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Social World Sensing Via Social Image Analysis from Social Media

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Social World Sensing Via Social Image Analysis from Social Media PART IV PART 4: POLITICAL EXPRESSION 325 55 IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES IN GLOBAL AND TRANSNATIONAL POLITICS FROM A SOCIAL IMAGESET Shalin Hai-Jew 327 328 IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... Abstract The popularization of the Internet, the WWW, and social media, has enabled various populations around the world to be politically “woke” together, with varying levels of agreements and disagreements around a variety of issues, with conservatism around some and radi- calism around others (generically speaking). In social imagery, there are visuals of various protest effigies, depictions of public figures rep- resenting certain values, ideologies, platforms, policies, attitudes, styles, stances on issues, and other aspects of the political space. In some cases, the political figures are stand-ins and stereotypes that may represent undesirable change and a sense of threat. The study of physical “effigy” in social imagery from Google Images may shed some light on the state of global and transnational protest politics in real space and the practice of using physical protest effigies to publi- cize social messages, attract allies, change conversations in the macro political space, to foment social change. Key Words Physical Protest Effigy, Political Protest, Global Politics, Transnational Politics, Social Imageset IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... 329 Introduction Generally, an “effigy” is a model of a person, something created from the human form, “artfully” or not. In a political sense, it is “a roughly made model of a particular person, made in order to be damaged or destroyed as a protest or expression of anger” (“effigy,” 2019). In a pop culture sense, such as in video games, an effigy may be imbued with magical or other powers. On social media, there are a number of images of various physical effigies used in socio-political demonstrations, with public messaging. (These, while in digital form at the point of analysis, originated as physical objects, not digitally born ones.) The public-facing aspects of demonstrations mean that these are often captured in visuals shared on mass media sites and on social media ones. Based on a social imageset of “effigies,” with the political set sep- arated out from others (like photos of historical relics and effigy mounds, like pop-culture ones related to games and music), a number of questions were explored to better understand the uses of physical effigies in global and transnational protest and 330 IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... demonstration. To be clear, “effigies” are used in various ways beyond the socio-political. In the Google Books Ngram Viewer, there are many more references to “effigies” than the other com- mon use of “burning in effigy” phrase (often related to public demonstrations). (Figure 1) This search was done in books pub- lished in English from 1800 – 2000. Note that the “burning in effigy” is low on the x-axis. The first reference to “effigy” in Eng- lish stems from 1539 and is thought to come from the Latin term “effigies” or representations (“Effigy,” Nov. 14, 2019). The concept of “effigy” has been in long use in the scanned books of the Google Books Ngram Viewer, from at least the 1800s and earlier. Figure 1: “effigy” and “burning in effigy” in the Google Books Ngram Viewer In a historical sense, an effigy may refer to “recumbent” statues, “funerary art,” and other representations (“Effigy,” Nov. 14, 2019). In the political form, effigies “are damaged, destroyed or paraded in order to harm the person represented by magical means, or merely to mock or insult them or their memory,” with burning IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... 331 in effigy also used for protest (“Effigy,” Nov. 14, 2019). An “effigy mound” refers to “a raised pile of earth built in the shape of a stylized animal, symbol, human, or other figure and generally containing one or more human burials” (“Effigy mound,” July 30, 2019). In a theoretical work from the 1960s, one author describes an “effigy” as a human-created object made for other humans because of its representational value. He writes: If pictures consisted only of canvas and colored pig- ments, paper and daubs, how could a few pencil scrawls, i.e., thinly dispersed deposits of graphite, change a sheet of paper into a drawing, a picture? If pictures are immaterial figurations, how is it that they can be seen? If they are material things, how can they stand for other things, and yet differ from the things they stand for? Pictures are artificial even when they are not artistic human productions. Only man is in a position to understand the pictures of his own making as effigies. For a dog or horse a photograph is something entirely neutral; for man, to the contrary, it is both a something of paper and an effigy which, according to the theme represented, can touch, move, or emotionally shake him. (Straus, 1965, p. 672) The power of the effigy, in part, stems from its effect on other human viewers, who may be emotionally and cognitively affected. This work also suggests that reference objects, like pho- tographs, can be used to represent a person in effigy, and the in- world uses of people’s photos (in publications and from other sources) have appeared as representations of the individual and / or the bureaucracy or industry that they are a part of. Drawings, illustrations, and cartoon depictions of people may also be human models and effigies and treated in particular ways based on the ideas of the artist, the visual editor, the publisher, and oth- ers who are in the chain-of-production for that visual. 