SUBLIMINAL MESSAGES IN PRISON
Abstract
There are subliminal messages all around us, whether we want to admit it or not. The possibilities of consciously influencing the unconscious with the aim of manipulating human behaviour have been explored since as far back as 1884 (American researchers Pierce and Jastrow). Prisons are a symbol of the power of the state, an instrument of fear and, ultimately, the places for housing people whose behaviour is unacceptable to the community. Therefore, certain forms of manipulation of prisoners, disguised as re-education and resocialisation, as declarative goals of punishment, are considered a legitimate "right" of the state. What this paper will cover in particular is the detection of subliminal messages as manipulative instruments imprisoned persons are exposed to while serving a prison sentence. The paper gives a definition of subliminal messages, shows the ways in which such can be inserted into certain content of activities performed in prison, and their re-educational value is assessed. Special emphasis is placed on prison symbols as carriers of subliminal messages, on the architecture of the prison itself, the layout of the rooms used by employees and rooms where prisoners spend their time, the colours of those rooms, smells and sounds inside them, different ways of artistic expression but also on the employee-prisoner relations as well as peer relationships among prisoners themselves, their customs, ceremonies, discourse and gestures. All of the above, in the end, has at least two dimensions: a declarative (regulated by law) and, for the purpose of understanding the prison and its tasks, a much more valuable, covert, subliminal one.
References
2. Brumfield, C. R., Goldney J., Gunning, S. (2008). Whiff! The Revolution of Scent Communications in the Information Age. New York: Quimby Press,.
3. Clarke, R. V., editor (1997). Situational Crime Prevention: Successful Case Studies,
Second Edition. Albany, N.Y.: Harrow and Heston, Publishers
4. Dhami, M. P., Ayton, P., Loewenstein, G. (2007). Adaptation to Imprisonment –
Indigenous or Imported? Criminal Justice and Behavior, 34(8), 1085-1100.
5. Durkheim, È. (1992). Samomor – Prepoved incesta in njeni izviri. Ljubljana: ŠKUC, Filozofska fakulteta.
6. Ferić Jančić, M. (2003). Moć glazbe. Zagreb: Hrvatsko društvo skladatelja, Služba zaštite autorskih muzičkih prava (HDS ZAMP).
7. Fuko, M. (1997). Nadzirati i kažnjavati: nastanak zatvora. Sremski Karlovci i Novi Sad: Izdavačka knjižarnica Zorana Stojanovića.
8. Gulin Zrnić, V., Potkonjak, S., Šrbić Alempijević, N. (2020). Dvije osobe ulaze za umjetničko oslikavanja: Etnografija zatvora kao mjesta umjetnosti. Život umjetnosti, 106/2020, 138-163.
9. Gussak, D. (2007). The Effectiveness of Art Therapy in Reducing Depression in Prison
Populations. International Journal of Offender Therapy and Comparative Criminology, 51
(4), 444-460.
10. Herz, S. R, Beland S. L., Hellerstein M. (2004). Changing Odor Hedonic Perception Through Emotional Associations in Humans. International Journal of Comparative Psychology, 17(3), 315-338.
11. Hrovatin, J., Kryžanowski, Š, Perše M. (2017). Vpliv vonja, zvoka in nadčutnih zaznav na človeka. Trzin: Fakulteta za dizajn.
12. Javornik, M., Šebart, M. (1990). Mesto vzgojne institucije v družbi. Iskanja- vzgoja, prevzgoja, br. 10, 1.7, 3-15.
13. Key, W. B. (1989). The Age of Manipulation: The Con in confidence, the Sin in Sincere. Lanham: Madison Books.
14. Anon. (2009). Uvod. U Željka Jelavić, ur., Moć boja. Kako su boje osvojile svijet,. Zagreb: Etnografski muzej, str. 7-15
15. Korać, H. (2008). Penologija. Kiseljak: Pravni fakultet u Kiseljaku.
16. Lindstrom, M. (2012). Kupologija – Istine i laži o tome zašto kupujemo. Zagreb: Tisak; Profil.
17. Lovgren, B. (1996). Color Your World: How Colors Affect Workplace Productivity. Business Mexico, 6 (February), 20–22.
18. Macanović, N. i Nadarević D. (2014). Penološka androgogija. Banja Luka: Evropski defendologija centar,
19. Platon (prev. 2002). Država, peto izdanje, (dr. Albin Vilhar i dr. Branko Pavlović, prev.), Beograd: Beogradski izdavačko-grafički zavod.
20. Puhalović, M. (2007). Brainwave relaksacija korisnika. Zagreb: Sveučilište u Zagrebu, Fakultet elektrotehnike i računarstva.
21. Treimer, M. i Simonson, M. (1988). Subliminal Messages, Persuasion, and Behavior Change. The Journal of Social Psychology, 128, 4, 563.
22. Šefčić, M. (2021). O Projektu ‘Horizont slobode'. U Šefčić M. i Meić V. (ur.), Horizont slobode. Zagreb: Hrvatsko društvo likovnih umjetnika.
23. Špadijer – Džinić, J. (1973). Zatvoreničko društvo. Institut za kriminološka i sociološka istraživanja, Beograd.
24. Valdez, P., Mehrabian A. (1994). Effects of Color on Emotions. Journal of Experimental Psychology: General, 123 (4), 394-409.
25. Zlatko, M., Nikolić, G. (2013). Subliminalne poruke i tehnike u medijima, Nova prisutnost: časopis za intelektualna i duhovna pitanja, XI, br. 2, 293–312.
INTERNETSKI IZVORI
1. Gafford, R. (1995). The operational potential of subliminal perception, Dostupno na: https://www.cia.gov/readingroom/docs/DOC_0000606555.pdf pristupljeno 15.02.2021.
2. Bauer, V. (2018). Glas i seksualnost: što znamo, a što osjećamo. Javno zdravlje. Dostupno na: http://javno-zdravlje.hr/glas-i-seksualnost-sto-znamo-a-sto-osjecamo/ pristupljeno 25.12.2018.
3. Gorinšek, G. (2015). Uloga mirisa i njihova važnost u svakodnevnom životu čovjeka. Dostupno na http://aromaterapija.info/blog/uloga-mirisa-i-njihova-vaznost-u-svakodnevnom-zivotu-covjeka/ pristupljeno 25.05.2018. godine.
4. Kvas, T. (2011). Barve, njihov vpliv in pomen. Slovenske novice, Dostupno na http://old.slovenskenovice.si/lifestyle/astro/barve-njihov-vpliv-pomen pristupljeno 12.07.2018. godine
5. Mirjana (2012). Norveški zatvor. Media. In media res, Dostupno na https://www.medias.rs/norveski-zatvor pristupljeno 1.10.2018.
6. Pranić, K. (2014). Mirišu nam sretni dani. Dostupno na https://lider.media/lider-trend/boz-mirisu-nam-sretni-dani/ pristupljeno 25.05.2018. godine.
Copyright
Authors retain copyright of the published papers and grant to the publisher the non-exclusive right to publish the article, to be cited as its original publisher in case of reuse, and to distribute it in all forms and media.
Licensing
The published articles will be distributed under the Creative Commons Attribution ShareAlike 4.0 International license (CC BY-SA). It is allowed to copy and redistribute the material in any medium or format, and remix, transform, and build upon it for any purpose, even commercially, as long as appropriate credit is given to the original author(s), a link to the license is provided, it is indicated if changes were made and the new work is distributed under the same license as the original.
Users are required to provide full bibliographic description of the original publication (authors, article title, journal title, volume, issue, pages), as well as its DOI code. In electronic publishing, users are also required to link the content with both the original article published in CM: Communication and Media and the licence used.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Self-archiving policy
Authors are permitted to deposit author’s publisher's version (PDF) of their work in an institutional repository, subject-based repository, author's personal website (including social networking sites, such as ResearchGate, Academia.edu, etc.), at any time after publication.
Full bibliographic information (authors, article title, journal title, volume, issue, pages) about the original publication must be provided and links must be made to the article's DOI and the license.
Disclaimer
The views expressed in the published works do not express the views of the Editors and the Editorial Staff. The authors take legal and moral responsibility for the ideas expressed in the articles. Publisher shall have no liability in the event of issuance of any claims for damages. The Publisher will not be held legally responsible should there be any claims for compensation.