The main thrust of my essay is to discuss the relationship between type and image, as to how they work with each other and looking at cases where they do not work together but actually contradict each other, by the way we interpret them as signs and representations. I will be focussing on looking at Magritte's painting, 'La Trahison des Images', translated as 'The Treachery of Images'.
The methodological approach I will be using to try and read this text and write my essay on will be a Semiotic analysis.
The texts I will be looking at include:
//Berger, J., 1972. Ways of Seeing. London: Penguin.
Discussing the relationship between how what we see and what we know is never settled.
//Chandler, D., 2002. Semiotics. The Basics. 2nd ed. New York: Routledge.
Looking at critical writing on semiotics as a baseline for my investigation, including signifers, the signified, representations, resemblance and similitude.
//Levy, S., 1990. Foucault on Magritte on Resemblance, Modern Language Review Vol. 85, p.50
Foucault and Magritte both talk on representation of Magritte's own image, and see where they agree and disagree on such items.
//Barnard, M. 2005. Graphic Design as Communication. New York: Routledge.
Critical writer discussing his views and the views of some others on image 'The Treachery of Images', as 'This is not a pipe'.
//Foucault, M. 1968. This Is Not A Pipe. Los Angeles: University of California Press
Talking specifically on the image I am concentrating on, discussing what is its resemblance and how we see such items.
Wednesday, 26 January 2011
Sunday, 16 January 2011
LECTURE 5 // HYPERREALITY
HYPERREALITY
Jean baudrillard and hypereality
Father christmas representation as something real - embedded.
Haddon sundblom illustrations from the 1930s
Mexican version of coca cola
'Brand trumps taste' 'we care more about the logo than the actual product' - wired.com
Cognitive illusion of what we think of as the real thing
Jean baudrillard (1929-2007)
French philosopher, critic, social and cultural theorist
Pioneering in semiotics, political economy, post modernism, popular culture and medioa theory
Post Structuralism
-Deleuze
-Barths
-Derrida
-Cixuss
-Foucault
Everything can be read as a text, contextually read
Structuralism - Can we determine the structure under and certain phenomenon. The underlining meaning/structures.
Other key precursors
Guy debord. Marxist
Author of the society of the spectable (1967)
Analyse commodity - relations in the age of the consumer culture
Marx - Developed the critique of political economy
argues capitalism constitutes one kind of mode of production.
Is it socialism?
Is it communism?
In Capitalist society -
- 'all that is solid melts into air, all that is holy is profaned'
Money is an abstraction of value
Ferdinand de Saussure
Linguist and pioneer of semiotics
World of objects with given names. In turn the exchange and movement of letter etc. We can understand objects as a concept, the name is a concept.
PHOTOHPGTOTOOHOTOTPTOHOPPHOTPPHOTOTOTPHOTO
Marcel Mauss
Anthropologist
Georges Bataille
Writings on death, transgression and general economy
'Expenditure without return e.g the potlatch
Marshall Mcluhan
Meida theories and developed distinction between hot and cool
Argued that the medium is the message.
Baudrillard: Keyworks
Simulacra and Simulation (1981)
Theory of simulacra. Intended to represent or stand in for, or in recent history, copies of other copies.
Physical object/ painting of object
Representations of representations.
Keyterm in post modern theory and culture
Desert of the real.
'Reflection of a profound reality' (Body and blood of Christ)
'Masks and denatures a profound reality.
'Has no relation to any reality whatsoever, it is its own pure simulacra.'
DisneyLand
Neither coke or santa are real.
They are profound reality.
German Market
Guardian
-Generic model, hundreds of them
-Flat pack. No orginal model based on representation.
The Loud Family (1970's)
TV is not real - it is hyperreal.
Three orders of Simulacra
-The counterfiet
-Production
-Simulation
Jean baudrillard and hypereality
Father christmas representation as something real - embedded.
Haddon sundblom illustrations from the 1930s
Mexican version of coca cola
'Brand trumps taste' 'we care more about the logo than the actual product' - wired.com
Cognitive illusion of what we think of as the real thing
Jean baudrillard (1929-2007)
French philosopher, critic, social and cultural theorist
Pioneering in semiotics, political economy, post modernism, popular culture and medioa theory
Post Structuralism
-Deleuze
-Barths
-Derrida
-Cixuss
-Foucault
Everything can be read as a text, contextually read
Structuralism - Can we determine the structure under and certain phenomenon. The underlining meaning/structures.
