I found this course to be challenging and very informative. Coming into the class, I had virtually no experience or formal knowledge on working with or critically examining images. Although I had previously done some work with image manipulation in the past (mostly for fun, in photoshop), I had done so without any sort of basis in theory, and in some cases, without any direction (simply aiming for something that looked "cool" or "pretty").
The readings and class discussions really helped me gain a new perspective on all of the meaning that goes into and comes out of just about any given image. Sturken and Cartwright's Practices of Looking served as a good introduction to the concepts of visual communication for me as someone who had no previous academic exposure in the field. There were a lot of relevant general themes throughout the book, such as critical examination of a photographer or image-maker's intent, the effect of image angle and framing in shaping viewers' perception, and how different image styles and media are perceived differently depending on a viewer's background, nationality, cultural knowledge, or the era the viewer is living in. There were also several chapters that addressed particularly relevant issues in image perception in greater detail; some of the latter chapters (including the ones on advertising, postmodernity, globalization, and media in everyday life) were particularly applicable to visual challenges we are likely to face in our daily lives and careers, as well as to our sub-projects for this class.
However, once we began to read Kress and van Leeuwen's Reading Images, I found it to be incomparable in terms of the wealth of concrete, applicable information it provided on visual theory, complete with a grammar-based set of vocabulary for discussing it. Ultimately, I felt that it was Reading Images which provided me with far more theoretical concepts that I could use to discuss and (more importantly) improve my sub-projects. I found the chapters on narrative representations, viewer position, modality, and composition/framing to be the most directly useful, but nearly every chapter provided me with at least some information that I was ultimately able to use to enhance my own work.
The creation of my sub-projects was also quite challenging. The greatest challenge in the latter to sub-projects was simply mastering the technology and software needed to bring my ideas to life. In both cases, I felt that I was spending more time learning how to use these tools than actually making my deliverables, which was extremely frustrating, but will be very useful in the future if I use these same technologies again. I had an easier time working with Photoshop because I was already familiar with it; however, the digital remix still provided me with many challenges in turning my ideas into feasible imagery. Because the avatar sub-project came first, it gave me ample time to learn and improve over the course of the semester, so by the end, my avatar had undergone many transformations and I had a result that I was pleased with.
Overall, I feel that I got exactly what I wanted out of this class: an in-depth understanding of the influence that visual imagery has on our lives, the theory and language I need to critically examine and discuss that imagery, and the practice and knowledge that is necessary for me to thoughtfully and effecticely create and manipulate visual imagery myself.
Thursday, April 30, 2009
Thursday, April 16, 2009
Chapter 6: the meaning of composition
This chapter discusses the relationships that different elements have based on their relative location to one another within the image. According to Kress and van Leeuwen, there are three main qualities to visual elements: information value, given to the elements depending on where they are placed within the image; salience, which refers to how much an element stands out or catches the viewer's attention, based on placement, relative size, and contrasts/sharpness/etc.; and framing, which is the presence or absense of visual devices that set elements apart or group them together.
In discussing information value, the authors discuss the messages that the placement of an element convey based on several different directional flows. The first one discussed is the left-to-right movement, wherein the left side of an image represents the "old," while the right side represents the "new." The authors present this as being the case both for images with two key elements (one on either side), as well as three-panel layouts, where the left panel represents the old, the right panel represents the new, and the central panel represents the connection between the two.
Alternately, image composition can be presented using the top-down model, wherein the top represents the ideal, while the bottom represents the real (in three-panel images, the middle panel is once again an element (or elements) joining the other two; alternately, it may be a visual element that connects the image by spanning from top to bottom).
The chapter also addresses center and margin, in cases when the principal element is at the center, with subordinate elements in the margins around it. This form of composition is less common in western imagery, although it is more popular in certain Asian cultures. Elements within the margins may have equal value, or they may be distanced from the center in gradients.
In discussing information value, the authors discuss the messages that the placement of an element convey based on several different directional flows. The first one discussed is the left-to-right movement, wherein the left side of an image represents the "old," while the right side represents the "new." The authors present this as being the case both for images with two key elements (one on either side), as well as three-panel layouts, where the left panel represents the old, the right panel represents the new, and the central panel represents the connection between the two.
