[...]making ads (favoured in media studies and ethnographic approaches to advertising)
="lstsrd">3. site of the image='lgc'>: analysis of the meaning of the image itself (independent of intention and reception) are the most powerful way to show what images in="trms"nttrm="cluster,club">clude and ex="trms"nttrm="cluster,club">clude (drawing influence primarily from the disciplines of ="trms">history, philosophy, ="trms">sociology and ="trms">linguistics)
how meaning moved from ='strcls'>*the ="trms">world of advertising='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> ='strcls'>*the ="trms">world of the ="trms">consumer='strcls'>* ='lgc'>: ways in which advertising is ="trms">integrated into the life-="trms">world of people
='strcls'>****advertising='lgc'>: a powerful ="trms">translator of the cultural ="trms">world='strcls'>**** ='and'>& داور a central arbiter of meaning in ="trms">consumer ="trms">worlds (='lgc'>='lgc'>--> ='thdf'>this is why advertising concerns me)
="large lg2" stl="font-size:110%">
="ppl">Barthes ='lgc'>+ Saussure ='lgc'>+ ="ppl">Peirce ='lgc'>+ Jacobsen ='lgc'>='lgc'>--> ="trms">semiotics can be regarded as one of the most comprehensive studies of sign ="trms">system ='lgc'>~ advertisement='lgc'>: bundle of signs that formed finely constructed conventions ='lgc'>='lgc'>==> ‘image='lgc'> = text’ (its grammar='lgc'>:)
="lstsrd">1. micro-level='lgc'>: tiny units, vectors, colors, forms (within the visual plane)
="lstsrd">2. mid-level='lgc'>: human-level characteristics of gender, hairstyle, posture, facial expression, buildings, ="trms">rhetorical devices in the image (such as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor and troping)
="lstsrd">3. ="trms"nttrm="metaph,metamorph,metabol,metal">meta-level='lgc'>: ="trms">narrative structure, mythic in ="trms">nature, to see ="trms">embodied in the properties and dynamics of the image the macro properties and fynamics of ="trms">social ="trms">world (='lgc'><='lgc'>-- business of ="trms">semiotic)
="ppl">Barthes ='lgc'>='lgc'>--> (new medium of) photographic advertisement='lgc'> = a ="trms">codified structure ='lgc'>=/= a transparent reflection of the ="trms">world
="prgrph">-='strcls'>*="ppl">Barthes ="trms"nttrm="already,spread">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 ="trms">present to us at once a perfection and an absence of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin, closure and a brilliance, ='strcls'>*a transformation of life into ="trms">matter='strcls'>*, a silence that belongs to the realm of fairy tales
='strcls'>*smoothness is not a property of ="trms">material, but a ="trms">social value='strcls'>*
="prgrph">-Christ's robe was seamless, ="trms">science ="trms">fiction, made of unbroken ="trms"nttrm="metaph,metamorph,metabol,metal">metal, ="trms">phenomenology of assembling, hold together by sole virtue of their wondrous shape ='lgc'>='lgc'>==> ='thdf'>the idea of benign ="trms">nature
='lgc'>}='lgc'>--learn='lgc'>='lgc'>--> (to make) lines of connection='lgc'>: visual convention ='lgc'>+ ="trms">religious painting, ="trms">science ="trms">fiction film, politics of ="trms">nature (constructed over the ="trms">past 2000 years of western culture) ='lgc'>[='lgc'><='lgc'>-- to understand this in your own work ='at'>#feedback ='at'>@="nms">apass='lgc'>]
="prgrph">-='strcls'>*="ppl">="ppl">Haraway
neutral images of (high-tech) ="trms">science ='lgc'>='lgc'>--> stock of Renaissance visual analogues ='lgc'>='lgc'>==> legitimate lineage ='lgc'>+ o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story (for ="trms">technical revolutions)
(="ppl">Barthes > ="ppl">Campbell) ='strcls'>**what sign constructions do westerners use to tell the ="trms">story of how ="trms">technology comes to be ="trms">present in the ="trms">world='qstn'>?='strcls'>**
="large lg1" stl="font-size:149%">
="prgrph">-='strcls'>*="ppl">Campbell ="trms"nttrm="already,spread">reading of Simens’ ad “builing blocks” (2005)
