'State of the Art' - Political and Visual Opinion Imagery and the Transition to the New Digital Realities

Article Extract: The Premise of this Paper is to Provide an Overview of Current Trends and Developments in Political and Social Visual Imagery and to determine the Adaptability and Current Influence of the Medium in the New Globally Connected Digital Reality. The Overview is not limited to the Editorial Cartoon, which is the Standard within the Opinion Sections of the Broadsheet, but rather includes the wider aspects of Visual Opinion imagery, including Agit-Prop and other similar Political Influence Material. This Paper does not delve into the Historical Aspects of Political imagery, Influential Creators and their Works or Stylistic Movements. Film, Animation and other 'Moving' Media is not examined, only the Singular, Static Political image. The Full intent of the Paper is to examine the initial first Decade of the Print Era's complete transition to the Digital Environment and the Current and Future Survivability, Adaptablity and Function that the Visual Political Art Form will play in the New Globally Connected Digital Realities.

Extract One: Preface: Print, Paper and Bytes, Static and Fluid Platforms

The Fundamental Defining Contradictory Differences between the Digitally Connected Environment and the Print and Paper Era of Books, Pamphlets and Broadsheets is of an Object in a 'Static' State and an Object in a 'Fluid' State. In this context, Print and Paper is a 'Static' Medium, Meaning the information is Read, Viewed and Held in a Tactile, Physical Sense with no Expectation for the information to be Re-Transmitted. It is a 'Closed-Loop' or 'Static' in Nature and is the dominant model held over from the Print Era in the First Decade of Complete Digital Transfer. This False Construct of 'Static' information consolidation in a 'Fluid' Environment has created a Vast Network of informational 'Glass Buildings', each acting on the assumption that the information process is limited only to the End-User Viewer or Reader use, seemingly unaware that the information source is but 'two mouse clicks' away from the Diametrically opposing ideological View Point and Geographic Network Location. It is an Analogy of two people sitting back to back on seperate wooden chairs in an Empty room, each holding a Megaphone and reporting endlessly on the negative qualities of one another and never, at any point in the dialogue, do they choose to turn around and face the other. It is a example in irony and it is the dominant informational model that the Establishment Print media has chosen to follow in the Digitally connected Era.

To Summarise, the Practises of the 'Static' Print Era have indeed transferred Complete and Full into the Digital Environment but have failed to recognise the 'Fluid' Nature of the Environment it now finds itself in. The Dialectic that Opposing and Contradictory Elements will give way to a Unpredictable, improved Solution has yet to be Realised. The Digitally Connected World, in it's True State, is one of Liquid Fluidity with the Transmission model being similar to Natural Law, Self-Replicating and Outward bound in it's Direction. It is Essential that these Two Fundamental Differences between the 'Static' Print Era and the 'Fluid' Digital Era be Clarified first before Examing the Role that Visual Political Imagery has, and will have, in the New and Contradictory Realm of Fluid instant Global Connectivity.

Extract Two: Traditional Tools, Symbolism and Stage Puppets

The Craftmanship, Stylistic qualities and Creation processes of Print Era Political Cartoons, Editorial Illustration and other forms of Political imagery have likewise been transferred completely into the Digital Realm. The Print Era Creation Methods of Concept, to Rough Pencil Sketch to Finished Pen and Ink Drawing still remains the same, only two new additional steps are required for the Final image to be transferred into the Digital Environment, that being Scanning and the final image Formating for Digital display. However, one Significant impact that the Digital Era has had on Visual Political Dialogue is the wide use of Photo-Manipulated Imagery to Convey various Political Agendas, Premises, Ideologies and Public Responses to Domestic and Global Events and Crisis. Similar to the Print Era 'Fumetti' method, widely published in Italian Satirical Journals, the new 'Digital Fumetti' does not require the tedious cutting, clipping and juxtaposition of photographic material as it's Predecesor and is Produced solely using Digital Imaging Tools. Generally independently Produced, 'Digital Fumetti' is perhaps the most widely produced and widely transmitted 'New' Political Art Form widely used in thousands of Independent Political Forums, in various languages and Global Network Zones. This visual Digital Phenomena is a Direct Result of imaging Software Technology's impact on the Visual Political Art Form. Relatively Quick to Produce, Digitally friendly in File Size and Visually interesting 'Digital Fumetti' will be the Dominant form of Visual Political Communication used in the New Digital Environment.

