Visual Culture and Islam in Kazakhstan: The Case of Asyl Arna’s Social Media

2016 ◽  
Vol 3 (4) ◽  
pp. 301-329
Author(s):  
Wendell Schwab
Keyword(s):  
Social Media ◽  
Middle Class ◽  
Visual Culture ◽  
Division Of Labor ◽  
Television Channel ◽  
Gendered Division Of Labor ◽  
The Social ◽  
Authority Figures ◽  
Simple Rules ◽  
Media Company

Asyl Arna is the most popular Islamic television channel in Kazakhstan and the dominant Islamic media company in Kazakhstan. This article examines how images on the social media pages of Asyl Arna create a way of understanding and engaging in contemporary Islamic life in Kazakhstan. I examine four kinds of images: lists, portraits of authority figures, illustrations or photos of the Qur’an, and images related to a middle-class life with a strongly gendered division of labor. The visual culture of Asyl Arna’s social media promote Islam as an achievable part of a middle-class lifestyle that can provide simple rules for a pious, economically successful life and a connection to the numinous through the Qur’an.

The return of the social author

2016 ◽  
Vol 24 (2) ◽  
pp. 117-136 ◽  
Author(s):  
Melanie Ramdarshan Bold
Keyword(s):  
Social Media ◽  
Folk Culture ◽  
Reading And Writing ◽  
Writing Practices ◽  
Digital World ◽  
The Social ◽  
Authority Figures ◽  
Traditional Publisher ◽  
New Generation ◽  
And Control

The rise in self-publishing, digital folk culture and social media participation, have revolutionized reading and writing practices. Readers can directly contact their favourite authors, and publishers, through social media and become authors, and publishers, themselves. One of the outcomes of digital reading and writing is that writing is now becoming more democratic: traditional publishers are no longer the sole gatekeepers of culture. The popularity of social writing platform Wattpad is a recent example of how a new generation of influential and innovative writers is entering the publishing arena. This also demonstrates that there is a demand for authorship without the intervention from publishers. Despite this, traditional notions of authorship, ownership and control are prevalent in contemporary publishing hindering the true potential of creativity. The disharmony between the rise of the amateur author and the control of the traditional publisher is confronted in the digital public sphere. Consequently, issues such as authority and influence are mediated during the activities and interactions that take place on social media and other online platforms. Established authority figures, such as famous authors or well-known publishers, that exert authority and influence in the traditional sphere, can shift this authority and influence to the digital world; however, this sphere is also occupied by emerging networks of influencers, such as emerging authors or micro-celebrities, who gain popularity as a result of specific trends, in specific domains, at specific times. This article will examine how new and established authors are using social platforms, and social media, to publish their writing, build communities and extend their dialogue with readers and other writers. A netnographic study of Wattpad will identify which authors are the influencers and innovators in social publishing. Consequently, this article will underscore the increasing importance of social networks and social relationships in 21st century publishing.

scholarly journals A look into the picture-perfect fake life of Amalia Ulman’s Excellences and Perfections

2020 ◽  
Vol 9 (1) ◽  
pp. 76-88
Author(s):  
Manuela Salazar
Keyword(s):  
Social Media ◽  
Drug Abuse ◽  
Los Angeles ◽  
Visual Culture ◽  
Everyday Life ◽  
Main Question ◽  
The Social ◽  
Network Platform ◽  
The Aesthetic ◽  
Visual Network

In 2014, the Spanish artist Amalia Ulman gathered inspiration from the ways of aestheticizing everyday life chosen by Instagram users to develop an elaborate performative photographic series that lasted months and existed firstly only on her personal Instagram feed @amaliaulman. In April of that year, she suddenly started posting iPhone photographs about an apparently trendy life she was living in Los Angeles, California. She started reproducing the style of different Instagram personas while incorporating the usual aesthetic choices of the social media. The narrative constructed by each of the 175 pictures accounted for her life as an artsy girl who firstly moves to LA after apparently breaking up with a boyfriend, starting work as an escort, having cosmetic plastic surgery and drug abuse issues, followed by time in rehab, and finally posts about recovery, and healthy and fitness habits. The attention to the details of what she wrote and exhibited was what probably made the almost 90 thousand subscribers she gathered along the 5 months of the performance very surprised when she finally announced it was all part of an art work entitled Excellences and Perfections. This fictional life of Amalia Ulman was thoroughly calculated to appear believable to an audience already accustomed to aesthetics of this social media visual culture by reproducing certain patterns of pictures, captions, use of hashtags and interactions with followers. This paper will analyse the performance via the Instagram archive as well as the recently published book Excellences and Perfections. (2018), discussing the ways that it deals aesthetically with questions of identity, gender, class, sexuality and “lifestyle porn” in a visual network platform. The main question to be discussed is: how did the aesthetic choices of this performance made a fake story so convincing?

