Visual Culture PDF

Visual Culture Visual culture is a term that refers to the tangible, or visible expressions by people, a state or a civilization, and collectively describes the characteristics of that body as a whole. Visual Culture is intertwined with everything that one sees in his day-to-day life: 1. Advertising 2. Landscaping 3. Buildings 4. Paintings 5. Apparel 6. Clothing 7. Photographs 8. Movies Ian Hunter (2008) What is Considered Beautiful? Aesthetics divided into What is Considered Ideal? two domains: Visual Literacy The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design, but it also has much wider applications. Seeing and at the same time having and integrating other sensory experiences References: Visual https://www. Culture “Art brown.edu/ in Departments Antiquity” / Thinking https:// https:// Visual (2008) Joukowsky_I 7OFPRINCIPLES VISUAL CULTURE Anthony Caezar Arts and Humanities F. Aya-ay The 7 Principles of Visual Culture derived from the literature of Visual Culture, offer contemporary lenses to help understand a world in which imagery has come to characterize everyday life in a historically unknown way. They are proposed as a way of thinking about art objects, experiences, and subsequently curriculum that acknowledge the history of imagery and visual culture in which we now live. POWER Power is central to a consideration of imagery because all images involve an assertion of ideas, values, beliefs that serve the interests of those for whom they are made The key principle since most of the other principles of visual culture intersect with the issues of power. Who exercises power through imagery? What kind of power? POWER Hierarchical order of a society is involved in the assertion of imagery Different groups = different degrees of power, Therefore, images from different groups constitute different agendas Those who struggle to challenge, or who try to challenge existing social hierarchies produce images that are alternative to or even oppositional of widely present ideologies All images offer arguments about what the world is like, what it should be, or what it should not be. POWER Power is EQUALLY EXERCISED when viewers can interpret images. With power, viewers can negotiate imagery, since you can exercise your power of interpreting imagery, you can accept or reject messages of a certain visual image Images can be interpreted in many different ways; a producer tries to influence the viewers to think a certain way. With Power, viewers are not passive receivers of images, but active discriminators. IDEOLOGY Images are sites of ideological struggle. It is a characteristic way of thinking, a style of thought, an interpretive scheme employed by people to make the world intelligible to themselves and others they want to share their worldview with. IDEOLOGY Each is contestable. All ideologies are historically and culturally specific, which is immediately apparent on considering what images have offered as truth in other historical periods and what they offer today in cultures other than our own. Since ideologies vary and are often contradictory, each represents a viewpoint of an imagery and not an uncontestable truth. What do you see in the picture? What can you understand from the image being presented? Why do you think that is what it means? How certain are you that you are understand the truth/a truth behind this image? What do you see in the picture? What can you understand from the image being presented? Why do you think that is what it means? How certain are you that you are understand the truth/a truth behind this image? REPRESENTATI ON How ideologies are presented in a visual form. (More than just a mere likeness) What do the images represent? How are they representing the subjects? and What they fail to represent? It is important that these representations draws upon reality and not just stereotypes A lack of representation is equally problematic. (WHAT THEY FAIL TO REPRESENT) SEDUCTION Ideologies work effectively because they come wrapped in seductive forms. Images are seductive in a variety of ways. Sometimes they seduce through: 1. Subject matter 2. What they represent 3. The pleasure of reflection 4. The pleasure of justification 5. Unconscious desires of social taboos SEDUCTION Images are considered seductive because they are sensory. Some people are drawn in images that are: 1. Beautiful or sublime 2. Grotesque 3. Sentimental and cute 4. Cool 5. Quaint 6. Romantic SEDUCTION These sensory lures are important because they act to wrap ideologies in pleasurable forms. Images evoke emotional responses that are registered bodily. Offered in forms that appeal to the body to likely gain more acceptance. Seduction is a truism known to ancient civilizations, the same to the contemporary corporate world. GAZE The principle concerned with how we look at images and under what circumstances we are under upon looking at images. We look differently depending upon our gender, ethnicity, nationality, class, age and so on. Because of this, our relationship to images and how we look at them are predetermined according to our biases. The gaze is a way in which we understand ourselves as individuals and as a society as it throws a spotlight on us viewers and our context. INTERTEXTUAL ITY All images relate to other cultural texts such as books, poems, music, and of course other