Marshall McLuhan’s insights on the potential of the media in deeply transforming every area of daily life, are the reference point of the reflection on the new forms taken by the politician in the digital age. Media in the paper are considered as new dispositive useful for building individual and social reality. The emptiness between expressive contents and action, which in the past has been filled by deistic, mythological, religious and ideological figures, is now filled by the media in all their expressions and, in particular, by the imaginaries that come from the interweaving of new and old symbols transfigured by the powerful filter that new technologies constitute.
{"title":"Dei, Ideologie, Media. Per una mediologia del politico","authors":"G. Bovalino","doi":"10.7413/22818138154","DOIUrl":"https://doi.org/10.7413/22818138154","url":null,"abstract":"Marshall McLuhan’s insights on the potential of the media in deeply transforming every area of daily life, are the reference point of the reflection on the new forms taken by the politician in the digital age. Media in the paper are considered as new dispositive useful for building individual and social reality. The emptiness between expressive contents and action, which in the past has been filled by deistic, mythological, religious and ideological figures, is now filled by the media in all their expressions and, in particular, by the imaginaries that come from the interweaving of new and old symbols transfigured by the powerful filter that new technologies constitute.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"245 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116307093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It has been widely proclaimed that U.S.Television is currently experiencing a Golden Age with horror at its vanguard, in part enabled by technological innovations that have seen audiences engage with TV in ever more diverse ways, enabled by the advent of Smart T.V. Meanwhile, television has historically positioned itself as a humble and domesticated medium and yet its increasingly sophisticated channels penetrate into the very heart of the contemporary home. With this in mind, I view Suburban Gothic TV series such as American Horror Story (2011) and Hemlock Grove (2013) through the lens of psychoanalytic concepts such as The Uncanny, considering the extent to which such dramas invoke the dark side of the domestic imaginary which haunts that most cherished of spaces, the home. Why does Gothic Horror continue to engage the imaginations of the contemporary home’s technologically orientated inhabitants? And how has technology helped to drive the resurgence of a genre so firmly rooted in a historical-literary form? These are just some of the questions that this article explores.
{"title":"Dreams, nightmares and haunted houses: televisual horror as domestic imaginary","authors":"R. Griffin","doi":"10.7413/22818138048","DOIUrl":"https://doi.org/10.7413/22818138048","url":null,"abstract":"It has been widely proclaimed that U.S.Television is currently experiencing a Golden Age with horror at its vanguard, in part enabled by technological innovations that have seen audiences engage with TV in ever more diverse ways, enabled by the advent of Smart T.V. Meanwhile, television has historically positioned itself as a humble and domesticated medium and yet its increasingly sophisticated channels penetrate into the very heart of the contemporary home. With this in mind, I view Suburban Gothic TV series such as American Horror Story (2011) and Hemlock Grove (2013) through the lens of psychoanalytic concepts such as The Uncanny, considering the extent to which such dramas invoke the dark side of the domestic imaginary which haunts that most cherished of spaces, the home. Why does Gothic Horror continue to engage the imaginations of the contemporary home’s technologically orientated inhabitants? And how has technology helped to drive the resurgence of a genre so firmly rooted in a historical-literary form? These are just some of the questions that this article explores.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128124666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to the French specialist in sociology of science and collective knowledge, Gerald Bronner, “our worldview can be understood in two ways: knowledge or belief” (2009:21). In other words: Science of Hope, However, when science – privileged domain of objective and rational knowledge – become alarmist (ex. The scaremongering strategies about the global effects of climate change), knowledge can also be tainted by irrationality and belief. That is the case, especially, concerning the Doomsday Clock. In fact, from sociological point of view, instead of reporting objectively and scientifically the threat, the Atomic Scientists, by capturing the pattern of Apocalypse, have allowed a secularization and deconsecration of eschatology. Henceforth, the Apocalypse is not a theological prophecy, but a secular possibility. “The danger is great, but our message is not one of hopelessness” said Kennette Benedict, BAS executive director.