scholarly journals Simulakra Baudrillard dalam Multidimensi Posmodernisme: Kajian Fotografi Makanan dalam Media Sosial Instagram

2018 ◽  
Vol 13 (2) ◽  
pp. 85
Author(s):  
Adya Arsita
Keyword(s):  
Social Media ◽  
Visual Culture ◽  
Everyday Life ◽  
Communication Technology ◽  
17Th Century ◽  
Daily Basis ◽  
Primary Function ◽  
The Social ◽  
Home Cooking ◽  
Tv Shows

Makanan kini dipandang dengan sudut pandang yang berbeda, karena ia tak lagi sekedar kebutuhan pokok, tetapi telah dimaknai jauh dari fungsi utamanya.  Telah sekian lama makanan menjadi simbol kemakmuran orang yang berpunya sejak dari abad ke-16 dan ke-17 yang ditunjukkan dalam lukisan-lukisan di masa itu, yang kini kemudian meraih masa gemilangnya melalui berbagai tayangan di televisi, majalah, dan buku-buku masakan.  Makanan tidak lagi sekedar apa yang dimakan, tetapi menjadi sesuatu yang dipamerkan dan berkembang menjadi gaya hidup.  Seiring dengan berkembangnya teknologi komunikasi, orang cenderung mengumbar kegemarannya akan makanan melalui berbagai media sosial, salah satu yang terkenal yaitu Instagram.  Visualisasi makanan telah diekspos sedemikian rupa dari menu rumahan yang sederhana hingga makanan kelas atas yang biasanya tersaji di restoran mewah.Tulisan ini membahas banyaknya foto-foto makanan yang diunggah ke dalam berbagai akun Instagram dan kemudian akan dicoba untuk menemukan bagaimana unggahan tersebut mempengaruhi keseharian kita.  Metode yang digunakan adalah mengaitkan teori simulakra dari Baudrillard dengan pendekatan multidimensi posmodernisme.  Akun Instagram dipilih secara acak berdasarkan tampilan enam frame pertamanya yang menampilkan foto-foto makanan, yang kemudian foto-foto tersebut dianalisis menggunakan kajian simulakra dari Baudrillard. Hasil temuan dari analisis menunjukkan bahwa orang tidak lagi mengonsumsi sesuatu (makanan) sesuai fungsinya, tanpa disadari mereka telah mengonsumsi sebuah tanda yang akhirnya akan meletakkan mereka ke dalam hirarki, kelompok, dan kelas dengan kemampuan mengonsumsi yang sama.  Instagram merupakan salah satu media sosial yang menggunakan foto sebagai instrumen untuk berkembangnya budaya visual yang makin memperkuat berlangsungnya simulakra dalam keseharian, yang memisahkan objek dari apa yang seharusnya direpresentasikannya hingga ke ambang batas nihilisme dan orang tidak bisa lagi mengenali apa yang sesungguhnya mereka apresiasi. Food has been seen in different views nowadays, it is not merely one of the staples, but it has gone far beyond its primary function.  Food has long been a symbol of prosperity of the haves since the 16th  until the 17th century through paintings, which later these days regains its triumph in the abundant TV shows, magazines and cook books.  Food is no longer what we eat, but it is something to show off and lately it has become a lifestyle.  Along with the advanced communication technology, people tend to flaunt their food fetish through various social media, one that has become so popular is Instagram.  The visuality of food has been vividly exposed from simple home cooking   menu to high-end foods such those served in fine dining restaurants.   This article tries to analyze the massive photographs of food uploaded in several random accounts of Instagram, and then to find out to what extent they influence our everyday life.  The method employed is Baudrillard’s simulacra with a hint of approach of multidimensional postmodernism.  Random accounts of Instagram were chosen based on their first six frames or feeds all exposing food,  then those photographs were elaborated and analyzed using Baudrillard’s simulacra.          The findings show that people no longer consume something (food) as it is, but they have consumed ‘signs’ or the prestige symbols embedded in that object.  The act of consuming signs will finally put them in certain hierarchy, groups, and classes with the same interest and ability to consume the same sign in the same way.  Instagram as one  of the social media using the photograph as the instrument in blossoming the visual culture strengthens the simulacra that happens in daily basis, that it seems separating the object from what it should represent until it fades to nihilism and people can hardly recognize what they really appreciate.