images. With computers and internet, intertextuality is known as hypertext, wherein pressing on a link (blue underlined words), and often times pictures and other hyperlinked elements immediately takes the user to a related screen. Each image can now be hyperlinked to other images, definitions, discussions and other key related concepts. MULTIMODALI TY Refers images;to the fact images that never music, or other sounds. there are appear purely without no visual words, Intheir artassumed galleries,significance images appear is with deeplylabels and grounded incritique. art history texts and columns of written Imagery mostly occur today in TV, social media, movies, in print and computer screens. The multimodal another reason nature for of imagery considering is imagesyet in terms of their context. REFERENCES Art Education “7 Principles of Visual Culture” (2010) ▪ https://najiha08.files.wordpress.com/2017/04/seven-principles-for-visual-cultural- education.pdf 8 Principles of Design BALANCE At the mention of the word balance, one of the first things that comes to mind is weight. You might picture a classic balance scale measuring the weight of one object against another. BALANCE When you are designing, consider that the physical weight of a balance scale is equivalent to the visual weight of the elements you use. To achieve balance, you must determine the weight of each piece and make sure they don’t overpower each other within your site’s composition. CONTRAST Contrast means placing juxtaposing elements next to each other so that one of them stands out. This effect creates excitement and demands a viewer’s attention. EMPHASIS Emphasis can be achieved using the principle of contrast discussed above or by incorporating other visual tools that can help a specific element stand out. MOVEMENT Movement is attention-grabbing, capturing the eye and guiding it with an even more dynamic design. Achieving a sense of movement requires varying elements and arranging them in a way that causes viewers to navigate around a composition. REPETITION The principle of repetition will result in patterns that are highly satisfactory to the eye. On top of this, repetition supports consistency, a crucial factor when it comes to enforcing the unity of a composition. HIERARCHY Hierarchy is the highlighting of visual elements that are most important to a composition. Without establishing hierarchy, it’s likely that individuals looking at a design will consider each element equally important. ( SIZE, COLOR, ___ POSITION) WHITE SPACE White space refers to the areas within a composition that are void of visual elements. This includes the margins of a webpage, the spaces between text blocks and the negative space found between or surrounding images. UNITY Unity refers to the culminating result of how different elements work together—which makes it perfectly deserving of its position as the final, golden principle of design. To achieve unity, every item on a design should have a specific place and role in your composition. Nothing should be useless or random. ICONOLO GY GROUP 1 Table of Contents I. Basic Concepts II. Introduction to Iconology De nition History III. Major Figures in Iconology Erwin Panofsky Aby Warbug IV. Methodology Pre-Iconographical Description Iconographical Analysis Iconological Interpretation Basic Concepts Symbol A symbol is an image or sign that is understood by a group to stand for something. Allegory An allegory is the description of a subject in the guise of another subject. Basic Concepts Motif A motif is a recurring fragment, theme or pattern that appears in a work of art. Icon a person or thing widely admired especially for having great influence or signi cance in a particular Introduction to Iconology a branch of art history that focuses on the interpretation and analysis of images and symbols. the study of images and their symbolic representation. Image Interpretation involves analyzing an image's content, symbolism and context. Symbols are integral to understanding an image's meaning and signi cance. History The word “iconology” is a compound term made up of icon (image, representation in Greek) and logos (speech, reason). In other words, iconology is the language of images, it is the reasoning of representation. In the Renaissance, early forms of iconology emerged with the study of emblems and Timeless allegories in Renaissance art. The rst study to deal with the theory of iconography is Cesare Ripa's "Iconologia" (1593). Creativity The modern period (especially the 19th and 20th centuries) is the time when iconography was fully developed as a method. A series of authors, primarily art historians, contributed to this differentiation and to the development of iconology as a discipline that deals with the meaning in and of images and artworks. Among the most prominent ones are Aby Warburg and Erwin Panofsky. Major Figures in Iconology Aby Warbug Aby Moritz Warburg (June 13, 1866 – October 26, 1929) was a German art historian and cultural theorist who founded the Kulturwissenschaftliche Bibliothek Warburg (Warburg Library for Cultural Studies). Central to Warburg's approach was the idea of "Nachleben" (afterlife) of images. Warburg's most ambitious project was the Mnemosyne Atlas, an un nished visual Major Figures in Iconology Erwin Panofsky a German art historian, whose academic career was pursued