domenica 29 novembre 2020

CAMILLA G. IANNACCI: FERRAGNI and FEDEZ - Analysis and morphogenesis of a Singularity in the info-space-time of social media.

CAMILLA G.IANNACCI FERRAGNI and FEDEZ. Analysis and morphogenesis of a Singularity in the info-space-time of social mediaTowards a Topology of Fashion Bloggers and Influencer 

Chiara Ferragni and Fedez or "The Ferragnez" given an entry in Treccani, awarded by an Ambrogino d'oro medal, and Chiara, having smashed the "glass ceiling," is recognized by Forbes and Vogue, climbs to the top of the stock exchange, and anointed a "commodity in a world of commodity," even going beyond Amazon. 

The Lady who has the oracle in the info-space does not say, she mentions, appears, shows herself, signifies and is: she invites, wrapping the guest in a seductive, protective amniotic liquid, mingling narration and reality in a dual, indeterminate visual stability that rises even to "sacred" representations of "Madonna Chiara."

Fedez is no prince consort, an active part in their charities and on social media, and pointedly names his record company "Newtopia.".

This is the info-sphere, multidirectional, polyphonic narration, a constellation of narrative topoi in which the Ferragnez offer themselves as Singularities in the topological space of social media: new mythos and meaning.

Foreword by Giacinto Plescia

The image of a woman in advertising has inherent values of identity and difference:

- identity in that she invites and seduces

- difference because she presents herself as other than herself, a figure that goes beyond all pre-established limits.

In advertising, the virtual world and the real world co-exist: abolishing one of these worlds removes its function and seductive power. The product is represented as simultaneously within reach and exclusive.

These qualities are based on a difference befitting the image of a woman who seems recognizable and yet highlights her "distance" and "difference."

The observer's sense is shattered while also identifying itself; this creates a distance and the need to overcome it.

As in the Gestalt perspective, the female figure contains a variety of images: a figure of sociality, an archetype, or a mythical vision.

All the other aspects converge in each of these representations. In the feminine image there is a dual visual stability, as in the Gestalt perspective, while it affirms the value of one of its aspects, it simultaneously brings out a multistable perspective.

The hermeneutics of the image would be the description of a language that does not exhaust the meaningful values of the figure and that are pure "difference" from the language.

Giacinto Plescia

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