[...]nd appeals

****advertising: a form of literacy**** (a new and bewildering code)

sign system of advertising is not static
the generations to come will regard contemporary sign systems as rudimentary and easy to decode
ultra-sophisticated images will appear antiquited and perhaps even humorous (@Goda hating contemporary sign system)
-the way in which advertising today visualizes software, the environment, nanotechnology as seemingly *undeconstructible & transparent* will be staple examples in classroom curricula


(the most obvious and immediate way of conceptualizing) advertising: a system that creates signs with the purpose of communicating meaning =/= Campbell

discipline of marketing --support--> investigation of image consumption


early models of advertising (--> **how we understand the philosophy of what information and communication are**)
•1949 Bell Laboratories --> information: universalized component of any system that communicated =/= “information” as rather poetic and sipritual term (at home in philosophy =/= engineering) --advertising--> hierarchy of effects: cognitive --to--> affective --to--> behavioral [--> informationalize and measure aspects of advertising]

(to understand) *information theory of communication as a reflection of larger scientific and philosophical aims of the time*
***information theory of communication ==>
•providing codified models that predict response
•enframe communication within a logic of relative effectiveness or ineffectiveness
}=/= my lectures


brand memories
brand equity

boundary between advertising and everyday life

[Campbell =/=]
the idea that qualitative advertising research has a managerialist axiology
a priori assumption of “advertising = information communication” (=/= people incorporate advertising so that it functions as a *social glue* within groups)

(vernacular specter of advertising)
spectacular vernacular of social fabric

site of investigation:
1. site of consumption = reception (the field of meaning from a consumer's perspective)
2. site of production = processes involved in making ads (favoured in media studies and ethnographic approaches to advertising)
3. site of the image: analysis of the meaning of the image itself (independent of intention and reception) are the most powerful way to show what images include and exclude (drawing influence primarily from the disciplines of history, philosophy, sociology and linguistics)

how meaning moved from *the world of advertising* --to--> *the world of the consumer* : ways in which advertising is integrated into the life-world of people

****advertising: a powerful translator of the cultural world**** & داور a central arbiter of meaning in consumer worlds (--> this is why advertising concerns me)


Barthes + Saussure + Peirce + Jacobsen --> semiotics can be regarded as one of the most comprehensive studies of sign system ~ advertisement: bundle of signs that formed finely constructed conventions ==> ‘image = text’ (its grammar:)
1. micro-level: tiny units, vectors, colors, forms (within the visual plane)
2. mid-level: human-level characteristics of gender, hairstyle, posture, facial expression, buildings, rhetorical devices in the image (such as metaphor and troping)
3. meta-level: narrative structure, mythic in nature, to see embodied in the properties and dynamics of the image the macro properties and fynamics of social world (<-- business of semiotic)

Barthes --> (new medium of) photographic advertisement = a codified structure =/= a transparent reflection of the world


-*Barthes reading of Citroen DS car
impossible newness
it appears at first sight as a superlative object صفت عالی
object which appear at first sight as completely finished present to us at once a perfection and an absence of origin, closure and a brilliance, *a transformation of life into matter*, a silence that belongs to the realm of fairy tales
*smoothness is not a property of material, but a social value*
-Christ's robe was seamless, science fiction, made of unbroken metal, phenomenology of assembling, hold together by sole virtue of their wondrous shape ==> the idea of benign nature
}--learn--> (to make) lines of connection: visual convention + religious painting, science fiction film, politics of nature (constructed over the past 2000 years of western culture) [<-- to understand this in your own work #feedback @apass]


-*Haraway
neutral images of (high-tech) science --> stock of Renaissance visual analogues ==> legitimate lineage + origin story (for technical revolutions)

(Barthes > Campbell) **what sign constructions do westerners use to tell the story of how technology comes to be present in the world?**