almost entirely in the U.S. after the rise of the Nazi regime. Panofsky's work remains highly influential in the modern academic study of iconography. Many of his works remain in print, including Studies in Iconology: Humanist Themes in the Art of the Renaissance (1939), and his eponymous 1943 study Methodology The 3 Levels of Iconological Method/Panofsky’s Three Stages of Iconographic/Iconological Analysis 1. Primary or Natural (Pre-iconographical Description) The most basic level of understanding or the natural perception. Simply state what you see in the artwork. Question Asked: WHAT? (What did you see in the artwork?) Methodology The 3 Levels of Iconological Method/Panofsky’s Three Stages of Iconographic/Iconological Analysis 2. Secondary or Conventional (Iconographical Analysis) Requires a certain cultural or iconographic knowledge It "constitutes the world of images, stories and allegories" (Panofsky 1939, p. 14) It involves the consideration of the cultural-historic environment of the artist, the theme and style. Methodology The 3 Levels of Iconological Method/Panofsky’s Three Stages of Iconographic/Iconological Analysis 3. Tertiary or Intrinsic (Iconological Interpretation) The observer does not only receive and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view. It requires a deeper knowledge and understanding to answer the question, “What does it mean?” Last Supper By: Leonardo Da Vinci Arnolfini and his Bride By: Jan Van Eyck Relevance/ Important By studying the images of a particular era, iconologists can gain insights into the beliefs, values, and attitudes of the people who lived during that time. Through iconology, we can gain a deeper understanding of history and its impact on the development of different cultures and societies. References Iconography and Iconology | Laetro. (n.d.-b). https://www.laetro.com/blog/diﬀerence-between- iconography-and-iconology Handbook of Research on Consumption, Media, and Popular Culture in the Global Age. (2019). In Advances in media, entertainment and the arts (AMEA) book series. https://doi. org/10.4018/978-1-5225-8491-9 Džalto, D. (2023). Iconography and iconology. Oxford Research Encyclopedia of Religion. https:// doi.org/10.1093/acrefore/9780199340378.013.914 Wikipedia contributors. (2024, May 27). Aby Warburg. Wikipedia. https://en.wikipedia.org/wiki/ Aby_Warburg Citaliarestauro. (2018, April 11). The Iconologycal method | Erwin Panofsky | the 3 levels of art analysis | Citaliarestauro.com[Video]. YouTube. https://www.youtube.com/ watch?v=euxGhmy8B2M Muralha, F. (2024, March 20). Panofsky - the 3 phases of the iconological method of art analysis. Citaliarestauro. https://en.citaliarestauro.com/art-analysis-panofsky-method/ Warburg, A. (1999). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the QUIZ TIM E ! Thank You! MEMBERS: UYAMOT, RAVINA ZAIRA TINGHIL, ANNA MARIE TE, JOANNA MITCH TAN, NICOLE MARGARETTE Iconology September 11, 2024 TABLE OF Contents 01. Introduction of Iconology 02. History of Iconology 03. The Three Levels of Panofsky 04. Relevance of Iconology ICONOLO Iconology is a branch of art history that focuses on GY the interpretation and analysis of images and symbols. It is a fascinating field that delves deeper into the meaning and significance of images, going beyond their aesthetic value. ICONOLO used GY The terms iconography and iconology are often interchangeably, but there are significant differences between the two. ICONOLO ICONOGRAP GY Interpretative HY Descriptive One of the key concepts in iconology is IMAGE INTERPRETATION. It is the process of decoding the underlying message of an image and understanding its various levels of meaning. Through image interpretation, iconologists can uncover hidden meanings and understand the complexities of an image. History Of Iconology Iconology is a method of interpretation in cultural history and the history of the visual arts used by Aby Warburg, Erwin Panofsky and their followers that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. Aby warburg Iconology deals with interpretation of images and symbols in art. At the beginning of the 20th century this method is experiencing a rebirth in Germany and then in international art studies, thanks to Aby Warburg and the scholars community of his unique library. Aby warburg Aby Warburg was only twenty-four years old, when he discussed the limitations of formalist criticism. Warburg, in fact, believed that images were icons charged with meanings having a close relationship to the culture and memory of a society. Images, in other words, have a history Aby warburg Warburg, in an entirely original way, tries to identify the whole complex history behind an image, in order to better contextualize it, to explain the reasons behind it, to fully understand the choices of an artist, to understand how the ﬁgure of the artist is placed within the collective memory of a society. Erwin Panofsky The great art historian Erwin Panofsky (Hanover, 1892 - Princeton, 1968) has been considered, and continues to be considered, a continuator of the work of Aby Warburg, who in turn is considered an anticipator of Panofsky. Erwin Panofsky Panofsky contributed through a collection of essays originally published in 1939 and released in Italy under the title “Studies in Iconology”. It outlines the foundations of iconology. Starting with the diﬀerent meanings