332 IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... In an applied sense, an effigy may be created to speak not only to supporters of the political effort but also those who are unde- cided and even those who are antagonistic. For some, there may be the sense of the added power of ceremonial objects, something with historic shamanic evocations. However, in general, contem- poraneous effigies in the West seem to be more about direct action for social change than trying to harness magic. (In other parts of the world, the tie to folk magic practices remain, as refer- enced later.) Protest effigies tend to be generally separated from the underlying word referent in a historical sense. Exploratory research questions The research questions surround the various personages depicted, what the effigies say about the demonstrators’ shared identities, the physical materials used in the construct of protest effigies, the various types of attacks (and other non-aggressive actions) on protest effigies, some political dialogues occurring around protest effigies currently, and global and transnational issues that are animating for people. The questions are the fol- lowing: 1. Real-Life Personages • Which global leaders and other personages attract the most lightning rod sorts of attention? Why? • What are the most common personal attacks in persons represented in protest effigies? How is their dignity attacked? Their personhood? How are political leaders punished for their stances and representation contrary to the desires of the dissenters? • How are political effigies styled? What messages does the styling evoke? 2. About Demonstrators • Who is being appealed to with the physical effigies and IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... 333 political messaging? What value is being offered in the particular collective groups, and why? Who is being left out in the messaging, and why? (If blame is being apportioned, who is being blamed?) • How does the effigy help create the identity of the demonstrators, who stand against the effigy as other / or who stand with the effigy as the same? 3. Physical Materials for the Construct of Protest Effigies • What are the most common analog materials used to create effigies? • How are protest effigies presented in physical space? • How are physical protest effigies presented in social digital spaces in two-dimensional imagery? • How are effigies re-used transnationally (if any)? • How do still social imagery of political effigies compare to social videos available (on YouTube)? 4. Actual and Symbolic Treatment on the Protest Effigies • What are some common ways that protest effigies are attacked? Verbally? Physically? And others? • What are some non-aggressive ways in which protest effigies are treated? 5. Political Dialogue and Protest Effigies • How are protest effigies a part of political dialogue? • Based on the proliferation of social imagery on formal mass media and on informal social media, what sorts of power do contemporaneous political effigies evoke? How? • Do contemporaneous modern-day effigies have ties to prior ones, used culturally and ritually? What are some senses of the magical uses of effigies to call up magical powers? 334 IN FLAMES, IN VIOLENCE, IN REVERENCE: PHYSICAL PROTEST EFFIGIES... 6. Global and Transnational Issues • According to reverse imagery searches online, in a global sense, what are the main issues being protested in political effigy through social imagery? • What parts of the world are the locales of the most political effigy-based expression in social imagery? Why might these be so? • How do various governments respond to political effi- gies, and why? (In some countries, public protests are precluded by law, and demonstrators put themselves at great risk of harm when they engage in such activities.) Physical demonstrations, based in physical space, may be local issues. On mass media and social media, they may find resonance on the national, transnational, and global levels. The broad reach of social media, the WWW, and the Internet enable potentially global-scale interest in local issues. (Figure 2) People are at once local, national, and global citizens; in other sense, they may be members of transnational memberships (such as for professional organizations, non-governmental organizations, and others).
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