-*Campbell reading of Simens’ ad “builing blocks” (2005)
Simens products float into space, as naturally and as pure white snowflake falling to the earth
absence of labor ==herald==> a universe of self-organizing invisible agency
“technology = invisible force that is lighter than air, rearranging itself into whatever seems to be needed” (=/= fashioned, melted, hammered , soldered and generally forced into the natural order)
==> the agency that organizes is non-pollutant, non-disruptive, non-energetic
(from) cacophonous --to--> harmonious [<-- technology seeks its home]
sky above, supra-structure =/= [*]infrastructure: structure from below
--Simens--> [*]technology: apotheosized (تکريم) by extending its self-organizing capabilities, lending it a divinity which is universal, inevitable, natural and just (Simens’ ad ==> Iron Man image)


supra-structure --> new / Star Trek
                             |
infrastructure --> old / planets they visit


the human body: the most depicted object in advertising
--> research tradition:
humans have more synapses for interprting face
depiction of female body
male body
sex in advertising
racial marked body
(boring questions:)
•whether advertising reflects the world or shape it
•how signs reproduce, create, normalize or subvert the often unequal power structures that exist between male and female bodies
--> **despite potential ambiguity in images we as visual consumers are always presented with a “preferred reading”** @Pierre, Goda --> “image is controlled by discursive limits” (--Sina--> fable of ‘subtlest ideological weapon of advertising’) --Campbell--> paradox of identity construction: the consuming subject chooses among a limited repertoire of “iterated” or preexisting identities provided by marketing and adertising, steering viewers in preferred directions [<-- a fable]
[*]coopt: advertising pretends to acknowledge a competing discourse or ideology, but only pays lip service to it, ignoring its real radical challenge

the idea of advertising: a system that instils (القا، کم کم تزریق کردن) products and services with cultural and social values that are not intrinsic to them [~ magic]
--> highly visible display of ruling-class interests
*advertising = capitalism + aesthetics*
advertising: the pre-eminent way in which the interest of the powerful minority maintain the docility, alienation, or servitude of the majority (--> Goda's understanding of pop culture)

[*]magic: conjure an object from its immediate material rootedness and animate it with a much more potent energy ==> erase human experience of the monotony of consumption with its transient satisfactions and reinvigorate it anew with fresh promise-claims
for example advertisement for mobile phone = *suggestion* (about a certain design aesthetic + a certain tole in professional life + a certain sexual appeal + a certain social network) =/= *announcement* (about a technical device)
(announcement =/= suggestion: the act of advertising)

}--1--> the idea that advertising's signs = carefully constructed highly selective and distortive ways of seeing [=/= simple reflections of the state of the world] ==(Adorno, Horkheimer, Marcuse, Klein, Curtis, Jhally, @apass, Pierre)==>
•false consciousness
•commodity fetishism
•docility
•passivity
•manipulation of unconscious desire
•environmental degradation

}--2--> the idea that signs actually achieve their aims (through mortise and framing work, cropping, reification, interpellation, cooption, the gaze, face-ism, individuation) --> [Althusser's] interpellation: process by which we are called or hailed into subjecthood through practices imposed onto us from outside interests, subjects are created through material practices (going to church and kneeling down to pray precedes my subjecthood as a spiritual person)
•recruitment advertisement: interpellative genre par excellence ~ through the practice of response we enter into the predefined parameters of relation with the organization {Microsoft's “we want you!” --> 1: act of defining the subject: one who is special, unique, an individual among the masses. 2: collective pronoun: “we” serves to close the subject and the organization within a circuit of common purpose. 3: what is missing: a concrete visualization of working life in the organization, an absence which allows the reader to project his/her own fantasy onto space : ‘infantilize the organization ==> empower the subject’ --represent--> an imaginary relationship =/= real conditions of our existence}

}--✕--> (Campbell) ****images are ontologically cryptic**** : we conceive images to be both agentic & passive, residing in and affecting many spheres simultaneously
•image: visuality, apparatus, institutions, discourse, bodies, figurality, exist within a distinctive socio-legal environment --> **multiple ontologies [Ihde's multistable] move images beyond simple categories of analysis (<-- that is why i am still a visual artist, @Pierre)
***images are extra-organizational entities*** (they are designed by organization but become) *quixotic* and *uncontrollable*
*fable of complex: there is something about the image that is beyond analytic investigation (--Mitchell--> every image theorist seems to find some residue (surplus value) that goes beyond communication, signification, persuassion (there is an extra in images) --> images are complex {
1. they are constantly mutating in meaning and significance
2. they cross aesthetic borders and are not confinable to a particular domain (image = aesthetic + political + social)
3. they act on all domains recursively --impossible--> how the aesthetic life of images affects the political life of images }--Mitchell--> *image as species* (co-evolutionary entities, quasi life-form depend on a host organism) ==>
◦something not fully under human control
◦spread through the host organicism
◦some die some become pandemic