Alternately, image composition can be presented using the top-down model, wherein the top represents the ideal, while the bottom represents the real (in three-panel images, the middle panel is once again an element (or elements) joining the other two; alternately, it may be a visual element that connects the image by spanning from top to bottom).
The chapter also addresses center and margin, in cases when the principal element is at the center, with subordinate elements in the margins around it. This form of composition is less common in western imagery, although it is more popular in certain Asian cultures. Elements within the margins may have equal value, or they may be distanced from the center in gradients.
Chapter 5: Modality
According to Kress and van Leeuwen, modality refers to how "real" we perceive something to be, which is of special relevance in the visual sphere, since so much of our perception and processing of reality is based on the visual (as evidenced by phrases like "I see what you're talking about," where "seeing" refers to understanding). As stated on page 155, modality is "interpersonal," in that it does not express absolute truths, but rather, "produces shared truths aligning readers or listeners with some statements and distancing them from others."
It is important to note that the modality of a concept is not necessarily based on its lifelike visual representation; as demonstrated through the visual examples on pages 156 and 157, the photograph of two people talking does not necessarily have higher modality in representing the idea of how the speech process takes place -- depending on context, the diagrams in Fig 5.1 and 5.2 may actually have higher modality in their ability to represent the idea. Therefore, as an example, the diagram below may actually tell us more about about a chemical molecular process than a photograph of cells actually engaged in that process.
Although a major criterion for high modality in visual images is the appearance of something as "real," this form of "reality" is judged as a comparison with imaged produced through currently dominant conventions and technologies of visual representation (p. 159). This means that an image can have decreased modality if it is "too" real, exaggerated, or excessive, such as when colors are over-saturated or certain elements in an image are excessively detailed (such as the background in a realist painting-- this is the case because our dominant standard for high modality images are photographs, where the background is often less focused and therefore less detailed). In contrast, modality may be lower if, following the same examples, the colors in an image are not saturated enough, or if principal elements in the image are not in focus.
As an example, the following image has high modality, as it is very real by today's standards of representation. However, because of the saturation of the colors and the detail depicted in all elements of the image, the modality actually decreases slightly: the cutting board seems almost too focused and sharp for a backdrop, the color of the sliced fish is almost too saturated and the detail is slightly uncanny, and the contrast of the piece of fish against the white background seems a little too extreme.
Other elements which contribute to greater or lower modality include color differentiation (range between use of a diverse set of colors to monochrome), color modulation (example: many different shades of red on one end of the scale to only plain, unmodulated color on the other), contextualization (ranging from total absence of background to most fully articulated and detailed background), representation (from maximum abstraction to maximum representation), depth, illumination, and brightness.
The chapter also discusses modality in modern, abstract paintings, whose modality is not based on visual representation of objects, but rather, representing the process of representation.
It is important to note that the modality of a concept is not necessarily based on its lifelike visual representation; as demonstrated through the visual examples on pages 156 and 157, the photograph of two people talking does not necessarily have higher modality in representing the idea of how the speech process takes place -- depending on context, the diagrams in Fig 5.1 and 5.2 may actually have higher modality in their ability to represent the idea. Therefore, as an example, the diagram below may actually tell us more about about a chemical molecular process than a photograph of cells actually engaged in that process.
Although a major criterion for high modality in visual images is the appearance of something as "real," this form of "reality" is judged as a comparison with imaged produced through currently dominant conventions and technologies of visual representation (p. 159). This means that an image can have decreased modality if it is "too" real, exaggerated, or excessive, such as when colors are over-saturated or certain elements in an image are excessively detailed (such as the background in a realist painting-- this is the case because our dominant standard for high modality images are photographs, where the background is often less focused and therefore less detailed). In contrast, modality may be lower if, following the same examples, the colors in an image are not saturated enough, or if principal elements in the image are not in focus.
As an example, the following image has high modality, as it is very real by today's standards of representation. However, because of the saturation of the colors and the detail depicted in all elements of the image, the modality actually decreases slightly: the cutting board seems almost too focused and sharp for a backdrop, the color of the sliced fish is almost too saturated and the detail is slightly uncanny, and the contrast of the piece of fish against the white background seems a little too extreme.
