CHAPTER V - RETHINKING MEDIA THROUGH STREET ART: AN ANALYTICAL STUDY OF BANKSY'S IMPACT
Mehmet YAKIN
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APA
Yakın, M. (2024). Chapter V Rethinking Media Through Street Art: An Analytical Study of Banksy's Impact. In P. Özgökbel Bilis, A. E. Bilis, and K. C. Baykal (Eds.), Rethinking Media in Light of Current Discussions and Trends (pp. 117–139). Ankara, Türkiye: Global Academy Publishing House. https://dx.doi.org/10.59740/academy.72
Introduction
From past to present, media has been a subject of discussion across many disciplines. The power of the media and its representation has evolved from traditional to modern and postmodern practices, becoming integral to everyday life and external approaches. The media functions as a representation of the world, with people at its core, constructing human beings and society. Consequently, society is inevitably reflected in the media, and vice versa. The depiction of individuals and societies in the media is constantly evolving, influenced by time and space. Technological advancements also impact the media, shaping individuals and societies over time. The public sphere and the media are key arenas where policy implementations are most visible. Political powers use the media to shape how individuals and societies exist in the public sphere. In response, anti-political movements recognize the media's influence and strive to disseminate their messages through it. In capitalist societies, media content, cultural practices, objects, and representations have shifted from objective production to a strategic battleground. Media content—whether written or visual—is the tangible expression of thought, emphasizing its ideological function. These representations, as ideological signifiers within the capitalist economy of signs, define the "meaning" of the objects they depict. Thus, media content becomes text to be critically "read" rather than merely observed. In the late capitalist era, media criticism is destructive, aiming to erode or eliminate objects, as it inherently critiques ideology.
Activist movements involve organized efforts by groups against particular events. With technological advances, activism has expanded into the digital realm, where digital activism has become more accessible than traditional methods. New media allows individuals to voice opinions on social events, enabling them to become digital activists. The transformation driven by information technologies is often called the "network society," characterized by easy access to information. Advancements in information technology enhance information flow and offer significant advantages in time and space management (Tunç, 2009:20). The Internet fosters a new understanding of participatory democracy and revitalizes public sphere debates. This belief emerged in 1993 with Howard Rheingold's book Virtual Communities. Rheingold argued that virtual communities could help citizens revitalize democracy or offer an attractive alternative to democratic discourse (Atikkan & Tunç, 2011:96). Online democracy manifests in alternative modes of social organization in the physical world, driven by the desire for a democratic world (Milberry, 2010: 47-49). As mass media is largely controlled by governments and media organizations, communicative autonomy is established through internet networks and wireless communication platforms (Castells, 2013:23).
Counter-memory is a form of resistance against official historical narratives and so-called "regimes of truth," used by those marginalized by power. It is considered a political act, where different groups and individuals attempt to influence existing knowledge and fight for the recognition of marginal discourses of the past (Foucault, 1977). Counter-memory challenges dominant narratives, serving as a vital practice of resistance to protest, criticize, and erode power and its practices. It brings the past and present together by emphasizing the "presentness" of the past (Legg, 2005:186). Counter-memory debates are inherently political, engaging directly with mechanisms of power. Like social memory, counter-memory requires certain tools. Alternative artistic actions, such as graffiti, function as tools of counter-memory. Graffiti, created by unknown or publicly recognized individuals, transforms public spaces into memory-forming arenas. Its spontaneity, rapidity, and public nature help create collective awareness of the past and embed it in collective consciousness (Grunow, 2019: 43).
Activist art liberates art from the confines of objects, taking it to the streets, addressing wider audiences, and incorporating aesthetic, sociopolitical, and technological developments. It raises awareness, empowers individuals and society, and utilizes public spaces for social change. Activist artists must consider the sustainability of their messages and impacts. New media provide a suitable environment for activist art, offering global reach.
The relationship between new media and activism extends beyond digital activism. New media's reflections of the physical world are important arenas for activist movements and art. Since public space activism is often considered illegal, there is a high risk of destruction. Performance art and installations using guerrilla tactics can be recorded and shared on social networks to ensure they are both instantaneous and permanent. Shared online, these works continue to expand their influence over time, achieving their purpose beyond the immediate audience. The key factor is the idea: the more surprising and provocative it is, the more it spreads online.
This study focuses on the works of Banksy, who creatively uses media practices in the context of digital activism, exploring the agenda-setting power he creates. Banksy has chosen to remain anonymous as a digital activist artist, yet his works consistently engage public discourse, encouraging individuals and societies to adopt a critical view of society and the media, its showcase.