Other key precursors
Guy debord. Marxist
Author of the society of the spectable (1967)
Analyse commodity - relations in the age of the consumer culture
Marx - Developed the critique of political economy
argues capitalism constitutes one kind of mode of production.
Is it socialism?
Is it communism?
In Capitalist society -
- 'all that is solid melts into air, all that is holy is profaned'
Money is an abstraction of value
Ferdinand de Saussure
Linguist and pioneer of semiotics
World of objects with given names. In turn the exchange and movement of letter etc. We can understand objects as a concept, the name is a concept.
PHOTOHPGTOTOOHOTOTPTOHOPPHOTPPHOTOTOTPHOTO
Marcel Mauss
Anthropologist
Georges Bataille
Writings on death, transgression and general economy
'Expenditure without return e.g the potlatch
Marshall Mcluhan
Meida theories and developed distinction between hot and cool
Argued that the medium is the message.
Baudrillard: Keyworks
Simulacra and Simulation (1981)
Theory of simulacra. Intended to represent or stand in for, or in recent history, copies of other copies.
Physical object/ painting of object
Representations of representations.
Keyterm in post modern theory and culture
Desert of the real.
'Reflection of a profound reality' (Body and blood of Christ)
'Masks and denatures a profound reality.
'Has no relation to any reality whatsoever, it is its own pure simulacra.'
DisneyLand
Neither coke or santa are real.
They are profound reality.
German Market
Guardian
-Generic model, hundreds of them
-Flat pack. No orginal model based on representation.
The Loud Family (1970's)
TV is not real - it is hyperreal.
Three orders of Simulacra
-The counterfiet
-Production
-Simulation
LECTURE 4 // COMMUNICATION THEORY
COMMUNICATION THEORY
Laswell's Maxim
'Who says what to whom in what channel with what effect'
-Key quote as designer
Seven
Cybernetic/ Information theory
Semiotics
Phenomenonological
Rhetorical
Socio-Psychological
Socio-Cultural
Critical
1. Cybernatic
- Companies for distribution and networking. Theory using mathematics percentage to understand
The infromation OR Cyerbernatic theory
Worked complex system to see if what work in a world war.
1st formulation - the telephone
3 levels of communication
ONE
Technical - Accuracy. Systems of encoding/ decoding
Always need technology
-Language. Decoding
TWO
Semantic - Percision of language
How to preceive?
How much of the message can be lost without meaning being lost?
THREE
Effectiveness
- Does the message have affect behaviour the way we want it to'
Communications theory is a part of a bigger theory
SYSTEMS THEORY
2. Semiotics.
Semantics - addresses what a sign stands for.
Dictionaries are semantic reference books, what the sign means
Syntactics - The relationship among signs
Pragmatics - Studies how they are pratically used
Semiosphere
What's wrong with semiotics?
Does everything really have a sign?
Medicine - Context of the communication
Language
Trainer - Social group
- Object materialises as signs
Limitations - Doesn't fit, everythibg changes all the time
Semiotics - Highway code
Presumes meanings are clear but we are taught what they mean
3. The Phenomenological
The process of knowing through direct experience. The way humans come to understand the world.
Authentic human relationship
Phenomenology
Heightens and lowers your sense of tension of what is around you. Your awareness. Walking noticing the ground because you have but if you dont just carry on walking.
Rhetoric
About persuasions. Let people know how to listen to you - to sound powerful
Improve memory
Authentic communication
Physical
Type of language
Hyperbole - Push an idea to the limit
Irony -
Rhetoric - Very powerful
Adventurous
World leader/Dictators
Without using it communications is something that is subject to problems
Images need context - Type to be a message
Trained in Rhetoric
The sociopsychological traditions
- Study of the individual as a social being
- Three key areas
Expression, Interaction and Influence
Sociocultural tradition
Define yourself in a group, frames your cultural identity
All about context - Changes
Age can be a massive factor
Critical Communication theory
Idea of power structures
- Panopticon
Feminist studies - The issue of gender
Post colonial theory - The way different areas of the world suffered for being colonies
Laswell's Maxim
'Who says what to whom in what channel with what effect'
-Key quote as designer
Seven
Cybernetic/ Information theory
Semiotics
Phenomenonological
Rhetorical
Socio-Psychological
Socio-Cultural
Critical
1. Cybernatic
- Companies for distribution and networking. Theory using mathematics percentage to understand
The infromation OR Cyerbernatic theory
Worked complex system to see if what work in a world war.