{"title":"The Apocalypse and the scientific imaginary","authors":"B. Vidal","doi":"10.7413/22818138052","DOIUrl":"https://doi.org/10.7413/22818138052","url":null,"abstract":"According to the French specialist in sociology of science and collective knowledge, Gerald Bronner, “our worldview can be understood in two ways: knowledge or belief” (2009:21). In other words: Science of Hope, However, when science – privileged domain of objective and rational knowledge – become alarmist (ex. The scaremongering strategies about the global effects of climate change), knowledge can also be tainted by irrationality and belief. That is the case, especially, concerning the Doomsday Clock. In fact, from sociological point of view, instead of reporting objectively and scientifically the threat, the Atomic Scientists, by capturing the pattern of Apocalypse, have allowed a secularization and deconsecration of eschatology. Henceforth, the Apocalypse is not a theological prophecy, but a secular possibility. “The danger is great, but our message is not one of hopelessness” said Kennette Benedict, BAS executive director.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131682227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Liberating Information: From Big Brother to Big Data. In the early 1980s, the first personal computers went on sale, ushering in the second era of computing. By analysing Apple and IBM adverts of the era, this article proposes a reading of the imaginary of "digital capitalism". At first, I trace a brief genealogy of the concept of information in cybernetic science and neoliberalism; I then approach how these giant tech corporations present themselves as the standard bearers of emancipation from the socio-political structures of modernity, and in turn, the architects of the new space of contemporary capitalism.
{"title":"Liberar la información: del Big Brother al Big Data","authors":"Guillem Serrahima","doi":"10.7413/22818138185","DOIUrl":"https://doi.org/10.7413/22818138185","url":null,"abstract":"Liberating Information: From Big Brother to Big Data. In the early 1980s, the first personal computers went on sale, ushering in the second era of computing. By analysing Apple and IBM adverts of the era, this article proposes a reading of the imaginary of \"digital capitalism\". At first, I trace a brief genealogy of the concept of information in cybernetic science and neoliberalism; I then approach how these giant tech corporations present themselves as the standard bearers of emancipation from the socio-political structures of modernity, and in turn, the architects of the new space of contemporary capitalism.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116457188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With every historical epoch comes a different way of thinking, a different way of seeing, capable of identifying the fundamental elements of a change of paradigm. Any discussion of ‘paradigm’ in relation to the contemporary world must include the development of the digital realm and its technological apparatus, which transform vision and influence how we perceive the world. Central to this development has been the emergence of myriad new forms of communication and a culture of sharing life, which characterize the process of seeing.Technology opens up new horizons in terms of how we expose our presence in the world: via digital photography and video, in every instant of everyday life we are in a position to expose our social world, the fragments of our existence. This cultural effect is not merely a consequence of ways of structuring existence, but also constitutes a change in the way we think about our relationship with the world. Every cultural and technical change brings together a variation of thought and perception, and this represents a basis on which to understand and interrogate the continual mutation of our social imaginary and the process of building, producing and transforming the Real.
{"title":"Visual perception: digital imagination and sensitive experience of the social world","authors":"F. Rocca","doi":"10.7413/22818138046","DOIUrl":"https://doi.org/10.7413/22818138046","url":null,"abstract":"With every historical epoch comes a different way of thinking, a different way of seeing, capable of identifying the fundamental elements of a change of paradigm. Any discussion of ‘paradigm’ in relation to the contemporary world must include the development of the digital realm and its technological apparatus, which transform vision and influence how we perceive the world. Central to this development has been the emergence of myriad new forms of communication and a culture of sharing life, which characterize the process of seeing.Technology opens up new horizons in terms of how we expose our presence in the world: via digital photography and video, in every instant of everyday life we are in a position to expose our social world, the fragments of our existence. This cultural effect is not merely a consequence of ways of structuring existence, but also constitutes a change in the way we think about our relationship with the world. Every cultural and technical change brings together a variation of thought and perception, and this represents a basis on which to understand and interrogate the continual mutation of our social imaginary and the process of building, producing and transforming the Real.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123968030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The link between superheroes and politics is made up of several factors. The historical context of their creation which constitutes a strong base in the imagination that we give to superheroes, the impregnations of values and morals that characterize the characters and the soft-power, recur in the American culture and the willingness to convey a committed message. But then, what understanding can we have of superhero stories, what is the impact of this imagination in the context of political analysis? The objective of this article is to highlight the imagination and the political reality that is conveyed through these characters, evolving jointly with our societies. These different factors make superheroes political tools, developing both with and against the powers that be, they transcribe a panel where each individual can identify.
