ESTETIKA GASTRONOMI NUSANTARA DALAM MEDIA DIGITAL

The development of the digital technology affects how humans perceive aesthetics in digital media. Including how the Indonesia gastronomic presentation is perceived in digital media both visually and audio. Gastronomy is the study of food and food culture. The development of digital information technology creates a space that is full of information, how can information about the Indonesian gastronomy continue to exist in the midst of cross-cultural information on today's digital media. People's behavior is influenced by the perceptions of netizens formed from digital information media, be it social media, television media, film media, even entertainment media on demand. This study uses a phenological approach to describe how the Indonesian gastronomic aesthetics are presented in various digital media platforms, namely social media Instagram, social media Facebook, social media Youtube, digital television media, digital film media, and entertainment digital media on demand. The data was obtained through observation of these various digital media platforms. This study produces a comparison of the aesthetic elements used in each of these digital media and how the existence of Indonesian gastronomy is presented in it

Prime, Perform, Recover

This thesis examines the formal and conceptual framework of my artistic practice as it culminated in the installation of my thesis exhibition, Prime, Perform, Recover. My exhibition seeks to operate as an analysis and critique of the separation inherent in media presentation and rhetoric surrounding natural disasters. I utilize the aesthetics and vocabulary of disaster capitalism and prepping culture in order to pose direct questions about ecological and social change. I examine the role of images within mass media image production as an all encompassing Now-Time. In this paper I describe frameworks that my practice proposes as potential solutions to these problems, and I position my research in the context of artists and artworks that have influenced me and operate within similar channels as my own

The theatre of cruelty aesthetics: Does life in society has to be beautiful or good?

With this abstract I intend to reflect on the implications between individuals and society, starting from the question “Does life in society has to be beautiful or good?” For this, I support my paper on the work of Franz Kafka, In The Penal Colony, to represent a social theater of cruelty aesthetics in contemporary societies of post-modernity. The social dimension of ethics is a sort of practice of cruelty as well as a sort of aesthetics representing prescriptions of society, which clashes with the contemporary trends of these post-modern societies characterized by the individualism, narcissism, consumption and media spectacle. The theater of cruelty works on punishing the condemned; it is essentially a work of social aesthetics or hygienist ethics. The insensitive machine of Law has social authority and it embodies the faults or the mistakes punished in Kafka’s writing. Is this machine still working (in an invisible way) in our societies, where the social requirements remain the order of the Law

Drone affective politics against state impunity: The case of 43 disappeared students in Ayotzinapa, Mexico

This article analyzes some implications of new drone aesthetics involved in affective politics against state impunity in social conflicts. Whereas the literature on media, war and conflict has been centered around the war aesthetics of military drones, the author argues that civilian drones can mobilize affective politics – expressed, for example, in the aestheticization of shame, rage and the subversion of fear – as a means of political communication with and against the state. Further, she proposes that the present focus on drone aesthetics should be expanded to also account for the political affects that aesthetic sensory perceptions mobilize. Drawing on actor-network theory and new materialism, the article takes the disappearance of 43 students in Ayotzinapa (Mexico) as an exemplary case of state impunity in the context of the war against drugs and social conflict. By means of a digital ethnography of the social collective project Rexiste, the author analyzes its public interventions deploying a civil drone named ‘Droncita’, which sought to generate an aesthetics of affect against state impunity. The article contributes toward expanding investigation of (civilian) drone aesthetics and the mobilization of affective politics in the literature on war and social conflicts and collective action

Book review: uncommon grounds: new media and critical practices in North Africa and the Middle East, edited by Anthony Downey

Uncommon Grounds is a stimulating exploration into art practices in North Africa and the Middle East, and also a thought-provoking look at the fluid relationship between art and society more generally, writes Arek Dakessian. Chapters cover media activism, social media and contemporary art, and critical analyses of aesthetics and politics in the digital age

The Context of Murals as Youth Media in the Aesthetic Perspective of Marxism

Murals are often found as a medium to express what lies in the imagination of their artists. Talks and murals are often discussed, primarily related to social issues, which are often the central theme when young people are the artists. This research explores murals from another point of view, namely from youth-media activism through the aesthetic perspective of Marxism. The aim is to find the contextual relations of social issues with the phenomenon of youth media in the aesthetics of Marxism. The research method is grounded in theory by exploring how the aesthetics of Marxism sees the mural phenomenon, which has played an essential role in the social movement of young people. In this study, it is known that apart from choosing the place, the material to be depicted, and the message to be conveyed, this activist mural artist also illustrates how interrelated the current protests are with the phenomena that emerged during the time of Marx. This shows the existence of a hermeneutic role in framing phenomena that are contextualized to the present. Keywords: mural, activism, hermeneutic, youth media, Marxist aesthetic

The symbol of social media in contemporary protest: Twitter and the Gezi Park movement

This article explores how Twitter has emerged as a signifier of contemporary protest. Using the concept of ‘social media imaginaries’, a derivative of the broader field of ‘media imaginaries’, our analysis seeks to offer new insights into activists’ relation to and conceptualisation of social media and how it shapes their digital media practices. Extending the concept of media imaginaries to include analysis of protestors’ use of aesthetics, it aims to unpick how a particular ‘social media imaginary’ is constructed and informs their collective identity. Using the Gezi Park protest of 2013 as a case study, it illustrates how social media became a symbolic part of the protest movement by providing the visualised possibility of imagining the movement. In previous research, the main emphasis has been given to the functionality of social media as a means of information sharing and a tool for protest organisation. This article seeks to redress this by directing our attention to the role of visual communication in online protest expressions and thus also illustrates the role of visual analysis in social movement studies

The Aesthetics of Global Protest

Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative