Roland Barthes

Socially engaged art presents social situations to be understood, experienced, and evaluated as works of art while they simultaneously retain everyday non-art functionality. This article begins with an account of the definitional and evaluative concerns that socially engaged art engenders, outlining the debates around the relative importance of ethical and aesthetic values that result from this unsettled relationship between art and non-art. Based on this account, I argue that all socially engaged art requires successful performative bids that declare the work to be art and that it is possible to identify the felicity conditions in which these bids are likely to be successful, as well as the perlocutionary effects that occur when a situation is categorized as art. I apply this analytic framework in a discussion and comparison of pieces by Santiago Sierra and Mierle Laderman Ukeles, demonstrating how this framework facilitates assessments that account for the works as art, while inte...

El siguiente trabajo fotográfico significa un aporte visual a modo de ejmplo explícito, en torno al concepto de interfa/s/c/ze que llevo desarrollando en los últimos veinte años.
Las imágenes obtenidas pueden ser vistas en el siguiente link: https://www.behance.net/gallery/163110771/Un-sujeto-Un-nosotros

Cet article à visée pédagogique, initialement destiné à un lectorat de non spécialistes, est une tentative d’initiation à trois modèles couramment utilisés en sémiotique marchande, en particulier en ce qui concerne les pro- blématiques de branding: i) les plans et niveaux de tout langage, ii) le schéma narratif et iii) le carré sémiotique. Le premier s’avère pertinent pour aider à définir l’identité d’une marque à partir du moment où l’on considère que celle-ci est constituée de constantes d’expression et de constantes de contenu. Le second permet de rendre compte du rôle dont la marque se dote auprès de son public cible. Le troisième a la propriété de pouvoir rendre compte des logiques d’un marché et des relations que les marques qui le composent entretiennent entre elles (leurs positionnements).

Film is one of the mass communication media that very effectively conveys communication messages for humans. Boruto: Naruto the Movie is one of the films resulting from the process of visualizing comics (manga) which has become a favorite film in Indonesia. This study aims to describe the meaning of moral messages contained in the anime film Boruto: Naruto the Movie. This research is a qualitative descriptive research with Roland Barthes' Semiotic analysis approach. Data collection in this study used two techniques, namely observation and documentation. The results showed that the meaning of the moral messages contained in the anime film Boruto: Naruto the Movie includes: 1) cooperation, 2) the importance of the process in education, 3) caution in speech, 4) persistence, 5) mother's attention to her child, 6) father's attention to her child, 7) prohibition of cheating, 8) concern, 9) apologizing, 10) self-confidence, 11) mutual understanding, 12) pronouncing in, and 13) ...

https://escholarship.org/uc/item/4vq1q8fv#article_abstract

In 1996, the Italian artist Giulio Paolini was invited to design the cover of the book L'occhio di Calvino by Marco Belpoliti. The book was one of the first to study the role of images in Italo Calvino's production, becoming an ideal background for Paolini's cover: a collage portrait of the writer while he was proofreading one of his texts. This image raised one of the major questions which was already addressed twenty years before, when Calvino and Paolini first collaborated: the crisis of authorship and the multiplicity of the self, which Calvino will also stresses in his Six Memos for the Next Millenium. This article tries to explore the specificity, the limits and the legacy of their theory of authorship by analizing the portraits of Giulio Paolini in comparison with Belpoliti's and Calvino's texts.

What is the relation between film and music? This question merits interrogation from a variety of angles, for it is not just a question of film music, but also of film history and musical history and above all of interdisciplinarity. Here the question is examined in the context of selected works by Roland Barthes...