{"title":"Imaginaire politique et super-héros","authors":"Lolita Graziosi – Broissiat","doi":"10.7413/22818138155","DOIUrl":"https://doi.org/10.7413/22818138155","url":null,"abstract":"The link between superheroes and politics is made up of several factors. The historical context of their creation which constitutes a strong base in the imagination that we give to superheroes, the impregnations of values and morals that characterize the characters and the soft-power, recur in the American culture and the willingness to convey a committed message. But then, what understanding can we have of superhero stories, what is the impact of this imagination in the context of political analysis? The objective of this article is to highlight the imagination and the political reality that is conveyed through these characters, evolving jointly with our societies. These different factors make superheroes political tools, developing both with and against the powers that be, they transcribe a panel where each individual can identify.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115134989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“A device that captures it all”. Susan Sontag and the limits of photographic imaginary. Sontag’s collection of essays On Photography (1977) identifies the photographic gaze as a way of experiencing and defining reality through a controversial mix of fragmentation and desire of totalization, which is typical of capitalistic societies. Different visual languages of the global modernity show that our perception of reality is constructed by giving us an immense amount of visual experience. If post-Fordist culture has reinforced an addictive attitude towards the production-consumption of images, we can nonetheless recognize and empower our capability to assign them unforeseen meanings, for instance through processes of cognitive estrangement. The final part of this article compares Sontag’s perspective on the photographic construction of reality to Mark Fisher’s notion of “capitalist realism”. By doing this, I explore the possibility of a critical kind of photographic conscience, based on the weird effects of experiencing reality through the filter of a camera, which is particularly evident in Diane Arbus’ body of works.
{"title":"“Un congegno che capta ogni cosa”. Susan Sontag e i limiti dell’immaginario fotografico","authors":"Daniele Garritano","doi":"10.7413/22818138184","DOIUrl":"https://doi.org/10.7413/22818138184","url":null,"abstract":"“A device that captures it all”. Susan Sontag and the limits of photographic imaginary. Sontag’s collection of essays On Photography (1977) identifies the photographic gaze as a way of experiencing and defining reality through a controversial mix of fragmentation and desire of totalization, which is typical of capitalistic societies. Different visual languages of the global modernity show that our perception of reality is constructed by giving us an immense amount of visual experience. If post-Fordist culture has reinforced an addictive attitude towards the production-consumption of images, we can nonetheless recognize and empower our capability to assign them unforeseen meanings, for instance through processes of cognitive estrangement. The final part of this article compares Sontag’s perspective on the photographic construction of reality to Mark Fisher’s notion of “capitalist realism”. By doing this, I explore the possibility of a critical kind of photographic conscience, based on the weird effects of experiencing reality through the filter of a camera, which is particularly evident in Diane Arbus’ body of works.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130471896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Il luogo comune dell'immaginario","authors":"Pier Luca Marzo, M. Meo","doi":"10.7413/2281-8138001","DOIUrl":"https://doi.org/10.7413/2281-8138001","url":null,"abstract":"","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126937310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research analyses the imaginaries of Italian Apple fans in social networks communities. Our goal was to understand how users perceive Apple through the images they associate with the brand and its technologies. We chose social networks communities’ activities as a research field because we believe that social networks offer fertile ground for the study of imagery. To query the imaginaries of the fans, we looked at the most shared thematic and stories as well as mental and social representations.We used a composite research methodology – mainly qualitative methods - like the approaches developed in digital ethnography (Kozinets 2010).We also interviewed ten fans.
{"title":"Apple et ses fans: images et récits dans les réseaux sociaux","authors":"Rossella Rega","doi":"10.7413/22818138045","DOIUrl":"https://doi.org/10.7413/22818138045","url":null,"abstract":"This research analyses the imaginaries of Italian Apple fans in social networks communities. Our goal was to understand how users perceive Apple through the images they associate with the brand and its technologies. We chose social networks communities’ activities as a research field because we believe that social networks offer fertile ground for the study of imagery. To query the imaginaries of the fans, we looked at the most shared thematic and stories as well as mental and social representations.We used a composite research methodology – mainly qualitative methods - like the approaches developed in digital ethnography (Kozinets 2010).We also interviewed ten fans.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126548662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When the Emperor is naked: Castoriadis and the capitalist imaginary. In his original elaboration of a “Philosophy of human creation”, the concept of “Social Imaginary” assumes a decisive theoretical meaning for Cornelius Castoriadis. His critical perspective on the Contemporary society, for this reason, is deeply linked to a specific idea of what he called “Capitalist Imaginary”. In order to understand it, it is necessary to underline what he considers at the same time its most dangerous and disturbing aspect and its most apparently invisible one: its intimate totalitarian tendency.
{"title":"Quando l’imperatore è nudo: Castoriadis e l’immaginario capitalista","authors":"Emanuele Profumi","doi":"10.7413/22818138180","DOIUrl":"https://doi.org/10.7413/22818138180","url":null,"abstract":"When the Emperor is naked: Castoriadis and the capitalist imaginary. In his original elaboration of a “Philosophy of human creation”, the concept of “Social Imaginary” assumes a decisive theoretical meaning for Cornelius Castoriadis. His critical perspective on the Contemporary society, for this reason, is deeply linked to a specific idea of what he called “Capitalist Imaginary”. In order to understand it, it is necessary to underline what he considers at the same time its most dangerous and disturbing aspect and its most apparently invisible one: its intimate totalitarian tendency.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130611835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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