Humor in Historical Memory: from an Anecdote and Caricature to an Internet Meme

The article is devoted to the study of the role of anecdotes, caricatures and Internet memes in the construction of historical memory. The memory of the past implies emotional content, the expression of which is often humor. The author views an anecdote as a component of oral history and a communication phenomenon of the pre-digital era, in which the representation of ideas about the past was humorous. A historical anecdote, being originally a kind of didactic historiography, has been transformed into a tool for transmitting an informal interpretation of history, and once in the digital media environment, it has lost its former meaning. Mass media, with the help of a caricature representing history in a humorous way, have visualized the images of the past, setting certain evaluative frameworks of historical and political events. Being an element of traditional media as well as a work of art, caricature encouraged the formation of historical memory along with other artistic genres. In the digital age, it, like a historical anecdote, has given way to Internet memes in the media sphere. The author considers Internet memes to be the phenomena of digital culture, defining them as a kind of a polymodal, metaphorical, often ironic, humorous utterance that is spread in the media environment. A historical Internet meme, combining the images of popular culture and collective memory in a visual text format, has a decisive influence on the perception of historical events and personalities by social media audiences. With the help of Internet memes a great number of Internet users create their own versions of the interpretation of history in a humorous form, thus reproducing the collectively shared mythologized ideas about the past.

Script Structures in Modern Audio-Visual Art

Every last detail in a work of art of any scale depends on the correctness of its construction. This study reveals the essence of audio-visual text as an artistic area that develops and operates in the modern media landscape. The problem of determining the structure of the audio-visual script at the present stage of development was one of the most significant issues addressed in this study. The purpose of the study is to explore the main stages of creating a script for an audio-visual work as an intricate complex object that is the result of creative and production activities. The primary research method was the method of analysis, which managed to achieve the goal of discussing the current stages of creating and structuring the script of an audio-visual work. The task of compositional construction of the script for an audio-visual work is to unite its elements into one, giving the future work logic, harmony, and integrity. It was established which modern methods of writing a script are the most effective in practice. It was concluded that the use of modern methods of structuring the script in creating an audio-visual product contributes to its improvement as a work of art. The practical significance of the study is that the methodological basis of creating the script presented in this study can be used to construct any audio-visual product.

“I always place my bet on Red”: Comrade Detective and the Spectre of Communism

The paper analyses the buddy cop TV show Comrade Detective in the light of Jacques Derrida’s Spectres of Marx (1994) to demonstrate how it launches a satiric critique of the American state and diplomatic machinery in the aftermath of the fall of the Second Bloc. I argue that this visual text, released in 2017, addresses three contemporary global concerns—the dominance of the USA in a unipolar world, the neoliberal celebration of consumerism, and finally, the rise of right-wing religious fanaticism—through a satiric recreation of the bygone regime of communist Romania of the 1980s.

Deep Convolutional Sequence Approach Towards Real-Time Intelligent Optical Scanning

Visual text recognition is the most dynamic computer vision application due to its rising demand in several applications like crime scene detection, assisting blind people, digitizing, book scanning, etc. However, numerous research works were executed on static visuals having organized text and on captured video frames in the past. The key objective of this study is to develop the real-time intelligent optical scanner that will extract every sequence of text from high-speed video, noisy visual input, and offline handwritten script. The scientific work has been carried out with the combination of multiple deep learning approaches, namely EAST, CNN, and Bi-LSTM with CTC. The system is trained and tested on four public datasets (i.e., ICDAR 2015, SVT, Synth-Text, IAM-3.0) and measured on the basis of recall, precision, and f-measure. Based on the challenges, performance has been examined under three different categories, and the outcomes are optimistic and encouraging for future advancement.

Multimodal Blog Sentiment Classification Based on MD-HFCE

In recent years, the rapid growth of multimodal information has become an important factor affecting the results of sentiment analysis. However, a few state-of-the-art works take into account the multimodal features and sentiment fuzziness. To this end, a fuzzy method is proposed for assessing sentiment intensity in this paper. Firstly, based on the visual-text conversion network (CNN-LSTM), as well as sentiment optimization through SentiBank and SentiBridge, the visual features are normalized to the text features. At the same time, the emotional features of the extracted audio will be predicted by the random forest algorithm. Subsequently, the sentiment characteristics are processed by dual hesitant fuzzification to form positive and negative sentiment intensity factors. Finally, a classification method, that is, MD-HFCE (multilayer dual hesitant fuzzy comprehensive evaluation), fuzzy comprehensive evaluation method improved by Mamdani fuzzy reasoning, is proposed to realize the multifeature fuzzy sentiment classification based on the comprehensive sentiment dictionary. The classification results are applicable to the topics of sentiment monitoring. The experimental results show that the proposed algorithm can effectively realize feature integration and improve the average sentiment classification accuracy of multimodal blogs to 82.2%.