1st formulation - the telephone
3 levels of communication
ONE
Technical - Accuracy. Systems of encoding/ decoding
Always need technology
-Language. Decoding
TWO
Semantic - Percision of language
How to preceive?
How much of the message can be lost without meaning being lost?
THREE
Effectiveness
- Does the message have affect behaviour the way we want it to'
Communications theory is a part of a bigger theory
SYSTEMS THEORY
2. Semiotics.
Semantics - addresses what a sign stands for.
Dictionaries are semantic reference books, what the sign means
Syntactics - The relationship among signs
Pragmatics - Studies how they are pratically used
Semiosphere
What's wrong with semiotics?
Does everything really have a sign?
Medicine - Context of the communication
Language
Trainer - Social group
- Object materialises as signs
Limitations - Doesn't fit, everythibg changes all the time
Semiotics - Highway code
Presumes meanings are clear but we are taught what they mean
3. The Phenomenological
The process of knowing through direct experience. The way humans come to understand the world.
Authentic human relationship
Phenomenology
Heightens and lowers your sense of tension of what is around you. Your awareness. Walking noticing the ground because you have but if you dont just carry on walking.
Rhetoric
About persuasions. Let people know how to listen to you - to sound powerful
Improve memory
Authentic communication
Physical
Type of language
Hyperbole - Push an idea to the limit
Irony -
Rhetoric - Very powerful
Adventurous
World leader/Dictators
Without using it communications is something that is subject to problems
Images need context - Type to be a message
Trained in Rhetoric
The sociopsychological traditions
- Study of the individual as a social being
- Three key areas
Expression, Interaction and Influence
Sociocultural tradition
Define yourself in a group, frames your cultural identity
All about context - Changes
Age can be a massive factor
Critical Communication theory
Idea of power structures
- Panopticon
Feminist studies - The issue of gender
Post colonial theory - The way different areas of the world suffered for being colonies
LECTURE 3 // THE GAZE
THE GAZE
1st and 3rd Person
Theories of power.
SCOPHILLIA, SUTURE, INTRA AND EXTRA DIAGETIC, NARCISSISM.
Physcoanalytical
Panopticon - 'Discourse Analysis'
Physcoanalysis
Mish Mash of phscology (Behaviour)
and Physchiatry (Mental Illness)
Way of thinking, not always about sex.
Laura Mulvey - 'Visual pleasures and narrative cinema'
Hollywood - The gaze shows both powerful and male. Heroes.
SCOPHILLIA
-The pleasure of looking at others as objects.
Babies - Prime example. Instinctive.
Narcissistic Indentification - Identify with a reflective version of ourself.
Jacques Lacan. -Mirror Stage
Ideal ego in image reflected
Childs own body less perfect than reflection.
The more he idetnifies, he loves himself (EGO)
Fantasy world - product of patriarchial,
Quotes on identifcication.
Brad Pitt.
SUTURE
Often forces empathy.
Spectators look through the eys of the actors in the film.
When suture is broken, the viewer realises the power of the gaze.
Intra Diagetic Gaze. See you working as others. 'Le Viol' - 'The Rape'
Allows you to not feel guilty.
Extra Diagetic Gaze.
Directly addresses the viewer. More affective, enhances guilt.
Manet - Invited to be viewed as the artists.
Etant Donnes - Can be translated as 'Being Given'
-Being given the power?
CONCLUSION
Different forms of the Gaze. evoke digestion.
Structures of Power.
1st and 3rd Person
Theories of power.
SCOPHILLIA, SUTURE, INTRA AND EXTRA DIAGETIC, NARCISSISM.
Physcoanalytical
Panopticon - 'Discourse Analysis'
Physcoanalysis
Mish Mash of phscology (Behaviour)
and Physchiatry (Mental Illness)
Way of thinking, not always about sex.
Laura Mulvey - 'Visual pleasures and narrative cinema'
Hollywood - The gaze shows both powerful and male. Heroes.
SCOPHILLIA
-The pleasure of looking at others as objects.
Babies - Prime example. Instinctive.
Narcissistic Indentification - Identify with a reflective version of ourself.
Jacques Lacan. -Mirror Stage
Ideal ego in image reflected
Childs own body less perfect than reflection.
The more he idetnifies, he loves himself (EGO)
Fantasy world - product of patriarchial,
Quotes on identifcication.
Brad Pitt.
SUTURE
Often forces empathy.
