زیبایی شناسی پست مدرن و میکروسلبریتی های نوجوان (تحلیل رتوریک فانتزی «نوجوان سرخورده: سرخوشی در لحظه» در صفحه اینستاگرام pooorblack) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
زیبایی شناسی پست مدرن، زیبایی شناسی فروکاهنده، تقلیل دهنده و سبک گراست که در بسیاری از آثار تولیدشده در شبکه های اجتماعی مشاهده می شود. با حاکمیت زیبایی شناسیِ رسانه های مجازیِ عصر پست مدرن، فرهنگ سلبریتیسم به سرعت گسترش پیدا کرد. در این عصرِ «رسانه های ارائه گر»[1]، نوجوانان ترغیب شده اند تا مبتنی بر زیبایی شناسی پست مدرن و بی نیازی از ممیزی های فرمی و محتواییِ سخت گیرانه ی رسانه های مدرن، میکروسلبریتی های عصر خود باشند. این پژوهش با مطالعه موردی یکی از صفحات تینیجری پرمخاطب سعی دارد مؤلفه های زیبایی شناسی پست مدرن را در این صفحه تحلیل کند. بدین منظور لازم است «فرم» و «محتوا»ی صفحه به موازات هم تحلیل شود: برای بررسی زیبایی شناسی «محتوایی»، از روش تحلیل رتوریک نقد زمینه فانتزی استفاده شده است و برای درک زیبایی شناسی فرمی این صفحه، بر اساس نشانه شناسی آثار ویدئویی، بر رمزگان فنی همچون موسیقی، کاراکترسازی، زیبایی بصری (میزانسن، گریم، نورپردازی ...)، بینامتنیت، تمرکز کرده ایم. نتایج، نشان از شش مضمون اصلی در آرتیفکت های صفحه دارد: چالش های والد-فرزندی، مدرسه-دانش آموزی، همالانی؛ هجو خویشتن؛ اغراق در کلیشه های روزمره؛ سرخوشی های تهی از معنا؛ بازنماییِ تناقض؛ گونه بندی ها. با در نظر گرفتن بسامد زمینه فانتزی صفحه این نتیجه گرفته می شود که زمینه فانتزی اصلی این صفحه «نوجوان سرخورده؛ سرخوشی در لحظه» است. هجو خویشتن و پذیرفتن سرخوردگی، تنها کنشی است که ناخودآگاه در مقابله با سرخوردگی ها پیش گرفته شده است. [1]. presentational mediaRhetorical Fantasy-Theme Criticism of "Disappointed Adolescent, Euphoria in the Moment" on Pooorblack's Instagram Page
In the present era, and in Baudrillard's terms, the "era of simulation" has seen postmodern aesthetics permeate various aspects of art and media. Authenticity and meaning have been subjected to satire, with hyperreality taking center stage. As Bauman aptly notes, "Postmodernity is most distinctly marked by its 'destructive' nature; a destructiveness that mocks and erases everything." In contemporary art and media, the aesthetic sensibilities of the late modern period often emphasize deconstruction and style. This characteristic aesthetic trend can be observed in the profusion of works generated on social networks. Additionally, the medium of communication during the late modern age boasts a unique aesthetic that sets it apart from the aesthetics of the modern period, with regards to both format and essence. Instagram, being a relatively novel platform that embodies the spirit of modern simulation, has emerged as a prominent venue for the creation of visual works influenced by postmodern aesthetics. This aesthetic trend is notably characterized by its increasing representation of meaningless works, thereby rejecting the fundamental principles of modern aesthetics and replacing them with an aesthetic that prioritizes style over substance. In line with its rejection of established notions of meaning and content, the era of simulation further extends this rejection to accepted narratives about knowledge and truth. Instead of asserting definitive knowledge, this era embraces relativism and uncertainty, positioning them as the new standard for knowledge.
