Auswahl der wissenschaftlichen Literatur zum Thema „Mogul Portraits“

“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.

Penelitian ini bertujuan untuk menghasilkan modul pembelajaran seni lukis bahan pewarna alam (kesumba) dalam mata pelajaran melukis untuk siswa kelas X.I di SMAN 2 Enrekang. Penelitian ini merupakan penelitian pengembangan (Research and Development/R&D) dengan prosedur meliputi tahap: analisis kebutuhan, perancangan produk awal, pengembangan produk awal, validasi, revisi untuk penyempurnaan produk akhir. Tahap analisis dilakukan dengan mengumpulkan informasi tentang media ajar yang digunakan di SMAN 2 Enrekang, tahap peracangan produk awal dilakukan mencari referensi materi dan referensi pembelajaran yang menarik dan merancang desain modul menggunakan softwere computer (Corel Drow X7), validasi kemudian dilakukan oleh parah ahli terhadap modul pembelajaran yang telah dihasilkan sementara (produk awal), pada tahap refisi didapatkan dari berbagai masukan dosen pembimbing, dosen penguji dan ahli materi dan ahli media. Instrumen pengumpulan data menggunakan observasi, wawancara, dokumentasi dan angket validasi. Hasil penelitian dianalisis secara kuantitatif. Penelitian ini menghasilkan modul Melukis Menggunakan Bahan Pewarna Alam (Kesumba) yaitu modul lengkap (Self Contained), berukuran 17.5 cm x 25 cm dengan ketebalan kertas sampul 260gr dan isi modul menggunakan kertas MP 100gr disajikan secara portrait berisi 73 halaman awal (sampul depan belakang, kata pengantar, daftar isi, petunjuk penggunaan modul, tujuan pembelajaran, peta materi dan pendahuluan). Modul memuat materi menjadi empat bagian, yaitu materi I berisi pengertian seni, seni lukis, dan bahan pewarna alam (kesumba), materi II berisi pengenalan alat dan bahan membuat pewarna alam (kesumba), materi III berisi cara melukis menggunakan bahan pewarna alam (kesumba) dan materi IV berisi hasil melukis menggunakan bahan pewarna alam (kesumba). Dapat disimpulkan bahwa siswa kelas X.I di SMAN 2 Enrekang setuju menggunakan modul Melukis Menggunakan Bahan Pewarna Alam (Kesumba).

When Rupert Murdoch announced in April 2004 that he intended to see his company, News Corporation, reincorporated in the United States, two competing representations of the `media mogul' came to dominate the press's interpretation of this event. The first of these `Murdoch representations' was the most common, and painted an image of a successful entrepreneur, a `celebrity CEO'. Yet, the second `Murdoch representation' painted a different image, a more detailed portrait, with critical attention paid to the modus operandi of the world's most notorious media proprietor. This article deconstructs these representations of Murdoch, a mythic fracturing of image resulting from the political economy of the Australian press. In essence, the article explores issues of media diversity, myth and ideology, and the propensity of the press for critical, impartial, journalism. The empirical data are drawn from an analysis of two of Australia's pre-eminent newspapers: The Australian and the Sydney Morning Herald.

While the rise of new media has led to a blurring of stars’ public personae and private, intimate lives, the musician, in particular, has long been expected to share their private, authentic self through their music. This is certainly the case with superstar Beyoncé, whose 2016 solo album Lemonade was widely received as a revealing portrait of her marriage to hip hop mogul Jay-Z. Yet Beyoncé has long been playing with the public‐private divide as a key part of her star persona. Her decision to limit media interviews has allowed her to maintain unprecedented control of her star image; an image that is now corralled through the texts that she herself circulates via her music, videos and other media. One such notable, yet under-examined text is her 2013 autobiographical film Life Is But a Dream. Both the narrative and the production of the film serve to teach audiences how to read the rest of Beyoncé’s cultural work; as work that is fully controlled by her and intended for women. This pedagogical film disrupts common readings of her image and performances as being in the service of a male gaze, thus opening up new pleasures and potentials for female fans more broadly and Black female fans more specifically. Life Is But a Dream is thus a central, rather than a periphery text in Beyoncé’s star image, complementing and complicating the work she produces across other media formats.

