Visual Ideology Research Articles

Visual Representation of Selected Malaysian Political Trolling on Social Media: Disclose the Ideology and Power

The visual variety involving internet political trolling in Malaysia also adds to and impacts the audience's awareness of this resource. The existence of internet trolling encourages the audience's openness to give diverse responses and perceptions in politics in Malaysia. Thus, these responses and views will have a big impact on anything that is depicted visually, especially on social media. This study examines the ideology and power behind visual internet trolling on social media. For this purpose, the research methodology applies a qualitative approach based on visual content. Social media such as Twitter is used as the medium and unit of analysis of this study in visual sources. Adaptation of the theory uses Fairclough's (1995) critical discourse analysis and Visual Semiotics Theory by Kress and van Leeuwen (1996) in studying selected visual trolling. By using a combination and adaptation of these theories, visual ideology, and power can be best unraveled. The results of the study found that the visual production of Malaysian politicians' trolling aims to have an impact on the audience's attitude through the ideology and power that is visualized in Malaysian politics. The visual ideological and power construction of trolling also successfully creates an alternative for the audience to express their perceptions and rights, namely the right of expression which underlies to support or criticize Malaysian politics. This study provides knowledge and understanding about the ideology and power behind visual trolling in the Malaysian political context.

Cartographies of Contemporary Class Struggles

This essay provides an interdisciplinary analysis of the work of the Iconoclasistas, a Buenos Aires-based duo whose practice combines graphic art, counter-cartography, radical pedagogy, and militant research. The Iconoclasistas’ heterodox landscape illustrations and collectively produced maps demonstrate how various territorial conflicts in South America express class struggles that operate at multiple geographic scales. In so doing, they show how apparently local conflicts express dynamics of transnational capitalist accumulation, including its neocolonial character, while also revealing material relations between seemingly disparate popular struggles. This essay focuses on the Iconoclasistas’ early work representing urban life in Argentina from 2007, as well as on works addressing the deleterious effects of extractivism (or neoextractivism) created between 2007 and 2019. I argue that these works contribute to the insights of ecological Marxism by showing how contemporary processes of capitalist accumulation plunder nature and shape social and natural environments in ways that degrade the living conditions of people of the working and popular classes, as well as those of other species. The Iconoclasistas’ collective mapping workshops utilize techniques of Marxist pedagogy, while bringing attention to visual ideologies and ways spatial relations shape consciousness. This essay shows how this practice was influenced by the politics and organizational forms of recent social movements, and how it contributes to their production of knowledge. It also situates the Iconoclasistas’ work within a tradition of Marxist cultural praxis that values formal experimentation and that concerns itself with reworking the social relations of cultural production, distribution, and reception.

A Process and a Frame: Ballet on Instagram and a Sense of the World

Over the last several years Instagram has significantly reshaped how ballet and ballet practice appear as gestures. Compared to its institutional sites of display, ballet on Instagram shows shifts in visual ideology, aesthetic materiality, and relationship to its audience. The platform’s technological, digital, and visual specificities transformed the operating image of ballet on it. I argue that Instagram changed ballet’s mode of representation by reformulating its social and temporal profile, while shifts in ballet’s contextual and visual appearance overhauled its ideological workings.In Instagram’s environments, the body exists as ballet’s proxy—held in place by the collective digital labour of social media users. Moreover, ballet on Instagram is an infinite diary of the body in becoming, powerfully reflecting Jean-Luc Nancy’s ‘end of the world that is of no end’ (Nancy 1993: 5). I employ Nancy’s ideas of image, sense, and singularity, and I look into the dialectics between the matter and the sign to describe the body’s digital outline in relation to its material signature. Ballet on Instagram is embedded in the vast, propulsive, yet unpredictable environment of the digital and is both reshaped and challenged by it.

There Is a Digital Art History

In this paper, we revisit Johanna Drucker’s question, “Is there a digital art history?” – posed a decade ago in this journal – in the light of the emergence of large-scale, transformer-based vision models. While more traditional forms of neural network have long been part of digital art history, and digital humanities projects have recently begun to use transformer models, their epistemic implications and methodological affordances have not yet been systematically understood. We focus our analysis on two main aspects that, together, seem to suggest a coming paradigm shift towards a “digital” art history in Drucker’s sense. The visual-cultural repertoire newly encoded in large-scale vision models has an outsized effect on digital art history. The inclusion of significant numbers of non-photographic images allows for the extraction and automation of a much wider gamut of visual logics. Large-scale vision models have “seen” huge swathes of online visual culture, biased towards an exclusionary visual canon; they continuously solidify and concretize this canon through their already widespread application in all aspects of digital life. We use a large-scale vision model to propose a new critical methodology that acknowledges the epistemic entanglement of neural network and dataset. We propose that, in reading a corpus of visual culture through a neural network, we are always also doing the reverse. Digital art history is here, but not in the way we expected: rather, it has emerged as a crucial route to understanding, exposing, and critiquing the visual ideology of contemporary AI models.

