing vulnerability to manipulation.

Their fears are acutely pertinent when examining today’s media coverage of global conflicts. In the context of the Gaza crisis, for instance, media outlets often fall short in accurately reporting human rights and environmental violations, influenced by political, economic, and strategic biases.

‘Western media’ has been criticized for its coverage, accused of dehumanizing language about Palestinians and using the passive voice to minimize Israeli accountability for alleged war crimes (Gathara, 2024). This is not just a Gaza issue, it’s systemic; ‘the news’ is a complex product shaped by various factors, including the personal beliefs and ambitions of media professionals and the financial and social pressures they face (Gathara, 2024).

Media conglomerates' control and Western perspectives significantly impact homogenized reporting. This concentration of ownership favors profit over truth, allowing narratives to be steered in a way that preserves existing power structures. Consequently, public trust in traditional and digital media is erroding (Elliot, 2019).

Amidst the recent global pandemic, social media platforms like Instagram became hotbeds for misinformation, with algorithms promoting fake news content (Instagram Misinformation by Content 2020, 2021).

So, what can be done to counteract today’s failing media landscape? Tyson Yunkaporta, in Right Story, Wrong Story (2023), offers a solution rooted in indigenous systems thinking: the practice of ‘yarning,’ a communal storytelling that fosters critical thinking and sifts through bias while remaining connected to the land.

Adopting solutions such as this indigenous approach could improve the way we consume media, prompting us to actively seek alternative news sources and support independent journalism, whilst encouraging community engagement to distill ‘Right stories’ - information that withstands the test of time, enriched through diverse perspectives.

For our own survival, we must become adept at discerning different types of content, recognizing bias, and understanding the underlying political, economic and invidiual motivations that influence the media we consume. With all technological upgrades, we need social upgrades, and as Yunkaporta argues, social revolution begins with our relationships to each other and the land.

References

Adorno, T., & Horkneimer, M. (1993). Dialectic of Enlightenment.

Elliot, D. (2019, June 25). Australians trust the media less: Ipsos “Trust in the Media” study | Ipsos. https://www.ipsos.com/en-au/australians-trust-media-less-ipsos-trust-media-study

Gathara, P. (2024, February 12). The New Humanitarian | Biased Gaza coverage is the tip of a much larger media iceberg. https://www.thenewhumanitarian.org/column/2024/02/12/decolonise-how-biased-gaza-coverage-tip-of-media-iceberg

Hills, F. M., Thomas. (2020, December 1). Information Overload Helps Fake News Spread, and Social Media Knows It. Scientific American. https://www.scientificamerican.com/article/information-overload-helps-fake-news-spread-and-social-media-knows-it/

Instagram misinformation by content 2020. (2021). Statista. https://www.statista.com/statistics/1293258/instagram-recommended-misinformation-by-content/

The School of Life (Director). (2015, March 16). POP CULTURE: What’s wrong with the media. https://www.youtube.com/watch?v=NwPdAZPnk7k

Yunkaporta, T. (2023). Right Story, Wrong Story: Adventures in Indigenous Thinking. Text Publishing.

Banksy in Springfield: A critical exploration of The Simpsons’ viral couch gag

In an unprecedented collaboration, a deal was quietly forged, granting (almost) unfettered creative liberty to an artist known not by face but for their satirical critiques of societal norms. The artist, pseudonymous Banksy, renowned for provocative street stencil art, finds an unlikely collaborator in Al Jean and The Simpsons (Itzkoff, 2010). As their worlds collide, we, the viewers, are faced with a 1 minute and 43 second couch gag beckoning us to collective introspection, or, simple comical relief (or both).

Banksy's depiction of dystopian sweatshops - overrun by rats, staffed by Asian workers and unicorns, confronts us with the stark absurdities - gross exploitation of humans and nature - of our capitalist society and the mass culture it perpetuates.

Banksy’s The Simpsons intro couch gag (2010).

Storey, (2014) in Cultural theory and popular culture: An introduction, explains that popular culture eludes a finite definition; rather, it finds meaning through theoretical and political debate. His six definitions all find their way into Banksy’s couch gag, yet two stand out: mass culture and folk - where mass-produced entertainment meets grassroots, citizen rebellion.

Within the framework of Adorno and Horkheimer's (1993) critique of the culture industry as mechanisms of both entertainment and social control, Banksy’s The Simpsons intro illustrates these processes at work under capitalism. The sequence dually entertains and invites viewers to reflect on the mass production of pop culture’s underlying realities, serving as a medium through which the critique of commodification and passive consumption is sharply conveyed.

