This exhibit features an extract from an ongoing documentary project aiming to provide an insight into Kyrgyz culture and its influence on everyday life in Kyrgyzstan. The film features an interview with an artist we met during visits to the Issy Kul region of Kyrgyzstan in 2011. Our visit took place a few months after a a short but bloody revolution and subsequent ethnic violence in the South of the country that had a seriously disrupting impact on the Kyrgyz national psyche.

In the 1970s and 1980s, young activists discovered video as a new medium and used moving images in their struggle for access to cultural expression for the many, not the few. They were researching and developing new forms of independent and participatory media work – an important step towards realizing the utopian promises of the digital age.

Advertisements are important social and cultural documents. A representative sample often reflects a society’s concerns and values as accurately as well-executed surveys do. But how is this possible? How could images designed by people who don’t know, or haven’t talked to, us — and who are completely self-interested to boot – possibly reflect our innermost thoughts and feelings? Figuring out how exercises in persuasion by self-interested advertisers somehow manage to create reliable indicators of public sentiment has puzzled social scientists for a long time. Fortunately, it looks like the new social media may provide a key to solving that puzzle.

In this book I bring together visual work on urban communities that I had been doing long before I had even heard of Visual Sociology, as well as after my encounters with the International Visual Sociology Association. As John Grady might have phrased it — almost 50 years of doing urban sociology visually.