Spectators look through the eys of the actors in the film.
When suture is broken, the viewer realises the power of the gaze.
Intra Diagetic Gaze. See you working as others. 'Le Viol' - 'The Rape'
Allows you to not feel guilty.
Extra Diagetic Gaze.
Directly addresses the viewer. More affective, enhances guilt.
Manet - Invited to be viewed as the artists.
Etant Donnes - Can be translated as 'Being Given'
-Being given the power?
CONCLUSION
Different forms of the Gaze. evoke digestion.
Structures of Power.
PORTFOLIO TASK 2. ON POPULAR MUSIC
'On Popular Music' by Theodor Adorno, 1941.
Adorno discusses the difference between serious music and popular music which is marketed for the masses. Popular music simply refers to a less serious type of music, and has been seen as the one fundamental characteristic of popular music to be 'standardization', which 'extends from the most general features to the most specific ones' (Adorno, 1941, p.73). Standardization also refers to how the song or hit will always lead back to the same familiar beat or experience in order to keep the song simple. Nothing fundamentally new or fresh will be introduced.
Discussing Popular music I have decided to concentrate on music video 'What you talking about?' by Redlight ft. Ms Dynamite. The song was produced in 2010 and shows clear indications of being popular music. The song cannot be described as a complicated or serious song, as Adorno mentions other more specific phrases used to discuss the difference between popular and serious music, such as 'lowbrow and highbrow', 'simple and complex' and 'naive and sophisticated'. It is the simplistic reasoning that Adorno states 'position is absolute. Every detail is substitutable', by this Adorno is stating how nothing used in the hit song has been thoughtfully crafted, it fits into what Adorno says is 'pre-digested'. This is 'pseudo-individualization, giving the masses what seems to be a whole free choice and open market but the standardization of songs 'keeps the customers in line by doing the listening for them'. By buying the music feels like it is us as free individuals, but is actually mistaken as it simply marketed to the masses as 'standardized music'.
It is suggested that those who listen to popular music don't understand music as a language in its self, but merely due to the type of people of listen to Redlight ft Ms Dynamite are only listening to it as what it represents in culture, what it means to them. This is in turn is transformed into an idea of the song as what they think is there own, 'which is served as a receptacle for their institutionalized wants', what the sub-culture of the music presents and appears to talk to its audience.
'There are two major socio-phsychological types of mass behaviour toward music', states Adorno, referring to general and popular music, the 'rhythmically obedient' type and the 'emotional' type. 'What you talking about?' conforms to the rhythmically obedient type, focussing on what any piece of music has, the underlying beat of the song. Adorno talks of how being musical is to follow given rhythmical patterns and not to be disturbed by 'individualizing abnormalities. This expresses the viewers individual response to obey to the standardization. This is entirely different from that of a 'emotional' type which 'What you talking about?' clearly isn't, and has no expression of unhappiness of allow of the consumer of music to be allowed to weep due to the music. This song holds no grounds for a deeper level of thinking, to communicate in any sort of thoughtful considerations.
Adorno discusses the difference between serious music and popular music which is marketed for the masses. Popular music simply refers to a less serious type of music, and has been seen as the one fundamental characteristic of popular music to be 'standardization', which 'extends from the most general features to the most specific ones' (Adorno, 1941, p.73). Standardization also refers to how the song or hit will always lead back to the same familiar beat or experience in order to keep the song simple. Nothing fundamentally new or fresh will be introduced.
Discussing Popular music I have decided to concentrate on music video 'What you talking about?' by Redlight ft. Ms Dynamite. The song was produced in 2010 and shows clear indications of being popular music. The song cannot be described as a complicated or serious song, as Adorno mentions other more specific phrases used to discuss the difference between popular and serious music, such as 'lowbrow and highbrow', 'simple and complex' and 'naive and sophisticated'. It is the simplistic reasoning that Adorno states 'position is absolute. Every detail is substitutable', by this Adorno is stating how nothing used in the hit song has been thoughtfully crafted, it fits into what Adorno says is 'pre-digested'. This is 'pseudo-individualization, giving the masses what seems to be a whole free choice and open market but the standardization of songs 'keeps the customers in line by doing the listening for them'. By buying the music feels like it is us as free individuals, but is actually mistaken as it simply marketed to the masses as 'standardized music'.
