Introduction:

Fredric Jameson (1991) hypothesised that a: "waning of affect" was a central part of postmodernity (pp. 69/71). Such a lessening of affect he argued is a hereditary within the standardising logic of late capitalism, mass consumption and commoditisation. The depth of the subject is decentred by a focus on surface imagery - a superficial layer of symbolic representation. Conversely, when writing about the Omaha Beach scene in Saving Private Ryan, Julie Turnock claims that the merging of analogue and digital effects produce a hybrid cinematic effect. This would cause a "visceral effect" within the viewer. The production of such a direct cinematic affect Turnock describes as a: "deliberate "assault" on the body of the observer". Jameson claims the world of the post-modern art and architecture "decenters" the formerly centred subject, whereas Turnock claims the "cinesthetic subject" (p. 265) is engaged by the medium through a breakdown between the on and off screen space. This dichotomy represents two opposed discourses about the effect/affect relationship in contemporary media culture. The former claims that affect cannot be effectively be transposed through postmodern media; the latter notion implies that new media is highly efficient in stimulating affect. How affective then, are digital effects? Could such a thing as a "digital affect" be conceivable? Is new media marking the end of the post-modern era and the beginning of Manovich's "Info-aesthetics"? What implications would the internalisation of digital effects have in contemporary cultural terms? I will conduct a practical based research project that will address the issue of effect/affect in digital media. My central question will be; are new media effects causing a levelling down or intensification of spectator affect? This will allow me to present my thesis that new media technology can allow designers the power to encode spectator affects - worryingly - to a nearer degree of perfection.

Presentation:

On his website, Gunther Kress (2006) of the New London Group hosts a presentation called: Reading Images: Multimodality, Representation and New Media. Kress argues that: "In periods of fragmentation and individual communication is fraught: each environment of communication asks that social and 'political' relations, tastes, needs and desires be newly assessed" (abbreviation para 30). The notion of fragmentation is a central concept in postmodernism and underpins much of Jameson, Wegenstein and Turnock's writings. Therefore, due to the nature of my project, I will present research in the language of New Media. I have designed my new media document in Adobe Flash, following the "visual design" techniques discussed by Kress and Theo van Leeuwen in their 1996 book: "Reading Images; The Grammar of Visual Design". This will allow me to illustrate my research data in a clearer visual and spatial format. It will also enable me to reflectively assess the effectiveness of New Media as a means for conveying my argument.
Please click here to view the Flash Document>

Facial Expression as Semiotic Data? (Part One)

The images you are looking at now (fig ref 2) were taken by Parisian neurologist Duchenne (de Boulogne). He stimulated facial expressions by probing facial muscles with electric rods. The desired results were captured photographically and stored as physiognomic data. This exercise was conducted with the belief that the then newly developed technology of the camera (or daguerreotype), could be used as "a mirror with a memory" - a way of scientifically capturing an objective reality, or "visual evidence" - see Steve Neale's 1985 article: "Photography and the Illusion of Reality". The images Duchenne captured look quite barbaric. In many ways they re-affirm the negative connotations that have arisen around using facial expressions as cultural evidence. John Tagg (1988) recalls the negative historical connotations that exist between photography, science and the authority of the state. When talking about the deployment of photography in France and England he mentions that:

Post-modernism: Pastiche and The Waning of Affect.

So, what did Fredric Jameson mean by 'The' Waning of Affect in postmodern culture? Jameson had a particular reason for using the word 'Waning' as opposed to disappearance. He mentions that: "it would be inaccurate to suggest that all affect, all feeling or emotion, all subjectivity, has vanished from the newer image" (p. 69) Rather, he considered this indescribable human state as a condition, or a feeling, experienced as: "free-floating and impersonal" or "dominated by a peculiar kind of euphoria" (p. 69) . He goes on to mention that:

"The waning of affect is, however, perhaps best initially approached by way of the human figure, and it is obvious that what we have said about the commodification of objects holds as strongly for Warhol's human subjects: stars - like Marilyn Monroe - who are themselves commodified and transformed into their own images" (Jameson, 1991, p. 69)