In Banksy’s sequence, capitalism, ruled by its iron law of exponential growth (Hickel, 2020) yet paradoxically reliant on our planet's limited resources, is laid bare. Banksy's sharp satire extends to the profiting beneficiary ‘suits’ with the 20th Century Fox logo surrounded in barbed wire, eliciting laughter with its critique. When questioned if the creators were biting the hand that feeds them, Jean jokes, “Approved by them… it’s a place where edgy comedy can really thrive, as long as it’s funny, which I think this was. None of it’s personal,” (Itzkoff).

Yet, this humour masks a deeper inquiry: Does this collaboration between Banksy and The Simpsons incite us to confront our role as consumers in the culture industry's excesses, and rise from the couch challenging the oppressive structures it upholds?

The phenomenon of viewers flocking to watch the gag on YouTube (banksyfilm, 2010), only to have their attention and any emotional appeals for rebellion smoothly stolen by the next algorithmically curated video delivered by auto-play, highlights the pervasive distractions of today’s digital age.

The Simpsons, now in its 34th season, has consistently wielded satire to critique capitalism's impact on middle America (Rotten, 2018). Allowing Banksy to mirror the studio’s oppressive role in mass pop culture highlights Adorono and Horkheimer’s (1993) relevant critique: “The people at the top are no longer so interested in concealing monopoly: as its violence becomes more open, so its power grows.” Yunkaporta (2024) half jokes, it’s “a handful of billionaires pretty much got the world by the balls and driving it like they stole it.”

Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction (Benjamin, 1935) is a poignant backdrop to this discussion. Benjamin argues that art loses its presence in time and space in the face of mass reproduction under capitalism, thus diminishing art’s ‘aura,’ (Benjamin). Banksy’s opening for The Simpsons speaks to this tension, but while Banksy’s art traditionally challenges this paradigm through place-based ‘street art’, their contribution to The Simpsons highlights the complexities (and contradictions) of critiquing the system from within. Despite Banksy's anonymity, which protects him from direct scrutiny, the collaboration itself becomes a mass-produced spectacle, amassing nearly 20 million views (and counting) on YouTube alone (banksyfilm).

Though the pairing of two cultural powerhouses invites us into critical reflection and may even spark behavioral change, can the critique proposed in The Simpsons through Banksy’s lens, embedded within the very system they aim to challenge, spur real change?

Did 20 million pairs of eyes mobilize for collective action against the injustices it highlights? Or was the gag simply “fanciful” as Jean claimed, purely for entertainment value (Itzkoff).

Banksy’s dip into Springfield certainly provides powerful commentary on the culture industry, challenging us to contemplate our roles within a system that commodifies dissent. However, if we merely laugh at the dystopia without questioning our complicity, we contribute to their product roadmaps, reinforcing that “those who control the fantasy control the future,” (monika bielskyte [@monikabielskyte], 2019).

In Banksy and The Simpsons couch gag, we are reminded that popular culture can be a site of resistance despite complexities of critiquing from within. We must question if this moment of satire is enough to spark real change, or if it simply perpetuates the cycles of oppression it critiques.

References

Adorno, T., & Horkheimer, M. (1993). Dialectic of Enlightenment.

banksyfilm (Director). (2010, October 10). Simpsons. https://www.youtube.com/watch?v=DX1iplQQJTo

Benjamin, W. (1935). The Work of Art in the Age of Mechanical Reproduction.

Hickel, J. (2020). Less Is More: How Degrowth Will Save The World. Windmill.

Itzkoff, D. (2010, October 11). “The Simpsons” Explains Its Button-Pushing Banksy Opening. ArtsBeat. https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2010/10/11/the-simpsons-explains-its-button-pushing-banksy-opening/

monika bielskyte [@monikabielskyte]. (2019, May 10). ‘Those who control the fantasy control the future.’ Dystopias become product roadmaps. I don’t even have words to express just how dangerous all this has become. [Tweet]. Twitter. https://twitter.com/monikabielskyte/status/1126699220562407424

Rotten, A. (2018, October 12). A TV Producer walks into a movie theatre. Medium. https://medium.com/@aurynrotten/a-tv-producer-walks-into-a-movie-theatre-d8d78e6b02c8

Storey, J. (2014). Cultural theory and popular culture: An introduction.

Yunkaporta, T. (2024, January 17). Transcript: TYSON YUNKAPORTA on Inviolable Lore /362. FOR THE WILD. https://forthewild.world/podcast-transcripts/tyson-yunkaporta-on-inviolable-lore-362