Propoganda

The aim of propagandism is to influence people’s opinions or behaviors actively, rather than merely to communicate the facts about something. For example, propaganda might be used to gather either support or disapproval of a certain position, rather than to simply present the position, or to try to convince people to buy something, rather than to simply let them know there is some thing on the market.

What separates propagandism from “normal” communication is in ways by which the message attempts to shape opinion or behavior, which are often subtle and insidious among other characteristics. For example, propagandism is often presented in a way that attempts to deliberately evoke a strong emotion, especially by suggesting illogical (or non-intuitive) relationships between concepts or objects (for instance between a “good” car and an attractive woman or a sex symbol).

 

An appeal to one’s emotions is, perhaps, a more obvious and common propagandist method than those utilized by some other more subtle and insidious forms. For instance, propagandism may be transmitted indirectly or implicitly, through an ostensibly fair and balanced debate or argument. This can be done to great effect in conjunction with a broadly targeted, broadcast news format. In such a setting, arguments using “red herring” and other ploys (such as Ignoratio elenchi) are often used to divert the audience from a critical issue, while the intended message is suggested through indirect means.

Constuctivism & Art in the revolution

As much as involving itself in designs for industry, the Constructivists worked on public festivals and street designs for the post-October revolution Bolshevik government. Perhaps the most famous of these was in Vitebsk, where Malevich’s UNOVIS Group painted propaganda plaques and buildings (the best known being El Lissitzky’s poster Beat the Whites with the Red Wedge (1919)). Inspired by Vladimir Mayakovsky’s declaration ‘the streets our brushes, the squares our palettes’, artists and designers participated in public life throughout the Civil War. A striking instance was the proposed festival for the Comintern congress in 1921 by Alexander Vesnin and Liubov Popova, which resembled the constructions of the OBMOKhU exhibition as well as their work for the theatre. There was a great deal of overlap in this period between Constructivism and Proletkult, the ideas of which concerning the need to create an entirely new culture struck a chord with the Constructivists. In addition some Constructivists were heavily involved in the ‘ROSTA Windows’, a Bolshevik public information campaign of around 1920. Some of the most famous of these were by the poet-painter Vladimir Mayakovsky and Vladimir Lebedev.

As a part of the early Soviet youth movement, the constructivists took an artistic outlook aimed to encompass cognitive, material activity, and the whole of spirituality of mankind. The artists tried to create works that would take the viewer out of the traditional setting and make them an active viewer of the artwork. In this it had similarities with the Russian Formalists’ theory of ‘making strange’, and accordingly their leading theorist Viktor Shklovsky worked closely with the Constructivists, as did other formalists like Osip Brik. These theories were tested in the theatre, particularly in the work of Vsevolod Meyerhold, who had set up what he called ‘October in the theatre’. Meyerhold developed a ‘biomechanical’ acting style, which was influenced both by the circus and by the ‘scientific management’ theories of Frederick Winslow Taylor. Meanwhile the stage sets by the likes of Vesnin, Popova and Stepanova tested out Constructivist spatial ideas in a public form. A more populist version of this was developed by Alexander Tairov, with stage sets by Aleksandra Ekster and the Stenberg Brothers. These ideas would go on to influence German directors like Bertolt Brecht and Erwin Piscator, as well as the early Soviet cinema.

Private military companies

BENI-TAL “security”

Following the recent Blackwater incidents P.M.C’s have become more known to the civilian populous but what few of the them don’t know is that there are well over a hundred organizations operating outside of the law . . . scary right .

the final showdown . . . Bury the hatchet

My final choice

and a publication that came a close second

i think id like my magazine to be an amalgam of the two .

приветствовать

Welcome indeed to the post apocalyptic retro future how are you going to survive ?

Are you fortunate (rich) enough to have been born and live in the Utopian cities or are you a worker who has had to toil and now fight for your right to exist . . . .

woo!

cool videos from idN

CSS (Cansei de ser sexy) Alcohol by Jared Eberhardt

Los Campesinos! you and me dancing by Monkmus

Zune Art – Los Corazones by Punga