Other elements which contribute to greater or lower modality include color differentiation (range between use of a diverse set of colors to monochrome), color modulation (example: many different shades of red on one end of the scale to only plain, unmodulated color on the other), contextualization (ranging from total absence of background to most fully articulated and detailed background), representation (from maximum abstraction to maximum representation), depth, illumination, and brightness.
The chapter also discusses modality in modern, abstract paintings, whose modality is not based on visual representation of objects, but rather, representing the process of representation.
Thursday, April 2, 2009
Chapter 4: Representation and Interaction
This chapter addresses the relationships that exist between people and/or objects in the image, the producers of the image, and the viewers of the image.
One of the more interesting ideas brought up in this chapter is the way that societal norms are brought into images. The personal space that exists in our live interactions with other people and acts as a component in defining our relationships, closeness, formality, and comfort zones, is represented within images as well. The distance and angle of an object represented in the image can determine our emotional involvement with the object and influence or level of empathy toward it. In the set of images in page 127, this is represented through the distant, "objective" images representing the events of a murder, followed by close-up images of people who knew the victim, with captions regarding their relationship with him. These close-ups mirror a point of view that would likely occur if the viewer were actually speaking with these individuals, and their direct gaze draws the viewer into the "conversation."
This ties into the authors' discussion of direct and indirect gazes within images, and acceptable norms for "looking" or "staring" at the viewer (through the camera). In some instances, this follows the conventions of live interactions (as, in the case above, when the photographed individuals look directly at the camera (and, thereby, the viewer) to engage in dialogue. In other instances, actors within an image or film cannot look into the camera, because to do so would be to break the illusion built up that they are "unaware" of being viewed.
An interesting example of where these two conventions intersect is movie advertisements. Whereas, in most conventional films, characters interact with one another throughout an entire film without looking at the camera and acknowledging the viewer, advertisements for the same films often position the characters in such a way that they all stare directly at the viewer, beckoning them to engage in a gaze, thereby making an emotional connection with the characters (and subsequently, going to see the film).
Another interesting discussion in this chapter addresses cases when viewers, and viewers' relationships with the images, are defined by the images themselves. The viewer of a given ad can be defined by a narrator or character that addresses the viewer directly, and in so doing, gives them certain characteristics (as in advertisements, for example, where a narrator might say, "do you suffer from long-lasting headaches?"). However, this can also happen through various visual cues, whether by having the viewer emphasize with certain elements of the ad, or, for example, by clearly representing a person or group in the image as "other," forcing the viewer to visually identify with the "us"/producers of the image while viewing the image, even if they would not do so outside this context. The same principle can be applied through the choice of angles from which an image forces us to view an object or person, thereby subjecting the viewer to the image producer's relationship with the object or person, whether or not we share the same view.
One of the more interesting ideas brought up in this chapter is the way that societal norms are brought into images. The personal space that exists in our live interactions with other people and acts as a component in defining our relationships, closeness, formality, and comfort zones, is represented within images as well. The distance and angle of an object represented in the image can determine our emotional involvement with the object and influence or level of empathy toward it. In the set of images in page 127, this is represented through the distant, "objective" images representing the events of a murder, followed by close-up images of people who knew the victim, with captions regarding their relationship with him. These close-ups mirror a point of view that would likely occur if the viewer were actually speaking with these individuals, and their direct gaze draws the viewer into the "conversation."
This ties into the authors' discussion of direct and indirect gazes within images, and acceptable norms for "looking" or "staring" at the viewer (through the camera). In some instances, this follows the conventions of live interactions (as, in the case above, when the photographed individuals look directly at the camera (and, thereby, the viewer) to engage in dialogue. In other instances, actors within an image or film cannot look into the camera, because to do so would be to break the illusion built up that they are "unaware" of being viewed.
An interesting example of where these two conventions intersect is movie advertisements. Whereas, in most conventional films, characters interact with one another throughout an entire film without looking at the camera and acknowledging the viewer, advertisements for the same films often position the characters in such a way that they all stare directly at the viewer, beckoning them to engage in a gaze, thereby making an emotional connection with the characters (and subsequently, going to see the film).
