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The article analyzes the ways to show authority in the culture. Examines visualizations and her rhetoric. Given the symbolic power, the authors consider the existence of it as a principle or a function that someone does. Power is not only recognition of the position of the slave, but sopredelâetsâ through the frustration. This approach allows you to issue a protest of consciousness. ; В статье анализируются способы проявления власти в культуре. Исследуются способы визуализации власти и ее риторика. Учитывая символический характер власти, авторы рассматривают существование ее как принципа или функции, которую кто-то выполняет. Власть определяется не только с признанием позиции подчиненного, но и сопределяется через недовольство. Такой подход позволяет выйти на проблему формирования протестного сознания.

This paper explores the plurality and dynamics of 'cultural heritage' formation in Ghana by looking at key players in the historically constituted heritage arena and the contestations between them. Focusing on the intersecting domains of the state, religion, and entertainment media, it discerns several tendencies with regard to the framing of cultural pasts : mobilization of 'heritage' by the state as part of national identity politics ; contestation of this state project by Pentecostal churches that view 'heritage' as demonic and dangerous ; and revaluation of 'heritage' as aesthetic style in local television and video making. Recent, market-driven trends towards a more positive representation of 'African heritage' depart from earlier state initiatives in their explicit focus on visual style and design, raising new questions about the links between heritage and visual aesthetics and asking for an understanding of cultural heritage that takes into account issues of style, design, and commerce.

In 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audiovisual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages. ; 328 Seiten

Public service advertising is a government program that aims to educate the public on good values from the state's point of view. As the name implies, public service advertisements contain the word "advertisement" which means there is a "product" that is expected to be accepted and then consumed by the wider community. In public service advertisements, the advertised "products" are in the form of good values with the main goal of being able to benefit the government and the citizens themselves. In this study, the researcher will dissect a public service advertisement in the form of a video by using descriptive qualitative methods and using the aesthetic theory of applied media which is the scalpel. There are five aspects of research that become a reference for researchers in dissecting the work of this video advertisement, including: light and color, two-dimensional space, three-dimensional space, time/motion and sound. The results of this study indicate that the public service advertisement video "Tetap Fokus di Jalan" is successful in conveying the message in the form of a slick, interesting and creative video. From the five aspects of the research, this video advertisement is quite successful in presenting all five perfectly. So that it can support the plot of the story to be more dramatic. The packaging of this advertising video is sufficient to keep up with the times so that it can be accepted by young people who seem to be the main target of their audience

Explores the use of images, sounds and videos in Jihadi media and how people engage with them Fosters theoretical approaches to audiovisuality in the context of 'propagandistic' imagery Points to strategies and logics of appropriation within and around Jihadi audiovisuality, such as humour, re-enactments and memetic forms of cultural resistance Considers cultural and aesthetic expressions that evolve in response to Jihadi media output Presents empirically grounded research, combined with historical, multi-modal, rhetorical, ethnomusicological and digital audio-visual analysis and interpretations Case studies include: an exploration of: staged violence in IS productions; the appropriation of IS's nashīd Ṣalīl al-Ṣawārim in digital contexts; the responses by social workers and former supporters of jihadi groups and movements; and how researchers themselves are part of the entanglements caused by politicisation and securitisation of Islam ISIS is often described as a terrorist organisation that uses social media to empower its supporters and reinforce its message. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audiovisual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.

For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style, Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's knowledge, opinions, or skills. Accordingly, examining the ...

