scholarly journals Triadic nature of visual image as a basis of visible component representation in communicative space

2020 ◽  
Vol 25 (1) ◽  
pp. 125-135
Author(s):  
N.A. Lukianova ◽  
◽  
Keyword(s):  
Visual Image ◽  
Component Representation ◽  
Communicative Space

Yu.F. Samarin’s Model of the National State: Between Archaic and Modern

2019 ◽  
Vol 54 ◽  
pp. 149-155
Author(s):  
Alexey B. Panchenko
Keyword(s):  
Rural Community ◽  
Fundamental Difference ◽  
The State ◽  
Basic Unit ◽  
National State ◽  
Basic Model ◽  
The Face ◽  
Identical Position ◽  
Ethnocultural Community ◽  
Communicative Space

Yu. F. Samarin’s works are traditionally viewed through the prism of his affiliation with Slavophilism. His view of the state is opposed to the idea of the complex empire based on unequal interaction of the central power with the elite of national districts. At the same time it was important for Samarin to see the nation not as an ethnocultural community, but as classless community of equal citizens, who were in identical position in the face of the emperor. Samarin’s attitude to religion and nationality had pragmatic character and were understood as means for the creation of the uniform communicative space inside the state. This position for the most part conformed with the framework of the national state basic model, however there still existed one fundamental difference. Samarin considered not an individual, but the rural community that owned the land, to be the basic unit of the national state. As the result the model of national state was viewed as the synthesis of modernistic (classlessness, pragmatism, equality) and archaic (communality) features.

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

Analysis of the Complementarity and Clarification Captions Bring to Road Carnage Print Media Images: A Case of The Herald Newspaper

2020 ◽  
Vol 16 (2) ◽  
Author(s):  
Josephat Mutangadura ◽  
J C Mann ◽  
L Odendaal
Keyword(s):  
Print Media ◽  
Visual Image ◽  
Visual Images ◽  
Media Images ◽  
Verbal Form ◽  
The Road ◽  
Communication Activity

Most visuals in media stories either complement or are complemented by captions that accompany them. This study sought to establish the complementary and clarifying effect of captions that go with road carnage images in The Herald newspaper, a local daily published in Zimbabwe. A study was carried out which involved an interview with photo-journalists from the stable and an analysis of three visual images chosen from the publication. It was established that even as a visual, image can stand alone (but not always); it can tell 95 per cent of the story but will only be complete with an accompanying caption. It was also established that captions need not tell the obvious, but provide that which the picture will be lacking to complete the road carnage story. Captions, therefore, help complete the story as regards the when, where, how, who and what of the depiction. The visual image and the caption combine to complete a communication activity as the verbal and non-verbal form of languages. The study recommends that captions should be edited not only by photo-editors and journalists, but also by practising language people.

Using augmented reality for navigation in space. Creating Visual Dictionaries

2020 ◽  
Author(s):  
Aida Khakimova ◽  
Oleg Zolotarev ◽  
Lyudmila Sharapova ◽  
Daler Mirzoev ◽  
Aleksanra Belaya ◽  
...  
Keyword(s):  
Augmented Reality ◽  
Visual Image ◽  
Cultural Codes ◽  
The Subject ◽  
Spatio Temporal ◽  
The City

The image of the city is a spatio-temporal continuum in which everything is interconnected, it exists as a single monolith expressing itself in the general atmosphere. The visual image of the city may contain two planes of meanings: culturally ratified and universally valid, expressed by cultural codes, and also significant only to those who are viewing the image. Therefore, the content of the visual image depends on who the subject of perception is, what he pays attention to and in what situation the process of perception of the image occurs.

On Waxen Wings: Challenges to the Public Sphere in the Network Age

2016 ◽  
Vol 3 (1) ◽  
Author(s):  
Mike Francoeur
Keyword(s):  
Public Sphere ◽  
Public Discourse ◽  
The Internet ◽  
The Public ◽  
Digital Space ◽  
Multiple Viewpoints ◽  
Internet Users ◽  
Economic Production ◽  
The Public Sphere ◽  
Communicative Space