ANALISIS SEMIOTIKA POS STRUKTURAL PADA FOTO RHEIN II (A POST-STRUCTURAL SEMIOTICS ANALYSIS OF THE PHOTOGRAPH RHEIN II)

<p>Abstract This paper is a study of Andreas Gursky’s photo Rhein II. In this study, the post-structural semiotic analysis method is used to interpret meaning based on signs on the Rhein II. The post-structural semiotic analysis becomes the basis for interpreting meanings using related references. In the study of Rhein II photo objects, visual text analysis is expected to provide positive benefits for the development of photography, especially academically. Rhein II is a photo by Andreas Gursky. In Rhein II’s photograph, a contemporary photo is presented as a multi-reality representation analyzed using the post-structural semiotic method. The object of research is interpreted as a text that has a layer of meaning that is squeezed out of its essence by semiotics. The deconstruction of the signification system in the visual element is identified by reading the structural postal semiotic theory codes: text analysis process, creation process. The results of semiotic extraction produce an interpretive study of Rhein II which is full of meaning.</p><p>Keyword: imagery, photography, semiotica</p><p>Abstrak Makalah ini merupakan kajian dari foto Rhein II karya Andreas Gursky. Dalam kajian ini digunakan metode analisis semiotika post struktural untuk menginterpretasikan makna berdasarkan tanda-tanda pada Rhein. Analisis semiotika post struktural menjadi landasan dalam menginterpretasikan makna-makna dengan menggunakan referensi terkait. analisis teks visual, dalam kajian objek foto Rhein II diharapkan dapat memberikan kebermanfaatan yang positif bagi perkembangan fotografi khususnya secara akademis. Rhein II adalah foto karya Andreas Gursky. Dalam karya Rhein II, sebuah foto kontemporer dihadirkan sebagai representasi multi realitas yang dianalisis menggunakan metode semiotika post struktural. Objek penelitian dimaknai sebagai teks yang memiliki lapisan makna yang terperas esensinya oleh semiotika. Dekonstruksi sistem penandaan dalam elemen visual diidentifikasikan dengan pembacaan kode-kode teori semiotika pos struktural. Proses analisis teks, proses penciptaan. Hasil ekstraksi semiotika menghasilkan kajian interpretatif Rhein II yang sarat makna.</p><p>Kata kunci: citra imaji, fotografi, semiotika</p>

ANALISIS SEMIOTIKA POS STRUKTURAL PADA FOTO RHEIN II A POST-STRUCTURAL SEMITOCS ANALYSIS OF THE PHOTOGRAPH RHEIN II

<p><strong><em>Abstract</em></strong></p><p><em>This paper is a study of Andreas Gursky's photo Rhein II. In this study, the post-structural semiotic analysis method is used to interpret meaning based on signs on the Rhein II. The post-structural semiotic analysis becomes the basis for interpreting meanings using related references. In the study of Rhein II photo objects, visual text analysis is expected to provide positive benefits for the development of photography, especially academically. Rhein II is a photo by Andreas Gursky. In Rhein II's photograph, a contemporary photo is presented as a multi-reality representation analyzed using the post-structural semiotic method.</em></p><p><em>The object of research is interpreted as a text that has a layer of meaning that is squeezed out of its essence by semiotics. The deconstruction of the signification system in the visual element is identified by reading the structural postal semiotic theory codes: text analysis process, creation process. The results of semiotic extraction produce an interpretive study of Rhein II which is full of meaning.</em></p><p><em>Keyword:Imagery, Photography, Semiotica </em></p><p><em> </em></p><p> </p><p><strong>Abstrak</strong></p><p>Makalah ini merupakan kajian dari foto Rhein II karya Andreas Gursky. Dalam kajian ini digunakan metode analisis semiotika post struktural untuk menginterpretasikan makna berdasarkan tanda-tanda pada Rhein. Analisis semiotika post struktural menjadi landasan dalam menginterpretasikan makna-makna dengan menggunakan referensi terkait. analisis teks visual, dalam kajian objek foto Rhein II diharapkan dapat memberikan kebermanfaatan yang positif bagi perkembangan fotografi khususnya secara akademis. Rhein II adalah foto karya Andreas Gursky. Dalam karya Rhein II, sebuah foto kontemporer dihadirkan sebagai representasi multi realitas yang dianalisis menggunakan metode semiotika post struktural.</p><p>Objek penelitian dimaknai sebagai teks yang memiliki lapisan makna yang terperas esensinya oleh semiotika. Dekonstruksi sistem penandaan dalam elemen visual diidentifikasikan dengan pembacaan kode-kode teori semiotika pos struktural. Proses analisis teks, proses penciptaan. Hasil ekstraksi semiotika menghasilkan kajian interpretatif Rhein II yang sarat makna.</p><p> </p><p>Kata kunci : Citra imaji, Fotografi, Semiotika</p>