that a work can take on. Exactly like the act of "taking oﬀ one’s hat", his proposed Erwin Panofsky In 1939, Panofsky presents his iconological method of analysis of art. He goes on to investigate the way in which, according to the diﬀerent historical conditions to which the artist is subjected, themes, subjects or facts are chosen to be represented. And so, Panofsky identiﬁes the three levels of The Three Levels of Panofsky Primary/Natural - The primary level should correspond to the most basic level of understanding, i.e. the natural perception of the The Three Levels of Panofsky Secondary/Conventional - The second level of understanding requires a certain iconographic knowledge, to the extent that this is the interpretation of the message and its meaning. The Three Levels of Panofsky Tertiary/Intrinsic - For the third and ﬁnal level of interpretation, the observer not only receives and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view, looking for social and cultural interrelations that might The Three Levels of Panofsky Primary/Natural - The primary level should correspond to the most basic level of understanding, i.e. the natural perception of the The Three Levels of Panofsky Secondary/Conventional - The second level of understanding requires a certain iconographic knowledge, to the extent that this is the interpretation of the message and its meaning. The Three Levels of Panofsky Tertiary/Intrinsic - For the third and ﬁnal level of interpretation, the observer not only receives and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view, looking for social and cultural interrelations that might Relevance of Iconology Iconology helps us understand the deeper cultural, social, and historical significance of art, going beyond just what we see on the surface. It's like finding the hidden message in a picture. It reminds us that art is a product of its time, reflecting the values and beliefs of the people who created it. Iconology brings together history, culture, psychology, and art history to give us a more complete understanding of art. The team Aleah Keth Noveal Mary Christine Justine Marc Tulod Taypin Samontina Salvacion Bibliography https://www.ﬁnestresullarte.info/en/works-and-artists/history-of- art-criticism-aby-warburg-and-the-origins-of-iconology https://www.engramma.it/eOS/index.php?id_articolo=3031#:~: text=Warburg%20was%20not%20only%20the, acting%2C%20but%20of%20existence%20 https://en.citaliarestauro.com/art-analysis-panofsky-method/ https://www.ﬁnestresullarte.info/en/works-and-artists/history-of- art-criticism-the-iconology-of-erwin-panofsky Thank You September 11, 2024 Group 2 BSA 1A Forms in Art In terms of art, form refers to objects that are 3-Dimensional, or have length, width, and height. F O FORMS IN AR T Pre-historic & Ancient art Early art focused on simple, abstract shapes and symbolic forms. In classical antiquity, especially in Greek and Roman art, artists developed idealized, naturalistic forms with a deep understanding of anatomy and proportion. Medieval Art In medieval times, art was all about religion. People and objects were drawn in a less realistic way—more like symbols—to show their importance in religious stories. Forms were elongated, and there wasn’t much focus on making people look like they do in real life. Renaissance Art Artists like Leonardo da Vinci started making art look more real again by focusing on things like perspective (showing depth and distance) and using light and shadow to make objects look 3D. It was a return to trying to capture what things actually look like. Baroque & Rococo Baroque art introduced dramatic, dynamic forms with emotional intensity, while Rococo art focused on lighter, more decorative and playful forms. The 19th century Neoclassical art wanted to bring back simple, clean lines and forms like in Greek and Roman times. Romanticism, on the other hand, wanted to show more emotion and passion, so the shapes became more dynamic and expressive. Modernism Artists began to break away from traditional forms. Movements like Impressionism and Cubism explored new ways of representing subjects, leading to abstraction, where form became more about exploring color, shape, and line than depicting reality. Contemporary Art Postmodernism and contemporary practices often deconstruct traditional forms or blend various styles, with digital and conceptual art exploring new possibilities for form, sometimes focusing more on ideas than physical structures. Type s o f in Geometric Geometric forms are based on mathematical equations and shapes which have been used by humans since ancient times. These forms can be used to create regular patterns in artwork or to draw attention to certain areas of a composition. Examples of geometric forms include cubes and pyramids. Example The sculpture“Moondog”by Tony Smith is a prominent example of geometric forms in art. Its composition of regular shapes like squares, triangles, and trapezoids, coupled with its abstract nature and precise edges, clearly aligns with the characteristics of geometric art. Organic Organic forms are more free-flowing and irregular in shape. They can be used to create natural or abstract compositions which have a softer feel to them than geometric forms. Examples of organic forms include clouds, mountains and trees. Example "Sculpture to Be Lost in the Forest" by Jean Arp