scholarly journals “I think it is [the] mother who keeps things going”: The gendered division of labor in the transmission of memory of the Armenian Genocide

2021 ◽  
pp. 175069802098875
Author(s):  
Öndercan Muti ◽  
Öykü Gürpınar
Keyword(s):  
Social Construction ◽  
Collective Memory ◽  
Division Of Labor ◽  
Power Relations ◽  
Armenian Genocide ◽  
Men And Women ◽  
Gendered Division Of Labor ◽  
The Social ◽  
Gender Influences ◽  
Memory Transmission

In this paper, we discuss what role gender plays in remembering, transmitting, and reframing memories of the Armenian Genocide in order to address the question of how young Armenian women negotiate their roles in this process. Centering the societal roles of memory transmission, we employ the specific sociological lens of gender to analyze 26 interviews conducted in Beirut during the week of the official commemorations of the Armenian Genocide in 2016. We define gender as the social construction of a stylized repetition of acts that reflect power relations. Accordingly, the examination of these power relations is necessary not only to understand the experiences and testimonies of men and women, but also the transmission of memory. While understanding Armenian youth as agents of the collective memory, gender allows us to discuss different patterns of remembrance and transmission. We therefore argue that gender influences how individuals remember the Armenian Genocide, as it underpins the (historically) assigned roles of memory and transmission.

When Twitter Got #woke : Black Lives Matter, DeRay McKesson, Twitter, and the Appropriation of the Aesthetics of Protest

2019 ◽  
Author(s):  
Farida Vis ◽  
Simon Faulkner ◽  
Safiya Umoja Noble ◽  
Hannah Guy
Keyword(s):  
United States ◽  
Social Media ◽  
Focal Point ◽  
The United States ◽  
Photographic Image ◽  
Black Lives Matter ◽  
Starting Point ◽  
The Social ◽  
Media Company

This chapter takes as its focal point a press photograph of the arrest of DeRay McKesson, a prominent black figure associated with the Black Lives Matter (BLM) movement in the United States. In the photograph, McKesson is shown wearing a T-shirt, produced by the social media company Twitter, that bears the hashtag #StayWoke. This photographic image is examined by deploying an ‘anatomy of an image’ approach, defined by two qualitative modes of analysis. First, looking at the use of the photograph in the mainstream online press as well as selectively on Twitter; second, by treating the image and, in particular, the T-shirt McKesson wears as a starting point for a discussion of relationships between BLM, McKesson, and Twitter.

Revolutionen und Revolten in Nordafrika revisited

2017 ◽  
Vol 47 (189) ◽  
Author(s):  
Tanja Scheiterbauer
Keyword(s):  
Social Media ◽  
Middle Class ◽  
North Africa ◽  
Rural Areas ◽  
Urban Centers ◽  
The Social ◽  
Economic Background ◽  
Before And After ◽  
Western Media

The article analyses the revolts in North Africa, namely Tunisia and Egypt. It contradicts the thesis, which is spread above all by the western media, that this is a “Facebook revolution”, which is supported by urban youths of the middle class, who knew how to use the possibilities of new social media. Rather, it deals with the economic background and shows that the connection between the protests in urban centers and those in structurally marginalized rural areas needs to be investigated. The thesis: Without the processes of valorization of land and water, the social struggles before and after the revolts in North Africa in 2011 cannot be understood.