Speaking/showing silence in Appupen’s graphic novels

ABSTRACT There are two uniquely engaging qualities about Appupen’s works: first, all of his graphic novels are predominantly near-silent graphic novels with minimal use of words; and second, there is a conscious and sustained artistic effort towards myth-making in all his works. In the ‘post-millenial’ Indian graphic novels scenario, where much of what gets published can be neatly categorised into sub-genres such as graphic retellings of epics (Amruta Patil), Classics and Mythology/Biographical adaptations (Campfire titles), mock-superhero comics (Gotham/Virgin Comics), political satire and the city-dweller’s angst (Vishwajyoti Ghosh and Sarnath Banerjee), Appupen’s works stand out differently, in almost every aspect of comparison: content, art style, visual narrative structure and ideology. This difference in his oeuvre, allows the artist and his works to defy canonisation. While it may be difficult to pin down Appupen’s works to a genre/category, they can be treated as silent graphic novels. The focus of this paper would be to show how Appupen uses silence as both a motif and a technique in visual narration, to weave a world of modern mythology, the purpose of which is quite literally to draw out a parallel with our living world and make the reader/viewer rethink our potentially apocalyptic conditions.

Semiotics Study Of The 2019 Jawa Pos Political Cartoon

The general purpose of this study is to increase knowledge in the form of academic studies of the 2019 Jawa Pos newspaper political cartoon, and its specific purpose is to describe the denotation, connotation, myth and visual ideology of the Sunday edition of the Jawa Pos newspaper political cartoon in the sketch rubric. This study used a qualitative design. Everything related to the 2019 Jawa Pos newspaper political cartoon will be described qualitatively. The qualitative step taken was to collect, filter and analyze data to produce descriptive data in the form of words and notes related to its meaning. The research sample is the political cartoon of the January 13 and March 10 2019 edition of the Jawa Pos Newspaper. The results showed that visually, politicians occupy the top position in the drawing room. The size of the depiction was made much larger than that of the other public figures. Meanwhile, voter community figures were depicted as occupying a space position at the bottom. The depiction only showed half of the body, namely from the head to the waist. The meaning that is born from each image is determined in part by the meanings of other texts which appear to be the same. This is what is called intertextuality. Cartoonists and readers have carefully gathered various texts on politicians and voters to see the power of ideology with the intertextuality of various other texts / images.

Subversive Mobility: Migrant Labor and the Visual Politics of Representation

Abstract California has existed in the collective imagination of popular American culture as the “Land of Promise,” or Eden of the American West, at the very least since its state ratification in 1850. Early representations of the American West drew many to the California landscape in search of this mythical “garden.” This article examines how landscape, operating as a visual ideology, impacted social relations in the California agricultural industry during the 1930s. My argument is that landscape as a visual ideology imposed severe restrictions on the representation of migrant labor through what I define as the “cultural optics of labor.” The article explores how John Steinbeck's The Grapes of Wrath (1939) mediates the complex exchanges between labor, landscape, and representation during the Dust Bowl Era, suggesting that the novel develops a set of possibilities for worker revolution along the two ideological lines of space and class.

Visual Ideology and Social Imaginary: A New Approach to the Aesthetics of Globalization

Focusing on subjective processes of globalization, this practice-based research looks at the shift from the imaginary to the imaginary. In particular, it investigates major changes that are giving rise to a new regime of representation and signification in selected global and fast globalizing cities across the planet. In doing so, this study observes that the circulation of a particular type of socio-historically and ideologically charged global images is creating a new aesthetic affective landscape that is transforming urban spaces, increasingly mediating local-national meaning, while contributing to the destabilization of the modern self-contained nation-state. Yet, there is a dearth of scholarship investigating the link among social imaginary, ideology, and these new figures of knowledge of the global that constitute an ever-increasing cultural horizon within which people frame, with varying degrees and nuances, their phenomenological existence-everyday life. In this respect, it is argued that, to better understand globalization as a material and ideational process, one cannot disregard investigating its visual- ideological dimension. Thus, exemplified by a given body of images displayed in their own right, with one of them analyzed and interpreted to better understand the socio-political and cultural implications, this inquiry, theoretically and methodologically articulated, is carried out through photographic fieldwork and the lenses of and political theory. In doing so, it is observed that the production, circulation, and consumption of ideologically charged media representations in defined socio-historical contexts constitute the visual apparatus-the visual ideology-of globalization.