It is suggested that those who listen to popular music don't understand music as a language in its self, but merely due to the type of people of listen to Redlight ft Ms Dynamite are only listening to it as what it represents in culture, what it means to them. This is in turn is transformed into an idea of the song as what they think is there own, 'which is served as a receptacle for their institutionalized wants', what the sub-culture of the music presents and appears to talk to its audience.
'There are two major socio-phsychological types of mass behaviour toward music', states Adorno, referring to general and popular music, the 'rhythmically obedient' type and the 'emotional' type. 'What you talking about?' conforms to the rhythmically obedient type, focussing on what any piece of music has, the underlying beat of the song. Adorno talks of how being musical is to follow given rhythmical patterns and not to be disturbed by 'individualizing abnormalities. This expresses the viewers individual response to obey to the standardization. This is entirely different from that of a 'emotional' type which 'What you talking about?' clearly isn't, and has no expression of unhappiness of allow of the consumer of music to be allowed to weep due to the music. This song holds no grounds for a deeper level of thinking, to communicate in any sort of thoughtful considerations.
PORTFOLIO TASK 1. PANOPTICISM
An example of Panopticism in contemporary culture using quotes from Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.
Panopticism in contemporary society, we see various applications that could hold panoptic aspects but what I am going to be focussing on is the relationship of discipline in cafe's and coffee shops. The coffee shop in its panoptic form is a fundamental place where, how Foucault puts it "the existence of a whole set of techniques and institutions for measuring, supervising and correcting the abnormal". Once entering you are corrected and become standardised, "to brand him and alter him".
There is a key power relationship between you as a customer and the coffee shop as a controlled area. Upon entering you undergo segregation where immediately you as a customer has to abide by what is seen as normal, the idea of normal put into place by the coffee shop. The customer in order to recieve service has to become subservient to those in the coffee shop, regualting themselves to what could be seen as a docile body, otherwise would not be served or even allowed in the shop. The coffee shop as a controlled area, stays panoptic and constant with the intention to keep order so that it "assures the automatic functioning of power".
Since Bentham designed the infamous Panopticon, panopticism has spread into contemporary culture and self regualting and everyday occurance. The coffee shops however are different to a typical panoptic mechanism in that who is in control. As a customer on arrival, you are not only confronted with those who work in the shop but also other customers, an uncomforatble feeling of being watched, "He is seen, but he does not see; he is the object of information". However this is a relationship that goes in cycles, a customer who is already seated and served has power which over the new customer, but in time the new customer will become as comfortable and seated like previous customers ready to continue the cycle "The first is that of a pure community, the second that of a disciplined society."
Panopticism in contemporary society, we see various applications that could hold panoptic aspects but what I am going to be focussing on is the relationship of discipline in cafe's and coffee shops. The coffee shop in its panoptic form is a fundamental place where, how Foucault puts it "the existence of a whole set of techniques and institutions for measuring, supervising and correcting the abnormal". Once entering you are corrected and become standardised, "to brand him and alter him".
There is a key power relationship between you as a customer and the coffee shop as a controlled area. Upon entering you undergo segregation where immediately you as a customer has to abide by what is seen as normal, the idea of normal put into place by the coffee shop. The customer in order to recieve service has to become subservient to those in the coffee shop, regualting themselves to what could be seen as a docile body, otherwise would not be served or even allowed in the shop. The coffee shop as a controlled area, stays panoptic and constant with the intention to keep order so that it "assures the automatic functioning of power".
Since Bentham designed the infamous Panopticon, panopticism has spread into contemporary culture and self regualting and everyday occurance. The coffee shops however are different to a typical panoptic mechanism in that who is in control. As a customer on arrival, you are not only confronted with those who work in the shop but also other customers, an uncomforatble feeling of being watched, "He is seen, but he does not see; he is the object of information". However this is a relationship that goes in cycles, a customer who is already seated and served has power which over the new customer, but in time the new customer will become as comfortable and seated like previous customers ready to continue the cycle "The first is that of a pure community, the second that of a disciplined society."
Saturday, 15 January 2011
LECTURE 2 // CRITICAL POSITIONS ON THE MEDIA AND POPULAR CULTURE
WHAT IS CULTURE?
"One of the most complicated words in the English language" Raymond Williams
General process of intellectual, spiritual, and aesthetic development of a particular society at a particular time.
A particular way of life.
Works of intellectual and artistic significance
Marx’s Concept of Base/ Superstructure:
BASE
Forces of production - materials, tools, workers, skills etc.
Relations of production - employer, employee, class, master and slave.