aesthetic --affect--> politic --affect--> aesthetic --affect--> politic


#workshop make an ad for apass


advertising trend
1. information: (from) traditional forms of print & television --to--> intensification and hybridization in oblique ways + through new media (adver-gaming, twitter-piccing, virtual-worlding, Corridor Crew's product placement)
2. persuasion: [as a rhetorical force] (from) information-heavy selling --to--> dramatic persuasion
3. entertainment: communication through entertainment =/= information, persuasion
•(from) staging products in films --to--> embedding of brands so deeply into the fabric of the film's narrative as object-actors that propel the plot
(Corridor Crew's unobtrusive embedding of branded goods and services in storytelling, hybrid both staging and embedding)

brand --> creativity of consumers to create artistic output in the form of art (Star Wars world, Marina Abramovic) --advertising--> rhetorical purpose: *entertain* =/= inform (announcement), persuade, *warn*[old original function of advertising]

*to warn = to inform* [<-- 15th century advertising ==> journalism]


ever growing impetus of advertising to reproduce itself in new forms ==> different account of the evolution of new media : advertising creates new media to propagate itself (*two globally pervasive and path-changing forms of media that would not exist without advertising revenue:)
•search engine
•social networking site

(McLuhan's “medium = message” --> that we should look at the structural nature of media rather than what it contains =/=) *message = medium* (in 20th century)--> [*]advertising: species that create media in order to allow it to replicate =/= a thing that we humans create and put in media as an incidental extra to an originary agent of meaning [<-- hylomorphic understanding of advertising]


[in 20th century (task of)] advertising: to render the invisible [qualities, such as: complexity, network, information,,,] into compelling visualities (--into--> public imagination)
•(in organizational discourse) complexity: (--articulate-->) unpredictable, multi-layered, decentered, emergent, globalized (world of Homeland TV series, of apass, of ERG's website: technological + adaptable + multi-layered)
*success <== visualize the complexity of their products* [in the case of ERG: student's knowledge and the institution of university]

(Goldman's landscape of Capital -->) corporate advertising:
•visually depicts the phenomenon of globalization
•affect the cultural imaginary
•shape political sensibilities (with respect to life in high-tech globalism)

amorphous phenomena (that require high-stakes visualization):
•counter-terrorism
•climate change
•


[*]advertising: an institution that organizes meaning, a visual sign system (as powerful as other systems that organize meaning: medicine, law, education,,,) [~/= apass]
--> *a form of literacy* = can be learned + lexicon + grammer (that can be fruitfully investigated)
*advertising = capitalism + aesthetic* ==Campbell==> research in advertising one of the most important research priorities in any discipline today (@apass)

...................................

***marketing = the ultimate social practice of postmodernity***

marketing practices
promotional campaigns
consumption culture

postmodernity: a phenomena specific to the cultural history of western europe and north america --impact--> globe
--Lyotard--> incredulity toward *metanarratives: unified idea systems
--Jameson--> consumer society (marked by:)
◦pastiche: an attitude of a certain detachment (on the part of the individual) where all stylistic expressions of parody, nostalgia, and other illustrated feeling lack emotional depth and commitment
◦schizophrenia: disjointedness and discontinuity of the individual's personal identity and experience in life
--Angus--> infinite delay of *modernity: improving human lives by controlling nature
--Wilson--> expression of incoherence of contemporary urban life

postmodernity =/= authority, unity, continuity, purpose, commitment
= “modernity: era of scientific ideology ==> disillusionment, disintegration, anxiety”
--> hedonism
--> tolerance (recognition) of difference
--> metanarrative = story (that people construct to tell themselves) =Foucault= regimes of truth
=/= conformity

examples of modern metanarratives:
•bourgeois (capitalist) ideology
•marxism

}--✕--> *market = new metanarrative in postmodernity*


postmodern condition:

1- [*]hyperreality: becoming real of what initially was/is a simulation/hype: simulation of imagined potential or imagined past (signifiers arbitrary linked to their original referent)

marketing: a practice that resignifies (a brand name)

tendency and willingness of the customers to prefer the simulation (for example the theme areas in city centers of an imagined pasts) =/= “real”

postmodernism is a cultural critique (=/= economic, social critique) of modernity

postmodern critique tends to rely on experiential or sensible judgement (--valued--> trusting intuition and sensing of what is practical/pragmatic based on cultural experience) =/= analysis of material evidence

****post world war II politics --> youth movement culminated in the 1960s --> institutionalization of the generational rebellion --> postmodernism*** ==>
•postmodern cultural critique rely on intuition + experiential sensibilities (in seeking a better world)
•postmodern consumer feels more justified in playful enjoyment of the simulation (=/= constantly seeking the somber reminders of “reality”)

hyperreality ==> “loss of history” : historical phenomena = collage with visual excitement = journalism
*voyeuristic exposure to the spectacle = cultural pastiche of the contemporary world*
--> #integration of the hollywood films (nested: music brand names become sub-spectacle within the spectacle of the film) --> (we are immersed in) an era of *metamarketing: marketing itself is marketed (becomes a prominent spectacle ---> go to Devil wears prada movie)

blurring of genres in news programs (Vox news), soap operas (), games ()

decontextualization + spectacle

the duality of ‘appearance =/= essence’ is dead in postmodernity --> cereal strategic decision-making in marketing : ****image = positioning****

-consumer always seeks an essence (in adopting a product)
-consumer of postmodern culture play the game of “surface” (they increasingly acquire the skills of recognizing the images and the positions these images offer)

[*]marketing: institution of simulation, imaginary, hype
(forms of) persuasive communication : transformational propositions ==> simulating potential experiences (=/= true or false discourse)


2- [*]fragmentation: the consumer engages in a series of independent, separate, unconnected acts --each--> require a different product
+ fleeting moments of exciting scenes and images

(postmodern) transcendence of the (modernist) necessity to *understand connections*

***artists of all kinds are increasingly assuming the role of marketing institutions***

the consumers (of postmodernity) are encouraged to play the game of *image-switching* (caring mother, efficient manager, elegant partner, gourmet homemaker --each--> require a different style {labeled as consumer liberation}) =/= central character
[---> go to Deleuze and Guattari's schizophrenia of late capitalism]

disconnected from authentic self ==> (enormous potential for) creativity in manufactured representations
~~--> market becomes a pastiche

postsuburban transformation
complex interaction of high-technology production + socio-spatial configuration + spectacular shopping environment = ubiquitous shopping malls (--acquired--> postmodern theatrical character, fragmented experience of all cultures)

unrestricted ability to use signifiers [?pushed back by some emerging sensibilities of cultural appropriation, political correctness, gender policing, religious, etc.]
--> marketing competition rests on the creation of images (meanings) removed from any history, context, origin =/= excellence and sophistication in form and technique
[---> go to contemporary artists anti-excellence attitude and the celebration of failure and failing]
--> **each instance of communication becomes a spectacle**

purposefully decontextualized + rendered free floating ==> marketable product
(surrealist artists made use of this --now--> shop window designer)
Duchamp, Rauschenberg, Warhol (ready-made)

***themes of postmodern culture:
irreverence
nonconformity
noncommitment
detachment
difference
fragmentation

(paradoxically) what seems to be difference at the level of symbolic culture stems from an underlying uniformity <-- ***heterogeneity has its origins in homogeneity*** : cultures where market and marketing are less developed exhibit greater variance in both the quality and kinds of life patterns

literacy:
•in modernity --> to read + discover connections among seemingly unrelated objects ==> understanding
•in postmodernity --> watching : recognizing images (exposing oneself to innumerable images and recognize what they stand for ~ attach meaning to them) <-- this is what i did in my telegram bestiary text!

literacy in consumption culture ~/=? established nortons of education


3- [*]reversal of production & consumption
•modernist: value is created in production (meaningful) and destroyed in consumption (profane)
•postmodern: production continues during the moment of consumption, value is created during consumption: a process through which individuals define themselves, status, image (=/= common) --> a social act, symbolic meaning ==> an individual with certain tastes, mentality, values (a type of humanity)

production & consumption prove to be different moments of the same cycle

•during production: producers are human beings, products are commodities
•during consumption: producers are images, products are human beings