Another Visual Political Development brought about by the New Digitally Connected Reality is Real-Time, Real-World Transmission of Agit-Prop Signage, Banners, Props and Protest Graffiti used in Numerous Opposition, Pre-Revolutionary, Geo-Political and Conflict Driven Street Level Protests. This 'Visual Agitation' Communication can take many forms and expressions, but it is in the Global Rapid Transmission of the Protest Imagery that Empowers the Movement's Agenda the Greatest. Similar 'Peoples Art' Developments used as instruments of Political influence, is the ease of direct digital access to the Public Opinion Process by dissenting views held within a Regimes mid-level Power structure. This was recently evidenced by widely transmitted images of anonymous Military members in Full Uniform displaying Placards and Slogans directly opposing Regime Policy. Other forms of Political Art that are Specific only to the Digital Environment and untranslateable into the Print Era, is the temporarily ownership of online Establishment Media by Opposition Groups and Foreign State Powers. Generally used in Tense, Geo-Conflicts, the Media Establishment's Digital Front Page is replaced with Opposition Symbols and Slogans to influence, effect and challenge Public opinion. All of the above are examples of Visual Political symbology created in a 'Fluid' Digitally Connected Global Environment, completely different and alien to the 'Static' Print and Paper Era.

However, Political Visual Opinion in the Digital Age still remains a largely 'Reactionary' Medium. The use of Established Symbols, Props, Cues and 'Stage Puppets' Developed during the Print Era still remains the Primary Visual Lexicon for Communicating Politically Driven Events. In this manner, Complex Domestic Events, Geo-Political Conflict and Crisis are still Communicated by the use of Simplistic Caricatures and Cartoonish Depictions of Heads of State and Easy to Recognise National Symbols. War, Conflict, Domestic and Geo-Political Affairs are still communicated at this simplified base level, reduced to the Easily understood 'Stage Puppet' Theatrics of an 1800's Punch and Judy Show. The 'Stage Puppets' in this particular brand of Political Theatre are the Key Players in the Nation's Representative Power structure, the Presidents, Commissars, Heads of State, Foreign Ministers, Diplomatic Officials, Regime Friendly Generals and Administration Press Spokesman. The Role of the Citizen Audience, and Citizen here refers literally to Millions of People, is as an observer only, participation is strictly limited to Chattering amongst themselves in reaction to the Staged Events, Commenting on the Acting Skills, Oratorical Qualities and interaction of the 'Stage Puppets' as the Political Drama unfolds and to watch intently as this 'Stage Puppet' or that 'Stage Puppet' Jets here and there for 'Strategic High Level Discussions'. The Citizen Audience's Function is to React and React only, to become Dismayed, Angry, Happy or Relieved as the Highly Orchestrated Drama unfolds but at No time in the Process is the Citizen Audience allowed direct Participation in this Staged and Orchestrated Event. And Most important of All, the Citizen Audience must Never, Ever Look behind the Curtain to View the True Face of the Puppet-Masters.

In Closing and from an observational standpoint, Visual Poltical imagery, in it's first Decade of Complete Print to Digital Transfer, still remains in a 'Reactionary' Developmental State, unable to change or challenge the Societal Conditioning Rules created by decades of hierarchical 'Top Down' Representative Governance. However, as Global Digital Connectivity progresses, increased Populist Participation and 'Peoples Art' will play a more influential role in the decision making processes of Domestic and International Politics than ever before in Recorded human History.

Extract Three: Display Parameters, Usenet to Social Media, Image Banks, East and West

It would be a true statement to say that all Visual Political imagery requires a Display Parameter or 'Border' to Contain the Visual Political idea, similar to the Mathematical description of 'Parameter' that defines Specific 'Form' but not True Nature, the Visual Political Image and it's Meaning is likewise defined and determined by 'Parameters'. The Parameter of the Visual Political image can be Tactile and Physical, such as a Canvas, Drawing Paper, Journal, Book or Printed Poster, likewise, the Physical Display Location of the Political imagery determines the intent, Value and Purpose. An Example, a Simple Recruitment Poster for a Early Stage Grass Roots Movement is Displayed in Five Seperate Locations Simutaneously, A History Museum, a Wall on a City Street, a Art Gallery and a Study in a Private Residence. The Recruitment Poster, due to the Display location, has now become simutaneously a Historical Artifact, a piece of Street Level Propaganda, a High-End piece of Art and an inconsequential bit of personal Bric'a'Brac. The Fluid Digital Environment that Visual Poltical imagery now finds itself in is Similar to the previous analogy, it must adapt to a State where it may be all things, everywhere, all at the same time.