Another interesting discussion in this chapter addresses cases when viewers, and viewers' relationships with the images, are defined by the images themselves. The viewer of a given ad can be defined by a narrator or character that addresses the viewer directly, and in so doing, gives them certain characteristics (as in advertisements, for example, where a narrator might say, "do you suffer from long-lasting headaches?"). However, this can also happen through various visual cues, whether by having the viewer emphasize with certain elements of the ad, or, for example, by clearly representing a person or group in the image as "other," forcing the viewer to visually identify with the "us"/producers of the image while viewing the image, even if they would not do so outside this context. The same principle can be applied through the choice of angles from which an image forces us to view an object or person, thereby subjecting the viewer to the image producer's relationship with the object or person, whether or not we share the same view.
Thursday, March 12, 2009
Film project
For my third sub-project, I want to continue the theme of politics in food preparation in the form of an infomercial. There are a couple reasons for this choice. First, I think that there is an inherent power dynamic in an infomercial of almost any kind: the chef or television personality is telling you that your life has been incomplete up until now, but it is about to improve dramatically with their help. Although the most obvious and prevalent elements are simple tricks of advertising and salesmanship, there are almost always subtler cues at play as well: what is the ethos of the host? Are we listening to his message because he is a celebrity? An authoritative-looking chef? Does race, gender, and nationality play into it? And what are the relative characteristics of the individuals being shown to demonstrate the problem, or filmed to make testimonies about how the product has improved their lives?
The second reason for this choice is a more pragmatic one: I feel that as a form of film, an infomercial will provide me with the greatest amount of learning opportunities as I make it. I have studied fiction-film screenwriting in the past, so a commercial will provide me with a chance to take a different approach in conveying a message. Furthermore, because of the fast pace and rapid movement of a typical infomercial, it will provide me with the opportunity to do a lot of splicing and editing of different kinds of footage, which will probably prove to be a good experience in learning to use video-editing software (something I have zero experience with).
I began this project by researching the infomercials that are already out there. After watching many of them, I have come up with three that particularly stand out.
1. the Slap Chop infomercial
Even this "long" version of the commercial, at 3 minutes, is fairly short and to the point. What is notable about it is that, with the exception of a short section toward the end with satisfied customer testimonials (which frankly, in my opinion, are somewhat lackluster), the commercial relies almost fully on the energy and personality of Vince, the host. While he is onscreen, he is talking quickly and nonstop, while simultaneously demonstrating what the product can do. The viewer is therefore dazzled by his streaming commentary (which leaves no room for questioning or critical thought) and close-up images of the wonder-product in action. This fast pace may work to get viewers excited about the product and leave them energized and willing to buy.
2. the NuWave Oven infomercial
This commercial is significantly longer, and is structured as a 30-minute television show. It begins with a high-energy segment (lasting about 2 minutes and 30 seconds) in which an authoritative male voice talks about the problem (no time to cook, eating too much fast food, gaining weight) while illustrating with images of "real" people, and then jumps to the solution - an introduction of the problem-solving product, demonstrating how easy it is to use, and all the possibilities that it offers in terms of the variety of food it can help prepare. It follows with official-looking charts and graphs to demonstrate how energy-efficient it is, and how it complies to environmental standards. It also includes testimonies from "real" customers (small text at the bottom of the page declares that "none of the participants were paid for their testimony"). Finally, we are instructed to watch the two hosts as they show us "how we can slim down and eat healthier," while seeing slow-motion footage of the hosts discussing the product.
This first segment is very high-energy. The rest of the commercial is more low-key and is centered around the two hosts in a faux-kitchen, surrounded by plates of food prepared in the multiple NuWave Ovens on display. The hosts banter, prepare, and taste NuWave-made food. Although this is interspersed with images from outside this kitchen setting and occasional testimonies, the overall tone from here on continues to be more casual and never reaches the high level of energy we see in the first 2.5 minute segment.