is considered an organic form due to its natural inspiration, curvilinear lines, and irregular shapes. The sculpture's smooth, flowing forms evoke a sense of organic growth and fluidity, resembling natural objects like rocks or pebbles. Forms in art play a crucial role in how viewers perceive and interpret artistic creations. They provide the physical structure and shape that give depth and volume to artworks, allowing artists to convey emotions, ideas, and narratives effectively. Understanding form is essential for both artists and viewers, as it enhances the appreciation of an artwork’s composition and the techniques used to create it. of Sculpt u r e Forms in art play a crucial role in how viewers perceive and interpret artistic creations. They provide the physical structure and shape that give depth and volume to artworks, allowing artists to convey emotions, ideas, and narratives effectively. Understanding form is essential for both artists and viewers, as it enhances the appreciation of an artwork’s composition and the techniques used to create it. Paintings The Birth of Venus by Sandro Botticelli: the artist uses form to depict the human figure and the flowing lines of Venus’s hair and drapery. The use of highlights and shadows creates an illusion of depth, making the figures appear more lifelike. Archit e ct u r e The Sagrada Familia by Antoni Gaudí: known for its organic, sculptural forms and intricate details. The Sagrada Familia is still under construction, but it’s already a UNESCO World Heritage Site. The building’s symbolism is rich, representing the birth, passion, and resurrection of Jesus Christ Forms in Group 2 Art Table of contents 01 02 03 04 What is Forms in Two Types Form in of Forms in Art Art Sculptures Art 05 06 07 08 Form in Form in Importance of Forms in References Painting Architecture Art What is Art? Art is a visual object or an idea constantly created through imaginative expression of skill. SONGS YOU POEMS LISTEN TO MOVIES YOU WATCH THEATER Art is Everywhere FORMS IN ART Form can be defined as the physical structure or shape of a work of art. Michael Angelo's Rembrandt's Pieta Etching T W O T Y P E S O F FO R MS I N A RT Two Types Geom et ric Organi c Form Form Geometric It’s a type of form based on mathematics and geometric shapes. Typically found in Geometric forms are architecture precise and can be named depending on Less common less common what they are based on. in in sculpting sculpting orand painting. painting Basic Geometric Shapes Cylinder Triangle Circle Cub Con e e Famous Examples Great Pyramid of Giza Parthenon Taj Mahal Organic -more complex form (highly irregular) -cannot be named can be found in paintings and typically present and sculptures and are less in nature frequently embraced in architecture BASIC ORGANIC SHAPES FLOWER HUMAN MOUNTAINS LEAVES PETALS BODIES Famous Examples A Magnolia on Red Velvet Winged Girl with a Victory of Pearl Samothrace Earring Defining Forms in Different Types of Art FORM IN SCULPTURES Sculpture in the round is a completely three-dimensional sculpture, usually carved from a solid block of materials like stone, clay, or wood. Three Dimensional Famous Examples The Great Sphinx located David by near the great pyramid Michaelangelo A relief sculpture is carved from flat material to create a scene that looks like a three-dimensional painting Relief Famous Examples Temple of Karnak Mount in Egypt Rushmore FORM IN PAINTING The form has to be conveyed through the use of light, shadows, and perspective. 5 Types O f Shade Core Highlight Shadow s Midtone Reflected Light Cast Shadows Terrace of a Cafe at Night By: Van Gogh Midtone Core Shadows Highlight Reflected Cast Light Shadows Avenue de Clichy By: Van Gogh Forms in Architecture In architecture, form refers to a combination of external appearance, internal structure, and the unity of the design as a whole, an order created by the architect using space and mass. FOOD FOR THOUGHT Art can communicate information, shape our everyday lives, make a social statement and be enjoyed for aesthetic beauty REFERENCES The Editors of Encyclopaedia Britannica. (2024, August 20). Art | Definition, Examples, Types, Subjects, & Facts. Encyclopedia Britannica. https://www.britannica.com/art/visual-arts Lange, R. (2024, February 17). What is form in art? Robert Lange Studios. https://tinyurl.com/3uwpk9wj Marder, L. (2024, July 22). The definition of "Form" in art. ThoughtCo. https://tinyurl.com/2s42sz97 Koons, J. (n.d). Form in Art: How Artists Use Form in Their Work. https://tinyurl.com/4b9hpf9b Thank You For listening IDEOLOGY Ideology An ideology is a set of beliefs or philosophies attributed to a person or group of persons, often serving as a comprehensive vision or a way of looking at various aspects of life and society. These belief systems can encompass political, economic, social, or cultural dimensions, influencing how individuals and communities perceive and interact with the world around them. Ideology It provides frameworks for interpreting events and making decisions, often uniting people under common goals and values. However, it can also be a source of conflict when differing ideologies clash IDEOLOGY IN ART It is understood by now that all arts are ideological and all art is used politically by the right or the left, with the conscious and unconscious assent of the artist. There