The prevalence of postmodern aesthetics in media has rapidly expanded the culture of fame and celebrity. As adolescents, who naturally seek to be recognized and admired, flock to social media platforms, they do so without adhering to the modernist aesthetics that were previously considered desirable attributes such as gravity, cohesiveness, innovation, influence, and abstraction. In contrast, the aesthetic preferences of the current era prioritize a more lighthearted and relatable tone. Instead of adhering to established aesthetics, these adolescents find themselves immersed in superficial echo chambers, attracting an audience that shares similar views and becoming increasingly reliant on that attention. Conversely, their audience loses a proper understanding of reality, as Baudrillard suggests that the dominance of mass media images can “confuse our perception of what we want.” An important aesthetic element found on social media platforms like Instagram and others that are visually oriented, is the "individual-turned-brand," who becomes a piece of consumable media in themselves. These platforms place significant emphasis on the celebrity's representation of their self, making it clear that "views" are central to virtual representations. Within this space, whatever is "seen" more often tends to be perceived as more desirable, leading individuals to go to great lengths to become "more viewable" in order to break into the world of "brands."
Research Question(s)
In this study, we aim to delve into the elements of formal and content-based aesthetics of postmodernism through the lens of rhetorical analysis, using one of the most popular Instagram pages for teenagers as our case study.
Our aim in this study is to gain a precise understanding of these types of adolescent Instagram pages that produce content in a distinctive style. Consequently, we attempt to answer the following questions: What is the difference between postmodern aesthetics and modern aesthetics, and what are the core components that characterize each aesthetic system? This study intends to delve into the intriguing relationship between postmodern aesthetics and the content creation of young micro-celebrities on Instagram. Moreover, we aim to explore the main fantasy and dream that these micro-celebrity pages seek to sell. Additionally, we shall investigate the place of quality artistic style and meaning in the content of these social media influencers.
Literature Review
The majority of scientific research pertaining to the interplay between adolescents and social media tends to emphasize the impacts of social media on adolescents. Conversely, investigations into the world of postmodern aesthetics have largely focused on fields such as cinema, architecture, and the visual arts. Thus, no major research has yet been conducted on the themes of micro-celebrities, adolescent social media users, media aesthetics, and postmodernism, which examines the influence of postmodern aesthetics on their social media pages. For reference, some research has been carried out on "social media aesthetics" and "representations of the self in social media," as follows:
Mohammadvali and Sojjudi (2014) examine the complex topic of authorship and presence within social media in their work titled "Redefining the Authorship Issue through Social Media." They explore the issue of authorship in two main areas: content and audience. The authors highlight the potential of social media to generate and appreciate novel aesthetics, bringing about a transformative shift in our understanding of authorship and aesthetics.
In his work "Postmedia Aesthetics," Lev Manovich proposes a redefinition of the concept of media, replacing it with new concepts derived from computer and network culture. Manovich asserts that this redefinition is essential in order to explain the nature of postmedia aesthetics. Additionally, he outlines the key requirements that this new aesthetic system should meet: namely, it must elucidate how cultural objects organize data and structure the user's experience of data, while incorporating new concepts, metaphors, and functions from the computer and network era.
In the article "The Representation of Everyday Life on the Pages of Instagram Microcelebrities," Mehrpour (2019) examines the themes present in the everyday lives of these influencers through the analysis of six prominent Instagram pages. This study reveals seven key themes: consumerism, luxury orientation, pretense, ancient rituals, creativity, norm-breaking, and creating memories.
Methodology
To ensure a comprehensive understanding of the pages in question, it is essential to analyze both their content and aesthetic form. To examine the content aesthetics, the fantasy-theme method of rhetorical criticism will be applied. Additionally, to understand the aesthetic form of these pages, our attention will focus on technical codes, drawing from the principles of semiotics in video works. Rhetoric is defined as the "effective use of language for persuasion" or "the study of style and structure in writing or speech." Fantasy-theme critique, introduced by Bormann as a method of analyzing worldviews, is one of the rhetorical critique methods. In this context, the term "fantasy" does not refer to imagination or fictional stories; rather, it denotes the shared worldview found in an artist's works (Foss, 2009:98).
According to Foss (2009:101), the artifact analysis in the fantasy-theme critique method consists of a two-step process:
Encoding the artifact based on character, setting, and action; these three components are the main factors in creating a fantasy.
Reconstructing the rhetorical conception based on the fantasy.
