Memes

Today, internet memes have become a part of the political campaigning. This paper thus analyses how internet memes have been used as a medium to communicate political messages amongst millennials in Uganda. Parameters like political engagement, influence on political views and voting behavior are used to analyze the different political memes trending on social media platforms in Uganda under the framework of the elaboration of likelihood model of management.

In this chapter we explore the role of humorous memes in co-constructing polarized positions in contemporary US political discourse. Such polarized positioning, we argue, is mostly based on a disregard for the other that draws heavily on irony as a rhetorical resource. Our analysis focuses on the memes posted as responses to two different controversial Twitter threads initiated by the former president of the United States, Donald Trump. Through our discussion, we consider the importance of examining memes rhetorically as a way to highlight the different assumptions informing and reproduced both in Trump’s discourse and that of his opponents. At a broader level, our study contributes to a more holistic understanding of the role that polarizing discourses play in our current populist conjuncture, and their perils and potential in the overall struggles to (re)establish alternative forms of common sense.

Este trabajo se centra en el fenómeno de los i-memes (internet memes) y comprende un estudio de caso a partir de un acontecimiento local que tuvo repercusiones y trascendencia globales: la cumbre del G20 celebrada en Buenos Aires (diciembre 2018). Entre las distintas piezas meméticas que circularon en relación al evento tuvo cierto predominio la imagen del entonces presidente Mauricio Macri lagrimeando tras el espectáculo Argentum, realizado en el teatro Colón como agasajo para los líderes concurrentes a la cumbre. Esta imagen tuvo múltiples reapropiaciones en las redes, mayormente con finalidades humorísticas. En los casos analizados en el trabajo, las apropiaciones meméticas sirvieron a fines satíricos, tendientes a desvalorizar la gestión y el liderazgo del ex-presidente, en el marco de crecientes conflictos poíticos, económicos y sociales alrededor de su Gobierno. Esto devino en la consolidación de un nuevo meme, que aquí llamamos "Macri Llorón" y cuya longevidad superó el contexto cronológico de la cumbre del G20, registrando reapariciones significativas en momentos posteriores del Gobierno de la alianza Cambiemos; fundamentalmente, su derrota electoral del 2019 a manos del Frente de Todos.

Memes have become an important linguistic tool not only for communicating emotions and ideas, but also are integral to constructing the self in online space. This paper concentrates on copper miners in northern Chile and the ways they use memes to make claims related to (hetero)sexuality, mestizaje, and nationalism. With men at the mine during week-long shifts and families in towns several hours away, social media is important for maintaining communication as well as representing the self. Miners present their labor as central to their sense of self, with memes that indirectly index heterosexuality, modernity associated with resource extraction, and racial mestizaje linked to nationalism. The visibility of these memes across spaces of both mine and town gives men an opportunity to construct a cohesive digital self, with implications for reinforcing assumptions about what is appropriate gender performance.

Originally published in:
The International Journal of Arts in Society, Volume 6, No. 2, pp. 111-20, available online at: http://ija.cgpublisher.com/product/pub.85/prod.757

The phenomenon of large-scale public art projects has gone viral. From intentional crop circles to illusionistic sidewalk paintings in many of the world’s urban tourist sites to choreographed flocks of sheep and rice paddies planted in imitation and emulation of classical paintings, these projects often reveal a sophisticated degree of communal organization and the expenditure of sometimes vast amounts of human energy and resources. The widespread distribution of videos about these often memetic and mimetic projects on YouTube and other digital media networks means that these projects are familiar to millions around the world and engender others. To what end?

In this article, Dr. Hipólito Rafael Chacón, Professor of Art History and Criticism at The University of Montana (USA), illustrates the rich gamut of projects that are currently documented online. He analyzes how these works resonate with traditions of land-based art known to art history and archeology, specifically how they relate to the land art, pop, and mass culture movements of the last quarter of the 20th century. Most importantly, he shows how their diffusion via electronic media is a revelatory commentary on a new and increasingly global culture.