In 2017 the Uluru Statement from the Heart, a document outlining an Indigenous envisioned path towards constitutional recognition of Aboriginal and Torres Strait Islander people and the creation of an Indigenous ‘Voice to Parliament’, was presented to the Australian government and public. Since its creation, it has been met with a range of responses that have both welcomed and supported its reforms, as well as dismissed and rejected its overall vision. Both mainstream news and social media have played a significant role in shaping discourses surrounding the Statement. Throughout this article we discuss the often misinformed and convoluted characterization of what an Indigenous ‘Voice to Parliament’ entails. We highlight how powerful political voices – such as those of the prime minister, politicians and media moguls – dominate, distort and influence political and pubic conversations surrounding constitutional reform in Australia. Through news conglomerates’ racialized characterization of Indigenous peoples, exclusion of their voices and perspectives and a bias that neglects to hold politicians and other commentators to account, we argue that whilst the movement towards an Indigenous ‘Voice to Parliament’ is often obstructed, it is far from defeated. Increasing numbers of Indigenous and non-Indigenous people, inclusive of activists, journalists, academics and lawyers, amongst others, are embracing social and news media as a means to deny and counter their exclusion. This article aims to continue a constructive conversation concerning the need for constitutional recognition through an enshrined voice that guarantees Indigenous participation within the parliamentary process. In doing so, we also call for greater scrutiny and accountability towards how the media portrays and represents Indigenous peoples and their voices.

Paul Virilio. The Information Bomb. London: Verso, 2000. 145 pp., ISBN: 1-85984-745-5 (hardback). Born in Paris in 1932, the French political and 'technocultural' theorist Paul Virilio is the leading exponent of the idea that 'dromology' (the logic of speed) stands at the centre of the political formation and technocultural transformation of the contemporary world. Virilio is an architect of the 'Brutalist' school and political 'critic of the art of technology' as well as a Husserlian phenomenologist and post-Einsteinian analyst of technoculture. In recent years Virilio has developed his own political approach to the technocultural and experiential effects of speed and technoscience on the organisation of cyberspace and cyberculture. It is an approach that is increasingly being adopted and adapted by a variety of pre-eminent thinkers on the Left such as Jean Baudrillard, Slavoj Zizek and Andre Gorz. As the son of a Breton mother and an Italian communist father in Nazi-occupied France, Virilio spent the majority of World War II as an anxious evacuee in Nantes. In 1950 he converted to Christianity in the fraternity of 'worker-priests'. Virilio was educated at the L'École des Métiers d'Art in Paris and first became a craftsman in stained glass before becoming a sort of intellectual provocateur and co-editor of Architecture Principe, an architectural group and occasional review devoted to radical political and architectural experimentation. Between 1963 and 1966 Virilio dedicated his time to studying the architecture of war and to the construction of the 'bunker church' of Sainte-Bernadette du Banlay at Nevers. Virilio became politically active during the 1968 May revolt and this led to an irrevocable split with his partner in Architecture Principe, the architect Claude Parent. In 1969 Virilio was instated as a professor of architecture at the École Speciale d'Architecture at the behest of the students there, a position he occupied until his retirement in 1997. Virilio's major work is Speed & Politics: An Essay on Dromology (1986), written, he maintains, to raise the political question of speed as the hidden side of economic development. Virilio's recent texts such as Open Sky (1997) and now The Information Bomb can therefore be regarded as important advances in his current work on the politics of techno, or, cyberculture. As the son of a Breton mother and an Italian communist father in Nazi-occupied France, Virilio spent the majority of World War II as an anxious evacuee in Nantes. In 1950 he converted to Christianity in the fraternity of 'worker-priests'. Virilio was educated at the L'École des Métiers d'Art in Paris and first became a craftsman in stained glass before becoming a sort of intellectual provocateur and co-editor of Architecture Principe, an architectural group and occasional review devoted to radical political and architectural experimentation. Between 1963 and 1966 Virilio dedicated his time to studying the architecture of war and to the construction of the 'bunker church' of Sainte-Bernadette du Banlay at Nevers. Virilio became politically active during the 1968 May revolt and this led to an irrevocable split with his partner in Architecture Principe, the architect Claude Parent. In 1969 Virilio was instated as a professor of architecture at the École Speciale d'Architecture at the behest of the students there, a position he occupied until his retirement in 1997. Virilio's major work is Speed & Politics: An Essay on Dromology (1986), written, he maintains, to raise the political question of speed as the hidden side of economic development. Virilio's recent texts such as Open Sky (1997) and now The Information Bomb can therefore be regarded as important advances in his current work on the politics of techno, or, cyberculture. Virilio's newest political and technocultural work, The Information Bomb, is set to become an important text of intellectual and dromological analysis. On its opening page Virilio quotes Werner Heisenberg, the German physicist, chief architect of quantum mechanics and founder of the 'uncertainty principle': 'No one can say what will be "real" for people when the wars which are now beginning come to an end'. Briefly, Heisenberg's uncertainty principle states that if a simultaneous calculation is made of the location and speed of a particle then, no matter how faithful the calculations, there is always