4- [*]decentering subject
•modernist: the subject is in the pursuit of its goals, constituted in the separation of body and mind, to graduate from the *state of being* (existential) to the *state of knowing* (cognitive) : distance oneself from a pure existence of being (its context and condition) in order to develop a cognitive understanding
•postmodern: the subject is not in control, role of the human is to allow products perform their functions

marketing orientation
•positioning of the products (in the market)
•positioning of the consumer (in the social market)

(today's) body culture: self-objectification (==> to be consumed)
distancing of one's own gaze from one's own body to view one's self and scrutinize one's own images
--> ***fashion becomes the metaphor for culture***


5- [*]juxtaposition of anything with anything (its name?)
•opposing emotions: love & hate, contempt & annotation
•opposing cognitions: belief & doubt, reverence & ridicule
--> in advertisement a product is simultaneously made fun of and prompted, or making credibility by discrediting advertising
*high art and mundane consumption*
}<== growing acceptance of *doublethink* (~=? double bond) : the metagame of playing along as if the rules are what they seem on the surface while having the knowledge the rules of the game played are quite different from what that appear to be
•in advertisement: the consumer thinks while other people are persuaded, they themselves are not
•in politics: the consumers (voters) listen as if the politicians are espousing genuinely personal views
•in media: stating the role of the polls + reflecting the politicians view with utmost seriousness
•ethnic restaurants --> delicious life styles of which food is just a manifestation --> **simulated adventure in a theatrical society**
•
}--> the postmodern consumer does not judge the experience from a foundational perspective
*it recognizes only difference*, only fragments (=/= inequality, conflict)

anything is at once acceptable and suspect ( مجاز majaz)

*juxtaposition of opposites ==> total irony + ambiguity --> pastiche*

marketing --> *incorporation: pulling the contradictory (country cultural) movements into market economy : emptying expressions (music, fashion) of rebellion (for example punk) of their content ==> commodities them

society historical process is affairs through politics and social relations --✕--> market mediates social conflicts (for example the content and the looks of news program in VOX news)

*marketization (of politics): the possibility of representing them through electronically manipulated images (for example USA's 1991 gulf war was run more as a marketing campaign)
~=> *management of consent*

“authentic” traditional cultures in order to survive have to become marketable --> touristic attractions

•marketing taking the center stage in most western institutions
•market = locus (dominant mediator) of legitimation


marketing: a cultural process representing the post-


transnational (corporation) : postmodern cultural change agent


in traditional world of commerce ‘commercial space & time =/= programming space & time’

modernist vacuum created by obsolete notions of what is good or bad (sacred or profane) --> filled by marketing (enters --into--> culture)


fragmentation ==require==> use of many different styles and forms

(ideas and movements which already have made) sensational impact --> spectacle --> commodities


(marketing helped in entrenching) artist selebrity setting new trends and values <-- a postmodern phenomena with its roots in 1960s “anti-” movements
•not challenging or endorsing or committing to any one style, but rebelling by doing “one's own thing” (Madonna's rebellion 1991 --> she will continue to find large audiences as long as she represents and combines the postmodern aspects of critique of the metanarrative and the marketable commercial sensationalism of the fragmented spectacle)

paradoxical nature of postmodern culture <-- fragmentation and discontinuity of their experience
not owning a TV (conscious rejection) + driving a car (integrated into mainstream)


merging of education and marketing
*televisual generation*
(in north america and western europe) the education is taking place mostly outside of three classroom

(modern) institutionalized education --> (postmodern) marketing system : the individual of the postmodern encounters the institutionalized education as obligation, drudgery, and the means to achieve positions

(from) a process of reading issues and questions for exploration --to--> a process of persuasively communicating the necessities of knowing (and following efficient ways of doing things) --> literacy: being able to manipulate and construct (recognize and grasp multi-layered multi-faceted multi-media images --> to impress upon all senses) }<-- marketing is best situated to educate this
[-can a true critical deconstruction of postmodernism start from literacy? ---> go to telegram bestiary text]


***the consumer is also a signifier***
(constructed in the images that are culturally signified, for example the female)
(even metaphorically) putting somebody on the pedestal (stage) ==> exposure to voyeuristic gaze ==> objectification ~=> commodification }--Baudrillard-->
•a liberation (the subject is the object which has the powers of seduction as the focus of desire --> in control)
•a loss of freedom (the subject is culturally signified and constructed for fonctions determined outside its own power --> a property of the other)