Visual Political Communication in Contemporary Indonesia Politics: The Red, White, and Black of the Jakarta's 2017 Gubernatorial Elections

Clothes have long communicated more than just comfort or class in Indonesia, a vast and diverse nation with a mix of languages, cultures, and religions. So it is perhaps unsurprising that politicians have also turned to sartorial branding to distinguish themselves. Red, white, and black are three colours that have spread around the Asia Pacific coast. In Indonesia, these three coulours represent scared values in Indonesia ethnic communities. For example, in Indonesian – Hindu community, red, black, white symbolises traditional values such as courage, purity, and solidarity. These three colours also have been traditionally used in other ethnic communities such as in Borneo, Batak (North Sumatera), and Papua. These colour patterns are also seen in Aboriginal communities. But do these colours play similar functions in Basuki Purnama and Djarot Saiful Hidayat's political communication throughout the past election campaigns? What political messages were they trying to convey? And how do their political supporters agree on these patterns as the representation of their political ideologies? This paper is divided into three parts. Firstly, it will layout the theoretical background behind the semiotics of visual ideologies of political colours. Secondly, it will provide an outlook of the ongoing contemporary politics of the Jakarta election. Lastly, it will discuss the visual ideology behind the campaign of Basuki Purnama and Djarot Saiful Hidayat's colours of their political campaign: red, white, and black.

Nature and culture in visual communication: Japanese variations onLudus Naturae

AbstractThe neurophysiology of vision and cognition shapes the way in which human beings visually “read” the environment. A biological instinct, probably selected as adaptive through evolution, pushes them to recognize coherent shapes in chaotic visual patterns and to impute the creation of these shapes to an anthropomorphic agency. In the west as in the east, in Italy as in Japan, human beings have identified faces, bodies, and landscapes in the bizarre chromatic, eidetic, and topologic configurations of stones, clouds, and other natural elements, as though invisible painters and sculptors had depicted the former in the latter. However, culture-specific visual ideologies immediately and deeply mold such cross-cultural instinct of pattern recognition and agency attribution. Giants and mythical monsters are seen in clouds in the west as in the east; both the Italian seventeenth-century naturalist and the Japanese seventeenth-century painter identify figures of animals and plants in stones. And yet, the ways in which they articulate the semantics of this visual recognition, identify its icons, determine its agency, and categorize it in relation to an ontological framework diverge profoundly, according to such exquisitely paths of differentiation that only the study of culture, together with that of nature, can account for.

Visual Graphetics and Language Ideology

There are certain sounds in the Greek-Cypriot dialect (henceforth GCD) that cannot be represented by characters from the Greek alphabet in its written form. Contradicting ideologies have made it impossible for Cypriots to settle on an official and common orthographic system, which has led to a rich variety of typographic conventions and many significant typographic drawbacks. This study aims to introduce a new set of typographic characters for the representation of the palato-alveolar GCD consonants that would provide ideal reading conditions for users (Unger, 2007; Noordzij, 2005; Bringhurst, 2005), while taking into consideration their political and cultural stances and needs. The new typographic system has been tested in two rounds of action research, providing both quantitative and qualitative data. The results show that the proposed system satisfies both the design and linguistic criteria of a successful written system as proposed by Sebba (2007), namely phonological accuracy, simplicity and readability.

Creating Life

The beginnings of a new media offer insight into how new forms thrive. Life is called the “biggest mass market hit in the history of publishing.” This study examines the social, technical, and cultural factors behind the first American pictorial and describes the period before Life’s 1936 launch and the decade after, the growth of visuals from 1900 to 1930, and the cultural role visuals played. By Life’s debut, the public was “visually oriented” to visuals with text, prepared to embrace a magazine based on news told via the photo-essay. The study describes how the magazine took shape, the impact of the premier issue, and the development of a visual ideology. This portrait of Life is based on primary materials, archival research, and contemporary accounts. Empirical data ground the analysis of the reasons for the eager adoption of Life and connect this success to the narrative framing in the photo-essays of middle-class and professional achievement.

Landscape and Vision in Gretel Ehrlich’s This Cold Heaven: Seven Seasons in Greenland

<p align="left">Depicting the narrator’s repeated travels to the northwestern coast of Greenland, Gretel Ehrlich’s <span style="font-family: TimesNewRomanPSMT;"><em><span style="font-family: TimesNewRomanPS-ItalicMT;">This Cold Heaven </span></em><span style="font-family: TimesNewRomanPSMT;">aims to portray the landscapes of Greenland in a </span></span>way that frees them from the constraints of the visual ideology associated with Western culture’s idea of landscape. This, however, is no easy task in a natural environment dominated by wide and grand views that seem to invite the detached observer’s ordering vision. This article shows how Ehrlich’s text uses Inuit narratives and ontologies that share perspectives with feminist theories on space and subjectivity in order to challenge our Western modern culture’s conceptions of vision and landscape. The narrator’s experiences of dogsled travel in landscapes determined by weather, ice and light conditions create novel sensations that display and disrupt the boundaries of the physical environment as well as of Western conception of the subject. In this manner Ehrlich’s travel narrative gradually develops away from a rationalist and objectifying form of geography towards a different and more embodied perception of landscape that acknowledges the relational and dynamic nature of Greenland’s icescapes. This rewriting of landscape implies an understanding of vision as an integral part of a bodily whole, in constant interaction – or even co-constitution – with the environment.</p>