3. the FlavorWave Oven infomercial
This commercial is similar to the one for the NuWave Oven in that it involves demonstrations by two hosts in a faux-kitchen. However, there are several elements that set it apart. First, this commercial gives an important role to a live audience. Whereas the NuWave kitchen appears to be a private and intimate setting with only the hosts and the camera crew, the FlavorWave demonstration has an enormous live audience whose reactions are shown regularly throughout the clip. Second, this commercial uses a well-known actor (Mr. T), and makes much more of an attempt to be funny and acted-out (starting with the initial scene, where Mr. T bursts in by breaking the door, rather than opening it). This stands in contrast to the straight-forward NuWave approach, and is not always successful in its attempts at humor.
The second reason for this choice is a more pragmatic one: I feel that as a form of film, an infomercial will provide me with the greatest amount of learning opportunities as I make it. I have studied fiction-film screenwriting in the past, so a commercial will provide me with a chance to take a different approach in conveying a message. Furthermore, because of the fast pace and rapid movement of a typical infomercial, it will provide me with the opportunity to do a lot of splicing and editing of different kinds of footage, which will probably prove to be a good experience in learning to use video-editing software (something I have zero experience with).
I began this project by researching the infomercials that are already out there. After watching many of them, I have come up with three that particularly stand out.
1. the Slap Chop infomercial
Even this "long" version of the commercial, at 3 minutes, is fairly short and to the point. What is notable about it is that, with the exception of a short section toward the end with satisfied customer testimonials (which frankly, in my opinion, are somewhat lackluster), the commercial relies almost fully on the energy and personality of Vince, the host. While he is onscreen, he is talking quickly and nonstop, while simultaneously demonstrating what the product can do. The viewer is therefore dazzled by his streaming commentary (which leaves no room for questioning or critical thought) and close-up images of the wonder-product in action. This fast pace may work to get viewers excited about the product and leave them energized and willing to buy.
2. the NuWave Oven infomercial
This commercial is significantly longer, and is structured as a 30-minute television show. It begins with a high-energy segment (lasting about 2 minutes and 30 seconds) in which an authoritative male voice talks about the problem (no time to cook, eating too much fast food, gaining weight) while illustrating with images of "real" people, and then jumps to the solution - an introduction of the problem-solving product, demonstrating how easy it is to use, and all the possibilities that it offers in terms of the variety of food it can help prepare. It follows with official-looking charts and graphs to demonstrate how energy-efficient it is, and how it complies to environmental standards. It also includes testimonies from "real" customers (small text at the bottom of the page declares that "none of the participants were paid for their testimony"). Finally, we are instructed to watch the two hosts as they show us "how we can slim down and eat healthier," while seeing slow-motion footage of the hosts discussing the product.
This first segment is very high-energy. The rest of the commercial is more low-key and is centered around the two hosts in a faux-kitchen, surrounded by plates of food prepared in the multiple NuWave Ovens on display. The hosts banter, prepare, and taste NuWave-made food. Although this is interspersed with images from outside this kitchen setting and occasional testimonies, the overall tone from here on continues to be more casual and never reaches the high level of energy we see in the first 2.5 minute segment.
3. the FlavorWave Oven infomercial
This commercial is similar to the one for the NuWave Oven in that it involves demonstrations by two hosts in a faux-kitchen. However, there are several elements that set it apart. First, this commercial gives an important role to a live audience. Whereas the NuWave kitchen appears to be a private and intimate setting with only the hosts and the camera crew, the FlavorWave demonstration has an enormous live audience whose reactions are shown regularly throughout the clip. Second, this commercial uses a well-known actor (Mr. T), and makes much more of an attempt to be funny and acted-out (starting with the initial scene, where Mr. T bursts in by breaking the door, rather than opening it). This stands in contrast to the straight-forward NuWave approach, and is not always successful in its attempts at humor.
Thursday, March 5, 2009
Reading Images: Chapter 2
In this chapter, the authors discuss narrative representations of images, and the way that the position of actors within the images determines the processes and movements perceived by the viewer.
One of the concepts that particularly stood out to me was the associations and meanings given to different geometrical shapes. Squares and rectangles are perceived as as "honest, stright, and workmanlike" (p. 54), in addition to representing technology, power, and progress, or oppression, if one is to perceive it as a literal and figurative representation of being "boxed in" (p. 55). Circular shapes, on the other hand, represent endlessness, warmth, protection, and eternity, as well as elements that are natural and organic (pp. 54-55). Finally, triangles and vectors can represent movement or ongoing action, as well as conflict and tension (p. 56). The authors also elaborate on the meanings of stretched or elongated shapes.
