The Cultural Logic of Photo-Based Meme Genres

2014 ◽  
Vol 13 (3) ◽  
pp. 340-358 ◽  
Author(s):  
Limor Shifman

This article probes the cultural meaning of contemporary meme genres that are based on photographs. The analysis looks into the broad dimensions of truth and temporality, as expressed in three prominent genres: reaction Photoshops, stock character macros, and photo fads. Based on patterns shared by these genres, it is argued that photo-based memes function as both modes of hypersignification, wherein the code itself becomes the focus of attention, and as prospective photography, wherein photos are increasingly perceived as the raw material for future images. Finally, combining the two frames, memes are conceptualized as operative signs – textual categories that are designed as invitations for (creative) action. While these three qualities were also evident, in one way or another, in traditional forms of photography, they have emerged as governing logics in an era marked by an amalgamation of digital photography and participatory culture.

Author(s):  
Sara Kopelman ◽  
Paul Frosh

This paper examines potential changes in the temporal experience of everyday digital media through the smartphone photo album. Smartphone photo albums not only organize and display domestic photographs but also initiate temporally novel photographic formats: for instance, the images taken by users can be used as raw material in the production of new kinds of ‘moving’ or ‘animated’ photographic products, usually formatted as GIF files and characterized by looped time. While the character of these products and the processes of their creation vary across operating systems, both Google’s and Apple’s systems radically disrupt the conventional assumptions of photography theory regarding photography’s relations with time. Pre-digital photography theory postulated a key distinction between a photograph and a movie or video: the photograph is static; the movie is characterized by temporal progression. In contrast, the GIF presents a shift from linear temporality to looped, cyclical time, promoting a present tense made visible not through instantaneous capture (photography) or sequential unfolding (film and video), but through continual recurrence. It eliminates the linearity of past-present-future because of its perpetual looped temporality, constituting a hybrid between photographic still and film or video. As a result, the repetitive movement of the GIF constructs a generalized impression of an event as an $2 , rather than the structured narrative of an event as a temporal unfolding. The emergence of the GIF in the smartphone album thus signals the rise of a new structure of memory and temporal experience in everyday mediated life.


2001 ◽  
Vol 60 (1) ◽  
pp. 11-14 ◽  
Author(s):  
Lucia Savadori ◽  
Eraldo Nicotra ◽  
Rino Rumiati ◽  
Roberto Tamborini

The content and structure of mental representation of economic crises were studied and the flexibility of the structure in different social contexts was tested. Italian and Swiss samples (Total N = 98) were compared with respect to their judgments as to how a series of concrete examples of events representing abstract indicators were relevant symptoms of economic crisis. Mental representations were derived using a cluster procedure. Results showed that the relevance of the indicators varied as a function of national context. The growth of unemployment was judged to be by far the most important symptom of an economic crisis but the Swiss sample judged bankruptcies as more symptomatic than Italians who considered inflation, raw material prices and external accounts to be more relevant. A different clustering structure was found for the two samples: the locations of unemployment and gross domestic production indicators were the main differences in representations.


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