COFA1001

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Part 3: Short Story

Finally, my third piece is a short story, in which I experiment more with the narrative voice and also with the potential of language as seen with the contrasting French and English. Regardless of the fact that English and French are two of the most commonly spoken languages in the world, how can we discount the numerous other languages that become ‘minorities’ by default? It is clearly a failure in communication. 

However, as language is the basis of spoken and read communication, it’s differences in must be held accountable as part of our way of seeing the world.  Culture is a product of the human mind and it is defined, propagated and sustained through language. Therefore the sharing of themes and subject within this story, despite the disconnection with language is meaningful for my work as ultimately the reader will be alienated due to the barrier of language. 

This short story addresses the overarching themes of surveillance, control and isolation are shared throughout all my works, and of how ‘ways of seeing’ is irrevocably linked between the the power relationship that is almost always in favour of the producer. 

By swaying from proper structure and grammatical rules, I aim to explore how adopting a monologue with a stream of consciousness, acts in itself as an isolating factor. There is anonymity and yet also reflection on ones identity, and so there is a forced character adopted by the reader. You as a reader become the subject of my control. 

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Part 2: Poster

My second work deals with a combination of an illustration and text in a poster. It's the beginning of my exploration of the narrative voice, or in my case, an extension of the direct and alienating portion of my relationship with the audience. I use bold for keywords and issue commands and answer no questions, there is an obvious disregard for the reader. The use of iconic edited versions of James Montgomery Flagg's 'I want you for the U.S Army' print is meant to aid in creating a new paradigm following its' initial intention as a political paradigm and marker. I also wrote a poem inspired by the keywords that I would use to describe my way of approaching and dealing with 'ways of seeing' as a producer.

This work was based on Stuart Hall's encoding/decoding model of the relationship between text and audience - the text is encoded by the producer, and decoded by the reader, and there may be major differences between two different readings of the same code. However, by using recognised codes and conventions, and by drawing upon audience expectations relating to aspects such as genre, the producers can position the audience and thus create a certain amount of agreement on what the code means. This results in the viewing of the preferred reading.

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Part 1: Illustration

The first work is an illustration that is metaphysical in that 'I', as the artist, have absolute control and bias in what I want and how I want to present my thoughts on the social issues of surveillance, governance and forced perception via media. To really explore this concept of making my perspective known, I've used the repeated motif of a drawing hand and the partially cut off title of 'Charlie Hebdo'. The publishing of these illustrations in relation to a globally known brand is effective in exploring the scope and interests of the audience within the previously proposed asymmetric power relationship. 

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Short story- interview

What is your name

Qu’est-ce que tu veux m’appelle

Where do you live

Peut-être quelque place prés d'ici, peut-être pas. C'est pas même un question de où est-ce que j'habite. Vous devez expliquer pour laquelle le raison je suis même ici. Avec vous. Un étranger.

What is your occupation 

Moi, je n'ai pas du temps libre. Malheureusement, je n'ai pas du temps pour meme çe conversation. En fait, si c'est pas d'urgence il faut que j'aille. Libérez-moi s'il vous plaît.

Do you have any family

Bien sûr, et un chat qui s'appelle Toutou.

Why are you here

Moi, je pense qu'il y a un grand problème aujourd'hui parmi les gouvernements en ce qui concerne le net. Aujourd’hui plus que jamais, le savoir scientifique se trouve subordonné aux puissances. Savoir et pouvoir sont les deux faces d’une même question: qui décide ce qu’est savoir, et qui sait ce qu’il convient de décider? La question du savoir à l’âge de l’informatique est plus que jamais la question du gouvernement.

Who are you

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The transformation in the field of surveillance and privacy in which the concept of liberty and anonymity is conflicting due to the first-person narrative voice. The surveillor takes away the liberty of the subject, and has evolved to promote control and surveillance. The gaze of the producer is interjected in a linguistic form.