is no neutral zone. Artists who remain stubbornly uninformed about the social and emotional effects of their images and their connections to other images outside the art context are most easily manipulated by the prevailing systems of distribution, interpretation, and marketing.” Lucy R. Lippard, Art and Ideology, 1984 Function and Purpose in Art Some artists perhaps have unknowingly embraced some form of ideology; others have accepted it as a way of expressing themselves and as a means of an attempt towards changing the society they live in. Use artistic measures to make the audiences believe that something should be in a certain way; Persuasion-change in ideology Reinforcement-more firmly believing in the ideology that one has originally believed in Methods in Approaching Ideology in Art 1. Finding the main ideology being conveyed through art The one that you feel is attempting to persuade you the most Methods in Approaching Ideology in Art A.) Logical Appeal how one’s belief in ideology can be persuaded and changed using pure logical deduction and persuasion Methods in Approaching Ideology in Art B.) Illogical Appeal- how one’s belief can be affected by emotional factors regarding a specific topic; 1. Stimulating five senses 2. Affect emotions 3. Emotions correlate with the context being conveyed 4. How one sees the context is affected by emotion 5. Persuasion/Reinforcement Formalism -the use of colors, structures, etc. in attempts to persuade the audiences emotionally These appeals interacts with our memory, and the new information we have gathered can: 1. Fill in gaps of previous beliefs (Reinforcement) 2. Overthrow previous beliefs (Persuasion) 3. No effects (Either ideology in conveyed ineffectively/ not targeted to right audience) Methods in Approaching Ideology in Art 2. Using the main ideology to reveal different standpoints and conflict surrounding -How effective art is to persuade other argument that does not necessarily have to be completely opposing the main claim -Logics: Prescriptive Statement = Denial -How effectively this piece of art persuades Ideology in art can be explicit or implicit, overt or subtle. It can be manifested through the subject matter, style, technique, and context of an artwork. Artists often use their work as a means of expressing their personal beliefs or commenting on societal issues. IDEOLOGY IN NOTABLE ART PIECES "Guernica" by Pablo Picasso (1937) Ideological Approach: Anti-war/ Pacifism This mural, created by Picasso, responds to the Guernica bombing in the Spanish Civil War. Through distorted figures, monochromatic tones, and chaotic design, it powerfully depicts the suffering of war. The artwork criticizes violence, advocates for peace, and condemns fascist aggression and authoritarianism. "The Crucifixion" by Diego Velázquez (1632) Ideological Approach: christian theology This artwork conveys religious ideology which is the Christian Theology of Sacrifice and Redemption. The depiction of Christ on the cross highlights the Christian belief in Jesus’s sacrificial death as an act of redemption for humanity’s sins. This is reinforcing Christian beliefs about the significance of Jesus’s death and the promise of salvation and eternal life. “Self-Portrait with Thorn Necklace and Hummingbird" Ideological Approach: Social Ideology: Feminism (Female Identity and Female Empowerment) The dead hummingbird around her neck symbolizes misfortune and loss, while the spider monkey at her side may represent her sense of companionship or personal struggles. By presenting her suffering so openly, Kahlo challenges the conventional expectations of women’s stoicism and vulnerability. She highlights the strength and endurance required to face personal struggles, offering a feminist perspective on women’s experiences of pain and by Frida Kahlo (1940) resilience. Relevance of Ideology Ideology shapes our actions and decisions, acting as a playbook for how we believe the world should operate. By examining our ideologies and those of others, we can foster a society that aligns with our values. Our beliefs guide our choices regarding kindness, goodness, and fairness. Discussing diverse ideologies enhances our understanding of different perspectives and promotes collaboration, even amidst disagreements. Relevance of Ideology The artworks sit silent while all around them the voices change. We are in a time when there are several, sometimes greatly conflicting, ways of thinking about meaning in art. -Christopher Gildow References: Schwabach, A. P. E. B. (n.d.). Reading: Critical Modalities | Art Appreciation. https://courses.lumenlearning.com/atd-herkimer- artappreciation/chapter/oer-1- 15/#:~:text=It%20infers%20that%20art%20is,version%20of%20reality% 20over%20another Wolff, J. (1993). Art as Ideology. In Art as Ideology. In: The Social Production of Art. Communications and Culture (pp. 49–70). https://doi.org/10.1007/978-1-349-23041-9_4 S, Y. (2022, September 27). Artists are forever entrapped in some form of ideology. Impeached Magazine. https://impeachedmag.com/arts- culture/artists-are-entrapped-in-some-form-of-ideology/ Ventsel, A. (2018). Ideology and art. Ut-ee. https://www.academia.edu/35674672/Ideology_and_art QUIZ TIME! SIG NS Semiotics GROUP 4 What is The study of signs and symbols, SEMIOTICS? particularly how they are used in communication. It focuses on how meaning is