The Current Display Environment of the Digital Age has likewise Evolved. From the first decentralised NNTP Binary Message Board Forums, Telnet dial-up Usenet and other bare bone TCP/IP Bulletin Board Services to the current Well Designed, User Friendly Public Forums, Turn-Key Social Media Platforms, User Generated Content Image Data Banks and thousands of Personal Websites created with No Coding required html editing software. Likewise, GIF Animators, 3D Software and a variety of New imaging technologies will expand and change the fundamental Display 'Parameter' potentials of Visual Political imagery in the New Digital Environment.

Display Parameters for Visual Political Imagery are effected by many variables, Available Materials, Intent and Purpose, Political Climate, Historical Time of Creation and the Dictates of Market Forces. However, it is the Political Climate alone that has the most Dramatic effect on the Art Form as to it's Function, Use and Purpose. As Global Digital Connectivity provides instant access to the diverse Content Material of Thousands of Differing ideological and Political 'Spheres of Influence', the Visual Political Art Form is likewise influenced by these Polemic Conditions and will Adapt and Respond in kind to this New uncontrolled and Polarised, Political Digital Environment.

A Case in Point, From 1917 to the Perestroika Period of the 1980's, Soviet Social Engineers were very aware of the Negative effects of Market influence on the Visual Art form, as well as on the Greater Society as a Whole. Soviet Doctrine states that the 'Thought Process of a Person Designates their Place in Social Order' and as Counter-Revolution and Signs of Dissent manfest themselves First in the Creative and Intellectual Realms, a Natural alliance was formed between the CPSU and the Soviet Era Visual Creator. Soviet Artist Unions and Collectives flourished during the Soviet Union Era and recieved Generous CPSU support and relative Creative autonomy. The Visual Work of the Soviet Artist Unions can still be seen today in the form of scanned Posters celebrating USSR Industrial Achievements, Scientific Progress, Worker Productivity, Soviet Aerospace Programmes and Well-Crafted, Brilliantly Designed, Brutally Effective Pro-Soviet Propaganda Posters.

After the 1980 Period of Perestroika, the Shield of Collectivism began to Slip and signs of Experimentation in individual identity began to Manifest. Many of the Soviet Artist Unions, no longer recieving CPSU support, began to dissolve. By 1989 the Fat was in the Fire and by 1991 much of the Eastern Bloc had declared independence. Former Members of the Soviet Artist Unions, as well as Soviet Society as a whole, were now confronted with the 'True Nature' of Market Economics, no longer an Abstract, Etheral, Democratic Ideal but Cold, harsh Market Economy reality. Nonetheless, Many of the more Noble aspirations of the Soviet Artist Unions survived and remain today in the form of Hundreds of Graphic Biennials and International Graphic Competitions. Generally originating from former Soviet Bloc Nations and Allied Countries they are Open to all Visual Creators anywhere in the World and can be easily located and participated in online.

Ignored by the West much to their own Detriment, these International Graphic Biennials create a much needed Display Parameter for the Global Visual Creator in the Digital Era. A Few hundred Online Graphic Biennials are announced Annually, Generally on Thought Provoking, Dialectic Themes such as Infomatics Effect on Society, Water and Resource Scarcity, New Communication Technology as well as Eternal Human themes such as Conflict and War, Birth and Death. An interesting Note of specific interest to Visual Creators is that the Graphic Events usually do not accept Text within the image, only Visual Symbolic Language is allowed. It is an effective Soviet Model that still functions very well in the Digital Environment, these Biennials provide a useful, productive outlet for the Visual Artist and encourages Conceptual, Collective, Analytic thought and produces an end product of useful, well-crafted, thought provoking Visual Media material on a wide variety of Timely Topics.

The Model of the Graphic Biennial is relatively Simple, after the Event is announced, the Deadline and Visual Theme Established, Graphic Art of every description, stylistic school and techniques are recieved by the Organising Committee.The Visual submissions are then vetted by the Committee, Monetary awards are Presented to the Best Visual Submissions and a Full-Colour Album of all image submissions is then printed and provided to all the Creative Participants. It is a Model which can, and does, translate well to the Digital Environment and provides an effective Content Generation Model for Grass Roots Organisations, Academic Societies, Small Institutions, Remote Geographic Communities and Political Fronts to Generate Visual Support Material

All of the Above are but Samplings of the wide variety of Display 'Parameter' Possibilites that the Visual Political Art form now encounters in the Digitally Connected Era. From Established Display formats developed during the Print Era to the information Overload Environment of the individually developed Internet, from the 'Ease of Access' to Polemic Political 'Spheres of Influence' to the Thought Provoking Collective Model of the Graphic Biennials, all of of these New and Old Display 'Parameters' will Define and influence the Future Role of Poltical imagery in the New Digital Environment.