“She identifies three paradigms of visibility, dealing with the dynamics of recognition, of control, and of spectacle. Basing these paradigms on the work of sociologists Simmel and Goffman, Brighenti expands the notion of recognition to include four types: categorical, individual, personal, and spectacular. It is from these types that she provides an overview of artistic strategies related to surveillance technologies and theories. Providing the reader with a number of relevant examples of surveillance art, Brighenti identifies an ‘aesthetics of surveillance.’ This is not aesthetics of the modernist mould; it is, rather, akin to Borriaud’s (1998) Relational Aesthetics, which may not be termed aesthetics in the classical sense. Framing her discussion through the work of relevant sociologists, philosophers, and art historians, Brighenti asks the reader to consider the complexities of the surveillant gaze, and how these networks of vision and visibility contribute to our current understanding of identity.” - ‘Surveillance, Performance and New Media Art’, by McGrath, J & Sweeney, R.

This demonstrates how theoretical perspectives, and artistic practise can inform each other within the framing discourse of surveillance. And again we see the many ways in which the agency and trace of the audience, or the ‘public’, structure and open up the work produced.

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Jean-François Lyotard, La condition postmoderne

Aujourd’hui plus que jamais, le savoir scientifique se trouve subordonné aux puissances. Savoir et pouvoir sont les deux faces d’une même question: qui décide ce qu’est savoir, et qui sait ce qu’il convient de décider? La question du savoir à l’âge de l’informatique est plus que jamais la question du gouvernement.

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Today more than ever, scientific knowledge is subject to powers. Knowledge and power are two sides of the same question : who decides what to know , and who knows what to decide? The question of knowing the age of the computer is more than ever the question of the government.

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Proposed short story

- Narrative addressing the main themes of identity, homogenisation, misinterpretation

- using narrative voice / create isolation between writer and reader via language barriers as well as post modernist style

- stream of consciousness, monologue

- the evolution of the internet has facilitated control rather than supporting individual freedom. A good example that can illustrate this point is the transformation in the field of surveillance and privacy on the internet, in which technologies that initially supported liberty and anonymity have evolved to promote control and surveillance. 

- self-reflection on literary control

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Experimentation with poster form

Role of semiotics in poster making. The inclusion of borders, bolding, font and changes in icon result in a different tone - of urgency, control, disconnect. The associations of coloured border and iconic figure -> political paradigm, control and surveillance

What do the bold texts say? 

MY READER TELEVISED IDENTITIES YOU SURVEY VOICE REPRESENTATIONS READER HOMOGENISE SEMIOTICS TRUTH

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‘I want you for the U.S Army’- James Montgomery Flagg

Edit of an iconic picture, showing the potential for a new paradigm, for a new way of seeing/thinking. 

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Poem with keywords

My dear reader,

Do as I say and

jot the scrambled theories,

that are unravelled by the televised voice

of little identities

strewn on the blotted surface of this paper.

 I want you

not to linger in the inorganicness

of written text

but survey this narrative voice,

and perhaps you may

identify representations.

 My dear reader,

do not ask what I mean.

I want merely that you homogenize

and take the given semiotics

as definitive answers and

the ultimate truth.

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Addressing the reader via metaphysical drawing hand. 

Globally recognised brand ‘Charlie Hebdo’ as a means of mass global communication.

Potential hypodermic needle model.

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The relationship between the audience and producer is vital in the way audiences ratify particular ways of seeing the world. Within the context of media texts, producers and audiences must share systems of interpreting texts (and semiotics) as well as social and cultural perspectives so that one party does not become isolated. It must be also be noted that there are also pressures on the resources that are brought to bear an interpretation.

Media Studies: Texts, Production, Context By Paul Long, Tim Wall

page 308

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ways of thinking

Keywords

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Week 10-

We examine how our vision may change our perception. Things that are usually the same may appear to become replicas. We also look at how different levels of myopia may conversely result in different perceptions of the same scene.

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One of the key influences in the study of online identity construction comes from Goffman’s (1959) Presentation of self in everyday life. The idea of online identity as a performance, utilizing Goffman’s dramaturgical analogy, holds a particular attraction for many theorists (Buckingham, 2008; Donath, 1998; Hogan, 2010; Kashima, et al., 2002; Pearson, 2009; Zhao, et al., 2008). Persona creation is a much more conscious process in online settings as opposed to off–line. Stearn (2002) commented that the “strategy and intentionality behind self–presentation is illuminated in online settings, because communicators must consciously re-present themselves online” [1]. It is this idea of intentional presentation of a specific identity from the ‘composite of multiple selves’ which exist in all of us [2] that forms the basis of persona studies.

http://firstmonday.org/ojs/index.php/fm/article/view/3969/3292

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Wk9:Failure /Studio excercise