Indonesia Kris Representation on Virtual YouTuber “Anya Melfissa” Visual Identity

The rapidly evolving motion capture technology has made it possible to solve online identity problems with the medium of moving character design known as Virtual YouTuber. Spontaneous reaction in Livestream media can make fictional character feels real through a virtual avatar. As such, anthropomorphism representation can be used and Anya Melfissa is a Virtual Youtuber whose moe anthropomorphism of Indonesia Keris. However, the visual identity of Indonesia Kris is hard to find by most people and the problem is interesting to study using the theory of semiotics, anthropomorphism, and kris visual identity. The method used to analyze Anya Melfissa’s character design will use visual text analysis to identify its visual elements such as icon, index, and symbol. The results of the analysis show that Anya Melfissa’s character design has a kris visual identity which is at the level of thirdness in Peirce’s semiotics theory. The conclusion obtained from the kris representation in Anya Melfissa’s character design is proven to exist and requires a deeper level of understanding of Indonesian kris itself.

Cultural and Geographical Markers of the City as Objects of Artists’ Attention (On the Example of Vladivostok)

Исследование призвано выявить характерные особенности образов объектов (маркеров), выражающих сущность городского пространства Владивостока. Источниками послужили картины местных художников с изображениями городских пейзажей, а также результаты научных изысканий культурологов, историков искусства, архитекторов и экспертов в области разработки концепций брендирования. Рассмотрены три маркера городского пространства Владивостока, (район Миллионка, Владивостокский фуникулер и Золотой мост). Проанализированы работы художников, в которых эти маркеры получили подтверждение своей значимости, раскрыты художественные нюансы, свойственные их изображению. Установлены общие характеристики образов, в совокупности отражающие позитивный образ города. Определено, что при создании концепции локального или регионального брендирования творчество местных художников может служить важным источником и средством определения узнаваемых образов. The study aims to reveal the characteristic features inherent in the images of objects–markers of Vladivostok’s urban environment depicted in the paintings of local painting masters. The sources were the objects–markers of Vladivostok’s urban environment, a number of paintings depicting them, as well as the results of research on the problems of cultural geography and geocultural branding by Russian culturologists, architects, art historians. The author considers urban space as a visual text, which corresponds to the methodology of a semiotic approach. The latter presupposes the substantiation of communication between various subjects as a process in which various sign systems play a huge role. In this case, not only familiar symbols can act as signs, but also various images, material objects that have a certain meaning. In this study, objects (markers), expressing the essence of urban space, act as signs, and paintings with their images are understood as “mediators” between the sign itself and the recipient (the subject who perceives it). This study helps to find out how much the demand for an urban object as a pictorial image contributes to its definition as a spatial marker. The spatial markers of Vladivostok, which also are often touristically significant places and form the brand of the city (Millionka District, Vladivostok Funicular, and the Golden Bridge), have been studied. The works of artists, in which the significance of these markers is confirmed, have been analyzed; the artistic nuances inherent in the image of a particular object have been revealed; the symbolism and the inner content of artistic images have been determined. Their characteristic features are the focus on creating a certain associative array that appears in the minds of people who perceive a work of art; organic inclusion of objects in the surrounding space; symbolism, often turning into metaphor; and a calm contemplative manner of depiction full of lyrical shades. All these characteristics in their totality reflect the positive image of the city, which has a long and interesting history, and at the same time is forward-looking. The artists’ creative approaches to depicting the objects are different; however, the very choice of these markers indicates a certain commonality in the perception of the cultural code of the city. Based on the results of the study, it can also be concluded that the works of local artists can undoubtedly serve as an important source and means of identifying recognizable images when creating the concept of local or regional branding that is geocultural in nature.