This essay analyzes the riot kiss photograph tacken by Rich Lam after game seven of the 2011 Stanley Cup Finals in Vancouver and its subsequent life as a visual internet meme. Noting how this image and its reproductions both operated as memes, I argue that the riot kiss photograph's rapid circulation across numerous participatory sites exposed the diverse argument frames employed to create arguments about this image and simultaneously marked the ambiguity of commonplace readings. Public recognition of such instability motivated the continued invention of arguments about this image through reproduction and creative manipulation, ¡dissect the various claims fashioned about the original photograph and the ways in which the ambiguity of the frameworks for those claims motivated the creative manipulation of the photograph. This essay contributes to argumentation theory by offering an opening foray into understanding memes as forms of visual argument.

Resumen​ ​ o​ ​ Abstract La sociedad contemporánea hipermediatizada plantea un nuevo escenario en el que conviven por primera vez en la historia dos sistemas de medios: los medios masivos de comunicación y las redes sociales. Estas últimas propiciaron la emergencia de nuevos enunciadores amateurs capaces de instalar nuevas lógicas de circulación de sentido. Eameo es un ejemplo de circulación contemporánea ascendente en el que un enunciador humorístico amateur generó, a partir de sus plataformas en las redes sociales, un colectivo de comunicación. Recupera en formato digital la tradición del humor gráfico despersonalizado y transgresor a través de fotomontajes que dialogan con la actualidad. En base al análisis de la circulación de su producción risible y artística, se abordará la construcción de sentido que se desarrolla en cada cambio en la escala de mediatización. En este proceso se hará foco en los límites que encuentra la propuesta enunciativa​ ​ risible​ ​ de​ ​ EAMEO​ ​ y​ ​ sus​ ​ fotomontajes​ ​ 2.0. Palabras​ ​ clave EAMEO​ ​-​ ​ Hipermediatización​ ​-​ ​ enunciadores​ ​ emergentes​ ​-​ ​ redes​ ​ sociales​ ​-​ ​ circulación. Eameo,​ ​ nuevas​ ​ lógicas​ ​ de​ ​ circulación​ ​ de​ ​ lo​ ​ risible. La presente ponencia se propone dar cuenta de la circulación de lo risible en nuestra sociedad contemporánea hipermediatizada a partir del caso EAMEO. Se trata de un enunciador emergente, 1 humorístico y amateur. Este tipo de enunciadores son específicos de nuestra época en la que por primera vez en la historia conviven dos sistemas mediáticos: masivos y con base en Internet. En la interacción entre​ ​ ambos​ ​ sistemas​ ​ se​ ​ generan​ ​ flujos​ ​ comunicacionales​ ​ que​ ​ complejizan​ ​ los​ ​ circulación​ ​ de​ ​ sentido. Tomamos como antecedente los estudios y la teoría de Eliseo Verón en donde, en base al vínculo con el sistema mediático, se propusieron dos tipos de sociedades: moderna y posmoderna. La primera la define mediática por el rol de los medios masivos como "ventanas al mundo". La segunda mediatizada ya que los medios masivos funcionaron como productores de sentido y, gracias a ello, como constructores de los acontecimientos, de los fenómenos sociales. Agregamos, a partir de la teoría de Carlón, la sociedad contemporánea hipermediatizada. En donde la convivencia de dos sistemas de medios complejiza la 1 ​ ​ Carlón,​ ​ Mario.(2016).​ ​ "Después​ ​ del​ ​ fin.​ ​ Una​ ​ perspectiva​ ​ no​ ​ antropocéntrica​ ​ sobre​ ​ el​ ​ post-cine,​ ​ la​ ​ post-tv​ ​ y​ ​ YouTube".​ ​ Buenos​ ​ Aires:​ ​ La Crujía

This article maps some key patterns associated with how internet memes are conceived and how online meme practices have evolved and morphed during the period from 2000 to the present. We document the rise of internet memes during their early years as a broadly communitarian cultural engagement, mostly characterized by goodwill, humor, and an often “nerdish” sense of shared cultural identity. With the massification of internet access and participation in online social practices employing Web 2.0 and mobile computing capacities, changes occurred in how internet memes were conceived and created (e.g., image macro-generators). Since around 2012, many online meme practices have become intensely politicized and increasingly used for socially divisive and, often, cruel purposes. We explore some of these shifts and argue that what we call “second wave” online memes have been used as weapons in personal, political, and socialcultural wars. We conclude that internet memes scholarship would benefit from revisiting the original conception and theory of memes advanced by Richard Dawkins, and attending closely to what motivated Dawkins in this work.