*decoupling of culturally signified categories (of gender, etc.)* --marketing--> (postmodern stance and trend:) male model/actors who represent emotional, nurturing, and sensitive + female model/actors who represent aggressive, powerful, rational (in American advertisement and TV series)
==> “i shop, therefore i am” becomes applicable to men
==> both men and women become ideal consumers --> flourish of market exchange

* * (both male and female) seek authentic self --> (get caught up in) objectification + fragmentation * *

pattern quest: imaging (representing) =/= being, knowing

[image marketing]
*the image does not represent the product, but the product represents the image* -->
•consumers are essentially consumers of symbols
•consumption culture = construction of symbolic environment
}==> tourism as the largest industry in the world (translate your culture images into marketable products ~= consumer fetishes) --> *global culturalism*

[manipulation of symbols]
(from) ethical issue (modern) --to--> stylistic issue (phenomenological, postmodern)

[*]globalization: (create fragmented heterogenized market -->) serve the locals with global universal signs
--> transnational: a highly symbolic communication system that is timeless, contextless, diffused in space, located anonymously, with no known history


marketing is the first institution that adapt to postmodernism

...................................

consumer (--impulse--> “i want”) =/= citizen (“we need”)

Sunstein
consumer sovereignty (matters of personal taste, “are they getting what they want?”, ‘freedom: satisfaction of private preferences’, ) =/= political sovereignty (*government by discussion* + reason-giving in the public domain <-- many/most citizens should have a range of common experiences =/= filtering of information, customizing information to fit)

**unplanned unanticipated encounters <-- central to democracy**

(pseudo-democratic) participation interactivity : invitation to participate in one's own manipulation by providing increasingly detailed information about personal preferences (Andrejevic, noted by Hubert)

...................................

*misattunement:
--Stern--> a parental technique for modifying the behaviour (+ affective experience) of the child
--Ahmed--> being out of synch with a world (“of whiteness” that aims to be in harmony)

*attunement: a technique for occupying space
---> go to #integration {for Ahmed: becoming a citizen (= nationalism) ~= the work of attunement =/= stranger: the body we are not with}

clumsiness: being in the way of yourself (to lack the coordination to coordinate yourself with yourself)
--registers--> as the loss of a possibility

(in art, performed clumsiness as strategically antagonistic?)

(Ahmed's) emotional work: closing the gap between ‘how one does feel’ and ‘how one should feel’ <-- a labour (when) is successful, it disappears as labour

how flight attendants (and teachers?) become responsible for collective moods --Hochschild--> ability to preserve the mood of a situation requires working not only on feelings, but drawing on tactic knowledge about how moods are shaped

(bad mood of a shopkeeper in Brussels...)

*histories that linger as mood*

diversity work --involves-->
•the effort to minimize differences so that those who arrive can appear more ‘in tune’ with those who are already here
•
•
--✕--> bodies do not arrive at the same time [---> go to Sina's trans-lateness lecture performance series for Akademie der Künste der Welt 2014: being late is precisely the condition for which translation is needed + critique of universal translator]


...atmospheric qualities of the market

Ahmed's criticism of hopeful performativity [<-- in her text “not in the mood” Ahmed privileges ‘bad mood’ as the emblem of marginality --> emotional misfit]


public mood: prevailing public sentiment as to what constitutes appropriate matters for governmental attention <-- thermostatic understanding of mood
--Ahmed--> fabrication of feeling (& consumer satisfaction)


*to find = to form*

the idea of the national body acquires coherence through a systems of belief ==> separate the nation from race
•“requiring those who embody diversity to give their allegiance to its body” (for example a nation can love diversity whilst demanding that Muslim women unveil)


Marxist model of commodity fetishism --Ahmed--> feelings come to reside (magically) in objects [by cutting those objects off from a wider economy of labour and production. it is then as if fear originates with the arrival of others whose bodies become containers of our fear]


(for Ahmed) happiness: a technique of distraction (a cover-up)
--> for her: potency is in the rage
(Ahmed is too fast to celebrate lesbian ‘affect alien’ =/= heterosexual marriage)

good weather --> (showing) safety and wisdom of prediction

the idea of “your unfeeling masks a disbelief”