There is no doubt that we live in exciting times: Ours is the age of many 'silent revolutions' triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago.The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees' particular concerns.Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the "passive" to "active" and from "social" to "transparent reading"; the section on media literacy discusses the loss of deep reading, the prospect of "distant reading" and "algorithmic criticism" as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

There is no doubt that we live in exciting times: Ours is the age of many 'silent revolutions' triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago. The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees' particular concerns. Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the "passive" to "active" and from "social" to "transparent reading"; the section on media literacy discusses the loss of deep reading, the prospect of "distant reading" and "algorithmic criticism" as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

Contemporary socio-economic reality is like a robbery, where the wealthy people have all the money, and the workers live from hand to mouth. These systematic inequalities are happening through capitalist consumerism and creating a growing economic contrast globally. Rather than considering imitative freedom promoted by the mainstream media that drives us to power, greed, or ego-centric mentality, I believe human rights can direct us to real freedom. In current society, basic rights are being taken away from many, while a great number of us are trapped in our utopian reality without recognizing the truth. We are stimulated by our socio-economic status; without questioning it. These defective conditions are aware of the errors in the system but do not certainly clarify the reasons behind them. From our collective experience, we understand that a larger population around us and the world is suffering, and the reasons are merely economics, besides any other factor. From there we can connect the web that takes us to power and politics. In the current global economy, we see an extreme division, where 80% of the wealth is reserved by a small circle of people. Through my work, I am confronting this situation to address that. Our focus on this contemporary crisis is too narrow; where I am exploring the consequences of these issues to gain a new perspective on our shared situation.

Abstract This article focuses on the accelerating technical progress, rationality, and its socio-political issues. It is considered that the control over communication, media, and arts does not necessarily mean that such power is exercised politically, but more that it is contained in politics. While technological development is an outstanding representative of forms, it has been observed that building a narrative through images is dependent on the artificer or artist's ability to develop and perform concerning the idea of transforming or improving. Apart from the attraction of images, which has always been emphasized in the communication process and language development, the experience of aesthetics is changing because of technological advances. Moreover, several notions have been added to the discussion, such as those about progress, the social impact of automation, and the role of intellectuals and scientists as builders of the "invention," generating "the artificer." ; Highlights: Analysis of how socio-political factors are determined by rationality through art and media; Understanding the range of concepts relating to technological developments and the role of human beings; Discussing the ability humans have to achieve positive results in relation to their sociocultural circumstances.

International audience ; The first part of this article outlines a dilemma in cultural studies and sociology of culture regarding the politics of aesthetics. This concerns whether discourse about the evaluation of symbolic forms serves to reinforce power relations and maintain divisions between people and communities, or whether evaluation can serve as a basis for greater commonality. One way of at least beginning to address this issue is to attend to the 'everyday aesthetics' of media audiences, exemplified here in the ordinary evaluative discourse of music users. The second part of the article reports on interview research about musical tastes and values. It analyses these interviews for evidence of the ways in which evaluative statements might involve making connections with others, or alternatively how they may act as barriers to social connectivity or community. How and to what extent might ordinary musical evaluation be thought of as part of potential aesthetic public spheres?

This paper argues that generative music and art techniques have much to tell us about the politics of operations in infrastructural and political contexts, that generative techniques are an unavoidable aspect of informatic operations, and that an artistic and materially-grounded sensibility toward the manipulation of the inherent biases of operations is necessary, if not sufficient, for creating high-stakes automated systems that take an ethics of care as foundational to their becoming. This paper does so through concepts from mid-twentieth century philosopher of technology Gilbert Simondon's On the Mode of Existence of Technical Objects alongside critical readings of a pair of software artifacts—namely the predictive policing platform Geolitica (formerly PredPol) and the procedurally-generated videogame No Man's Sky. The analysis is supplemented by the author's experience as an experimental electronic musician, media artist and software product developer.

The article investigate the relation between Trumpism and visual aesthetics from Trump Tower to Capitol Hill, January 6 2021.Trump had no organized cultural policy and thereby he differed from other despotic regimes, he had only himself as a brand. Other despotic regimes,, such as in the Soviet Union under Stalin and Germany under Hitler, had immediately organized aesthetics politically. Trump had himself as the brand, not an arranged cultural policy, not a well-organized aestheticization of the politics with Water Benjamin's term . He had himself as a grandiose brand. which the surroundings should mirror and give narcissistic supply back. ; The article investigate the relation between Trumpism and visual aesthetics from Trump Tower to Capitol Hill, January 6 2021.Trump had no organized cultural policy and thereby he differed from other despotic regimes, he had only himself as a brand. Other despotic regimes,, such as in the Soviet Union under Stalin and Germany under Hitler, had immediately organized aesthetics politically. Trump had himself as the brand, not an arranged cultural policy, not a well-organized aestheticization of the politics with Water Benjamin's term . He had himself as a grandiose brand. which the surroundings should mirror and give narcissistic supply back.