I commend Campbell for her research about social media. It is vital that the religious academy takes time and care to explore this topic. I agree that negative memes about other faiths can be harmful and should be addressed. In my response, I will discuss how memes operate based on folkloric and anthropological research. A key part of my argument is that we need to revisit rhetoric in order to both understand memes and effectively address anti-religious sentiment expressed through that medium. I will end my chapter with recommended action steps for the church today.

If language is the highest application of the mimetic faculty, what is the shortest? With Walter Benjamin as a guide, this Flash paper corresponds with glitchy animated GIFs and kitschy net cultures. How do GIF images mean? and where can I get some?

Written mainly for students and the general public, it marshals a wide-ranging challenge against the Standard Social Science Model.

Contents
Acknowledgments ix
Introduction 1
1 Evolution and Knowledge 15
2 Evolution and Consciousness 43
3 Evolution and Language 63
4 Evolution and Sex 87
5 Evolution and Feminism 113
6 Evolution and Race 133
7 Evolution and Ethics 155
8 Evolution and Religion 177
9 Evolution and the Meaning of Life 215
Appendix 231
Glossary 241
References 249
Index 267

Millennials today are highly engaged with social media, which offers them a platform to openly express their emotions and opinions. These social media platforms have become important parts of their daily lives. In this environment, a new visual form of expression—internet memes—has emerged. Cultural memes develop in an extremely fascinating manner and have gradually become mainstream on social media. Memes have a significant impact on young people; the emerging visual culture may alter their perceptions of visual representation through digital media.
My thesis uncovers the emotions behind the development of memes that lead its popularization in the modern online environment. Additionally, I detail the creative strategies of meme-making to explore the potential to apply memetic methods to design as a form of criticism. It is essential to understand the culture behind constitutive memes and explore the community and emotions behind memetic visual representation in the modern context of social media.

In an effort to carve a distinct place for social facts without lapsing into a holistic ontology, John Greenwood has sought to define social phenomena solely in terms of the attitudes held by the actor(s) in question. I argue that his proposal allows for the possibility of a “lone collectivity” that is (1) unpalatable in its own right and (2) incompatible with the claim that sociology is autonomous from psychology. As such, I conclude that the relevant beliefs need to be held by more than one person.

Una de las principales formas de hacer comentario social es por medio del humor. La tecnología en Internet permite transmitir de manera eficiente dichos comentarios a través
de vínculos; o bien, ofrece herramientas para formular y distribuir nuevos mensajes propios.
Las imemes, aquello que es retransmitido y modificado por los usuarios, constituyen una de las formas más fáciles de retransmitir humorísticamente críticas sociales.

Es importante identificar y estudiar fenómenos de los que ya se tiene conocimiento en la red, así como descubrir nuevos, al momento de formular o enfrentarse a imemes con agenda
política y social. Entre estos fenómenos a considerar están la ley de Poe; el efecto Streisand; los hoaxes; la resignificación; y las memes forzadas, ascendidas y desacreditadas. No tener en
cuenta estos fenómenos, o hacerlo de manera ingenua, puede provocar que las acciones para crear, utilizar o contrarrestar imemes sean contraproducentes.

Die Bachelorarbeit "Historymemes - a citizen science of the past?" möchte das Demokratisierungspotenzial von Memes für die Geschichtswissenschaft darstellen. Memes die ein historisches Narrativ wiedergeben werden in ihrer Performativität charakterisiert, ihr Citizen-Science- sowie ihr allgemeines Partizipationspotenzial herausgearbeitet.