...................................

interesting =/= appealling --> most satisfying videos

...................................

elite consumption
country house

...................................

dirt
waste
stink
microbes


Campbell on bacteria and market


tropes that bring bacteria into the symbolic realm:
1. cuteness
2. overpopulation
3. lower classes
4. deviant sex
}--channel--> utterances that (indirectly [political discourse of establishment neoliberalism cannot address such things in direct ways]) express fantasies about:
•purity
•gender
•race
•community
•family
•pollution
•class
•disease
•sexual promiscuity (deviancy)
}<--Campbell-- symptoms of a capitalist socio-economic order --> they are found in:
◦explicit rhetoric of anti-establishment politics (the alt-right, anti-immigrant movements)
◦implicit content of the marketing material of globalized and globalizing multinationals



bacteria: symptoms of a capitalist socio-economic order --> repressed fears and fantasies about purity, gender, race, community, pollution, class, sexual promiscuity <-- leveraged by antibacterial brands

from (psychoanalytical concept of) symptom --to--> sinthome
[*]symptom: repressed extrinsic ideology that must be revealed =/= [*]sinthome: a fantasy that does not dissolve when brought to light <== it structures reality intrinsically

a *psychoanalytically informed critical marketing* --> *consumer is made to trace their symptoms* (<-- the perverse effects of emancipatory revelatory critical analysis)

--Campbell--> sinthome presents a tool for analysing *fantasies that focus on the form of their expression, rather than their content*
•in the case of (fantasy takes the form of) bacteria --reveal--> (a confluence between) *the politics of community & the physiology of (auto)immunity* [--> clean and dirty]


dilemma of modern subject : how to live with the unsettling truths given to us by new sciences
•my mother about fake honey
•bacteriology ==> everything (including our very selves) is terrifyingly coated in bacteria

a moment of marketing in Joyce's Ulysses character Bloom -->
•overwhelmed by the teeming bacteria <--> ingesting a different set of cultured bacteria: wine, cheese, bread
•the city and its germs envelop and simultaneously individuate him --> ****his subjectivity can only be expressed in terms of the dialectic of alienation and belonging that is at the foundation of our social world****


***living in modernity = being in constant contact with the mass of beings***
<== uncontrollable overwhelming disintegrative forces of otherness (the problem of living in a community in modern metropolis)
<-- *multiplicity of strange strangers through whom the healthy subject finds his or her sense of self*

(@Femke, analysing political arrangments of X) *market society* =/= looking at the way that we come (and invited to come) into contact with X (in Campbell's case: bacteria)


[*]sinthome: why X (symptoms) appear to us as such =/= what X mean
sinthome --> (mode of analysis) aiming to identify ***what fantasies are permitted to be sustained when the symptom take the form of X*** (in this case bacteria) =/= seeking to find what ideology lies hidden beneath the symptom [=/=! problem of artists]

Campbell mode of analysis (with sinthome) =/= a revelatory mode of critique (where our illusions arre laid bare) [<-- artists’ symptom]

advertisements offer striking evidence of *autoimmune tendecies* in contemporary market society : the body politic misrecognizes its own boundaries and attacks parts of itself
@Femke

(Joyce's Bloom) first thing that we see or feel is not in fact ourselves, but bacteria [---> go to body image] --> (his solution:) avoiding one kind of bacteria by embracing another (<-- psychoanalytically effective ***non-solution***)


(in social sciences [Ereshefsky]) *species pluralism : how various biopolitical forces use segmentation strategies in the organic world to produce competing species’ hierarchies and taxa*
thinkers in social theory --> the entities under investigation are:
•so massive --> Gaya regulatory system of planetary scope
•so dispersed --> climate change
•so ancient --Haraway--> bacterial protist Mixotricha paradoxa (“the paradoxical being with mixed-up hairs”)
•so minute جزئی --> new materials engineered through nanotechnology
•so boundless --Sagan--> metametazoa: human as a multiple afloat in the omnisexuality or bacterial exchange
•so relational --thacker--> swarm, pack, flock, epidemic [go to --> ERG website's epidemic nodes --> *the image of the relational*]
•so
}<==motivation==
1. considering the strangeness of life forms act as a template ==to==> think differently about life by mobilizing new ***prepositions of connection*** (with, alongside, between, sym-, etc.) ==provoke==> different theoretical insights into how society might work
2. ethical political drive to promote radical inclusivity and to challenge mindsets that fixate on identity and difference (<-- Harawayian) [--> Isabel, Sara]
3. work of decentering the human as the premier valance of the universe (may in turn) ==cultivate==> an ethics that is ecological, in the sense of global and interspecies (<-- Mortonian)  [--> Sina]
4. conceiving of the ‘other’ as planetmate, messmate, natureculture, mind-body, etc. (maybe) ==lead==> new conceptions of camaraderie, community, society, friendship [--> artistic research, apass, Viveiros de Castro]