Semiotics is the study of signs, symbols, and communication in people’s lives. This study which analyzes the letter nun in the Arabic Alphabet using Ferdinand de Saussure’s theory of semiotics, “dyadic semiotics” aims to reveal the breadth and depth of the meaning of the letter nun at the beginning of Surah al-Qalam. This study uses a descriptive method with a content analysis study approach, comprising data collection, data processing, and interpretation. The source of data are the Arabic script. The results of the study show that the ontological symbol for the letter nun is a means of teaching the sign through an established paradigm of semiotics to investigate the meaning element of the letter nun, which is the symbol of the Golden Embryo as a form of symbolic interaction throughout the cosmic order to reproduce and fertilize the world’s egg cell which is symbolized by the cup-like element of the letter nun as the “ovary” and the dot of the letter as a symbol of the fusion between the ‘egg cell and sperm cell’ to become the seed of the eternal universe towards the point of perfection of cosmic semiotic regeneration. All cosmic semiotic processes always occur in all life processes such as the semiotic processes that occur through human reproductive organs such as the testes in males and the ovaries in females in every fertilization process of the zygote. Every order of the cosmos, including human beings, originates from the process of two forms of signs, namely, that which can be seen and observed (signifier) and that which is only to be thought about through ideas (signified).

Full Text here: https://scholarhub.ui.ac.id/paradigma/vol12/iss2/

AI images infographics about their underlying datasets. They are data patterns inscribed into pictures, and they reveal aspects of these image-text datasets and the human decisions behind them. Examining AI-generated images as 'infographics' informs a methodology, as described in this paper, for the analysis of these images within a media studies framework of discourse analysis. This paper proposes a methodological framework for analyzing the content of these images, applying tools from media theory to machine learning. Using two case studies, the paper applies an analytical methodology to determine how information patterns manifest through visual representations. This methodology consists of generating a series of images of interest, following Roland Barthes' advice that "what is noted is by definition notable" (BArthes 1977: 89). It then examines this sample of images as a non-linear sequence. The paper offers examples of certain patterns, gaps, absences, strengths, and weaknesses and what they might suggest about the underlying dataset. The methodology considers two frames of intervention for explaining these gaps and distortions: Either the model imposes a restriction (content policies), or else the training data has included or excluded certain images, through conscious or unconscious bias. The hypothesis is then extended to a more randomized sample of images. The method is illustrated by two examples. First, it is applied to images of faces produced by the StyleGAN2 model. Second, it is applied to images of humans kissing created with DALL•e 2. This allows us to compare GAN and Diffusion models, and to test whether the method might be generalizable. The paper draws some conclusions to the hypotheses generated by the method and presents a final comparison to an actual training dataset for StyleGAN2, finding that the hypotheses were accurate.

Le modèle communicationnel de Roman Jakobson est ici mis à l’épreuve de l’exploitation du médium en ligne par certaines œuvres de Net Art, notamment de la première décade (1994-2003). L’observation des changements intervenus dans les fonctions et les instances qu’il avait théorisées témoigne de l’élargissement du potentiel sémiotique exploré dans l’art contemporain, s’ouvrant ainsi à de nouvelles modalités expérientielles. Sans invalider le modèle initial, mais préconisant sa dynamisation, l’étude s’attarde à en saisir les valeurs et l’actualité et, dans une note conclusive, à repenser précisément la notion de contact.

Sebuah slogan yang efektif dan menarik akan meningkatkan brand awareness dan kepercayaan masyarakat terhadap sebuah produk. Buku ini mengupas slogan; mulai dari definisi, fungsi, ciri, dan analisis kebahasaan yang ada pada slogan. Slogan yang dianalisis kebahasaannya diambil dari produk-produk Indonesia yang menggunakan Bahasa Inggris. Melalui buku ini, kami berusaha menjelaskan karakteristik slogan yang berhasil mewakili atau mempromosikan produk atau brand di masyarakat, dan menelaah kenapa dan bagaimana slogan-slogan tersebut efektif dan menarik.

Kami adalah tim penulis dari Grup Riset English for Creative Industries, Program Studi D-3 Bahasa Inggris, Universitas Sebelas Maret, Surakarta yang melakukan observasi terhadap karakteristik bahasa slogan produk Indonesia yang menggunakan bahasa Inggris. Selama penulisan buku ini, kami mengamati slogan berbahasa Inggris yang berasal dari produk kosmetik, makanan & minuman, tembakau, perabotan rumah tangga, peralatan olahraga, produk bayi, gawai, serta alat elektronik.