Article is devoted to the mental spaces as a way of memes’ implementation in political discourse. It highlights the specificity of analyzing mental spaces as well as the contextual component they represent in the process of verbalizing Internet-memes in political discourse. The article is aimed at distinguishing main principles of forming mental spaces in memes with contextual component in political discourse basing on the presidential elections in the United States of America 2020. The urgency of the article is formed due to the challenges which may arise in the process of interpreting Internet-memes which are involved into verbalization of political discourse. The author points out the core aspects of mental spaces, Internet-memes and political discourse including detailed analyzes of the latest researches in the mentioned fields. To achieve the aim of the article there have been distinguished the correlations between mental spaces and political discourse, the peculiarities of contextual component of the Internet-memes and direct interactions between mental spaces as well as Internet-memes. The author highlights six types of mental spaces. The article presents a number of practical examples of Internet-memes with contextual component which illustrates the presidential elections in the United States of America 2020 and is devoted to the confrontation between the representative from the Democratic Party Joe Biden and current President of the United States of America Donald Trump from the Republican Party. All the practical material has been purposefully selected from official news agencies presented in social network such as Instagram: BBC, Fox News, ABC, and CBS. Additional attention has been payed to comparison of posted in the mentioned resources Internet-memes to distinguish the difference between contextual components chosen to be presented by different news agencies. In conclusion the author has stressed on the possibility of contextual component of Internet-memes to form the mental spaces. Key words: Internet-memes, mental spaces, political discourse, presidential elections 2020, contextual component, news agencies.

Targeted mainly at professional translators, translation trainees and their teachers, Memes of Translation sets out ambitious metatheoretical, theoretical and practical aims, which it reaches. Its first aim is to propose a conceptual framework that meaningfully links varied and distinct views of translation. Its second is to build a Popperian theory of translation — oriented by "tentative theory, error elimination and the evolution of objective knowledge" (x) — in combination with an argument supported by norm theory and partially action theory. The guiding "building-blocks are the concepts of norm, strategy and value" (x). Finally, the volume aims to show that translation theory is useful and applicable to translation practice. First published in 1997, this 2016 revised edition with minor corrections and improvements offers an update at the end of each chapter with references to more recent research and addresses criticisms of the 1997 version. This book remains mandatory (re)reading.

A través del artículo se explora la hipótesis de que los memes de internet constituyen un nuevo espacio para el pluralismo informativo en Chile, ya que tendrían la capacidad para romper el cerco informativo impuesto por los medios de comunicación masivos. A partir de la Ecología de Medios se analizan los memes y la viralización, para descubrir el rol que cumplen en la conformación de la agenda temática. Este artículo forma parte de la etapa inicial de una investigación más amplia que pretende dar luces sobre el rol que las redes sociales cumplen en la conformación de la agenda temática y cómo han afectado el ecosistema de medios de comunicación.

The internet has emerged as an important space for the creation and dissemination of gothic and horror media, particularly in the form of memes. Located at the intersection of digital culture and folklore, some horror memes remain relatively isolated within particular online communities, while others have attained greater attention in mainstream media. This chapter provides an overview of several exemplary memes (the Rake, Jeff the Killer, the SCP Foundation, Smile.jpg, the Russian Sleep Experiment, and Slender Man) and discusses how these memes reveal significant characteristics of digital culture and space.

While the mainstream press have often used the accusation of trolling to cover almost any form of online abuse, the term itself has a long and changing history. In scholarly work, trolling has morphed from a description of newsgroup and discussion board commentators who appeared genuine but were actually just provocateurs, through to contemporary analyses which focus on the anonymity, memes and abusive comments most clearly represented by users of the iconic online image board 4chan, and, at times, the related Anonymous political movement. To explore more mainstream examples of what might appear to be trolling at first glance, this paper analyses the Channel Nine Fail (Ch9Fail) Facebook group which formed in protest against the quality of the publicly broadcast Olympic Games coverage in Australia in 2012. While utilising many tools of trolling, such as the use of memes, deliberately provocative humour and language, targeting celebrities, and attempting to provoke media attention, this paper argues that the Ch9Fail group actually demonstrates the increasingly mainstream nature of many online communication strategies once associated with trolls. The mainstreaming of certain activities which have typified trolling highlight these techniques as part of a more banal everyday digital discourse; despite mainstream media presenting trolls are extremist provocateurs, many who partake in trolling techniques are simply ordinary citizens expressing themselves online.

Entendendo os memes de internet como uma das formas de engajamento afetivo na relação com as disputas discursivas envolvendo questões políticas contemporâneas, buscamos analisar este fenômeno a partir do diagrama de organização do campo da política, proposto por Lawrence Grossberg. Dos vértices aos vetores, e tudo o que se localiza na constituição desta imagem, se intenta justificar a potência do meme político enquanto expressão, especialmente promovido a partir do vértice da produção da vida cotidiana. A análise de uma seleção de memes que abordam as recentes disputas no campo da educação superior no Brasil é feita em articulação com referencial teórico, apresentando movimentos, espaços e práticas e deixando ver os afetos. Impedimentos à visão das mudanças no campo político por meio dos memes e possíveis desdobramentos para pesquisas futuras são apontados ao final.