created and understood through signs, which can be words, images, sounds, gestures, or objects. Semiotics examines both the sign itself and the processes by which meaning is constructed. Semiotics Theorists Considered the father of modern semiotics. He proposed that the relationship between the signiﬁer and the signiﬁed is Ferdinand de arbitrary and governed by social conventions. Saussure He developed a triadic model of the sign (icon, index, symbol) He also focused on the process of semiosis (the Charles interpretation of signs). Sanders Peirce Key Concepts in Semiotics SIGN- A sign is something that represents something else. It consists of: Signiﬁer: The form the sign takes (e.g., a word, image, or sound). Signiﬁed: The concept or idea that the signiﬁer represents. For example, the word "tree" (signiﬁer) evokes the concept of a tree (signiﬁed). TYPES OF SIGNS Icon: A sign that resembles what it represents. Example: A photograph of a dog is an icon because it looks like a dog. TYPES OF SIGNS Symbol: A sign that has no inherent connection to what it represents and relies on convention. Example: The word "dog" is a symbol because there's no inherent reason why the word "dog" should mean the animal. TYPES OF SIGNS Index: A sign that has a direct connection to what it represents. Example: Smoke is an index of ﬁre. Pawprints can indicate a dog. Syntagmatic and PARADIGMS paradigmatic AND relations are both linguistic terms that SYNTAGMS describe how words function within a language system, WHAT ARE THEY? but they focus on different aspects. The paradigms are the verbs and the things PARADIGMS to do. Within communication we have big ideas and we draw small aspects from them, therefore the paradigm are the big ideas. The paradigms are the big groups of ideas from which we can Paradigmatic relation involves the differentiation and selection of words in a sentence. Look at this sentence: The | man | cried We can see how words can act as building blocks that make up the sentence. However, since paradigmatic relations involve substitutions and selections, we can replace a word in the sentence to make different combinations or meanings. The | man | sang Or: The | man | died Or even: The | boy | cried. Paradigmatic relationships are sets of associated words (paradigms) The syntagms are the items that we select from the SYNTAGMS paradigm. Syntagmatic relation refers to the relationship between words in a sentence. Any alterations to the word combination can change the meaning of the sentence: Paul is bathing a dog. A dog is bathing Paul. Both sentences have the same components but in a different order. In other words, the syntagmatic relation explains how the word's position in a sentence determines the meaning of the sentence. Paul + is bathing + a dog A dog + is bathing + Paul A Syntagm is a 'linguistic unit' in a relationship with other such units in a particular sequence. Individual syntagms are the building blocks of text. Syntagms are grouped to form words, words are grouped to form phrases, and phrases are grouped to form sentences, etc. Paragraphs and chapters are considered a syntagm of words, and the grouping is sometimes called CONNOTATION AND These are the DENOTATION principal methods of describing the WHAT ARE THEY? meaning of words elements of a sign DENOTATION the dictionary deﬁnition of a word. It’s what the word literally means. Example: ‘Chicken’ is a barn yard fowl ‘Snake’ is a reptile animal CONNOTATION the implied meaning, tone, or feeling of a word or phrase. It can be positive, negative, neutral. Example: ‘Chicken’ may mean being afraid ‘Snake’ may mean someone evil or THE ROLE OF Semiotics IN UNDERSTANDING ART OBJECTIVES Historical context Relevance of Semiotics Core aspects of Semiotics Examples of Semiotics Forms of Arts and in Arts Semiotic Analysis Semiotics in understanding arts What is SEMIOTICS? Semiotics is the study of signs and symbols and their use or interpretation. It helps us understand how meaning is generated in visual and material culture, challenging traditional views of representation in art. HISTORICAL Context Early Foundations: 20th Century Developments: Ferdinand de Saussure: Introduced the concept Umberto Eco: Explored semiotics in of the sign as the relationship between a signifier cultural contexts, emphasizing the role of (that which carries or produces meaning) and the signified (the meaning itself). social conventions in meaning-making (Page 2). Charles Sanders Peirce: Expanded Roland Barthes: Analyzed how cultural semiotics to include icons, indexes, and myths shape our understanding of signs in symbols, emphasizing the relationship visual culture (Page 7) between signs and their meanings. SIGN? The smallest unit of meaning. Anything that can be used to communicate (or to tell a lie). COMPONENTS OF A SIGN Signifier: any material thing that signifies, e.g., words on a page, a facial expression, an image. Signified: the concept that a signifier refers to. Together, the signifier and signified make up the sign. SIGNIFIER: The red octagonal shape with the word "STOP" SIGNIFIED: The meaning or concept that you associate with this image (i.e., the command to stop your vehicle) ] Together, the signifier and signified form the SIGN. The sign, therefore, is anything that conveys meaning, and it can vary across cultural or contextual lines, DENOTATION VS CONNOTATION