Extract Four: Mayakovsky, Militancy, the Push, True and False Associations

Begining with the Prior observation that Visual Political Art in the Digital Era still remains in a 'Reactionary State', it is Necessary to examine instances where the Art Form departs from this Spectator Role and Directly engages in the influence and outcomes of Political Events. In Marketing Terms it would be called 'Subtle Persuasion' or 'Opinion Shaping', in terms of Geo-Conflict and Social and Political Events it is Classified as Visual Agitation or a 'Push'. Depending on Circumstances and the Nature of the Conflict, this form of Visual Poltical Art is specifically produced to Define 'Friend or Foe', to Create an 'Enemy image' and is an Essential and Valued component in Degrading and Defeating an Enemy's Political, Security and Military Apparatus.

The 'Mayakovsky Method' of using Visual Material to Influence the outcome of Events and to 'Push' a desired Political or Conflict outcome, as opposed to merely recording events, is best illustrated by the Art Forms usage following the Russian October Revolution. Days after the initial 1917 uprising, the Political imagery of V. Mayakovsky began to appear throughout Saint Petersburg in the form of Agit-Prop Posters glued to Buildings, Bridges and Public Areas. Heavily Laden with Easily Understood Visual Symbols and Patriotic Slogans, the Political imagery gave much needed Ideological Guidance, Support and Political Direction to the Bolsheviks, Essential to the Success and Revolutionary Aims of the October Revolution.

Where the Print and Paper Era of Mayakovsky and the New Digital Reality differ greatly is in regards to the Transmission Method and the Speed and Potential Operational Reach of the Visual Influence Material. It is an Era unlike anything Mayakovsky might have envisioned. The Digitally Connected Reality has redefined previous concepts of 'Friend and Foe', created an environment of instant 'True and False' ideological association and challenged constructs of the Validity of Representive Government, National Borders, Cultural, Religious and Ethnic Identities

As Survivability and Continuity of Power is the Prime Directive of all Political and Establishment Power Structures, it is when the Visual Political Narrative becomes an intentional 'Tool of Political Influence' that the Medium enters the Contemporary Byzantine Digital World of OPSEC, Data Packet Sniffers, Large Data Block Anomaly Detectors, Domestic Law versus Foreign Firewalls, 1x1 Data Beacons, Document Honey Pots, Raw Data Obfuscation and the Thousands of other Tools, Methods and Means used by Power Structures to Preserve it's Security and Continuity and likewise to Monitor External and Internal Dissent. It is in this Digital State that the Transmitted Political Cartoon, Conflict Support Material or Agit-Prop is no longer what it Appears to be, it never has been and it never will be.

Some Background, in a 'True' Digital Environment the 'Raw' or Transmitted image is unrecognisable and unrelated to the image displayed on the Monitor, ie: an image of a Flower, a Mountain or a City Scene displayed on a Monitor is in actuality a Complex Binary Code containing thousands of numbers, letters and hashmarks. It is Computational Processing alone that allows the Binary Code to be Displayed in a form that can be readily understood by Human Visual interpretation. Similarly related, current Pattern Recognition Algorithms have Proven the Ability to Acquire. or Recognise, Basic, Rudimentary Shapes as well as simple OCR or 'Text within image' recognition, but it is highly unlikely that 'image to image' web deployable acquisition will ever be a Reality. Current Data Transmission acquisition is strictly limited to HTTP recognition, Large Data Acquisition for the text, "The Red Car", in any language, in any Transmission format, is completely reliable, this equally applies to Non-Language Code Block matching in a Cryptographic Environment. However, 'image to image' acquisition for a Digital representation of a Red Car without using an existing image database for Matching is, and in this Paper's opinion, always will be, Completely unacquireable and unattainable. Simply put, Visual imagery, Even in a Digital context, will remain a Distinctly, Human 'Core' Language, Completely Dependent on Human interpretation to understand and derive the Images Meaning, Intent and Purpose.

Mayakovsky Perhaps would have been initially Puzzled by the Byzantine Qualities of the Modern Digital Environment, but he would have understood only too well the Nature of Power and that it Serves only to Protect it's Own Interests. This is the True Environment that Visual Poltical Art will encounter in the Digital Era when it ceases to be a 'Reactionary' Medium and becomes instead a 'Political Tool of Influence'.