Walt at War – Animation, Transformation and Indoctrination: The Hypothetical Image of Disney’s Animal Soldiers

Taking as its theoretical framework Sergei Eisenstein’s writings on Walt Disney, as well as recent studies of corporeal transformation in moving image animation, this article explores the link between bodily and political transformation through the role of cartoon animals in the mass mobilized, machine war of World War II. The repercussions of the hypothetical images and scenarios that Walt Disney Productions employed reveal the absurdity and ease of transformation not only between life and death but also between seemingly disparate political ideologies. By approaching the contradictions at play in the visual and political ideology of World War II propaganda and wartime entertainment, and offering a pre-cinematic genealogy of animal caricature, the author explores the shifting manifestations of animality and humanity presented in the Disney brand’s wartime scenarios.

Pengaruh Ideologi Visual dalam Penciptaan Positioning Clothing (Studi Kasus: Unkl/347-Bandung)

The Uniqueness and characteristics of Clothing, two of the fashion categories have created the under¬standing of fashion as an ideology, which ensures the functioning of dominant and dominance systems in a social order. Through the analysis of qualitative descriptive research will be known the visual ideology of a clothing product formed by producers in the eyes of consumers. In the end it is capable of forming the product positioning concerned. The results of of this research reveals the emergence of Ideology in clothing, based on the ideals of the creator of the clothing products. The formation of these ideals cannot be separated from the role of the community as a medium that supports the absorption of the ideology as the characteristic of a particular group. It reveals that visual ideology is one of the important factors that establishes the positioning of a product, which is created because of the existence of product differentiation that supports it.

Revolutionary landscapes: the PCTP/MRPP mural paintings in the Lisbon Metropolitan Area

This article investigates the mural paintings made by the PCtP/MrPP in the Lisbon Metropolitan area, in the aftermath of the 1974 Portuguese revolution. Drawing on erwin Panofsky’s iconographic method of interpretation, murals are explored from an integrated landscape approach that combines two perspectives: landscapes as representations and landscapes as material artifacts. findings suggest that the PCtP/MrPP mural paintings translated the visual ideology of social transformation and revolution underlying its politics. furthermore, they also crystallized performative revolutionary landscapes, in the sense that they materialized acts of collective artistic citizenship, in which the social space of mural production played a fundamental role.

Nineteenth-century planned industrial communities and the role of aesthetics in spatial practices: the visual ideologies of Pullman and Port Sunlight

In the 1880s British and American planned industrial communities revealed a distinct shift in spatial practices as two discrete architecture and landscape architectural aesthetics were applied to community design: Beaux Arts, and Arts and Crafts. Two of the most extensive planned industrial communities during this decade received aesthetic attention: Pullman, Illinois near Chicago (1880), established by George Pullman, and Port Sunlight, near Liverpool (1888), established by William Lever. Both Pullman and Lever believed that by applying a distinctive aesthetic they could establish a cohesive visual ideology for social control. Lever and Pullman believed that by creating “beautiful” spaces, this would encourage and/or constrain worker attitudes and behaviors, what Henri Lefebvre calls “means of control” (1991, p 26). In addition, both Pullman and Port Sunlight became central to establishing and maintaining each company's brand identity. This paper explores the visual ideologies these two industrialists used to produce a distinctive sense of community while also revealing the inherent tensions and limitations of those aesthetics. Not only do Pullman and Port Sunlight reflect an important shift in spatial practices during the 1880s, their architects and landscape architects became influential leaders in the visual ideologies of the City Beautiful and Garden City planning movements.

The invisible ideology of white light

This paper explores the role of white light in film history. It argues that, though we live our lives immersed in ‘white’ daylight, the historical hegemony of white light within moving images has been far from inevitable. The paper elaborates this claim by focusing on how and why Technicolor Inc. predicated its infamous but influential ‘law of emphasis’ on white balanced lighting, and by foregrounding ways in which subsequent uses of and discourses about colour in film have assumed the presence of full-spectrum light. Having drawn attention to this imperceptible – and so, until now, unnoticed – visual ideology, the paper then explores cinematic challenges to the hegemony of white light in films including South Pacific, Querelle and Chunkging Express.

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor (review)

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor (review)