Simens products float into space, as ="trms">naturally and as pure white snowflake falling to the earth
absence of labor ='lgc'>==herald='lgc'>='lgc'>==> a universe of self-organizing invisible ="trms">agency
“="trms">technology='lgc'> = invisible force that is lighter than air, rearranging itself into whatever seems to be needed” (='lgc'>=/= ="trms">fashioned, melted, hammered , soldered and generally forced into the ="trms">natural order)
='lgc'>='lgc'>==> the ="trms">agency that organizes is non-pollutant, non-disruptive, non-energetic
(from) cacophonous ='lgc'>--to='lgc'>='lgc'>--> harmonious ='lgc'>[='lgc'><='lgc'>-- ="trms">technology seeks its home='lgc'>]
sky above, supra-structure ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]infrastructure='lgc'>: structure from below
='lgc'>--Simens='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">technology='lgc'>: apotheosized (تکريم) by extending its self-organizing capabilities, lending it a divinity which is universal, inevitable, ="trms">natural and just (Simens’ ad ='lgc'>='lgc'>==> Iron Man image)
supra-structure ='lgc'>='lgc'>--> new / ="ppl">="ppl">Star Trek
|
infrastructure ='lgc'>='lgc'>--> old / planets they visit
the human body='lgc'>: the most depicted object in advertising
='lgc'>='lgc'>--> research tradition='lgc'>:
humans have more synapses for ="trms">interprting face
depiction of female body
male body
sex in advertising
racial marked body
(boring ="trms">questions='lgc'>:)
="lsts lst1">•whether advertising reflects the ="trms">world or shape it
="lsts lst1">•how signs reproduce, create, normalize or subvert the often unequal power structures that exist between male and female bodies
='lgc'>='lgc'>--> ='strcls'>**despite potential ambiguity in images we as visual ="trms">consumers are always ="trms">presented with a “preferred ="trms"nttrm="already,spread">reading”='strcls'>** ='at'>@="frds scrmbld">Pierre, ="frds scrmbld"nttrm="Godard">Goda ='lgc'>='lgc'>--> “image is controlled by discursive limits” (='lgc'>--="frds">Sina='lgc'>='lgc'>--> ="trms">fable of ‘subtlest ideological weapon of advertising’) ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> paradox of identity construction='lgc'>: the ="trms">consuming subject chooses among a limited repertoire of “iterated” or preexisting identities provided by ="trms">marketing and adertising, steering viewers in preferred directions ='lgc'>[='lgc'><='lgc'>-- a ="trms">fable='lgc'>]
='lgc'>[='strcls'>*='lgc'>]coopt='lgc'>: advertising pretends to acknowl="trms"nttrm="knowledge,Knowledge">edge a competing discourse or ideology, but only pays lip service to it, ignoring its real radical challenge
='thdf'>the idea of advertising='lgc'>: a ="trms">system that instils (القا، کم کم تزریق کردن) products and services with cultural and ="trms">social values that are not intrinsic to them ='lgc'>[='lgc'>~ magic='lgc'>]
='lgc'>='lgc'>--> highly visible display of ruling-class ="trms">interests
='strcls'>*advertising='lgc'> = capitalism ='lgc'>+ ="trms">aesthetics='strcls'>*
advertising='lgc'>: the pre-eminent way in which the ="trms">interest of the powerful minority maintain the docility, alienation, or servitude of the majority (='lgc'>='lgc'>--> ="frds scrmbld"nttrm="Godard">Goda's understanding of pop culture)
='lgc'>[='strcls'>*='lgc'>]magic='lgc'>: conjure an object from its immediate ="trms">material rootedness and animate it with a much more potent energy ='lgc'>='lgc'>==> erase human experience of the monotony of ="trms">consumption with its transient satisfactions and reinvigorate it anew with fresh promise-claims
='thdf'>for example advertisement for mobile phone='lgc'> = ='strcls'>*sug="trms">gestion='strcls'>* (about a certain design ="trms">aesthetic ='lgc'>+ a certain tole in professional life ='lgc'>+ a certain sexual appeal ='lgc'>+ a certain ="trms">social ="trms">network) ='lgc'>=/= ='strcls'>*announcement='strcls'>* (about a ="trms">technical device)