Extract Five: Future Trends, Paradigm Shifts, Night of the Long Knives

As the Print and Paper Era enters into the Second Full Decade of Complete Digital Transfer, Profound ongoing Global and Societal Dynamics will likewise effect the Visual Political Art form's Role in this New Environment. [1] The Ongoing 'Clash of Civilisations' and the Struggle between a Multi-Polar and a Uni-Polar World Model will continue to be the Key defining Geo-Political Conflict Producing Dynamic. [2] Entrenched 'Friend and Foe' Dogmatic Definitions established during the Cold War will no longer hold True. The ease of 'True Associational' instant access to formerly diametrically opposed ideological and Political Views, Movements and Information sources will create a 'Blurring' Trend in the Global Order and will be Driven by the People Themselves [3] Mass Migration, Uncontrolled immigration, Globalisation and Conflicts between Traditionalism, Modernity and a Resistance against a Market Economy Global Cultural identity will create Severe, Polarising strain on the 'Core identity' of many Nations and Peoples. In response, a 'Core Identity' driven Nationalist, Tribalist and Traditionalist Backlash will Develop. [4] The 'Narrative Control' of the Establishment Media will continue to be severely weakened and the Fourth Estate's ability to influence, define and direct National Consent in Tandem with the Representative Government will likewise Erode. [6] An 'Organic Gestalt' or a 'Hive Mind' brought about by the interaction of Millions of People in the Digital Environment will Provide a more Accurate Social Analytic of Global Public Opinion, Needs and True Intent. This in turn will Challenge the Legitimacy of the Elected Representative Model of Governance both Domestically and in International Institutions.

All of the Above are Societal Developments in a State of Flux. However, all of these Fluid Changes will effect the Visual Political Art form's Role in the next Decade of Full Digital Transfer. It is perhaps best at this Point to Review the Historical role that the Visual Creator has held in Previous times. Long before the Contemporary Era of instant Digital Communication, Television, Film, Mass Media, Cameras, Radio Transmission and Even Pre-Print, the Key Symbols of 'Cultural Identity' were first defined and communicated to the People by the Visual Creator. The Visions of Christendom's Heaven and Hell by Bosch, the Medieval Morality Paintings of Brueghel, the Bibical engravings of Durer, the Sistine Chapel, the Beautiful, early illuminated Texts of the Quran, the Vibrant, Colourful Hindu Pantheon of Shiva, Vishnu and Ganesha and the Ornately Carved Gods and Dieties in the Dark interiors of Buddhist Temples are all the result of the Visual Creator's Craftmanship, Patience, Skill, Vision and former Influence in the Creation of the Symbolic Elements that Define a Society and Culture. It was Not a Small Task.

In a Society increasingly defined by Market Economy Mass identity, the Visual Creator, and the Creative force in general, Collectively Struggles to find their Role, Place and Economic Value in an increasingly Hostile, Multi-Cultural, Anti-Traditionalist, Dehumanising and Degrading Environment. This is Not a New Condition but has been a Key Societal 'Trigger Mechanism' providing the Spark for Countless Ethnic and Sectarian and other 'Marks of Identity' Conflicts. In a Society based solely on Market Economy Mass identity, the tendency of the Society under these Conditions is to eventually, and by Design, Degrade to a Base, Featureless and Faceless, Purile Environment. Left unchecked and unchallenged, these Dangerous Market influences act as a Parasite invading the Body of a Host, a Foreign Enemy with no interests in Maintaining the Traditions, Culture or Values of it's Host because it is Fundamentally Alien to it. It is in this State that the First signs of 'Identity' Driven National, Cultural and Societal Stress First occur. Manifesting themselves in the Areas of the Culture least effected by Market Forces, a Noticable Backlash of 'Identity Driven' Resistance occurs Spontaneously in the Creative Realms of Writing and Visual imagery. It is at this Stage that the Paradigm Shift Begins.

All of these Conditions are not Speculative Future Trends But unfolding, ongoing Reality. When the Visual artist, or any intellectual Creative force for that matter, is denied access to the legitimate process of Defining their own Culture, their Values, their Religion and their Fundamental Identity as a People, then the 'Core' Society Creative impulse is then forced into a Defensive, Pre-Revolutionary Posture. At this Point the Paradigm Shift is set into Full Motion and becomes irreversible. It is in this 'Conflict State' that the Visual and Intellectual creator Assumes the True and Correct Societal Role. These will be the Key Struggles and Influences effecting the Role of Political Visual imagery in the Next Decade of Complete Digital Transference, The Paradigm Shift will Begin in Full and the Knives Will come out in Earnest.

[White Paper./State of the Art: Political and Visual Opinion Imagery and the Transition to the New Digital Realities/Placed in Public Domain/9.15.2013]