Media - a voice for millions: February 2011

Tuesday, February 8, 2011

Creative Expression

Graffiti has become a worldwide trend, which is steadily increasing in popularity. We can see that this is growing tendency occurring in the region of Greater Vancouver. Graffiti has been linked to individual or group/gang related forms of expression. The world of graffiti has been looked upon through several negative connotations due to the marking or painting of property – usually without the owners consent. One of the most popular sites that one can see graffiti is on the way to Granville Island, on the south foot of Anderson Street at West 4^th Avenue, there is a mural where several graffiti artist go to present their skills. Through several experiences on my way to Granville Island, I have gone passed these murals and have been astonished at the work of those certain individuals. Last week there were two different illustrations of Graffiti art (see this below). Both of these pieces were very different however, shared one great similarity, they both had some reference to Vancouver culture. Through the pictures I have demonstrated and the idea of graffiti, I would like to concentrate on the theme of creative expression.

Interestingly, both of the illustrations were ‘tagged’ demonstrating the members of the graffitists. “This graffiti style uses a signature or logo (sometimes stylized and called a ‘tag’) that is unique to an individual graffiti writer or ‘taggers,’ experienced graffitist within the subculture could identify and credit work. “ (Powers, Lynn. pg 137) The first graffiti is a ‘Haidagwaii’ design in which it is portraying a raven. (://vancouver.ca/engsvcs/streets/graffiti/ ) This is a common native aboriginal animal and is seen throughout aboriginal culture. The second graffiti is a located on the other side of the mural and it is an illustration of Greater Vancouver- highlighting certain characteristics of Vancouver. (Displayed in the picture is, downtown Vancouver, the mountains and water surrounding the city, Granville islands- including Emily Carr, steam works and more, and the major bridges in the city including the Lion Gate Bridge)

Two of these pieces were designed in a way to demonstrate their artistry, an expression to their imagination and voice within their graffiti. This can be seen as a form of collective conscious portraying a several messages in reflection of the artist works. “What we call expressive graffiti, then, may not be a direct reflection of the dominant community value-system at all,” (Gonos, George.pg 42) but an expressive form of creativity on the individual’s behalf. There can be many understandings from the portrayal of the work of graffiti. The anonymity of graffiti allows one to become part of today’s mainstream pop-culture, however, in addressing their values, beliefs, concerns etc. “The anonymity afforded the graffitist allows the opportunity to use language, and present beliefs and sentiments, which are not acceptable in ordinary life.” (Gonos, George.pg 42) This grants graffiti artists a place or a sense of niche that provides freedom within their own society, enabling artist to freely express their creativity and message through their illustrations.

The representation of graffiti can be in a sense looked upon like a statement of what one is attempting to communicate. After looking into the graffiti world in Vancouver, I came across a Georgia Straight article indicating that this mural was part of ‘The Restart Program.’ This program was to allow graffiti artists to create a large-scale mural in public areas but expressing themselves without vandalizing private property. (http://www.straight.com/article-324713/vancouver/graffiti-gone-wild?page=0%2C0) ‘The Restart Program,’ originated for kids with bad vandalism records, it gave graffitists a second chance of expression through the guidance and management of a public art programmer. Such programs are funded by the City of Vancouver, promoting the self-expression that is felt through graffiti but keeping them out of future punishable crimes. “We can build a relationship with these youths, build trust with them, give them an opportunity to share their experiences, share their perspectives on graffiti, to speak openly in a safe environment,” Copeland said, “and then, at the same time, hear the perspectives of other people in their community.” (Same site as above) Other examples of the ‘The Restart Program,’ are seen on Beatty Street, which have painted over anti-Olympic slogans. This form of ‘tagging’ that are demonstrated through these graffiti artist (through the picture above) represent their positive transformation of anti-vandalism, yet, still illustrating their love for graffiti. This form of pop-culture has generated a wide range of new artist to maintain this trend. Putting forth their collective experience and ideology through the art of graffiti is their own creative form of expression.