Thus, I was interested in looking at several images and seeing how these interpretations of geometry would apply.
This yoga demonstration has many circular (and therefore natural, organic) lines, but there is also a strong vector of movement formed by the man's outstretched arm.
Next we have two signs held up at rallies (an environmental rally and a war protest rally).
This first sign makes use of round, organic imagery, which calls for our empathy.
Meanwhile, the square nature of the sign in this picture is distinctly authoritative, calling for action. The outstretched arms of the people around it can also be seen as vectors, directing attention toward the message.
Another interesting point brought up in this chapter is that of non-transitional images containing only one actor. However, when that actor (for example, a person, such as in image 2.15 on page 64) is interacting with something that is not visible within the image, it is left to the viewers to interpret the actor's actions and make guesses about what lies beyond the borders of the image that they see, and thereby, in some cases, providing their own emotional content to the image. It seems that this can be a powerful tool in image-making and advertising.
One of the concepts that particularly stood out to me was the associations and meanings given to different geometrical shapes. Squares and rectangles are perceived as as "honest, stright, and workmanlike" (p. 54), in addition to representing technology, power, and progress, or oppression, if one is to perceive it as a literal and figurative representation of being "boxed in" (p. 55). Circular shapes, on the other hand, represent endlessness, warmth, protection, and eternity, as well as elements that are natural and organic (pp. 54-55). Finally, triangles and vectors can represent movement or ongoing action, as well as conflict and tension (p. 56). The authors also elaborate on the meanings of stretched or elongated shapes.
Thus, I was interested in looking at several images and seeing how these interpretations of geometry would apply.
This yoga demonstration has many circular (and therefore natural, organic) lines, but there is also a strong vector of movement formed by the man's outstretched arm.
Next we have two signs held up at rallies (an environmental rally and a war protest rally).
This first sign makes use of round, organic imagery, which calls for our empathy.
Meanwhile, the square nature of the sign in this picture is distinctly authoritative, calling for action. The outstretched arms of the people around it can also be seen as vectors, directing attention toward the message.
Another interesting point brought up in this chapter is that of non-transitional images containing only one actor. However, when that actor (for example, a person, such as in image 2.15 on page 64) is interacting with something that is not visible within the image, it is left to the viewers to interpret the actor's actions and make guesses about what lies beyond the borders of the image that they see, and thereby, in some cases, providing their own emotional content to the image. It seems that this can be a powerful tool in image-making and advertising.
Thursday, February 26, 2009
Digital remixing
So far, I'm not that happy with how my remixes are coming out. I have ideas that seem really great in my head, but when I try to execute them, they are less than stellar. Still, I'm sure that with some effort, they will get better.
My first idea was to mock the images of brutalized animals in vegetarian/animal rights ads by showing a "brutalized" carrot on a cutting board, bleeding, with its bones visible:
Somehow, though, I don't think it draws up much of an emotional response of any kind. So I modified it to make it more cartoonish:
My next effort refers to PETA's latest ad campaign aimed to discourage people from eating fish: sea kittens.
My first attempt to imitate this approach to discouraging carnivorous activity is a "Grazing Teddy Bear" or "Teddy Bear on the Range".
This one is a pretty primitive first draft, but I intend to work on making a more elaborate one in the coming week.
My first idea was to mock the images of brutalized animals in vegetarian/animal rights ads by showing a "brutalized" carrot on a cutting board, bleeding, with its bones visible:
Somehow, though, I don't think it draws up much of an emotional response of any kind. So I modified it to make it more cartoonish:
My next effort refers to PETA's latest ad campaign aimed to discourage people from eating fish: sea kittens.
My first attempt to imitate this approach to discouraging carnivorous activity is a "Grazing Teddy Bear" or "Teddy Bear on the Range".
This one is a pretty primitive first draft, but I intend to work on making a more elaborate one in the coming week.