Buku ini unik karena menggabungkan persepsi pasar mengenai slogan secara alami dan menelaahnya secara kebahasaan. Dengan memahami elemen-elemen kebahasaan dan korelasinya dengan dampak yang dihasilkan, pembaca akan diperkaya dengan pemahaman penggunaan bahasa secara sederhana dan efektif dalam berkomunikasi dengan konsumen melalui slogan. Dengan kata lain, sebuah slogan yang efektif tidak hanya “wow slogan ini dapet banget” tapi juga “oh, ternyata begitu penjelasan kebahasaannya.”

Pelaku bisnis, marketing executives, serta mahasiswa komunikasi, bahasa, atau bisnis dapat menjadikan buku ini sebagai referensi dalam membuat slogan yang efektif.

The author, according to a look at teaching, reconstructs the experience of the magazine «Officina», published in Bologna between 1955 and 1959, proposing two purposes: the first is to highlight the contribution of the magazine to literary criticism and its function as a gymnasium of theoretical elaboration for the authors who collaborated in it; the second is to place its activity in the scenario of the city. The result is an invitation to give the right space, in school teaching to twentieth-century magazines.

The following paper is a revised draft of my lecture that I gave on 28th April 2023 on the occasion of the awarding of the 2023 KAAD Foundation Peter Hünermann Prize at the annual academy of the foundation in Bonn. It is about the idea of participation in a theoretical and practical framework. The investigation is primarily based on the case studies from ancient, medieval and early modern philosophy. Some of the examples also refer to the history and epics of India, Byzantine iconography and the history of Western philosophy. The basic question that I would like to raise in my lecture is: Can one imagine 'participation' in a theoretical-philosophical and ethical framework without a hierarchy or hierarchical structure as a prerequisite? The investigation is based on the aporicity of the idea of participation, as Plato explicates it in his late-middle dialogue 'Parmenides.' The being-in-itself of the universals and particulars as well as their subsequent infinity seem to dismantle the hierarchical order of participation and thereby define participation as participation in the ‘idea of participation’. The treatise also outlines the historical development of the hierarchical order in the early modern epistemology – from Descartes to Kant – and its philosophical-historical consequences, particularly represented in the prevailing epistemic internalism.

Folgende Abhandlung ist ein überarbeiteter Entwurf meines Vortrags, den ich am 28. April 2023 anlässlich der Verleihung des 2023 KAAD-Stiftung Peter-Hünermann-Preises  bei der Jahresakademie der Stiftung in Bonn gehalten habe. Es handelt sich um die Idee der Beteiligung im theoretischen und praktischen Rahmen. Die Untersuchung baut vornehmlich auf Fallstudien aus der Philosophie der Antike, des Mittelalters und der Frühmoderne auf. Einige Exemplare beziehen sich auch auf die Geschichte und Epen Indiens, die byzantinische Ikonographie und die okzidentale Philosophiegeschichte. Die Grundfrage, die ich in meinem Vortrag stellen möchte, ist: Kann man Beteiligung oder Partizipation im theoretisch-philosophischen und im ethischen Rahmen ohne eine Rangordnung oder hierarchische Struktur als Vorbedingung vorstellen? Die Untersuchung geht von der Aporizität der Idee der Beteiligung aus, wie Platon sie in seinem spät-mittleren Dialog 'Parmenides' expliziert. Das An-sich-Sein der Universalien und Partikulare sowie ihre – sich daran anschließende – Unendlichkeit scheinen die hierarchische Ordnung der Beteiligung abzubauen und dabei Beteiligung als Teilhabe an der 'Idee der Beteiligung' zu bestimmen. Die Abhandlung skizziert auch die historische Entwicklung der hierarchischen Ordnung in der frühneuzeitlichen Epistemologie – von Descartes bis Kant – und ihre philosophisch-historischen Konsequenzen, dargestellt besonders in dem vorherrschenden epistemischen Internalismus.

Blend of criminal portrait, surveillance, ambivalence, entertainment, mythology of the gaze, and meaning of the face. On Thursday, August 25, 2023, a mugshot, a criminal portrait, was taken at the Fulton County Jail of former President Donald Trump. It has entered visual culture as a mixture of criminal portraiture, surveillance, ambivalence, entertainment, and mythology of the gaze. Everything is centered around his face as the essential, and this focus and union with the other elements is the subject in the following.

