This article provides a description of the emergence of the Spanish ‘Occupy’ movement, Democracia real ya. The aim is to analyse the innovative discursive features of this movement and to connect this analysis to what we consider the innovative potential of the critical sciences. The movement is the result of a spontaneous uprising that appeared on the main squares of Madrid and Barcelona on 15 May 2011 and then spread to other Spanish cities. This date gave it its name: 15M. While the struggle for democracy in Spain is certainly not new, the 15M group shows a series of innovative features. These include the emphasis on peaceful struggle and the imaginary of a new democracy or worldview, transmitted through innovative placards and slogans designed by Spanish citizens. We consider these innovative not only due to their creativity, but also because of their use as a form of civil action. Our argument is that these placards both functioned as a sign of protest and, in combination with the demonstrations and the general dynamics of 15M, helped to reframe the population’s understanding of the crisis and rearticulate the identity of the citizens from victims to agents. In order to analyse the multimodal character of this struggle, we developed an interdisciplinary methodology, which combines socio-cognitive approaches that consider ideological proposals as socio-cognitive constructs (i.e. the notion of narrative or cognitive frame), and Critical Discourse Analysis (CDA) in the analysis of discourses related to processes of social imagination and transformation. The socio-constructivist perspective is used to consider these discourses in relation to their actors, particular contexts and actions. The use of CDA, which included a careful rhetoric analysis, helped to analyse the process of deconstruction, transformation and reconstruction that 15M uses to maintain its struggle. The narrative analysis and the discursive theoretical concept of articulation helped to methodologically show aspects of the process of change alluded to above. This change was both in terms of cognition and in the modification of identity that turned a large part of the Spanish population from victims to indignados and to the neologism indignadanos, which is a composition of indignado and ciudadano (citizen).
Studying images on social media introduces several challenges that relate to the size of datasets and the different meaning-making grammars of social visuality; or as aptly pointed out by others in the field, it means ‘studying the qualitative on a quantitative scale’. Although cultural analytics provides an automated process through which patterns can be detected in large numbers of images, this methodology doesn’t account for other modalities of the image than the image itself. However, images circulating social media can (and should) be analyzed on the level of their audience as the latter is co-creating the meaning of images. Bridging the study of platform affordances and affect theory, this paper presents a novel methodology that repurposes Facebook Reactions to infer collective attitudes and performative emotional expressions vis á vis images shared on the large Syrian Revolution Network public page (+2M). We found visual patterns that co-occur with certain collective combinations of buttons, displaying how socio-technical features shape the discursive frameworks of online publics.
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Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