scholarly journals TAFSIR KESALEHAN SOSIAL BAGI ANGGOTA KOMUNITAS HIJRAH TERANG JAKARTA DAN SHIFT BANDUNG

2021 ◽  
Vol 15 (2) ◽  
pp. 272
Author(s):  
Didid Haryadi ◽  
Aris Munandar
Keyword(s):  
Social Media ◽  
Middle Class ◽  
Symbolic Interactionism ◽  
Qualitative Approach ◽  
Social Activities ◽  
Regeneration System ◽  
Community Members ◽  
The Social ◽  
Big Cities ◽  
Islamic Values

Individual piety is a personal achievement in the rituals of human worship. However, its manifestations can affected the social piety of the worshipper, such as tolerance towards people of other religions, caring for the environment, and loving the country. 'Terang Jakarta' and 'Shift Bandung' communities are representations of the hijrah movement in Indonesia, which seeks to realize social piety among its members. The Middle-class youths in various big cities across the country, who experienced a dark life, are active actors of this Hijrah community. This paper aims to analyze the meaning of social piety for the members of both communities, as a part of religious cosmopolitanism and the strengthening of the Hijrah movements in Indonesia. This study used a qualitative approach and Herbert Mead's Symbolic Interactionism theory. The research found that the formation of the meaning of social piety for the members of both communities was carried out by the administrators through the same pattern, namely emphasizing the redefinition of social piety through the distribution of Islamic values that resulted from collective study among them. This process is implemented through massive dissemination of ideas on social media and through a layered regeneration system. The manifestation of social piety is embodied in the understanding of community members about social guidelines, such as love for the country, tolerance, and being involved in social activities in society.Kesalehan individual adalah pencapaian yang bersifat pribadi dalam ritus ibadah manusia. Manifestasinya dapat membentuk kesalehan sosial, seperti sikap toleransi terhadap umat beragama lain, peduli terhadap lingkungan, dan mencintai tanah air. Komunitas ‘Terang Jakarta’ dan ‘Shift Bandung’ merupakan representasi dari gerakan hijrah di Indonesia yang berupaya untuk mewujudkan kesalehan sosial tersebut pada anggota-anggotanya. Anak-anak muda kelas menengah di kota besar dengan pengalaman hidup yang kelam merupakan para pelaku aktif yang terlibat secara langsung dalam komunitas hijrah ini. Tulisan ini bertujuan untuk menganalisis tafsir kesalehan sosial oleh anggota kedua komunitas tersebut, sebagai salah satu bagian dari kosmopolitanisme beragama dan menguatnya gerakan hijrah di Indonesia. Penelitian ini menggunakan pendekatan kualitatif dan teori Interaksionisme Simbolik Herbert Mead. Hasil riset menemukan bahwa pembentukan ‘tafsir’ kesalehan sosial terhadap anggota kedua komunitas ini dilakukan oleh pengurus melalui pola yang sama, yaitu menekankan pemaknaan ulang kesalehan sosial melalui distribusi nilai Islam yang dipelajari secara kolektif. Proses ini dilakukan melalui penyebaran gagasan secara massif di media sosial dan melalui sistem kaderisasi berlapis. Adapun bentuk manifestasi kesalehan sosial tersebut terwujud dalam pemahaman anggota komunitas tentang pedoman bermasyarakat, seperti cinta tanah air, toleransi, dan terlibat dalam kegiatan sosial di masyarakat.

scholarly journals NETIZEN DALAM KAMPANYE PILPRES RI 2014

2018 ◽  
Vol 7 (1) ◽  
pp. 16
Author(s):  
Muna Yastuti Madrah ◽  
Mubarok Mubarok
Keyword(s):  
Social Media ◽  
Middle Class ◽  
Political Communication ◽  
Vice President ◽  
Communication Strategy ◽  
Thick Description ◽  
Campaign Strategy ◽  
The Social ◽  
Cyber Space