The basis of his argument is that the dominance of a commodity-driven visual culture is over-writing the 'real' reality. This would separate the Marxist / Althusurian concept of alienation into a triadic Order. Jameson proposes that we can understand post-modern culture by applying the Lacanian notion of the Real, the Symbolic and the Imaginary. The symbolic order Jameson suggests works very much like Baudrillard's "Hyper-reality" - it masks the harsh reality of exploitation in a (now global) capitalist society. Therefore, Jameson underpins his concept of simulacra to movements in the base-structure of a rapidly globalising Capitalist economy. This paradigm shift into a global order would demand a levelling down of cultural product. Therefore, cultural products were becoming devoid of any emotional substance, depth or value. However, as my research suggests, the affects of new media applications such as Photo Booth - although standardised to a domestic level - are still highly effective in stimulating affect.

The Decentred, Engaged, or Engulfed Subject?

In Jameson's critique of Warhol's work, he argued that the subject (the spectator) was disengaged with the work. Jameson uses the "Monolith" in Stanley Kubrick's 2001 to illustrate this form of "depthlessness". The flat depthless canvas placed the viewer in no positiom - their context and relationship to Warhol's work was therefore meaningless - "a disposition of the subject" (1991, p. 69). Relating the Modernist version of Van Gogh Shoes to Warhol's Diamond Dust Shoes, Jameson argues that the latter: "(...) evidently no longer speaks to us with any of the immediacy of Van Gogh's footgear; indeed, I am tempted to say that it does not really speak to us at all" (1991, p. 68). Therefore, the postmodern - a shallow "reality of the appearance" - causes a "de-centering of the formerly centred subject" (1991, p. 72). We are lost in the post-modern space - but are we really lost?

Stanley Kubrick's 2001 "Monolith"	Warhol "Diamond Dust Shoes"	Van Gogh "A Pair of Boots"

Conversely, Turnock is fully aware of this process of "de-subjectification" (p. 268). It is a central argument to her claim of "bodily engagement". Turnock, citing Shaviro mentions that: "The spectator takes pleasure in the image precisely because of the abdication of control. In this way, visual pleasure is amplified by the fragmentation, defamilirisation, dislodging, and decontextualisation experience in the viewers body" (p. 265). Furthering Shaviro's argument, she states that: "The collapsing of the on-screen and off-screen space, (of subjectivity and objectivity) is experienced bodily as an abject pleasure" (p. 266). Therefore, the line that separates endogenous from exogenous is purposely fragmented. Rather than de-centering the subject, or providing a depthless image, this digital process evokes "a bodily engagement". Our vantage point has become re-centralised.

However, Thomas Elsaesser (1998) argues that 'engulfment' should be a term used to describe the newer cinematic experience because we the viewers are: "no longer capable of being kept at the sort of distance that engagement via the eye and mind assures" (p.204). He argues that as an alternative to the "bbounded image":

His writings also expand on Jameson's predictions of "cognitive mapping" as being a cultural requisite in the new spatial order (1991, p. 88). Elsaesser's notion of engulfment also relates well to Manovitch's notion of the "Spatial Montage" (pp. 332/326) where time: "becomes spatialized, distributed over the screen" (p. 325). Therefore, rather than being decentred, we are engaged within the medium, precisely because of its ability to engulf our body, mind - and perhaps soul.

Photo Booth toys with the line that divides objectivity and subjectivity. The spectator is placed central to the gaze of the Web Cam and reflected image. The real overlaps into the cyber and vice versa. The Pop Art filter overlays and integrates the real, rather than completely masking it. Therefore, the Lacanin triadic notion of 'the Real', 'the Imaginary', 'the Symbolic' - which Jameson, much like Slavoj Zizek, considers this to be the best psychoanalytic framework for understanding contemporary media and culture (1991, p. 91) - are all amalgamated into one virtual sphere. An increased time and space compression means that the Lacanian mirror phase in cyber-culture is conceivable in real-time. We can now see our cyber-self. This also means that our critical analysis of our "cyber-imagery" can be achieved through this instantaneous process. Although we are in full control - the debate should now centre itself around the issue of control?