There is a tendency, particularly among Western pundits and technologists, to examine the Internet in almost universally positive terms; this is most evident in any discussion of the medium’s capacity for democratization. While the Internet has produced many great things for society in terms of cultural and economic production, some consideration must be given to the implications that such a revolutionary medium holds for the public sphere. By creating a communicative space that essentially grants everyone his or her own microphone, the Internet is fragmenting public discourse due to the proliferation of opinions and messages and the removal of traditional gatekeepers of information. More significantly, because of the structural qualities of the Internet, users no longer have to expose themselves to opinions and viewpoints that fall outside their own preconceived notions. This limits the robustness of the public sphere by limiting the healthy debate that can only occur when exposed to multiple viewpoints. Ultimately, the Internet is not going anywhere, so it is important to equip the public with the tools and knowledge to be able to navigate the digital space. 

EAST INDIAN AND OTHER DOCKS IN LONDON: IMPERIAL ARCHITECTURE, COLONIAL TRADE AND POSTCOLONIAL MEMORY

2020 ◽  
pp. 190-205
Author(s):  
S. E. Sidorova ◽  
Keyword(s):  
20Th Century ◽  
Industrial Revolution ◽  
Historical Memory ◽  
Visual Image ◽  
East Indian ◽  
Architectural Representation ◽  
The World ◽  
The Status ◽  
Postcolonial History ◽  
The City

The article concentrates on the colonial and postcolonial history, architecture and topography of the southeastern areas of London, where on both banks of the River Thames in the 18th–20th centuries there were located the docks, which became an architectural and engineering response to the rapidly developing trade of England with territories in the Western and Eastern hemispheres of the world. Constructions for various purposes — pools for loading, unloading and repairing ships, piers, shipyards, office and warehouse premises, sites equipped with forges, carpenter’s workshops, shops, canteens, hotels — have radically changed the bank line of the Thames and appearance of the British capital, which has acquired the status of the center of a huge empire. Docks, which by the beginning of the 20th century, occupied an area of 21 hectares, were the seamy side of an imperial-colonial enterprise, a space of hard and routine work that had a specific architectural representation. It was a necessary part of the city intended for the exchange of goods, where the usual ideas about the beauty gave way to considerations of safety, functionality and economy. Not distinguished by architectural grace, chaotically built up, dirty, smoky and fetid, the area was one of the most significant symbols of England during the industrial revolution and colonial rule. The visual image of this greatness was strikingly different from the architectural samples of previous eras, forcing contemporaries to get used to the new industrial aesthetics. Having disappeared in the second half of the 20th century from the city map, they continue to retain a special place in the mental landscape of the city and the historical memory of the townspeople, which is reflected in the chain of museums located in this area that tell the history of English navigation, England’s participation in geographical discoveries, the stages of conquering the world, creating an empire and ways to acquire the wealth of the nation.

FLASH MOB AS A MODERN FORM OF SOCIAL AND POLITICAL PARTICIPATION: ANALYSIS OF TECHNOLOGICAL, MOTIVATIONAL AND IDENTIFICATION FACTORS

2020 ◽  
Vol 15 (5) ◽  
pp. 124-143
Author(s):  
D.I. KAMINCHENKO ◽  
Keyword(s):  
Social Media ◽  
Citizen Participation ◽  
Information Society ◽  
Political Activity ◽  
Political Processes ◽  
Political Events ◽  
Empirical Level ◽  
Mass Participation ◽  
Communicative Space ◽  
Modern Form

Modern digital technologies contribute to the emergence of new forms of social and political activity. One of these forms of participation is flash mob. Flash mobs are able to activate society for mass participation in various political events, which indicates the relevance and necessity of studying flash mobs as a modern form of citizen participation in social and political processes. The purpose of this study is to conduct a comprehensive analysis of the flash mob from the standpoint of the intersection of several factors: technological, identification and motivational. The research methodology at the theoretical level is made up of the theory of the information society and the concept of “network identity”, on the empirical level - the method of sociological survey with the subsequent compilation of contingency tables. As a result of the study, it is established how widespread the practice of participation of active users of social media in various flash mobs is. Based on the data on the most significant opportunities for using social media, an interim conclusion is made about the existing motivational attitudes of the participants in flash mobs. Through the use of several determinants of network identity, a number of its properties are identified and considered, which are manifested in the communicative space of social media. It is established that the factor of participation / non-participation in the flash mob is not decisive in the manifestation of the properties of network identity.

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