Reading Images - Chapter 1
One of the most interesting statements that Kress and van Leeuwen make in the first chapter relates to power. On page 13, they write:
Another topic that the authors bring up is how visual ideas may be represented through varying means that are significant to the artist in what they represent to him or her. The notable example given is that of a 3-year-old boy, whose drawing of a car does not highlight its shape, but rather the circular motion of its wheels (in his representation through circles). In this way, the meaning of the resulting picture may not be immediately clear to an outside observer without an explanation, but the image carries clear meaning to its creator. Because of the child's background of knowledge and associations, this set of symbols is entirely logical and meaningful. Both this book and our previous text talk about the importance of context and background knowledge in interpreting images. Reading Images mentions the fact that we may perceive artistic artifacts from other cultures as beautiful, interesting, or bizarre, but we may be incapable of understanding their meaning because we are not a part of that culture, and do not have the background information and cultural associations that allow particular symbols to represent concrete ideas.
But I would like to return to the idea of visual representation through the motion of creating an image. I decided to search for examples of modern art that employ associations of motion, rather than visual associations, in making a painting.
One well-known artist who focused on motion in the creation of his paintings was Jackson Pollock. He eschewed the easel and paintbrush, and preferred unconventional tools, such as sticks, trowels, and knives, as well as dripping and splattering paint onto a canvas on the floor from all four sides.
His work was part of the Action Painting movement, which eschewed the conventional use of paintbrushes to create careful images, and instead focused on the physical act of producing the painting as an important element of the art itself. This work by Franz Kline is also a well-known example of action painting:
Communication requires that participants make their messages maximally understandable in a particular context... On the other hand, communication takes place in social structures which are inevitably marked by power differences, and this affects how each participant understands the notion of "maximal understanding." Participants in positions of power can force other participants into greater efforts of interpretation.It seems that this is true in many aspects of life, visual and otherwise. An obvious example of this may be the stereotypical moody boss who barks out a vague set of orders, leaving the people working for him to guess at his exact meaning in an attempt to meet his unclear demands. Yet we can see this at play in many more subtle settings. A concept may be mentioned by a professor without extensive explanation or clarity, because the professor knows that even without an explanation, students will need to research it in order to pass an exam. My experience in technical translation has also shown me that instruction manuals for home assembly of various products (furniture, etc.) tend to be more simple and clear than those for industrial devices. Now clearly, this is due in part to the presumed expertise of the user: an industrial engineer is assumed to have a wealth of knowledge and therefore require significantly less technical explanation than a college student assembling a computer desk for the first time. Still, is it possible that there are some dynamics of power at play? If the college student is frustrated with the assembly instructions, he may simply return the desk and buy another one from a different manufacturer. However, an engineer is responsible for doing her job, and figuring out how to follow the directions in her manual, regardless of how unclear the directions may be.
Another topic that the authors bring up is how visual ideas may be represented through varying means that are significant to the artist in what they represent to him or her. The notable example given is that of a 3-year-old boy, whose drawing of a car does not highlight its shape, but rather the circular motion of its wheels (in his representation through circles). In this way, the meaning of the resulting picture may not be immediately clear to an outside observer without an explanation, but the image carries clear meaning to its creator. Because of the child's background of knowledge and associations, this set of symbols is entirely logical and meaningful. Both this book and our previous text talk about the importance of context and background knowledge in interpreting images. Reading Images mentions the fact that we may perceive artistic artifacts from other cultures as beautiful, interesting, or bizarre, but we may be incapable of understanding their meaning because we are not a part of that culture, and do not have the background information and cultural associations that allow particular symbols to represent concrete ideas.
But I would like to return to the idea of visual representation through the motion of creating an image. I decided to search for examples of modern art that employ associations of motion, rather than visual associations, in making a painting.
One well-known artist who focused on motion in the creation of his paintings was Jackson Pollock. He eschewed the easel and paintbrush, and preferred unconventional tools, such as sticks, trowels, and knives, as well as dripping and splattering paint onto a canvas on the floor from all four sides.