Digital Effects: Photo Booth

The focus of my research is the relationship between digital effect and spectator affect. Photo Booth, a software application available on MAC computers, enables this relationship to be experienced and observed in real-time.

I was EFL teaching in 2008, in at a summer-camp in Shrewsbury. During my time there teachers and students would use my laptop - in particular Photo Booth - as a form of entertainment. It proved to be great fun! During this presentation, I will reflect on some of these photos, as well as draw from my own ethnographic observations. Due to the fact that this data was collected empirically, I feel that such an analysis will be most rewarding. There are some moral and ethical issues apparent in using this data. However, as an in-house project, these images will best illustrate my argument. I have also included clips taken from YouTube, which will further illustrate the Photo Booth effects - and possible affects.

Photo Booth offers 18 effects. These are split into two menus. Menu 1 hosts a nine effects, six of which I will argue are only available in real-time through digital-technology. For the purpose of this essay, I will refer to these effects as 'digital stylisation' effects. The latter nine effects on Menu 2 are a digital remediation of the "Hall of Mirrors" effects. I will refer to these as 'Analogue Remediation' effects.

Analogue Effects: A Digital Remediation

Photo Booth provides a remediation of the codes and conventions used in the "Hall of Mirrors" - a familiar feature in fairgrounds or amusement arcades.

My students were initially quite hesitant about the analogue remedial reflections. They seamed to be worried about being made a fool of in front of the class. It should be noticed, that one of my students, an overweight and slightly stubborn girl from Russia refused to take part in any of the photographs. After initiating the interaction, the students soon commandeered my laptop. Taking on the role of an impartial observer, I sat with the Russian student at the back of the classroom. Personally, I had become partially immune to the Photo Booth effects/affects. From this point we could watch the other students interacting with Photo Booth. The classroom was full of laughter. As you can see from these images, their interpretation of the generated visual effects, demanded that they moved their bodies and faces to interact furthermore.

From my position of observation, this looked much like a semiotic game of Simon-says. The computer was Simon, and they were doing as he said. I realised that I was watching a real-time cybernetic loop in both physical and virtual form. The projection of real-time imagery was producing an instantaneous loop that could stimulate affects within this group. It was also able to emote various emotions, from tearful and hilarious roars of laughter, to sombre and subdued modes of contemplation.

In affect, this cybernetic feedback loop was completely in control of its subjects - to the extent that they were often weeping with laughter. It is clear to see with this set of effects, how affective they really are.

If of course, we are to take affects at face value.

Digital Stylisation, Part One: The Pop Art Effect

In the click of a button Photo Booth could instantly swap effects.

Unlike the roars of laughter that the analogue remedial effect encoded into Class H, the 'Pop-Art' filter causes a sombre and humourless response from the group. The portrayed reflection and causal affect was solemn, thoughtful, pensive or preoccupied. It was as if the users of these effects - predominantly the girls - were caught up in something, or adhering to some unspoken rule. The boy's attention had faded. They would occasionally returned just to 'check out' what was going on. The digital styalisation effects seemed to bring the girls together in a mystical fantasy world. A place the boys seemed to have no real interest in being represented. This place seemed to be much like a make-up party.

After the lesson with class H, the boys request that I emailed them in particular: 'the funny photos', whereas the girls would request the more stylised photos. Often, it would seem that they were taking these photos because of the romantic connotations induced by them. In the case of Class H, this was an emotional last lesson for them as the summer-camp began to come to an end. This can be seen in the eyes of Isabella. Her sadness is accentuated by the nostalgic representation produced by the 'Coloured Pencil' effect. She could see her end of term photos as they were being produced; In this case, as if it was a sketching. The additional visual effect therefore drew-out the romantic notions attached to the last occasion. A timeless classic was being drawn in real-time. The time that existed between the sketch being drawn and the viewer taking a reminiscing look had been compressed into the 'now'. The effected representation had overlapped into the real and heightened the emotional engagement. Isabella started to weep after the last photo had been taken.

