Persistent Looking in Times of Crisis. Nicholas Mirzoeff in Conversation with Magda Szcześniak

Mirzoeff, Nicholas; Szcześniak, Magda

doi:10.36854/widok/2015.11.986

Cited by 3 publications

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“…The role and significance of visual culture to social movements has been gaining traction among researchers as well as activists (Memou, 2013), exploring the power of particular images for social movements (Olesen, 2017) and how images help protestors communicate their ideas on social media (McGarry et al, 2019). Mirzoeff (2015) has shown how images are increasingly harnessed by social movements to challenge authorities, specifically by undermining claims by elites, ascribing truth to events and facilitating the articulation of dissent ‘from below’. Social movement studies have generally tended to elevate structural conditions to the detriment of understanding agency and how protestors articulate their demands and identities through protest action.…”

Section: Argumentmentioning

confidence: 99%

Looking for truth in absurdity: Humour as community-building and dissidence against authoritarianism

Korkut

McGarry

Erhart

et al. 2021

International Political Science Review

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What makes humour an honest and a direct communication tool for people? How do social networking and digital media transmit user-generated political and humorous content? Our research argues that the way in which humour is deployed through digital media during protest action allows protestors to assert humanity and sincerity against dehumanising political manipulation frameworks. Humorous content, to this extent, enables and is indicative of independent thinking and creativity. It causes contemplation, confronts the hegemonic power of the oppressor, and challenges fear and apathy. In order to conduct this research, we collected and analysed tweets shared during the Gezi Park protests. Gezi Parkı was chosen as the keyword since it was an unstructured and neutral term. Among millions of visual images shared during the protests, we concentrate on those that depict humour both in photography and video formats.

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Section: Argumentmentioning

confidence: 99%

Looking for truth in absurdity: Humour as community-building and dissidence against authoritarianism

Korkut

McGarry

Erhart

et al. 2021

International Political Science Review

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“…This research, focusing specifically on YouTube videos that have been circulated on Twitter during the Gezi Park protests, forms part of the larger Arts and Humanities Research Council (AHRC)-funded 'Aesthetics of Protest' project which has explored visual protest culture and communication. 2 The protest music video, we argue, draws on already established genres of video activism such as witness documentation (Askanius 2013), rally call, and political remix videos (Conti 2015), which, when combined with a musical soundtrack, communicates across intellectual and emotional registers (Mirzoeff 2015).…”

Section: Introductionmentioning

confidence: 99%

Music Videos as Protest Communication:

Jenzen¹,

Erhart

Eslen‐Ziya

et al. 2019

The Aesthetics of Global Protest

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This chapter explores the relevance of the protest song as political communication in the Internet era. Focusing on the prolific and diverse YouTube music video output of the Gezi Park protest of 2013, we explore how digital technologies and social media offer new opportunities for protest music to be produced and reach new audiences. We argue that the affordances of digital media and Internet platforms such as YouTube play a crucial part in the production, distribution and consumption of protest music. In the music videos, collected from Twitter, activists use a range of aesthetic and rhetorical tools such as various mash-up techniques to challenge mainstream media reporting on the protest, communicate solidarity, and express resistance to dominant political discourse.

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“…In both instances, certain types of representation are broadcast around the globe in order to match (largely Western) societal concerns. As visual culture theorist Nicholas Mirzoeff points out, 'seeing the world is not about how we see but about what we make of what we see' 76.…”

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confidence: 99%

Subversive Submersives

Edwards

2024

FOOTPRINT

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The enormity of the ocean presents as an unusual physical obstacle that complicates claims for spaces being urbanised well beyond the traditional container of the city, such as the focus of this discussion: the Southern Ocean. Though commonly perceived as a pristine wilderness at the end of the earth, the ocean surrounding Antarctica has been imbricated in planetary-scale processes of urbanisation since the late eighteenth century, so the absence of this oceanic volume from twenty-first-century urban debates is troubling. Representations of the Antarctic as remote and disconnected from cities do nothing to contribute to a critical discussion of its ocean volume, technological histories or ongoing colonial settler imaginaries. Instead, attention might turn to codifying what the ocean increasingly contains by way of urban processes and, ultimately, what might be offered by confirming extended forms of urbanisation operating on and, importantly, through the earth. In this article I re-present the Southern Ocean via comparative cartographies and critical image-making to cross-examine what its occlusion signifies for the planetary reach of urbanisation. For underneath the machinery of extraction and exploitation lie significant questions regarding representations of the urban as they manifest outside conventions that overstate ‘the city’ as central to urbanisation.

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Persistent Looking in Times of Crisis. Nicholas Mirzoeff in Conversation with Magda Szcześniak

Abstract: Conversation with Nicholas Mirzoeff revolving around the themes from his latest book "How to See the World" (2015).

Cited by 3 publications

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Looking for truth in absurdity: Humour as community-building and dissidence against authoritarianism

Looking for truth in absurdity: Humour as community-building and dissidence against authoritarianism

Music Videos as Protest Communication:

Subversive Submersives

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