Sources:

Brown, W. K. "Graffiti, Identity and the Delinquent Gang." International Journal of Offender Therapy and Comparative Criminology 22.1 (1978): 46-48. NCJRS Abstract-National Criminal Justice Reference. NCJRS. Web. <http://www.ncjrs.gov/App/Publications/abstract.aspx?ID=149159>.

Gonos, George, Virginia Mulkern, and Nicholas Poushinsky. "Anonymous Expression: A Structural View of Graffiti." The Journal of American Folklore Society 89 (1976): 40-48. JSTOR: American Folklore Society. JSTOR. Web. <http://www.jstor.org/pss/539545>.

Lachmann, Richard. "Graffiti as Career and Ideology." American Journal of Sociology 94.2 (1988): 229-50. American Journal of Sociology. JSTOR. Web. <http://www.jstor.org/stable/2780774>.

Monday, February 7, 2011

The Effect of the Modern Ease of Reproduction on the Value of Original Art

Even through people’s lifestyles may not be changing very quickly, media, such as the internet, are having profound new effects on peoples’ imaginations. From man-made artifacts to replicas, in “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin asks an intriguing question: “When does a unique work of art become a reproduction?” Benjamin illustrates how the ‘developmental tendencies of art under the present conditions of production’, are driven by the mechanical means of reproduction. In other words, the new relative ease of reproducing art and music is changing the nature of art itself.

In his work, Benjamin emphasizes the uniqueness of an original work of art. He refers to an artwork as having an aura, and emphasizes the ‘nautral-ness’ of its features and history. He goes on to mention that, when it is reproduced, an art work loses its aura: “In principle a work of art has always been reproducible” (Benjamin, page 1). However, the reproduction of a work of art is limited in the sense that it will not replicate the original essence of the original work (by essence, I mean its uniqueness and place in history). On the other hand, Walter Benjamin discusses the fact that, over time, as technology improves, the relationship between an original work of art and its reproductions might also improve. This can be seen in the example of the “Jai Ho” videos on YouTube. After the movie Slum dog Millionaire became such a big hit, ‘Jai Ho’ became an exceedingly popular song and dance in the world of YouTubers. There are several versions now, replicating the original work. Through the different works, we see different forms of expression in their production of the video ‘Jai Ho’.

For example, we can see the original Slumdog Millionaire popular hit (Jai Ho )through the various interpretations of The Pussycat Dolls, Karan Khokar and Divya Ikara-Tamil Sneham, and much more. The replication of ‘Jai Ho’ by the Pussycat Dolls shows us a different concept or outlook on the interpretation of the song. Although Benjamin might see this as threatening the authenticity of the original work, when I think about it analytically, I must ask: 'Aren’t these different works demonstrating the different perspectives and skills of these artists, drawing on their own ideas of what they want to present in relation to the arts of song and dance, and what the original song meant to them, in contrast to the original work of ‘Jai Ho’? While the original piece still remains the same, yet Walter Benjamin would argue that the aura of the piece is lost due to these constant replications.

Walter Benjamin states that in the context of tradition, films destroy many of the traditional values of cultural heritage. I question this, however, because while, over time, our culture remains the same, yet it shifts due to changes in technology and current event, etc. Because of these shifts in culture, to which we must adapt when necessary, media have become a social necessity for many around the world. Our dependence on media demonstrates how influential they have become in making sense of the fast-changing world around us. Therefore, many would question whether or not films and videos are destroying the traditional values of specific national cultural heritages. Could it be possible that films and videos, such as the Pussycat Dolls version of the more traditional ‘Jai Ho’ actually contribute to our cultural modernity, while, at the same time, complementing the essence of the original work of art? Or do replicated versions, in fact, dissolve the work’s aura and its meanings? Benjamin emphasizes the point that the object or work of art’s aura is reduced when we take it out of its original context or origins. There has been a grand transformation over time, in which art, which was once introduced through ritualistic practices that didn’t have to be viewed by many people or that only certain people could see ), is now created for a world-wide audience. The idea of moving away from the precious and ritualistic view of art was seen first in the profession of photography. The cultural artistic dance from Pakistan (India?) has been replicated and morphed into the style of the Pussycat Dolls. In this sense, it has become sexier and more fashionable, which, because it stands in stark contrast to the original work that is associated with compassion, love and a sense of cultural identity, only serves to highlight the original by comparison. This demonstrates the huge impact of worldwide media on present day art.

