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We believe that to begin answering the above question, we need to focus on our power to affect the world around us, through both the design field and media field. As Baruch Spinoza explains, affects can be passions, determined by external causes or actions, determined by internal causes.1 We as designers need to provide the external stimuli to provoke such passions and simultaneously, make a constant effort to transform these passions into sustainable actions.
We have undergone a post-industrial shift into a new economic paradigm which is based on providing services and manipulating information. The labour involved in this paradigm is one that results in non-material goods, therefore products can not be touched and are not physical, as outlined by Michael Hardt. Hardt later goes on to define this as 'immaterial labour' (1999: 95). The media today embodies trends found in immaterial labour, where 'images attract affective engagements that fall in line with capatalist productive strategies' (Wissinger, 2007: 250).
Cultural production has begun to carry out greenwashing methods, using the products of immaterial labour to capitalise and profit from new investments in green technology. This situation has formed a sustainable culture, which heavily features the corporate sector and their ecobranding efforts. The productive force of sustainability culture comes from how it generates economic value, as McDonough and Braungart assert. Corporations such as Beyond Petroleum, BP (formerly British Petroleum)2 exploit sustainability culture to target a wider market, concurrently promoting a new sustainable corporate image (Figure 1). They employ immaterial labour techniques to produce affects in the rising popularity of socially responsible consumption, in order to maximize their profits.3