Social media have given social movements unprecedented tools for self-representation, however emancipatory identity politics are drowned out by the white noise of neoliberal self-branding practices. In response to this highly- aestheticised, de-politicised environment, we need a cultural re-negotiation of online categorisation. Rather than focusing on networks, this essay frames tagging as an everyday gesture of social media users that participates in the collective performance of identity. I argue this performance gives way to the materialisation of 'cultural avatars' – collective identity figures that lie beyond coherent representation and can reinforce reductive social stereotypes or inspire politically critical figurations. Apart from offering a cultural critique of tagging itself, the essay discusses a range of creative approaches to tagging that de-naturalise processes of online categorisation by drawing critical attention towards them.

While feminists have long recognised the importance of self-managed, alternative media to transport their messages, to challenge the status quo, and to spin novel social processes, this topic has been an under-researched area. Hence, this book explores the processes of women's and feminist media production in the context of participatory spaces, technology, and cultural citizenship. The collection is composed of theoretical analyses and critical case studies. It highlights contemporary alternative feminist media in general as well as blogs, zines, culture jamming, and street art. ; Elke Zobl and Ricarda Drüeke: Foreword Ricarda Drüeke and Elke Zobl: Introduction. Feminist Media: Participatory Spaces, Networks and Cultural Citizenship Chapter 1: Feminist Media Production and Alternative Economies Elke Zobl and Rosa Reitsamer (with Stefanie Grünangerl): Feminist Media Production in Europe: A Research Report Jenny Gunnarsson Payne: Feminist Media as Alternative Media? Theorising Feminist Media from the Perspective of Alternative Media Studies Brigitte Geiger and Margit Hauser: Archiving Feminist Grassroots Media Red Chidgey: Hand-Made Memories: Remediating Cultural Memory in DIY Feminist Networks Verena Kuni: GENDER JAMMING. Or: Yes, We Are. Culture Jamming and Feminism Stefanie Grünangerl: Making Feminist Media: Feminist Media Activists Share their Views Chapter 2: Participatory Spaces, Networks and Technology Tea Hvala: Streetwise Politics: Feminist and Lesbian Grassroots Activism in Ljubljana Jessalynn Keller: "It's a Hard Job Being an Indian Feminist". Mapping Girls' Feminist Identities and "Close Encounters" on the Feminist Blogosphere Sandra Chatterjee and Cynthia Ling Lee: Choreographing Coalition in Cyber-Space: Post Natyam's Politico-Aesthetic Negotiations Marcus Recht and Birgit Richard: On the Aesthetics of Self-Representation: Mustached "Female" Youth on Flickr.com Tanja Carstensen: Struggling for Feminist Design: The Role of Users in Producing and Constructing Web 2.0 Media Linda Steiner: Using New Technologies to Enter the Public Sphere, Second Wave Style Chapter 3: Cultural Citizenship and Social Change Elisabeth Klaus and Margreth Lünenborg: Cultural Citizenship. Participation by and through Media Anita Harris: Online Cultures and Future Girl Citizens Ricarda Drüeke: Rethinking Political Communication and the Internet: A Perspective from Cultural Studies and Gender Studies Sigrid Kannengießer: Digital Storytelling to Empower Sex Workers: Warning, Relieving and Liberating Alison Piepmeier: Pedagogy of Hope: Feminist Zines Elke Zobl: From DIY to Collaborative Fields of Experimentation: Feminist Media and Cultural Production towards Social Change – A Visual Contribution