POOJA KAGRANA
ILLUSTRATION
The culture of late classical antiquity, when the power and credibility of myth had been broken by the ‘realistic’ view of the world introduced by scientific enlightenment.
After my presentation with Peter and Sinead about the "How does our perspective affect the way that we understand art" -I was told to narrow down my inquiry research to a specific argument that I wanted to talk about. The question that point was still very diverse. I started the presentation by talking about my term 1 project - that I made a film on homelessness and how I had a voice over of my first language Guajarati. I was amused by the reaction of people to that and I found it was quite interesting how the audiences react to art work which made me learn more about it, which got me to choose my question for the essay different perspectives of seeing art by people.
alongside I also found “In defence of poor image” a very interesting article because it also viewed out how people can react to the quality of the work.
after the presentation was over the tutors helped me to get me back on track by telling me what exactly I should be looking at. Firstly, I was told how I needed to look at semiotics which will make it easier for me to understand properly in what I am trying to explain in a definite way, I feel I was quite confused as well how I would want to form and wanted my research to be about. Even that the text I should read and relate to could be Susan Sontag’s Against interpretation. After the presentation I had a lot of thoughts going around in my mind on how and what I want to do next to achieve.
I started my research by understanding the art definition of what semiotic means.
Semiotics is the study of meaning-making, the study of sign processes and meaningful communication. This includes the study of signs and sign processes (semiosis), indication, designation, likeness, analogy, allegory, metonymy, metaphor, symbolism, signification, and communication. Some of the more typical definitions reflecting this variation include semiotics as “the antique doctrine of signs” (Sebeok 1994:5), “the general science of signs and meanings” (Danesi and Santeramo 1992:vii), “the science or doctrine that studies signs” (Danesi 1993:280), “the study of signs and symbols as elements of communicative behaviour” (Random House Electronic Dictionary 1992), “the study of sign systems” (Halliday and Hasan 1985:4), and most commonly Saussure’s definition, from which most others are derived, as “a science that studies the life of signs within society”
Jenny Holzer
Sol Lewitt wrote, “the idea becomes a machine that makes the art,” In the late ’70s, she wheat-pasted posters of Nietzsche-like Truisms across Lower Manhattan. The guerrilla-style work garnered a cult following and established her authoritative, forewarning voice.. Her work enchants as it provokes, lulling us with lights and action even as we are unsettled by the words they illuminate.
Adam McEwen
His sculptures, paintings, and installations, Adam McEwen deploys a series of interventions that thwart our expectations and jolt us into a new awareness of the mass media dominating our daily lives.He has also turned text messages from friends into framed haiku-like riddles and exhibited "gum" paintings. “I’m interested in that brief second when you aren’t sure whether Bill Clinton is alive or dead. I only need that moment in order to disorient them enough to sneak through to some other part of the brain—to achieve that split second of turning the world upside down.” Likewise, his monochromatic paintings adorned with gobs of dirty, chewed gum, which reference German cities bombed in World War II, are simultaneously melancholic and comically absurd, referencing the tradition of expressionist painting through the mundane detritus of urban life. Similarly ambiguous are his graphite sculptures, detailed replicas of common objects, such as ATM machines, food packaging, and air conditioners, which recall the funereal solemnity of memorials.
Ai Weiwei
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"If there is no freedom of expression, then the beauty of life is lost. Participation in a society is not an artistic choice, it's a human need."
- Ai Weiwei
Irene Fortuyn, Remains, 2002.
Loes van der Horst, Untitled, 1978.
The Drug Administration: Beverly Fishman talks High Modernism and Big Pharma
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From inside the pillbox, Beverly Fishman chooses her favorite colors with a calculating eye. A master color theorist, Fishman explores the allure of intoxication—the fluorescent highs of addiction and sickly flesh tones of withdrawal. With her vivid and enticingly colored pills, Fishman formulates a response to the role of aesthetics within the pharmaceutical industry. She appropriates the visual vocabulary of post-industrial minimalism to delve into the psychology of addiction. Fishman draws attention to one of America’s most insidious epidemics: prescription drug addiction, approaching it in a non-histrionic way from the perspective of an artist and art historian. She explores color’s relationship with medicine and delivers a visual code for addiction through the language of Modernism, through which she offers her viewers an access point into the psychology of addicts and the Big Pharma companies that make them.
How useful is semiotics as a method for analysing works of art?
Semiotics can translate a picture from an image into words. Visual communication terms and theories come from linguistics, the study of language, and from semiotics, the science of signs. Signs take the form of words, images, sounds, odours, flavours, acts or objects, but such things have no natural meaning and become signs only when we provide them with meaning.
The semiotic theories are not definite but constantly being reviewed, extended and developed to become more precise and improve the significance of the information gathered when these theories are applied to works of art.
Visual Art consumers have become highly sophisticated readers of signs and signals, decoding subconsciously art work compositions. Everything surrounding us human beings today, including our own identities are all moulded and manipulated by signs, words, images and our visual language.
Communication can be a form of mind control; the one that has the power to speak higher and have the right speech can have a power over others in a certain way by making the individual point stand above all. The same happens with artworks with a conceptual meaning that stand and activate other people’s minds.
EXAMPLE 1: Perception forms the object – one can not form the object without knowing already something about it. So is the object perceived or formed? Representations. Reconstruction of objects from reality. Natural language: art is addition to what comes and goes in time, in relativity. Art filters – logical construction built to future. Zone to train and experiment with signs and their references. Design. Luxury. Conscious reconstruction of what can not be natural.
SEMIOTICS AND THEORIES OF ART
Lectures from First to Third.
Every art starts as art of memory by TINA LALL
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EXAMPLE 2
Material evidence. In some special media. Left even for next generations. Non-genetic memory is culture. Memory is biological database. Art as a mechanism to study database. Illusive nature of our world picture. Picture as impossible object. Eye-Brain connection: optical and mental, both in unity but possible to distinguish differently. Carrier and specific content. Sign is paradoxical object. Also known as conventional, immotive? This art is formed in this already reprecentatively formed system of systems.
WHAT DO YOU THINK THIS MEANS?
CULTURAL APPROPRIATION
After the presentation Peter also asked me to look in to cultural appropriation. I was keen to look into this because I had a little idea what it is. Cultural appropriation is the adoption or use of the elements of one culture by members of another culture. Often, the original meaning of these culturalelements is lost or distorted, and such displays are often viewed as disrespectful by members of the originating culture, or even as a form of desecration.
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Beverly Fishman, Untitled (Opioid Addiction), 2016, Urethane paint on wood, 62 x 62 x 2 inches. Photo: PD Rearick.
Cultural Appropriation Or Cultural Appreciation?
How cultural appropriation is being taken out of context.
by Jessica Ulett
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Cultural appropriation essentially means that people should not adopt styles or elements of another culture that isn’t their own because some elements are sacred to that culture specifically. The key to realizing whether you are appropriating a culture or not is to question your motives. Are you wearing the headdress because it is cute and you want to show it off on your Instagram, or do you have ties to Native culture? Is that bindi you’re wearing because you are Hindu or Jain, or is it because everyone at festivals wears them and you just cannot be the only one without one? If it is something sacred to another culture, and you have no ties to that culture, don’t wear it. However, if you wear it with ties to a specific culture and someone questions you, do not be afraid to tell them your history and shut them down because you do not have to deal with ignorance.
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ISOTYPE
The International System Of TYpographic Picture Education was developed by the Viennese social scientist and philosopher Otto Neurath (1882-1945) as a method for visual statistics. Gerd Arntz was the designer tasked with making Isotype’s pictograms and visual signs.
The story of Isotype presents a case study of the Modern Movement. It also reveals a pioneering method of visual communication that has exerted an undeniable influence on the design of information.
Visual education was always the prime motive behind ISOTYPE. It was not intended to replace verbal language, rather it was a “helping language” accompanied by verbal elements. Neurath was deeply convinced that his "world language without words" would not only enhance education but facilitate international understanding.
The first rule of Isotype is that greater quantities are not represented by an enlarged pictogram but by a greater number of the same-sized pictogram. In Neurath’s view, variation in size does not allow accurate comparison whereas repeated pictograms, which always represent a fixed value within a certain chart, can be counted if necessary. Isotype pictograms almost never depicted things in perspective in order to preserve this clarity, and there were other guidelines for graphic configuration and use of colour. The best exposition of Isotype technique remains Otto Neurath’s book International picture language (1936).
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Isotype: Graphic detail
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Is a picture worth a thousand words? The creators of isotype, an image-based language, thought so. They used it to explain the 20th century's biggest ideas.
A new exhibition at London's V&A Museum aims to shed light on one of the more enduring graphic designs of the 20th century, the isotype. Isotype is an acronym that stands for International System of Typographic Picture Education, a somewhat clunky explanation for something that effectively describes how pictures can be used to explain complex issues easily, at a glance. But the exhibition, one of its curators says, seeks to illustrate an even greater significance.
"This display aims to show that isotype was far more than just a method of showing statistics pictorially," says Professor Sue Walker, Dean of Reading University's Faculty of arts and humanities, "but also that it occupies a genuinely important place in design history."
Its influence remains all around us today. The London Underground map is the perfect example of isotype, as are public street and sports venue signs, and even our computers, mobile phones and iPads.
"Its legacy endures with many of our present-day information designers," Professor Walker says.
German graphic artist Gerd Arntz, Driven by social idealism he drew over four thousand pictograms, in the process preparing the way for the international language of symbols that helps us all find our way through the world. A pioneer of communication.
Collected in a book, these images find their way to the spectator long before he has had a chance to come to an opinion about their carrier. That, after all, is what they were made for. If the design of such a book is entrusted to a designer with some affinity for the material, and if the designer resists the temptation to make things too sophisticated,
Talking pictures (Isotype)
Christopher Burke
By representing data in simple graphic form, Isotype anticipated modern information design. The influence of these pictograms (designed from 1928 by Gerd Arntz) on today’s information graphics is immediately apparent, although perhaps not yet fully recognised. ‘Visual education’ was always the prime motive behind Isotype, which was worked out for exhibitions designed to inform ordinary citizens (including schoolchildren) about their place in the world. It was never intended to replace verbal language; it was a ‘helping language’ always accompanied by verbal elements. In later years Isotype was applied more to publications, encompassing diagrammatic explanations of scientific subjects for young readers and civic information for developing countries in Africa.
Of the pictograms used in the system Neurath said: ‘The symbol may not denote more than is necessary to the statement of facts for which it is chosen.’ This reflects primarily a philosophical and linguistic position, and only secondarily the graphic minimalism of inter-war Modernism.
Neurath explained the intention of Isotype thus: ‘At the first look you see the most important points; at the second, the less important points; at the third, the details; at the fourth, nothing more – if you see more, the teaching-picture is bad.’
What's art really 'for'? It's a question we're remarkably reluctant to ask - but should; once you know, it makes the point of art a whole lot clearer.
Why look at art? This was the question we posed to several of our colleagues at a conference for museum professionals. Special thanks to Laura Mann, Anna Velez, an anonymous professional, and David Torgersen whose voices and insights are included here. Created by Beth Harris and Steven Zucker.
Visual Langauge
The visual language is a system of communication using visual elements. Speech as a means of communication cannot strictly be separated from the whole of human communicative activity which includes the visual and the term 'language' in relation to vision is an extension of its use to describe the perception, comprehension and production of visible signs. An image which dramatizes and communicates an idea presupposes the use of a visual language. Just as people can 'verbalize' their thinking, they can 'visualize' it. Visual units in the form of lines and marks are constructed into meaningful shapes and structures or signs. Different areas of the cortex respond to different elements such as colour and form.The sense of sight operates selectively. Perception is not a passive recording of all that is in front of the eyes, but is a continuous judgement of scale and colour relationships, and includes making categories of forms to classify images and shapes in the world.
Interpretation of Art
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An interpretation in philosophy of art, is an explanation of the meaning of some work of art. An interpretation expresses an understanding of a work of art In 1970 a professor of art at Georgia University, Edmund Feldman, came up with a 4 step technique for looking at art which is used again and again to teach art criticism. It looks like this: 1. DESCRIPTION: What can be seen in the artwork? 2. ANALYSIS: What relationships exist with what is seen? 3. INTERPRETATION: What is the content or meaning, based on steps 1 and 2? 4. JUDGEMENT: What is your evaluation of the work, based on steps1, 2, 3? Interpretation is how we uncover we what think an artwork might mean. Ways of thinking about ‘interpetation’ we become the translator. A sign is something that stands for something other than itself; we interpret things as signs naturally by relating them to familiar systems or conventions. Different media carries different meanings despite the message content.
It's“Art isn’t always about what it means.” It’s more science than its art, there’s a methodological approach” The work presents itself in a threefold, with a life-size photograph of a chair, the actual chair in the same spot as it was photographed in and a blown-up photograph of a dictionary definition of the word ‘chair’.easy.
Joseph Kosuth, “Art After Philosophy,” in Art After Philosophy and After: Collected Writings, 1960–1990 (Cambridge: MIT Press, 1991)
What’s the key to understanding art?
by Kit Messham-Muir
Steps to understand art: look, see, think.Isn’t it obvious we “look” at art?The artist will have made some very deliberate decisions about the materials, style and approach, and these will feed directly into the overall feel and meaning of the work.It hangs on the wall like a painting, but is made up of hundreds of melted plastic objects bowls, orange juicers, plastic domestic appliances, all different colours. Marti wants us to think of it in the tradition of a painting, even if it’s made up of 3D plastic objects.What’s the difference between looking and seeing in the context of art? Looking is about literally describing what is in front of you, while seeing is about applying meaning to it. When we see we understand what is seen as symbols, and we interpret what’s there in front of us. The final step involves thinking about what you’ve observed, drawing together what you’ve gleaned from the first two steps and thinking about possible meanings. Importantly, this is a process of interpretation. The key here is context.
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"What do you think an artist is? An imbecile who has only eyes if he's a painter, or ears if he's a musician, or a lyre at every level if he's a poet, or even, if he's a boxer, just his muscles? On the contrary, he's at the same time a political being, constantly alive to heartrending, fiery, or happy events, to which he responds in every way."
- Pablo Picasso
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(quote from Tate Modern, on How Can Art Change The World?)
Against Interpretation
Susan Sontag
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I really enjoyed reading this essay after having a little idea about interpretations and signs for this report. I immediately started to connect the second time to things that she was refereeing or arguing about. I even realised the point where how Sinead and Peter Straightaway told me to change my text to Against Interpretation. Sontag’s argument on how interpretation is done in the present moment attempts to find in every artwork “latent content,” which the critic then claims as the artwork’s “true meaning.” I think understand what Sontag means by “interpreted work,” I could see that what she’s really saying is that it doesn’t matter whether or not artists design their artworks to be symbolic—critics should resist interpreting them. Sontag is highlighting that authorial intention does in fact matter. The problem, however, is that while it’s certainly true that all artworks are not symbolic, some artworks do in fact contain symbols, and some artworks are allegories. In section 9, Sontag calls for “transparence,” which she names “the highest, most liberating value in art today.” And she explicitly states that by transparence she means “experiencing the luminousness of the thing in itself, of things being what they are.”
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It doesn’t matter whether artists intend, or don’t intend, for their works to be interpreted.
What is needed, first, is more attention to form in art.
The modern style of interpretation excavates, and as it excavates, destroys; it digs ‘behind’ the text, to find a sub-text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud’s phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning — the latent content — beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art) — all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it.
BACKGROUND RESEARCH
david crow - visible signs
Visible signs has been the highlighting and the most satisfactory part of my entire research. The book talks about all the things that can somehow somewhere explain the enquires I have.
It starts with talking about Components looking at the journey through semiotics by the fundamental building blocks of language. How structuralists develop ideas and the that demonstrated the arbitrary nature of language and determined the necessary formal conditions for languages to exist and develop. The study of art and design has borrowed heavily from these ideas, and here we begin to relate these to a visual language that uses both text and image.
How Meaning Is Formed - Having looked at the underlying structure of language and the sign, we need to examine how we can extract meaning from a sign. He talks how we define the different categories of signs and discuss the structural relationships between them. looking at why some signs appear to be quite abstract and why these are still easily read and understood. He discusses how signs are organized into systems and how these underlying structures and patterns help to form meaning.
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He begins the book by talking about theories and how a little interest in the part that reader plays in the process can show a result. The first chapter he also talks about the crosses and linguistic signs. He's every nicely said that from an early age we are taught the relationship between the signifier as the signifies. This is not something we are conscious of, but it remains one of the most fundamental building blocks in the structure of language. Later on he also talks about how working with public urban spaces as a platform, migrants used pictograms to provide visibility to the thoughts and feelings of people who have left their home country and now live a new one.
He starts by talking about Categories of signs- where he explains each with an example - what icon, index, symbol mean. This chapter he talks about "semiosis" and unlimited semiosis - where he describes how Peirce termes semiosis- to describe the transfer of meaning- the act of signifying. What distinct about his view is that it's not only one way process with a fixed meaning. It is a part of an active process between the sign and the reader of the sign, it's an exchange between the two that involves some negotiation. The meaning of the sign will be affected by the background of the reader, education, culture and experiences. Here he gives an example of use of colours in Different cultures.
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The next chapter is about the same interaction between the reader and the sign and the exchange of creative process between them.Here he talks about language and speech. Where he gives an example which really struck me - Language and Speech and differences between the first could think the differences between second order of signification it. Saussure distinguished between the two, which he called "lan and "parole However, as we have seen, Saussure's primary concern was is language, or "la langue." Language, says Barthes, language minus speech yet at the same time it a social institution and a system of values. Speech, according to Barthes, is an individual act of selection and actualization es introduces the distinction between systems of he language and speech by providing examples. In what the alls the garment system, Barthes describes language as parts of a garment, with the rules of language governing the association of parts. Speech in the garment system would then be the individual way of wearing the garment the personal quirks, the degree of cleanliness, size, the the free association of pieces, and so on. In the car system, variations in the way we drive would make up the plane of speech. This closely with Willis'ideas of symbolic creativity which relate exactly to these types of everyday expression. Thus, we can say that when people adopt the different hairstyles, for example, although they are using same language (the hairstyle system perhaps), they are different forms of speech- speaking differently or to use the terminology of French sociologist Pierre Bourdieu using rent dialects. Using the example of the rubber stamp the words are the language, and the qualities of the stamp e speech The idea of using tone of voice is useful to those who use phography as a communication tool.
In today's society, modern myths are built around such things as notions of masculinity and femininity; the signs of success and failure; what signifies good health and what does not.
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Text and Image
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Here he talks about how To examine the relationship between text and image, Barthes chose to focus on compositions from advertising. In advertising, the reader can be sure that signification is always intentional. Nothing is left to chance. It is the purpose of the advertisement to communicate the positive qualities of the product as clearly as possible to the chosen audience. This is demonstrated by Frank Jefkins' three basic principles of effective advertisement writing:
1.The advertisement should be of interest and value to the reader. The writer should ask himself, "How can I interest my prospects in my proposition? How can my offer be off service to prospects?"
2. The advertisement should be precise, that is, get to the point as quickly as possible; hence the success of the most hard-worked word in advertising, FREE!
3.The advertisement should be concise, saying what it has to say in the fewest necessary words, remembering that an encyclopedia of many volumes can be concise compared with a verbose novel.
Official Unofficial Language
All of us face the problem of a differential fit between how we see ourselves and how others see us. When we try to solve this problem individually, it can lead to isolation, but solving the problem collectively offers us a new perspective on the situation.
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Following by Symbolic creativity where it starts by how Paul Willis claims there is a vibrant symbolic life and active symbolic creativity in everyday life, everyday activity activities and expressions. He also points us to the way in which young people's lives are actually full of expressions, signs and symbols. The most recent survey on well being shows that young people put personal and informal cultural gestures before any form of "official" culture. Like phones,social networking sites,clothes, shoes, make up, reality TV all come out on top in term activities that help them for their identity. He also argues that the arts establishment has done little to discourage the commonly held beliefs gallery based art is special.
Willis maintains that this symbolic activity is not only vibrant but necessary because human beings are communicating as well as producing beings. While not all are productive, all are communicative. He stresses the necessity of symbolic work and offers the following Definition:
"The application of human capacities to and through on and with symbolic resources and raw materials(collections of signs and symbols -for instance the language as we inherit it texts, images, films, songs, artifacts to produce meaning)"
Open Work
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Here he describes the work of Umberto Eco is a key resource for exploring the creative relationship between author and audience. Here he explains the connection between communication and information; how we can explore communication and can be enriched by carefully creating the freedom for readers to make their own creative associations. He speaks about Information and meaning, Openness and Visual Art, Openness and information and its Form. This to me is the key chapter that binds everything together. I am sitll left to read and explore more and finish exercises to the last few chapters but this overall has helped me the most.
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