Category: psychology and research.

  • 10DecMore about alter-ego images in the media …

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    I read the blog of Jeff Lieberman and found this campaign for real beauty by Dove and through the comments I also discovered this swedish campain.

    The idea behind the campaign is to make women aware of how altered these images can be and how our vision of beauty can be distorted. The campaign of Dove is pretty clever in bringing us through all the steps of the woman metamorphosis. From makeup & light to digital edition. You can watch the movie here. Photoshop, le meilleur ami de la femme!

    It seems to me that this ad tells us more than just the woman metamorphosis through editing. It also talks about the authority of the consumer. It of course plays an important role on accusing the fetishized repetition of Alter-Ego images in the media.

    For the discussion, I readapted the semiotic identity square from Metz, Christian; “The Imaginary Signifier”, from Apparatus Theory., pp408-439.

    Considering identity made of the self and the others (the mirror), the ego (our internal definition of identity) made of the self and the no-other, the alter ego (fantasy identity) that does not include the self neither the other, and the object (no self, other). The characters presented on these ads are unreal, fictional and the emotional resonance with the viewer cannot be of an identification, because the identities are impossible. However these images represent an alter ego, an alter-identification. An attachment to the image as an Alter Ego. Through these images, individuals try to reconcile the alter ego and identity such as they correspond to the ego. They end up forcing the alter ego image into the mirror, and end up into phenomena such as anorexia, aesthetic surgery and so on.



    Gucci ad used as reference point

    An interesting reference on the subject is the semiotic analysis of high fashion advertising by Alan Rhodes and Rodrigo Zuloago (2003). Here is the .pdf of the paper.

    However, the Dove campaign tells us more. By giving authority to the viewer, it mentions a new area for advertisement . It talks to this naive consumer that has not overcome the manipulation of the media. However is also implies that there is another consumer that has already overcome this manipulation. This campaign tries to satisfy both consumers.

    Hugo Liu has analyzed the passage from being a naive consumer to being the superconsumer, the one that is self-constructed culturally and can freely choose the culture that will fulfill him/her. An idealistic view of the after post-modern area and another paper that makes you feel good of being multicultural… .pdf of the paper.


  • 10DecMore about alter-ego images in the media …

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    I read the blog of Jeff Lieberman and found this campaign for real beauty by Dove and through the comments I also discovered this swedish campain.

    The idea behind the campaign is to make women aware of how altered these images can be and how our vision of beauty can be distorted. The campaign of Dove is pretty clever in bringing us through all the steps of the woman metamorphosis. From makeup & light to digital edition. You can watch the movie here. Photoshop, le meilleur ami de la femme!

    It seems to me that this ad tells us more than just the woman metamorphosis through editing. It also talks about the authority of the consumer. It of course plays an important role on accusing the fetishized repetition of Alter-Ego images in the media.

    For the discussion, I readapted the semiotic identity square from Metz, Christian; “The Imaginary Signifier”, from Apparatus Theory., pp408-439.

    Considering identity made of the self and the others (the mirror), the ego (our internal definition of identity) made of the self and the no-other, the alter ego (fantasy identity) that does not include the self neither the other, and the object (no self, other). The characters presented on these ads are unreal, fictional and the emotional resonance with the viewer cannot be of an identification, because the identities are impossible. However these images represent an alter ego, an alter-identification. An attachment to the image as an Alter Ego. Through these images, individuals try to reconcile the alter ego and identity such as they correspond to the ego. They end up forcing the alter ego image into the mirror, and end up into phenomena such as anorexia, aesthetic surgery and so on.



    Gucci ad used as reference point

    An interesting reference on the subject is the semiotic analysis of high fashion advertising by Alan Rhodes and Rodrigo Zuloago (2003). Here is the .pdf of the paper.

    However, the Dove campaign tells us more. By giving authority to the viewer, it mentions a new area for advertisement . It talks to this naive consumer that has not overcome the manipulation of the media. However is also implies that there is another consumer that has already overcome this manipulation. This campaign tries to satisfy both consumers.

    Hugo Liu has analyzed the passage from being a naive consumer to being the superconsumer, the one that is self-constructed culturally and can freely choose the culture that will fulfill him/her. An idealistic view of the after post-modern area and another paper that makes you feel good of being multicultural… .pdf of the paper.


  • 27NovTransitional objects

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    Filet From the series Hommage au Sol – accesoires de prolongement du corps, objets transitionels de perception

    1989-1994

    Marie-Claire Bevar works with textiles, transforms them, adds all kinds of other materials to them, turns them into objects which has been her passion and necessity since childhood.

    After collaborating both in trade and in theater, she decided to create objects as part of a personal introspection expressing itself through propositions evolving around the theme of the body. Both in Hommage au Sol and in L’Avant-Bras, Le Lien, Le Trait d’Union on one side and in Artextilabo, a laboratory of experimentations.



    Doré

    Hommage au Sol focuses around the foot and its relation to the ground. It includes accessories extending the body, transitory objects of perception, photos, videos and written documentation.



    Venise

    L’Avant-Bras, Le Lien, Le Trait d’Union is a work in progress. First she experimented with materials and techniques proper to the theme. A first series of objects were created, and now the artist is reflecting on them, furthering her research and figuring out how to stage them and present them to the public.

    Chatting with Paulina on transitional objects made me revisit its classical roots. And what a pleasure to re-read Jerome Singer and his wife Dorothy’s -authors of the awesome house of make believe book– fascinating journal paper from which I quote:

    One possible route to the beginnings of the creation of miniaturized virtual realities by the very young may emerge in the course of older babies’ or toddlers’ manifestations of what the psychoanalyst, Winnicott (1971), termed involvement with “transitional objects.” Early on many children become attached to a soft cloth or to some combination of an old crib blanket and a “plush” toy, a cloth bunny rabbit, bear, or lamb. The well-known Peanuts’ cartoons’ youngest character, Linus, carries a worn blanket around all day and clings to it tenaciously. Such behavior generally meets those criteria of play developed in the research of Smith and Vollstedt (1985), nonliteralness and associated positive affect. Actually, one might propose that the tenacity with which children cling to these objects even as they fade in color, shrink or become ragged, may reflect the very beginnings of an experience of autonomy (“my blankie”) and personal ownership, a primordial expression of our nearly universal adult sense of private property upon which whole societies and legal systems are constructed.

    In Singer, Jerome L. & Singer, Dorothy G. (2006). Preschoolers’ imaginative play as precursor of narrative consciousness. Imagination, Cognition and Personality 25 (2):97-117.

    By Architectradure