According to Daniel Chandler, 'Denotation' tends to be described as a sign's definitional, 'literal', 'obvious', or 'commonsense' meaning. Regarding linguistic signs, the dictionary attempts to provide the denotative meaning. The term 'connotation' is used to refer to the socio-cultural and 'personal' associations (ideological, emotional, etc.) of the sign. These are typically related to the interpreter's class, age, gender, ethnicity, and so on. Signs are more 'polysemic' - more open to interpretation - in their connotations than their denotations. DENOTATION VS CONNOTATION Denotation is sometimes regarded as a digital code and connotation as an analog code (Wilden 1987, 224). For most semioticians, both denotation and connotation involve the use of codes. A code is a set of shared understandings among users about the relationship between signifiers and signified. Core aspects of SEMIOTICS Cultural Context: Core aspects Art is interpreted through SEMIOTICS cultural lenses, where semiotics helps decode meanings (Page 11). Personal Interpretation: Core aspects Individuals bring their own SEMIOTICS experiences to the interpretation of art, influenced by semiotic processes (Page 12). Dynamic Relationships: Core aspects SEMIOTICS Meaning is not fixed; it evolves through interactions between the viewer, the artwork, and societal factors (Page 1). Forms of arts and Semiotic ANALYSIS Visual Arts Performing Arts Literary Arts Forms of arts and Semiotic ANALYSIS Visual Arts Painting: Semiotic analysis reveals how colors and forms convey emotions and ideas (Page 11). Sculpture: The interpretation of three- dimensional forms through signs and symbols. Forms of arts and Semiotic ANALYSIS Performing Arts: Theater: Use of dialogue and performance as signs to convey narratives. Dance: Movement as a language of expression, interpreted through cultural signs. Forms of arts and Semiotic ANALYSIS Literary Arts: Poetry and Prose: Language as a system of signs that communicates deeper meanings (Page 9). RELEVANCE OF SEMIOTICS IN ARTS RELEVANCE OF SEMIOTICS IN ARTS CULTURAL REFLECTION Art is a sign of societal values and historical context, revealing cultural narratives (Page 12). RELEVANCE OF SEMIOTICS IN ARTS Emotional Connection: Semiotics helps explain how art evokes emotions and fosters empathy. RELEVANCE OF SEMIOTICS IN ARTS Social Commentary: Artists use semiotic elements to critique social issues and provoke thought. RELEVANCE OF SEMIOTICS IN ARTS Economic Impact: Understanding the semiotic value of art can enhance its marketability and cultural significance. Examples of SEMIOTICS IN ARTS Examples of SEMIOTICS IN ARTS Starry Nights by Vincent van Gogh Color and form as signs of emotional turmoil and beauty. Examples of SEMIOTICS IN ARTS Hamlet by Shakespeare Language as a sign system that explores complex human emotions. Examples of SEMIOTICS IN ARTS "Still I Rise" by Maya Angelou Use of metaphor and symbolism to convey resilience and empowerment. SEMIOTICS IN UNDERSTANDING OF ARTS SEMIOTICS IN UNDERSTANDING OF ARTS Cognitive Process: Engaging with art involves perception and interpretation through semiotic frameworks (Page 7). SEMIOTICS IN UNDERSTANDING OF ARTS Cultural Conditioning: Our readings of images and objects are socially conditioned, revealing the coded nature of visual culture (Page 11). SEMIOTICS IN UNDERSTANDING OF ARTS Art Education: Learning about semiotics enhances appreciation and critical engagement with art. Let’s WRAP UP Semiotics is crucial for understanding the complexities of art and its meanings (Page 1). It provides a framework for interpreting the diverse forms of art and their relevance in society. Engaging with art through a semiotic lens enriches our understanding of human experience. Semiotics Semiotics: The study of signs and symbols and how they generate meaning. Sign: Combines signifier (form) and signified (meaning). Denotation: Literal, obvious meaning (e.g., dictionary definition). Connotation: Socio-cultural and personal associations shaped by factors like class, age, and gender. More open to interpretation. Key Theorists: Ferdinand de Saussure: Defined the sign as the relationship between signifier and signified. Charles Sanders Peirce: Expanded semiotics with icons, indexes, and symbols. Umberto Eco: Emphasized social conventions in meaning-making. Roland Barthes: Analyzed how cultural myths influence our understanding of signs in visual culture. Art and Semiotics: Cultural Context: Symbols gain meaning from their cultural and historical environments. Personal Interpretation: Viewers interpret signs based on their unique experiences. Dynamic Relationships: Interaction between artwork, artist, and viewer evolves, creating fluid meanings. Relevance of Semiotics in the Arts: Cultural Reflection: Art serves as a mirror of societal values and beliefs. Emotional Connection: Semiotics conveys emotions through symbols, enhancing engagement. Economic Impact: Art signifies economic trends and social status, influencing creators and consumers. Semiotics in Understanding the Arts: Cognitive Process: Engages mental faculties in interpreting signs and meanings. Cultural Conditioning: Shapes perceptions based on societal norms and values. Art Education: Provides tools for analyzing and appreciating the semiotic aspects of art.

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