The ‘Mediation’ of Globalization

William Mazzarella’s article “Culture, Globalization, Mediation” is a useful piece on the processes of mediation[1] and how they correspond to the study of anthropology in the context of globalization. The function of mediation that Mazzarella is interested in is the way the media represent us. Focusing on the notion that the media affects the way we present ourselves and interact with each other, Mazzarella calls this process mediation. Our culture today is so reliant on the media to keep us informed about the world, they have almost become a social necessity. In his article, Mazzarella talks “about mediation as a constitutive process in social life; that the cultural politics of globalization, inside and outside the academy, involve a contradictory relation to mediation, on the one hand foregrounding the mediated quality of our lives and on the other hand strenuously disavowing it” (Mazzarella, pg 345), i.e. not taking any responsibility for it, even though they pretend to be broadcasting the truth. Through this, William Mazzarella illustrates the connection between media and culture and the inherent unreliability of media.

Today, globalization is affecting our cultural understanding of other groups around the world though a process of mediation. How, you might ask? To the mass population around the world, globalized markets and media have become part of public culture. Globalization as presented the media is a ‘global extension’, as Mazzarella has called it, of local consciousness, which, while it expands people’s awareness of global issues and connects them to daily life, also separates people economically, and seems to be becoming less viable in general.

The relationship between culture and media is dominated by the production and reproduction of certain ideas. In other words, the media create culture, to a large extent. It is essential to understand that, in this context, the media excels in making global events relevant or captivating to local social concerns. “Global events are ‘selectively domesticated … and presented in tandem with core social values. In order for people to understand it, global news must be filtered through the domestic system of commonsense knowledge or ‘local knowledge’” (Mazzarela, pg 353). Because we filter this information as a collective group, we share a global culture (our interests) as long as this social process continues to maintain itself. Since the process of mediation touches on fundamental aspects in our daily lives, it has become a necessary tool in maintaining ties with our world and social groups. Perhaps because we are inundated with media hype from so many sources all day, every, we have come to believe that we need what the media are selling in order to be good citizens, further enabling the nodes of mediation to persist. “If, in fact, mediation is a dynamic principle at the root of all social life, then, having developed ways of theorizing it, we should move toward exploring its conditions and outcomes in social projects and movements that may not recognize themselves in those terms” (Mazzarella, pg 360). The relation between mediation and globalization has become so ubiquitous that, in a sense, it has brought people from around the world together, so that we have begun to filter information about ‘self though the other’ (361).

Having read Mazzarella’s article, I agree that mediation plays a big part in globalization. The globalization of mediation raises several themes, one of which is that technology is one of the driving forces behind of globalization. As technology advances, we become better at connecting ourselves with others around the world. However, the influences of technology and globalization should be taken very seriously. For example, in discussions of the issues raised by globalization, the merits of NAFTA have been shown to be questionable. This is because NAFTA has created a negative imbalance in labour that has led to an increase in violations of human rights and resources around the world, through cheap labor and multinational corporations taking over indigenous land and resources. The Zapatista movement in Mexico represents one of the rare instances in which the indigenous people (in Chiapas) thrived by ending their oppression and gaining back their land. Through this idea, I would like to illustrate that, even with technology—and though seemingly vital to our world—the mediation of globalization is not always a positive thing. For instance, it has caused many people in the Third World to fear the possibility of losing their culture. Yet, despite this, the media have an important role to play in bringing the world together and helping to raise consciousness about the injustices of globalization, which we should all try and do something to correct.