an uncertainty in the values acquired. It deals with the simultaneous calculation of energy and time. The uncertainty occurs because the act of perceiving the system interferes with it in an unpredictable manner. But uncertainty is only significant at the atomic and subatomic levels and at these levels throws the principle of causality into confusion. Virilio's The Information Bomb therefore examines the dromological and uncertain relationships between the 'reality' of the war universe, speed and, crucially, our perception of its main causalities. The key question and the first sentence of Virilio's book is: 'The civilianisation or militarisation of science?' Virilio answers by describing what he calls the catastrophes of postmodern technoscience and globalisation, Americanisation, biotechnology, Internet pornography and the advertising industry in the most uncompromising terms. Virilio's riposte to the question is already contained in the book's title. This is because, for him, since the end of World War II, the militarisation of science and the construction of two kinds of bomb have overshadowed civilian life. The first is the atom bomb, 'which is capable of using the energy of radioactivity to smash matter'. The second is the information bomb, 'which is capable of using the interactivity of information to wreck the peace between nations'. Virilio delineates the existence of the information bomb, of an explosion of mediated misery around the world, in terms of the deterioration of language and the sheer seductive power of TV and computer screens, the acceleration of history and the emergence of new inter-generational conflicts. Virilio forcefully argues that the advent of the information bomb requires the creation of a new type of social deterrence if nations are to avoid the 'fission' of their 'social cores' as they enter into the uncertain and often shocking world of chronopolitics. For this is a topsy-turvy world where neo-liberalism confronts 'cyberfeminism' and the military-scientific complex contemplates the arrival of 'cyberwar' and 'grey ecology' (the pollution of distances) under the sign of cinematic disinformation from Hollywood and the technological transformation of work through the introduction of mobile phones and 'zero-hour' contracts. Or, as Virilio says at one point in The Information Bomb: in today's 'dromocratic' capitalism, when the biotech corporation calls, 'you come running'. It would, though, be incorrect to view Virilio's political opposition to the uncritical acceptance of technoculture and the explosion of the information bomb as a wholly pessimistic stance on the spread of neo-liberalism in realms such as the multimedia. Virilio's work is, for example, in no way analogous to that of Baudrillard, the intellectual high priest of postmodernism. In truth, Virilio manifestly frames his recent writings in relation to a guarded optimism concerning what I have elsewhere called his 'hypermodern' technocultural theory: a theory involved with the acceleration and dislocation of modern forms of thought about the contemporary world and how it is depicted. It is therefore perfectly plausible to derive from Virilio's dromological texts a scientifically 'uncertain' conception of 'reality' that focusses on the concepts of hypermodernism and 'hypermodernity'. The latter is an idea centred on coming to terms with the speeding-up of historical processes and a critical analysis of modernity based on a political perception of technoculture that is catastrophic. In this way, Virilio typically conceives of the developments he documents in The Information Bomb not as the psychoanalytic problems of progress but as the technoscientific and 'excessive' displacement of them. It is a conceptualisation that is evident in his dromological and dynamic writings on the subject of 'information superhighways' and the 'full range of communications disturbances acquired over the recent centuries of technology'. 'In this field', Virilio says, progress 'acts like a forensic scientist on us' since it violates 'each bodily orifice'. But such 'brutal incursions' do not merely influence individuals; they colonise them. For Virilio, then, progress 'heaps up, accumulates and condenses in each of us the full range of (visual, social, psycho-motor, affective, sexual, etc.) detrital disorders which it has taken on with each innovation, each with their full complement of specific injuries'. All criticism of technology having disappeared, 'we have slid unconsciously from pure technology to techno-culture and, lastly, to the dogmatism of a totalitarian techno-cult...' As can be ascertained from the above examples, Virilio's work sits uneasily with almost all the prevailing paradigms and methodological approaches currently on offer. Chasing a multitude of Foucauldian discontinuities and shape-shifting Deleuzian inflected 'lines of flight' simultaneously, The Information Bomb can thus be seen as a reflection of his self-professed 'anarcho-Christianity'. It is a methodological stance, political perspective and religious position Virilio shares to some extent with the author of The Technological Society (1964), the late Jacques Ellul. Viewed from this angle, Virilio's oppositional and overtly political writings on the 'hypermodern condition' present a comprehensible methodological outlook. It is, however, an outlook that is somewhat at odds with the political and intellectual terrain occupied by 'transpolitical' postmodernists such as Baudrillard, 'poststructuralist anarchists' like Michel Foucault and Gilles Deleuze and the deconstructionist and 'spectral Marxist' Jacques Derrida. Nonetheless, it would be a mistake to imagine that Virilio's rather abstract writings in The Information Bomb opposing the rise of neo-liberalism and the hypermodern condition have not touched a nerve in France. Left-leaning theoreticians and the editors of newspapers such as Le Monde Diplomatique regularly pursue Virilio's forthright opinions in the form of articles and interviews on everything from Fukuyama's The End of History and the Last Man (1992) to his own thoughts on the end of geography and technoculture. Virilio is therefore a very creative political theorist who articulates himself