His work was part of the Action Painting movement, which eschewed the conventional use of paintbrushes to create careful images, and instead focused on the physical act of producing the painting as an important element of the art itself. This work by Franz Kline is also a well-known example of action painting:
Friday, February 20, 2009
Chapters 9 and 10
In Chapter 9, which discusses imagery in relation to science and biology, I was initially surprised by the very public spectacles of anatomy theaters in past centuries, where cadavers were operated on in displays before large crowds, as a form of entertainment. Today, it seems improbable that people would flock together to an arena to watch a body get sliced apart and see what is inside. It then occurred to me, however, that this particular practice in "looking" within bodies is alive and well today, through television. It's true that the popularity of medically-themed television shows can be attributed to many factors, ranging from the personal drama in the medical staff's relationships to fascination with rare and surprising medical cases (a fascination whose basis have may have nothing to do with visual elements). Still, doesn't at least part of the interest in shows such as Grey's Anatomy stem from a voyeuristic desire to see inside people's bodies and to vicariously experience the characters' excitement in cutting people up?
A quick google search reveals (not surprisingly) that in this modern version of the anatomic arena, all of the blood and organs shown are fake. This brings us back to issues addressed at the beginning of the book; namely, how real is an image that is manipulated or staged? Is the entertainment value of these shows affected by the fact that these portrayals of the human body do not use real organs? And if these organs were used in a program intended for medical education, would it matter more than the body components are fake, even if they were portrayed in an exact, true-to-life manner?
In Chapter 10, the authors address the global flow of visual culture. One of the issues discussed is the ubiquity of certain companies (particularly restaurants and coffeehouses) that are spread throughout the world, which allow individuals in many places that are distant from one another to experience the same atmosphere (including visual elements).
However, this is not entirely true. The book speaks about the relationship between globalization and localization, and it is a relationship that can be observed in even such seemingly cloned franchises as McDonald's restaurants. All around the world, adjustments are made to accommodate local culture--for example, the Maharaja Mac in India, which is made of lamb or chicken (beef and pork are not served for religious reasons). Localized items are also offered simply to accomodate local tastes: hence the McKebab in Israel, McKrokets (Dutch croquettes) in the Netherlands, the Bulgogi Burger in South Korea, and the Korokke Burger in Japan, which is a sandwich with breaded mashed potatoes, shredded cabbage, and katsu sauce. Several Asian countries also offer burgers whose contents are sandwiched between two patties of glutinous rice.
Still, when a large global corporation takes elements of local culture and incorporates them into their product line, which is the winner, local culture or globalized influence? Let us look at an example more directly tied to images: if a beauty product company from an outside culture creates billboard advertisements that use local models and elements of local decor to sell its product line, does it still run the risk of influencing another culture's perceptions by representing its own standard of beauty as ideal?
A quick google search reveals (not surprisingly) that in this modern version of the anatomic arena, all of the blood and organs shown are fake. This brings us back to issues addressed at the beginning of the book; namely, how real is an image that is manipulated or staged? Is the entertainment value of these shows affected by the fact that these portrayals of the human body do not use real organs? And if these organs were used in a program intended for medical education, would it matter more than the body components are fake, even if they were portrayed in an exact, true-to-life manner?
In Chapter 10, the authors address the global flow of visual culture. One of the issues discussed is the ubiquity of certain companies (particularly restaurants and coffeehouses) that are spread throughout the world, which allow individuals in many places that are distant from one another to experience the same atmosphere (including visual elements).
However, this is not entirely true. The book speaks about the relationship between globalization and localization, and it is a relationship that can be observed in even such seemingly cloned franchises as McDonald's restaurants. All around the world, adjustments are made to accommodate local culture--for example, the Maharaja Mac in India, which is made of lamb or chicken (beef and pork are not served for religious reasons). Localized items are also offered simply to accomodate local tastes: hence the McKebab in Israel, McKrokets (Dutch croquettes) in the Netherlands, the Bulgogi Burger in South Korea, and the Korokke Burger in Japan, which is a sandwich with breaded mashed potatoes, shredded cabbage, and katsu sauce. Several Asian countries also offer burgers whose contents are sandwiched between two patties of glutinous rice.
Still, when a large global corporation takes elements of local culture and incorporates them into their product line, which is the winner, local culture or globalized influence? Let us look at an example more directly tied to images: if a beauty product company from an outside culture creates billboard advertisements that use local models and elements of local decor to sell its product line, does it still run the risk of influencing another culture's perceptions by representing its own standard of beauty as ideal?
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