(announcement ='lgc'>=/= sug="trms">gestion='lgc'>: the act of advertising)
='lgc'>}='lgc'>--1='lgc'>='lgc'>--> ='thdf'>the idea that advertising's signs='lgc'> = carefully constructed highly selective and distortive ways of seeing ='lgc'>[='lgc'>=/= simple reflections of the state of the ="trms">world='lgc'>] ='lgc'>==(="ppl">Adorno, Horkheimer, ="ppl">Marcuse, Klein, Curtis, Jhally, ='at'>@="nms">apass, ="frds scrmbld">Pierre)='lgc'>='lgc'>==>
="lsts lst1">•false consciousness
="lsts lst1">•commodity fetishism
="lsts lst1">•docility
="lsts lst1">•passivity
="lsts lst1">•manipulation of unconscious desire
="lsts lst1">•environmental degradation
='lgc'>}='lgc'>--2='lgc'>='lgc'>--> ='thdf'>the idea that signs actually achieve their aims (through mortise and framing work, cropping, reification, ="trms">interpellation, cooption, the gaze, face-ism, individuation) ='lgc'>='lgc'>--> ='lgc'>[="ppl">Althusser's='lgc'>] ="trms">interpellation='lgc'>: process by which we are called or hailed into subjecthood through practices imposed ="trms">onto us from outside ="trms">interests, subjects are created through ="trms">material practices (going to church and kneeling down to pray precedes my subjecthood as a spiritual person)
="lsts lst1">•="trms">recruitment advertisement='lgc'>: ="trms">interpellative genre par excellence ='lgc'>~ through the practice of ="trms">response we enter into the predefined parameters of ="trms">relation with the organization ='lgc'>{Microsoft's “we want you!” ='lgc'>='lgc'>--> 1='lgc'>: act of defining the subject='lgc'>: one who is special, unique, an individual among the masses. 2='lgc'>: collective pronoun='lgc'>: “we” serves to close the subject and the organization within a circuit of common purpose. 3='lgc'>: what is missing='lgc'>: a concrete visualization of working life in the organization, an absence which allows the ="trms"nttrm="already,spread">reader to project his/her own fantasy ="trms">onto space ='lgc'>: ‘infantilize the organization ='lgc'>='lgc'>==> empower the subject’ ='lgc'>--re="trms">present='lgc'>='lgc'>--> an ="trms">imaginary ="trms">relationship ='lgc'>=/= real conditions of our existence='lgc'>}
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Campbell) ='strcls'>****images are ="trms">ontologically cryptic='strcls'>**** ='lgc'>: we conceive images to be both ="trms">agentic ='and'>& passive, residing in and ="trms">affecting many spheres ="trms">simultaneously
="lsts lst1">•image='lgc'>: visuality, ="trms">apparatus, institutions, discourse, bodies, figurality, exist within a distinctive ="trms">socio-legal environment ='lgc'>='lgc'>--> ='strcls'>**multiple ="trms">ontologies ='lgc'>[="ppl">="ppl">Ihde's multistable='lgc'>] move images beyond simple ="trms">categories of analysis (='lgc'><='lgc'>-- ='thdf'>that is why i am still a visual artist, ='at'>@="frds scrmbld">Pierre)
='strcls'>***images are extra-organizational entities='strcls'>*** (they are designed by organization but become) ='strcls'>*quixotic='strcls'>* and ='strcls'>*uncontrollable='strcls'>*
='strcls'>*="trms">fable of complex='lgc'>: there is something about the image that is beyond analytic investigation (='lgc'>--="ppl">Mitchell='lgc'>='lgc'>--> every image theorist seems to find some residue (surplus value) that goes beyond ="trms">communication, signification, persuassion (there is an extra in images) ='lgc'>='lgc'>--> images are complex ='lgc'>{
="lstsrd">1. they are constantly mutating in meaning and significance
="lstsrd">2. they cross ="trms">aesthetic borders and are not confinable to a particular domain (image='lgc'> = ="trms">aesthetic ='lgc'>+ political ='lgc'>+ ="trms">social)
="lstsrd">3. they act on all domains recursively ='lgc'>--impossible='lgc'>='lgc'>--> how the ="trms">aesthetic life of images ="trms">affects the political life of images ='lgc'>}='lgc'>--="ppl">Mitchell='lgc'>='lgc'>--> ='strcls'>*image as ="trms">species='strcls'>* (co-evolutionary entities, quasi life-form depend o[...]