[...]/>                              |
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

="large lg2" stl="font-size:110%"> ='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 on a host organism) ='lgc'>='lgc'>==>
="lsts lst2">◦something not fully under human control
="lsts lst2">◦sp="trms"nttrm="already,spread">read through the host organicism
="lsts lst2">◦some die some become pandemic


="trms">aesthetic ='lgc'>--="trms">affect='lgc'>='lgc'>--> politic ='lgc'>--="trms">affect='lgc'>='lgc'>--> ="trms">aesthetic ='lgc'>--="trms">affect='lgc'>='lgc'>--> politic


='at'>#workshop make an ad for ="nms">apass


advertising trend
="lstsrd">1. information='lgc'>: (from) traditional forms of print ='and'>& television ='lgc'>--to='lgc'>='lgc'>--> intensification and hybridization in oblique ways ='lgc'>+ through new media (adver-gaming, twitter-piccing, virtual-="trms">worlding, Corridor Crew's product placement)
="lstsrd">2. persuasion='lgc'>: ='lgc'>[as a ="trms">rhetorical force='lgc'>] (from) information-heavy selling ='lgc'>--to='lgc'>='lgc'>--> dramatic persuasion
="lstsrd">3. entertainment='lgc'>: ="trms">communication through entertainment ='lgc'>=/= information, persuasion
="lsts lst1">•(from) ="trms">staging products in films ='lgc'>--to='lgc'>='lgc'>--> embedding of brands so deeply into the fabric of the film's ="trms">narrative as object-actors that propel the plot
(Corridor Crew's unobtrusive embedding of branded goods and services in ="trms">storytelling, hybrid both ="trms">staging and embedding)

brand ='lgc'>='lgc'>--> creativity of ="trms">consumers to create artistic output in the form of art (="ppl">="ppl">Star Wars ="trms">world, Marina ="ppl">Abramovic) ='lgc'>--advertising='lgc'>='lgc'>--> ="trms">rhetorical purpose='lgc'>: ='strcls'>*entertain='strcls'>* ='lgc'>=/= inform (announcement), persuade, ='strcls'>*warn='strcls'>*='lgc'>[old o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal function of advertising='lgc'>]

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


ever growing impetus of advertising to reproduce itself in new forms ='lgc'>='lgc'>==> ="trms">different account of the evolution of new media ='lgc'>: advertising creates new media to propagate itself (='strcls'>*two globally ="trms">pervasive and path-changing forms of media that would not exist without advertising revenue='lgc'>:)
="lsts lst1">•search engine
="lsts lst1">•="trms">social ="trms">networking site

(McLuhan's “medium='lgc'> = message” ='lgc'>='lgc'>--> that we should look at the structural ="trms">nature of media rather than what it contains ='lgc'>=/=) ='strcls'>*message='lgc'> = medium='strcls'>* (in 20th century)='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]advertising='lgc'>: ="trms">species that create media in order to allow it to replicate ='lgc'>=/= a thing that we humans create and put in media as an incidental extra to an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginary ="trms">agent of meaning ='lgc'>[='lgc'><='lgc'>-- hylo="trms">morphic understanding of advertising='lgc'>]


='lgc'>[in 20th century (task of)='lgc'>] advertising='lgc'>: to render the invisible ='lgc'>[qualities, such as='lgc'>: complexity, ="trms">network, information,,,='lgc'>] into compelling visualities (='lgc'>--into='lgc'>='lgc'>--> public ="trms">imagination)
="lsts lst1">•(in organizational discourse) complexity='lgc'>: (='lgc'>--="trms">articulate='lgc'>='lgc'>-->) unpre="trms">dictable, multi-layered, decentered, emergent, globalized (="trms">world of Homeland TV series, of ="nms">apass, of ERG's website='lgc'>: ="trms">technological ='lgc'>+ adaptable ='lgc'>+ multi-layered)
='strcls'>*success ='lgc'><='lgc'>== visualize the complexity of their products='strcls'>* ='lgc'>[in the case of ERG='lgc'>: student's knowl="trms"nttrm="knowledge,Knowledge">edge and the institution of university='lgc'>]

(Goldman's landscape of Capital ='lgc'>='lgc'>-->) corporate advertising='lgc'>:
="lsts lst1">•visually depicts the ="trms">phenomenon of globalization
="lsts lst1">•="trms">affect the cultural ="trms">imaginary
="lsts lst1">•shape political sensibilities (with respect to life in high-tech globalism)

a="trms">morphous ="trms">phenomena (that require high-stakes visualization)='lgc'>:
="lsts lst1">•counter-terrorism
="lsts lst1">•climate change
="lsts lst1">•


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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='strcls'>***="trms">marketing='lgc'> = the ultimate ="trms">social practice of post="trms">modernity='strcls'>***

="trms">marketing practices
promot[...]