Como citar: BARBOSA, T. A. F. Os memes de internet e o debate sobre o ensino superior no Brasil: uma análise a partir do diagrama de Lawrence Grossberg. In: COSTA, Edwaldo. Tecnologias e estéticas da comunicação no Brasil 2 – Ponta Grossa/PR: Atena, 2020. pg. 200-213. DOI: 10.22533/at.ed.93120261015

When musical parodies as ‘authentic imitations’ of existing artistic compositions or cultural memes are transmitted through social media, the general public may be provoked and confronted with mixed reactions on decency and other moral issues.  This has the potential conflating to a catastrophic state especially when the audiovisual data have instantly been enabled for public access.

The ‘listen, listen, listen’ phenomenon started when a video, which depicts a moderator named Sharifah Zohra Jabeen dismissing a student from asking questions at a forum held in a local university, went viral on social media on 14 January 2013, while her abusive ‘listen’ catch-line and other humiliating remarks catapulted the public uproar overnight. Immediately following the incident, there came a few parody videos, which appear both satirical and entertaining, to underscore a typical paradox that apparently parallels the many underlying problems of the education and politics in Malaysia, and thus ‘listen, listen, listen’ significantly emerges as a contemporary Internet meme.

This paper deals with a hermeneutic study on the ‘listen, listen, listen’ phenomenon based on online comments YouTube members have posted (3,583 as of 10 October) for a musical parody produced and published by Yuri Wong on 14 January. As commentary from other available Internet platforms is analysed, the use of audiovisual data is also technically observed and interpreted. When net citizens drastically involved themselves through actions of liking, disliking, sharing or commenting on the social media, are they more voluble and honest on the Internet platform? Through this musical parody, what idea did they gather to reflect the reality in Malaysia? Are they ready to appreciate musical parodies?

The discussion continues on possible reactions of the censors in the event when musical parodies allegedly ‘collide’ with the ‘national security concerns’.

Institutional communication often needs to communicate to the general
public by disseminating juridic and administrative content. The article analyses the institutional communication campaign that appeared on public administration websites during the COVID-19 pandemic, renamed with the hashtag #iorestoacasa. It analyses both the language and the relevant pragmatic and textual characteristics of the corpus of texts collected, and the images (infographics and others) that accompanied the dissemination of texts on institutional websites. The conclusions still show a lack of capacity to create fully multimodal documnets in which text and images are integrated.

O artigo versa de forma ensaística sobre uma tríade formulada pelos seguintes pilares teórico-metodológicos: 1) a cultura BDSM e games; 2) a personagem Lady Dimitrescu de Resident Evil: Village, de 2021; e 3) os memes e seu impacto na sociedade pós-moderna sob ótica da Memética. Parte-se do sentido de que a conexão entre essas frontes resulta na massificação e compartilhamento de uma cultura de nicho que parte do underground para o mainstream, tendo um game e uma personagem como força-motriz desse processo. Como metodologia, emprega-se um estudo de caso clássico ao mesmo tempo em que traz os holofotes à uma perspectiva teórico-ensaística de Observação-Participante. Evidencia-se, portanto, uma intimidade vivencial entre consumir a cultura pop pelos games ao mesmo tempo em que se massifica uma cultura de nicho, justificando essa mídia como uma tecnologia da imagem e do imaginário.

The article aims at the theoretical-methodological triad formulated by: 1) the BDSM culture and games; 2) the character Lady Dimitrescu from Resident Evil: Village, of 2021; and 3) memes and their impact on the post-modern society under the Memetics perspective. It starts from the connection between these references resulting on the massification and sharing of a niche culture that leads the underground to mainstream, pointing out a game and a character as driving force of this process. As methodology, it carries out a classic case study as well as highlights a Participation Observation. It demonstrates how a way between consuming pop culture throughout games and a massification of a niche culture is able to justify this media as an image and imaginary technology.