[1] Here defined as ‘the brainwashing effects of the media’.

Sources:

-Mazzarella, William. "Culture, Globalization, Mediation." Annual Review of Anthropology 33 (2004): 345-67. Culture, Globalization, Mediation. Annual Review. Web. <Vista UBC>.

Do the Media Help in Crisis Situations?

The mass media are a collection of different means of communication that distribute information that connects us to world issues. After the introduction of the first mass medium, i.e., the newspaper, came television, the radio and, most recently, the internet. All of these mass media have since become a vital part of people’s lives, particularly for formulating perspectives on today’s most relevant issues. The media have allowed us to become greater participants in global events. The cholera outbreak in Haiti, for instance, is a case in point. If not for the media, we would know little, if anything, about the Cholera epidemic in Haiti, which proves the crucial role the media play in informing the public of international catastrophes as they unfold.

The cholera outbreak in Haiti was said to have started after the devastating earthquake that hit Port-au-Prince in January 2010, with a magnitude of 7.0. The major destruction caused by the earthquake led to Haiti’s unsanitary state, which created a fertile environment in which the Cholera could spread. The Centre of Disease Control and Prevention states that there are two methods of this occurring, which have both been confirmed to exist in Haiti. http://www.cdc.gov/haiticholera/situation/ Today, the death toll rose to 1,344 and 57,000 have become sickened by Cholera.

Due to the media coverage, the overwhelming state of Haiti’s condition gained responses from communities all over the world. However, after a year of struggle, Haiti still suffers from Cholera. The number of deaths is predicted to rise well over 200,000. Haiti’s state is in definite need of attention. Initially, after the earthquake, there were several graphic images of Haitian people buried under rubble, children covered with blood and hundreds killed. Unfortunately, this is something that catches people’s interest. “The graphic suffering of innocents made an inescapable appeal to conscience-and the humanitarian-aid business as we know it today came into being” (Gourevitch, Philip. pg. 102). These images alone should not be the only provocation for people to tend to the needs of others. For example, if America were undergoing the same situation, would there be more press coverage than Haiti is getting? Would more people help? Would more people be informed? In my opinion, I think most people would be informed due to the fact that America is a superpower. However, when people are dying and suffering, why should a nation’s status or power be of any concern? The focus should be on the people who are in need of help. The cholera outbreak in Haiti has demonstrated the failure in relief work and its funders. “Meanwhile, billions of dollars of donations that could have provided permanent clean drinking water are collecting interest for the numerous charity organizations making a business out of poverty….The U.S. government itself, which has allocated $1.15 billion in earthquake relief funds to Haiti, has not yet delivered, for the most part” (http://www.progressive.org/mpdanto102710.html).

Despite the aid that Haiti is receiving, most countries have not fully dedicated their strengths to helping Haiti rebuild. “That’s clearly insufficient for an adequate response to the epidemic,” says U.N spokesman Farhan Haq. With the power of the media, we should concentrate on the importance of neighboring nations and to provide hope in living without fear of cholera. This week the United States has been hit with a tragic loss due to the shooting in Arizona. If the same press coverage was given to Haiti or other countries suffering from mass poverty (Tanzania, Liberia, Burundi, Rwanda), perhaps more attention would be given to those suffering from everyday hunger, genocide, civil war, drought and disease.

As the audience of mass media, we must take part and help in the recovery of others. Despite the fact that Haiti has been suffering from political unrest, poor environmental conditions, poverty, natural disaster, and the outbreak of cholera, , through all this, hope still lingers. The difficulty in restoring the balance of Haiti is still in question. If the media played a bigger role in this matter, it could definitely show growing improvements in Haiti’s current condition. Our attention is vital in this matter. (http://www.globalissues.org/article/141/haiti)

Media - a voice for millions