On the occasion of documenta's 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955. From diverse perspectives, the authors engage with questions of how documenta's iterations played a significant role not only in the making of a history of contemporary art but also in the canon of the relatively young field of curatorial and exhibition studies. Focusing on documenta's engagement with artistic and broader cultural developments, as well as its implication in shifting socioeconomic and geopolitical contexts, the texts assembled in this issue touch upon documenta's continuous dedication to instituting and reconfiguring the contemporary throughout its history. Its characteristic dedication to contemporaneity and institutional temporariness have continuously challenged researchers to reflect and revise their methodologies and epistemologi...

This study aims to describe the sexual politics in fiksimini by using feminist critical discourse analysis. This research is a qualitative descriptive study that uses @fiksimini account during January-February 2020 on Twitter as the data source. The research data used is sexual politics discourse contained in literary worksfiksimini which has a total of 267 data with 44 topicsfiksimini. Data collection techniques are conducted by reading and recorded in the data cards. The data collection instrument was the researcher himself (human instrument) using Kate Millett's sexual politics parameters. Data analysis technique in this study used semantic and pragmatic equivalents in analyzing work fiksimini containing sexual politics in fiksimini. The data analysis stage is carried out by the work step of literature research, namely studying libraries related to research objects by reading, taking notes, and interpreting references related to research objects. The results showed that there...

Il presente volume e tutti i contributi sono rilasciati sotto licenza Creative Commons Attribution Share-Alike 4.0 International license (CC-BY-SA 4.0). Ogni altro diritto rimane in capo ai singoli autori. This volume and all contributions are released under the Creative Commons Attribution Share-Alike 4.0 International license (CC-BY-SA 4.0). All other rights retained by the legal owners.

Essa tese procura pensar a construção de um método específico de pensamento em Jacques Rancière, tendo como fio narrativo o que denominamos de cena arqueológica. Partindo do distanciamento em relação ao pensamento de Louis Althusser, passando por uma aproximação crítica em relação ao pensamento de Michel Foucault e de Roland Barthes, traçaremos, por último, um paralelo em relação ao pensamento de Jacques Derrida. Nossa hipótese é a de que a cena arqueológica em Rancière possibilitaria um pensamento que recusa o gesto de remeter todo acontecimento a uma linha causal e a uma instância totalizante que o determinaria, apontando para a necessidade de se pensar a filosofia e a história a partir da contingencialidade e de uma outra temporalidade. O autor propõe uma noção de igualdade – compreendida enquanto gesto performativo – a partir do qual traça uma crítica à ciência marxista proposta por Althusser. Rancière opõe, à ideia de totalidade que ainda persiste na ciência althusseriana e à divisão entre duas humanidades que as essencializa em duas posições políticas e epistemológicas diversas, um outro campo de pensamento que se afasta de certas categorias metafísicas. A aproximação em relação a Foucault e Barthes se dá, portanto, como um gesto que mimetiza a recusa ao pensamento metafísico já operada por esses autores. A partir da construção de algumas cenas em torno dos regimes das artes rancierianos, buscamos perceber como as noções de sujeito e de representação são desconstruídas pelo autor, apontando para um diálogo, de um lado, com o tema da morte do autor e do sujeito e, de outro, com um esgotamento ou dissolução da representação. Os regimes ético e representativo aparecem, assim, respectivamente, como um conjunto de cenas arqueológicas da constituição de uma noção de sujeito e de uma noção de representação que o regime estético e a literatura viriam desconstruir. Com isso, o intuito da pesquisa, ao traçar uma interlocução entre Rancière e os autores de uma geração anterior, é perceber as possibilidades e limites estéticos e políticos de seu pensamento. Trata-se de buscar, nos gestos de desconstrução ou de deslocamento da metafísica e da história causal, a abertura de um campo de possibilidades, bem como apontar os resquícios do pensamento essencializante que impede a ampliação dos campos político e estético.

Partindo da constatação de que as histórias em quadrinhos de super-heróis são consideradas por muitos autores como verdadeiras mitologias modernas, o presente artigo pretende estabelecer a relação entre o modo de operar do pensamento mítico com a criação dessas narrativas, analisando as reflexões de autores em histórias em quadrinhos, sobre seu próprio ofício, a partir do conceito de bricolagem de Lévi-Strauss.