Digital Stylisation, Part Two: Corporate Cannibal

In Steven Shaviro (2008) analysis of the Grace Jones' "Corporate Cannibal" video, he argues that the style: "gives the most profound expression or articulation that I have yet come across to the affect of the vertiginous "globalized network society" (abbreviation, para 12). Jones video has been created using the same effects that Photo Booth produces on a standardized and domestic level. Much like Jameson who related post-modernity in Marxist terms to late-capitalism, Shaviro relates Jones': "electronic mutations or modulations" to the: "metamorphoses of Capital itself" (abbreviation, para 12). He concludes that the same digital technologies, which conduct the flow of Capital, are being used to produce morphing effects and educe spectator affect. It would seem that twinfold, capital and the technologies that mediate social interaction, are cultural determents. With a Marxist base-structural undertone, such a claim would re-enforce Marshal McLuhan's infamous claim that: "societies have always been shaped by the nature of the media by which men communicate" (2001, p. 8). The form of contemporary media is becoming increasingly wireless. Therefore, we are becoming engulfed rather than decentred.

Conclusion

These stylistic filters are unique assets of digital technology, because they can be displayed in real-time. The latency that existed between Monroe's death (August: 1962), and Warhol's portraiture and public exhibition (Autumn: 1962), has been broached. Furthering this, Jameson's critique (1991) of Warhol's artwork can also be achieved in the same instantaneous moment by the Photo Booth user. Much can be said here for Warhol's artistic insight. Indeed, this application offers a true new media pastiche of Warhol's stylistics. The students almost blank response to this digital process is perhaps indicative of Warhol's depthless stylization. However, they seemed fully aware that they were being digitally codified and iconified in real-time. Although their affective response appeared detached and humorless, they were given an immediate degree of control. My students suddenly took themselves more seriously when viewing themselves as a partial sign. This would imply that there is a level of critical engagement at work in my students real-time analysis of their self-representation. Therefore, Photo Booth gives the freedom to experience and critique the Imaginary and the Symbolic order. Since the two have overlapped within the application of Photo Booth. The software code of Photo Booth enables the live observation of cybernetics and the human subject. This code brings facial expressions and bodily engagement into being. Semiotics and physiognomic enables the subjects wireless interaction with the application.

Furthering this, we should not forget about the Russian student who refused to partake in this activity. Her refusal indicates also that the totality of cybernetic dictation, is only applicable to those caught up in the feedback loop. Those who choose to avoid involvement, to stand on one side of the digital divide, can remain incognito to the Photo Booth gaze.

Wegenstein (2006) argues that: "Today, the focus in yearbook pictures is no longer on faces, but on healthy and strong looking body parts such as arms and legs" (p. 89) However, I would argue that the MACs Photo Booth primarily fixates the viewers attention to the face. Their bodily engagement is controlled through a combination of software encoding and an awareness of their own facial expression - understood as a convention, or a semiotic code, within a cybernetic feedback loop. The face has become the new public signature- Photo Booth allows us to practice and perfect the formulation of that sign. Photo Booth, with its emphasis on face-value, partially discredits Wegenstein's claim that: "The face can now "hide" inside the body" (p. 89). The larger majority of photographs the students took on my laptop were of their faces. Wegenstein (2008) reminds us, the face is fixed centrally within identification in software applications such as EFIT. The face also mediates the Photo Booth experience and becomes the visual signature within virtual social spheres such as Facebook, Bebo, Youtube, and Myspace.

Images:

Fig Ref 1. Grace Jones: Corporate Canibal. (Online) Available from: http://www.shaviro.com/Blog/?p=653

Fig Ref 2. Page from "Mecanisme de la Physionomie Humaine". (Online) Available from: http://www.flickr.com/photos/nationalmediamuseum/3084040895/

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Digital Cinema: PhotoBooth: Digital Effects and Digital Affects - Research
Author: James Addicott (© 2009 James Addicott)
Contact: james@spatialmontage.com