bacteria [also: mushroom, swamp] --> poster-creatures of the flat ontology movement --> challenging classification
replacing Tree of Life with DNA-based model of life (homo sapiens: a micro-ingredient of an astonishing bacterial soup of prokaryotes, archaea, eukaryotes)

*bacteria: the ground zero life forms* -->! ***nearest we can get imagining the Lacanian Real***

we are more bacteria than human

(global) bacterial biome: para-collective (=/= “merely” biological)
*our ways of reacting to bacteria are as political as they are scientific*

...................................

purity & pollution + their deep-seated link with social order and its transgression --Douglas--> {from the idea of poisonous vapours (miasma [unrelated to cleanliness]) --to-->} discovery of pathogenic organisms بيمارى زا ==> modern concept of bacteria

cleansing rituals before the bacteriological age functioned to ward off spirits and restore social order and control (@Elke, @Isabel, the artist as medium)

discovery of germs ==> radical re-conceptualization of dirt (--> it is difficult to think of dirt except in the context of pathogenicity)

if we can abstract pathogenicity and hygiene from our notion of dirt --Douglas--> we are left with the very old definition of [*]dirt: matter out of place

**when we see dirt --> we see a system**
--Campbell--> when we see bacterial images we are seeing something else

***contamination = a violation of some mythical, symbolic, or political system =/= just a physical problem***

bacteria --> symptom of a disturbed system


symptomatic analysis (=/= feedback)
pioneered by Marxist critics, Althusser

symptomatic analysis of X = to open the possibility of there being unspoken, unacknowledged or disavowed content in X

symptomatic analysis --of--> (content of) antibacterial advertisement --laden--> with libidinal intensity or *visual pleasure* (= an image that is visually intense)

**consumption can be read like dreams** (a text that says more than it consciously expresses) --reveal--> repressed material (disavowed fantasies about: purity, gender, race, family, class, disease, displacement, sublimation, etc.)
◦what fantasy is upheld by presenting repressed material as bacteria (or artwork)?
--> reading against the grain of the text (Jamesonian)
--> advertising images can be read like symptoms of repressed libidinal desire

-i did symptomatic reading of Olearius (but not of ajayeb nameh?)

1- accelerating pace of industrial production
2- population growth
}==> first full flourishing of *mass consumption*

*[*]marketing: a sphere of cultural production where image conventions co-evolve with non-marketing imnages as an intertextual constantly reciprocal environment*



1. cuteness
little monsters
infant-like
with freakishly funny features
playground of bacterial frolic

cuteness
a minor aesthetic category (in comparison to its more spectacular counterparts: sublime, beautiful)
(it is minor because it is ambiguous)
•positive affects:
◦desire to protect
◦desire to touch
•negative affects:
◦helplessness
◦pitifulness
◦excessive availability
•secondary relations:
◦resentment at being emotionally manipulated
◦contempt for the weakness of cute --accompany--> desire to:
◾touch
◾clasp
◾dominate
◾destroy
◾
}--> *cute: a site of visual intensity that is both pleasurable & disgusting*

****three objects that are most often rendered cute in consumer aesthetics:
1- women
2- technology
3- children
}<-- (in psychoanalytic terms) inherently dangerous ==> in need of control****

Campbell > why is it useful to see bacteria as cute?
***cuteness as a deep link to violence***
[*]cuteness: aestheticization of powerlessness --> a necessary step in permitting its extinction [to make everybody like unto little children is not such a bad way of disposing of them]

•representing the Other (the enemy) as despicable --> powerful effect
•representing the Other as domesticated + infantalized:
◦demonstrates the sublime Otherness of bacteria
◦we ar[...]