The efforts to involve netizens in disseminating information about the candidates of president and vice president became a significant campaign strategy in the Indonesian’s president election 2014, especially for the beginners and middle-class voters. It is to confirm that the country with experienced a long period of authoritarianism tends to begin the political consciousness by rising awareness in which the community has turned into an active community and full of ideals. The middle class is the appropriate target for political campaign in social media, because of their highly movement in the cyber space. The other reason the new voter (beginners) are also targeted in the social media campaign during the Indonesia’s president election because their frequent access to social media. By using thick description of qualitative methods, the study illustrates how Indonesians netizens play a role in political communication strategy in social media during the campaign period. The future of Indonesia democracy should consider the role of netizens in order to develop ideal political communication strategy.   

scholarly journals BUDAYA SELFIE MASYARAKAT URBAN Kajian Estetika Fotografi, Cyber Culture, dan Semiotika Visual

2018 ◽  
Vol 14 (1) ◽  
pp. 67
Author(s):  
Idealita Ismanto
Keyword(s):  
Social Media ◽  
Visual Culture ◽  
Urban Society ◽  
Social Changes ◽  
Reduction Step ◽  
Visual Semiotics ◽  
The Social ◽  
Cyber Culture ◽  
The Aesthetic ◽  
The Right

Penelitian ini membahas eksistensi individu yang dikonstruksi berdasarkan budaya visual. Selfie dan media sosial pada budaya visual sebagai wujud eksistensi merupakan kata yang tepat untuk menyikapiperkembangan eksistensi masyarakat. Persoalan yang diangkat membahas bagaimana budaya selfie dapat terjadi pada masyarakat urban, mengkaji budaya selfie melalui kajian estetika fotografi, cyberculture, dan semiotika visual serta perubahan sosial yang terjadi dalam masyarakat urban. Metode yang digunakan adalahobservasi dan wawancara. Kegiatan analisis data dimulai dari tahap pengumpulan data, tahap reduksi, tahap penyajian data, serta tahap penarikan kesimpulan dengan penelitian kualitatif. Dapat disimpulkan bahwa praktik baru dalam cyberculture dan budaya visual yakni selfie, media sosial sebagai ranah eksistensi, masyarakat menjadikan selfie sebagai eksistensi diri yang narsisme. Masyarakat saling beradu eksistensi dengan media sosial yang berobjekkan wisata dan kesenian. AbstractSelfie Culture of Urban Society (Study of the Aesthetic of Photography, Cyberculture, and Visual Semiotics). This research discusses the existence of individuals constructed based on visual culture. Selfie and social media in the visual culture as a form of existence is the right word to address the development of society’s existence. The issues raised would discuss how the selfie culture can occur in the urban society, how the study of selfie culture through the aesthetic of photography, cyberculture studies, and the visual semiotics and also the social changes that occur in the urban societies. The method employed was observation and interview. The data analysis activities were started from the data collection step, the reduction step, the data presentation step, and the conclusion with qualitative research. It can be concluded that the new practice in cyberculture and visual culture, which is selfie, in the social media as the realm of existence, society makes selfie as the existence of narcissistic self. Communities collide with the existence of social media consisting touristy tourists’ attraction and arts.

Knowledge Contribution in Organizations via Social Media

2017 ◽  
Vol 16 (1) ◽  
pp. 12-24 ◽  
Author(s):  
Nicole Behringer ◽  
Kai Sassenberg ◽  
Annika Scholl
Keyword(s):  
Social Media ◽  
Social Identity ◽  
Social Identity Theory ◽  
Knowledge Exchange ◽  
Expectancy Theory ◽  
Perceived Usefulness ◽  
Abstract Knowledge ◽  
The Social ◽  
Willingness To Contribute ◽  
Social Media Tool

Abstract. Knowledge exchange via social media is crucial for organizational success. Yet, many employees only read others’ contributions without actively contributing their knowledge. We thus examined predictors of the willingness to contribute knowledge. Applying social identity theory and expectancy theory to knowledge exchange, we investigated the interplay of users’ identification with their organization and perceived usefulness of a social media tool. In two studies, identification facilitated users’ willingness to contribute knowledge – provided that the social media tool seemed useful (vs. not-useful). Interestingly, identification also raised the importance of acquiring knowledge collectively, which could in turn compensate for low usefulness of the tool. Hence, considering both social and media factors is crucial to enhance employees’ willingness to share knowledge via social media.

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