Abstract
This paper aims to problematize the very place of prosuming images (TAPSCOTT; WILLIAMS, 2007), that is, images simultaneously produced and consumed, within the perspectives of the postmodern and the visual turns in contemporary society. Of qualitative/interpretative nature, it discusses and connects such turns to the philosophical concepts of dialogism (BAKHTIN, 1981), cultural translation (MIGNOLO; SCHIWY, 2002; MENEZES DE SOUZA, 2004; HALL, 1997), supplements (DERRIDA, 1978), and visual culture (ROGOFF, 2002; HALL, 1997) by means of interpretations of photographic images from social media (Instagram, Facebook) and free images from websites. The article is divided into 5 sections: after the introduction in which questions of language, representation and visual meaning making are briefly discussed, the second part explores the dialogic nature of language that seeks to juxtapose visual narratives. The third part focuses on the Postmodern and the Visual turns, and suggests that concepts of cultural translation and supplementation are paramount in visual studies. In the fourth section, visual culture â intertwined with cultural translation - is analyzed through the concepts of supplements and ruptures. To conclude, this paper advocates for more critical ways of understanding the so-called crisis of representation in (post) modern society.
Highlights
IS THERE A CRISIS OF REPRESENTATION?In times of extreme violence of all kinds â symbolic, and physical â towards those who are different, for being different and for not belonging to the white heteronormative upper/middle class, the Turkish artist Ugur Gallen (2019) incites us with his very shocking, and provocative photographic works of art
(TAPSCOTT; WILLIAMS, 2007), a concept that merges the words producer and consumer. This new role people assume in the interactive digital networking makes them produce and consume images simultaneously
Hall goes on to argue that language operates through representational systems, which means that âin language, we use signs and symbols â whether they are sounds, written words, electronically produced images, musical notes, even objects â to stand for or represent to other people our concepts, ideas and feelingsâ (HALL, 1997, p. 01)
Summary
In times of extreme violence of all kinds â symbolic, and physical â towards those who are different, for being different and for not belonging to the white heteronormative upper/middle class, the Turkish artist Ugur Gallen (2019) incites us with his very shocking, and provocative photographic works of art. Meaning, for both Hall and Bakhtin, is tied to oneâs culture(s), and produced within the dialogic interaction of the subject with the context Hall (ibid.) goes on to argue that language operates through representational systems, which means that âin language, we use signs and symbols â whether they are sounds, written words, electronically produced images, musical notes, even objects â to stand for or represent to other people our concepts, ideas and feelingsâ The local character of criticism, Foucault defended, can be produced by the bricoleurs who deploy visual signs accessible to recycle ideas, introduce ruptures to dominant conceptual systems and make silenced voices emerge This decentralized production of knowledge can be considered as a crisis only by those that opt for dominant, historically âtrueâ and centralized constructions of the ârealâ. This paper advocates for more critical ways of understanding the so-called crisis of representation in (post) modern society and, in order to connect this discussion with language education, it leaves the reader some problematizing/ provocative questions
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