To analyze the postmodern aesthetics of the "pooorblack" page, we must examine both its "form" and "content." Here's how we will approach the analysis:
To dissect the "content" appeal, we utilized the method of fantasy-theme critique, inspecting 60 artifacts uploaded over a ten-month duration (June 2021 to March 2022). Initially, we concentrated our analysis on the examination of the triad of character, setting, and action within each artifact.
In the second stage, the primary topics of each artifact have been extracted based on the analysis conducted in the first stage. Subsequently, by segregating and organizing the themes of the artifacts, we arrive at the overarching or principal fantasies that define the artifact. Lastly, by taking into account the frequency of each theme, character, and setting, a final evaluation of the page's appeal and its fundamental fantasy is achieved.
· In order to grasp the formal aesthetic of this page, its appeal has been scrutinized based on the following technical elements:
Results
The findings indicate that six primary themes are prevalent in the examined artificats: challenges associated with parent-child, school-student, and peer relationships; self-mockery; the hyperbolization of everyday clichés; meaningless joy; representation of contradictions; and categorizations. By assessing the frequency of the fantasies, it can be deduced that the primary fantasy-theme of this page revolves around "disgruntled youth, joy in the moment." Self-mockery and accepting dissatisfaction constitute the unconsciouse reactions to disappointments.
In light of the frequency of each theme, character, and situation (as described in the table below), the findings are intriguing. Evidently, "parent-child challenges" and "self-mockery" figure prominently among the frequent themes on the page. The characters of Parisa, mother, father, and school staff appear most frequently, respectively. The location of "home" emerges with the highest repetition across diverse scenarios.
Evidently, the most prevalent fantasy-theme is the challenges in parent-child relationships. Notably, the characters of Parisa, mother, and father, as well as the setting of the home, are the most frequent. It is observed that a form of dissatisfaction arises due to the denial, ridicule, and neglect that adolescents face from the older generation. It further suggests that this dissatisfaction might stem from a desirable relationship with the previous generation and as an act of protest against traditional familial and social structures. Although the page "pooorblack" may not overtly advocate for a rational reaction to demonstrate the autonomy of adolescents, its appeal lies in the subtle suggestion to accept dissatisfaction and engage in self-mockery in response to difficulties. While there may not be a direct call to action, the page serves as a platform for self-expression and connection among adolescents who share similar experiences, fostering a sense of shared identity and understanding. Self-mockery indicates that the adolescent has accepted the denial and ridicule of their character, to a certain extent even ridiculing themselves. The route for fleeing from all this denial lies in "exhilaration." The act of making meaningless jokes or engaging in frivolous amusement is a temporary way to evade the realities of life and avert any prospects of reformation. In other words: "Seeing as you are misunderstood, there is no need to try; just use me and find pleasure in these fleeting moments."
Discussion
The growing phenomenon of microcelebrities, micro bloggers, and even less prominent individuals who have not yet fully entered the realm of fame operate within the capitalist framework of fame and self-branding. Both consciously and unconsciously, they serve as the artistic and media extensions of the capitalist system, injecting momentary pleasure in order to control the discontent of socially unequal classes. Adorno asserts that this kind of mass media leads the audience to become indifferent to reality, instead gravitating towards entertainment that does not demand much attention. (Adorno, 1961: 309-310). These types of pages are entirely reliant on the skewed preferences of the audience living in the postmodern era. The foundation of postmodernism, characterized by living in the moment, temporary happiness, mockery of life, disregard for broader concepts, and meaninglessness, has permeated the art and culture of societies. Thus, we observe indications of this phenomenon in phenomena such as Instagram pages.
In the current era of visual media, numerous adolescents enter the realm of social media with the aspiration of "being seen" and attaining online celebrity status, often producing low-quality works. Such works are not subject to the stringent form and content scrutiny of traditional media, such as television or cinema. They require minimal costs, expertise, or time to produce, and are immediately accessible to the audience without the need for approval or screening. Moreover, these creations facilitate direct feedback from the audience to the creators, devoid of any unnecessary delays. One essential approach for engaging with adolescents in the postmodern era is to appeal to national values. By recognizing and acknowledging genuine Iranian heroes who can truly compete with the ephemeral celebrities of this era, it can be a significant step towards mitigating the disillusionment of Iranian youth and motivating them towards constructive individual and communal actions.
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