Having discussed discourse analysis I as explained by Gillian Rose (2001) (a framework which helps us analyse visual images and written or spoken texts) I will present the second type, illustrating it with my own example. This second form of discourse analysis concerns itself with the exploration of similar material, however focusing more on the production, reiteration and maintainment of particular institutions and their practices. Both discourses look at power its relations and knowledge, as it is articulated. The main difference between the two is one looks at ‘archives’ as collections of data. Whereas the second one spends examining the archive as an institution, where practices and its consequences can be uncovered.
The main characteristics of this analysis involves looking at the production, reiteration of institutions and practices including their production of subjects. It greatly focuses on structure and power relations and bases further interpretations on Michel Foucault’s work. Having looked at the relations within hospitals, prisons, etc. he accentuates modern automatic projection of power with the use of the Panopticon (illustration on the left). It is a prison with the capability of using one man (eventually none at all) to gaze over the inmates; where docile bodies are never sure if they’re being observed, being forced to behave properly. This can be applied nowadays to surveillance cameras; all pointed to the streets to keep others fom misbehaving, when in reality there could even be no one at the other end observing you, maintaining control and power unknowingly. Foucault suggests institutions work in two ways: through their apparatus and technologies.
An institutional apparatus is the forms of power and or knowledge which constitute the institution. For instance; the architecture, regulations, laws, morals, etc. Rose focuses a great deal on this with the example of museums, looking at the design, internal or external layout examining the power and social positions that are created. For instance: the creation of the visitor, the spatial and visual factors regulate them, while the differentiation from ‘background’ activities additionally increases separation from the visitor to the curator for example.
Institutional technologies are the techniques used to practice the power and or knowledge. In museums they can be separated into four technologies: display cases (on display), open display (no protective cover), reconstruction (life-like scenes) and simulacra (objects to fill spaces). Using all four, Rose looks at how different technologies shape and lead people’s concentration, implying power and knowledge. Labels, captions and catalogues include and exclude certain information, directing our sense of interest. These ‘truthful’ displays and descriptions affect the visitors perception of work, making them more authentic, accurate or real. The layout of museums directs the visitors course, while disciplining not to touch exhibits (through glass or by signs).
First I will apply discourse analysis I to the logo of the cafe and after the latter method to look at the institution itself. Looking simply at the cafe’s logo as seen on the left, one may immediately start uncovering the ideals and values it wants to construct. At first glace the name may seem to entail an economic or environmentalist ideal – focusing on the “e”, the carrot and the green background. These are very well the ideals of EXKI, however I believe the base regime of truth being constructed here is rather that of exclusiveness, which is what the letters actually stand for. That being said the word is underlined, while the style is simple and clean, all signs are accentuating its prestige.
The layout was very simple, adding to the message the logo was portraying. You enter, pick your food which is ready-made and go upstairs to eat or drink. What was interesting is what happened upstairs, as seen in figure 1 in the middle of the room there was a bid dividing block, separating two spaces. One as seen in fig.4 was filled with the ‘experience of home’, with comfortable couches, bookcases and pretty decorations. In the other room, slightly seen in fig.1 the atmosphere is completely different, reaching towards the quicker and faster experience. Chairs there weren’t so comfortable and cozy, tables more upright and in the middle there is a long common table stretching out. This suggests this area is meant more for quick coffee on the go or for business meetings, where as the other room people got settled in for a long time. This separation of working and fun or relaxing also adds to the regime of exclusiveness – excluding business from relaxation.
The food and decor expressed a green, environmental and quality experience. The food is all bio, healthy containing only the best of ingredients. The time of eating is encouraged to be before 11 as prices are much cheaper then. Again both factors add to the exclusiveness of quality and healthy regime. The decor had a ‘RECYCLE!’ message, as seen in fig.3 the lantern looks very fancy and expensive, however looked at closer you can see it is re-made from old university notes. Additionally the lanterns in fig.1+4 are made from old, bendy floor boards. This and more accentuates EXKI’s reach for green and against the ‘throw away’ culture.
Figure 1: Separating block Figure 2: The entrance view
Figure 3: The lantern Figure 4: Home-like environment
References
Rose, G. (2001). Visual methodologies. “Discourse analysis II”. London: Sage.