with equal ease in academic and non-specialist technocultural works. Unlike Foucault, Virilio is the personification of the 'engaged intellectual'. Rather than simply opting for the life of a professor of architecture at the École Speciale d' Architecture, Virilio has always chosen to communicate his ideas to as wide an audience as possible, a strategy that earned him a 'National Award for Criticism' in 1987. Virilio's contemporary writings thus necessarily involve a dromological, political and technocultural encounter with the militarisation of science in the shape of the Internet. Even so, unlike Virilio's earlier texts such as Open Sky (1997), in The Information Bomb Virilio does not merely concentrate his gaze on society's apparent need for speed but, decisively, on its present-day extension into pornography and advertising and their integration into the commercialisation of the art world. Describing the 1997 London Royal Academy exhibition entitled 'Sensation' ostensibly held to present young British artists, Virilio suggests that, like many others, in actuality, this exhibition was designed and presented by 'the sex-culture-advertising movement'. This is because the '110 works on display (a portrait of child-murderer Myra Hindley, casts of childlike bodies with mouths replaced by phalluses, etc.) belonged, without exception, to Charles Saatchi, one of Britain's great advertising moguls'. What is at issue here for Virilio is the recognition that, like the need for speed and the example of the Internet, the distinctions between the world of pornography, the world of art and the world of advertising have all but been obliterated in the name of nothing more profound than 'breaking down the last taboos'. However, in Virilio's hypermodern conception of the 'terminal arts', a 'confrontation between a tortured body and an automatic camera' not only signifies the coming of the 'sex-culture-advertising-complex' but, equally importantly, the onset of 'endocolonisation' or, what takes place when militarised technoscience colonises the human body with the aim of reducing every member of humanity that has 'had its day' to the status of a 'specimen'. The political critiques provided by Virilio in The Information Bomb are a welcome development. For, today, it is sometimes all too easy to criticise the discipline of cultural studies for its celebration of political, technological and cultural différance without any corresponding recognition of economic and other inequalities founded on class, gender and race. Moreover, Virilio's fervent and occasionally maniacal critique of the art of technology stands out because it stretches from political and technocultural studies to economic and film studies, sometimes in the space of a single paragraph. Taking in Hollywood directors and obvious film productions such as Jan de Bont's Speed as well as the work of French cinematic pioneers like the Lumière brothers', Virilio's The Information Bomb is an important publication. But, unlike numerous other 'cybercultural' tomes, the significance of this book is derived from the fact that it also manages to extend the scope of political and technocultural studies through the provision of often-abstruse pronouncements such as Kafka's claim that the cinema 'involves putting the eye into uniform'. The political critiques provided by Virilio in The Information Bomb are a welcome development. For, today, it is sometimes all too easy to criticise the discipline of cultural studies for its celebration of political, technological and cultural différance without any corresponding recognition of economic and other inequalities founded on class, gender and race. Moreover, Virilio's fervent and occasionally maniacal critique of the art of technology stands out because it stretches from political and technocultural studies to economic and film studies, sometimes in the space of a single paragraph. Taking in Hollywood directors and obvious film productions such as Jan de Bont's Speed as well as the work of French cinematic pioneers like the Lumière brothers', Virilio's The Information Bomb is an important publication. But, unlike numerous other 'cybercultural' tomes, the significance of this book is derived from the fact that it also manages to extend the scope of political and technocultural studies through the provision of often-abstruse pronouncements such as Kafka's claim that the cinema 'involves putting the eye into uniform'. Yet it would be wrong to think that such an individualistic political and technocultural approach cannot be extended beyond Virilio's own anarcho-Christianity or the writings of Ellul. For example, Virilio's The Art of the Motor (1995) has been an important reference point in the recent writings of imaginative Marxists as distinct as Zizek in The Plague of Fantasies (1997) and Gorz in Reclaiming Work: Beyond the Wage-Based Society (1999). It would be difficult to believe that The Information Bomb will not become another significant source in the future works of other creative radicals, offering as it does not only a provisional pathway out of the quicksand of postmodernism but also a way into the sympathies of ordinary people. Firing off political concepts and technocultural neologisms at the speed of light, Virilio's passionately argued texts do not always hit their intended targets. But for anyone seeking a hypermodern critique of the cultural logic of late militarism that ranges from the Internet and the commercialisation of art to endocolonisation and the accident, Virilio's radical political and technocultural theory of speed contained in The Information Bomb is just what you have been waiting for. Citation reference for this article MLA style: John Armitage. "The Uncertainty Principle: Paul Virilio's 'The Information Bomb'." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/virilio.php>. Chicago style: John Armitage, "The Uncertainty Principle: Paul Virilio's 'The Information Bomb'," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/virilio.php> ([your date of access]). APA style: John Armitage. (2000) The uncertainty principle: Paul Virilio's 'The information bomb'. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/virilio.php> ([your date of access]).