SUPERSTRUCTURE
Social institutions - legal, political, cultural.
Forms of consciousness - ideology.
Base determines content and form of Superstructure
Superstructure reflects form and legitimises Base
If you can change the base, you change the superstructure - the way people see the world.
Easy to determine a shift in the base but not in the superstructure.
IDEOLOGY
Definition -
-A system of ideas and beliefs.
-Masking, distortion or selection of ideas, to reinforce power relations through creation of ‘false consciousness’.
Raymond Williams 1983 ‘Keywords”
There are four definitions of the term ‘popular’
1. Well liked by many.
2. Inferior kinds of work.
3. Work deliberately setting out to win, favour with the people.
4. Culture actually made by the people themselves.
Inferior Culture vs Residual Culture.
- Popular press vs. quality press.
- Popular cinema vs. art cinema.
Both are aimed at different classes.
Graffiti culture - for the people by the people. Banksy piece taken from the street and now exhibiting in galleries. Is this then considered to be popular culture?
EP Thompson 1963
‘The making of the English working class’
The working class and the bourgeois are separated both physically, i.e. where they live, obviously the bourgeois are not going to live in the slums with the working class. But also by where they go, go out for dinner etc, and lastly separated by how they are educated.
They cannot afford to be a part of 'high culture'.
Matthew Arnold 1867
‘Culture and Anarchy’
Culture is:
- ‘The best that has been thought and said in the world’
- The study of perfection
- Attained through disinterested reading, writing and thinking.
- The pursuit of culture.
- Anarchy is really what Arnold sees as ‘popular culture’ talks about the working classes as being “Raw and half developed”.
- The upper class were considered to be cultured, whereas the working class were uncultured, should not set their own culture but should strive to be more like the bourgeoisie. Arnold considered it to be the only culture, the right culture for everyone.
Leavisism.
F.R Leavis and Q.D Leavis.
- Still forming repression and common sense attitude to popular culture
-“Mass civilisation and minority culture fiction and the reading public”
- Collapse of the ‘traditional’ culture. Authority comes at the same time as mass democracy (anarchy)
Frankfurt School. Critical theory.
The progress of the school:
• 1923-1933 - Institute of social research.
• 1933-1947 - University of New York Columbia.
• 1949 - University of Frankfurt.
When the Frankfurt school moved to NY they were initially shocked by the fact that this mass/popular culture was everywhere, they were not used to this.
Herbert Marcuse
Theodore Adorno &
Max Horkheimer.
Adorno and Horkheimer were critical thinkers of this mass culture they believed that by it being called a mass culture connotes that it is something that is mass produced, mechanically produced therefore it is all the same.
All of mass culture is identical rise of the TV etc. they defined the ‘culture industry’ two main products homogeneity and predictability, mass culture produces conformity as supposed to anarchy which is just as bad they would argue.
For example gives us an example of modern films, as soon as the film begins you know how it will end, this stops you having to think about the film at all.
Herbert Marcuse says Popular culture or affirmative culture locks you into the status quo and maintains structure that illusion of a one-dimensional thought makes us not want to change the world. Affirms the dominant system when we should be rising against it, we become too comfortable where we are and there is nothing pushing us to change it.
"A false way of looking at the world"
For example the che Guevara t-shirts, by having so many of them around now a days desensitises what he actually did, by wearing one of the t-shirts does not mean anything anymore, it does not mean that you are independent it just means that you are exactly the same as everyone else who owns one of those t-shirts.
Authentic culture vs. Mass Culture
- Qualities of authentic culture
- European - although America was the epitome of mass culture
- Negation.
- Autonomous (Against Marx)
- Active consumption
- A culture that is independent of the structure or system that it was born into.
Adorno ‘On popular music’
-Standardisation -Social Cement
- Produces passivity through ‘rhythmic’ and emotional ‘adjustment’.
- The working class should leave culture to those who understand it i.e. the bourgeoisie. By them trying to be cultural threatens the culture itself.
- Music is used to escape the horrors of the world
Walter Benjamin
‘The work of art in the age of mechanical reproduction’ 1936.
Benjamin took a more positive approach towards the popular or mass culture.
The idea of new technologies was a good thing, shows that society is progressing toward the future. Opening up new possibilities, possibility of working against social repression.
Conclusion
- Somehow culture is civilising. They attack mass culture because it threatens cultural standards.
- Frankfurt school attacks popular culture also depoliticises the working class thus maintaining social authority.
- Popular culture is ideology
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