Cycle 1: Start from Interaction Chapter 2 and 3 as practice cycle 1 describe the explorations of DSPI framework from the perspective of “how Interaction is set into an interactive art installation” in one workshop “Interactive Patina of Culture” and one art project NOTMASKI&II. Both show how Interaction plays a role of shifting the artwork-audience relationship, transforming artist intent, and bridging the gap between a desirable experience and an actual audience experience. Cycle 2: Start from
INTRODUCTION The human body is central to how we understand components of identity such as gender, sexuality, race, and ethnicity. People change or modify their bodies, hair, and clothing to; hold up with certain groups or cultures; rebel against social conventions and also; to express messages to others around them. As a result, many artists explore gender, race and ethnicity through representations of the body in their creative process. The purpose of this assignment is to identify and discuss an artist who deals with issues of body and identity in his or her artworks. The artworks will be analysed, to prove their affiliation to the concept of Body and Identity issues in art.
Name: Jayne Toner Student Number: 12446552 Philosophy Essay 2 – The Intentional Fallacy For this essay, the topic I have chosen to discuss in further detail is 'The Intentional Fallacy '. This topic will include readings from Wimsatt & Beardsley and Hirsch. The two readings called The Intentional Fallacy and In Defense of the Author will be examined and discussed in detail. The two readings are connected as Hirsch 's work is an argument responding to the views of Wimsatt and Beardsley 's in The Intentional Fallacy. I found this topic particularly interesting about the relationship between an artist and his work.
The greater part of us consider expressions of the human experience to incorporate the abstract expressions: fiction, innovative true to life, expositions and verse; the performing expressions, for example, move, theater and film; and the visual expressions, which incorporate painting, model, blended media and establishment craftsmanship. Expressions of the human experience incorporate a more extensive range of our lives. Whatever control you pick amongst the craftsmanship and outline class, you are sure to learn inside and out about its components. The components characterize craftsmanship and in this manner its study is vital, particularly in the event that you are considering a vocation as a visual creator, web architect, stone carver or a craftsman. Information of workmanship and the outline will empower you to make more progress because of adjusted plans and fine arts.
In addition to evolutions in my concept, my research has also aided my conceptualisation of fictocriticism and the place of both narrative and analysis in my work. Since establishing the concepts of harmony, balance and transcendence as the primary focus of my Major Work, I have decided to utilise the creative parts of my essay to provide a more artistic representation of these philosophical values. A major influence on my experimentation with the fictocritical form is John Hughes’ exploration of the works and impact of other artists in his collection Someone Else: Fictional Essays. In one particular essay he reversed the subject and object of art, describing the still life painter Giorgio Morandi as the containers in his painting, and the inanimate objects as the artist. In this essay, it was Morandi who “had not moved in over fifty years”, forever preserved on a canvas through a process that was “a slow one, involuntary to begin, and more like a fading of the light than a shutting down”.
Intro (Solomon, Theiss, 2012) states that “perception is the process by which a person filters and interprets information to create a meaningful picture of the world.” (im still going off Solomon, do I have to reference here still?) Our perception is influenced by our personal traits which shapes the way we react and identify others. There are three stages of the perception process we go through to help us create meaning. (Lane 2009) We first select stimuli (Solomon how we focus our attention), then we organise (Solomon prioritise) it according to relevance which we then interpret. “We perceive, in part, through communication.” According to (Lane 2009) people perceive things differently and we all assume our perception is true and realistic,
I use my emotions to my advantage and express them through creation. As I age, so does society, and teaching the subject of society’s growth and downfalls is the inspiration of my creations. If I desire my audience’s questions, then I have to question life as it is. In the future, I wish to feel a sense of difference happening in society’s views, and that is why I am motivated to create artwork. I am motivated because of the formula society somehow constructed, and my ambition is to destruct this manual and make a new
It is because every individual gives the different value of knowledge according to their to their thoughts and experiences. Sense perception and imagination are the main factors to affect our interpretations towards arts. So how Sense Perception affect how we interpret art? When using our sense perception to evaluate an art piece, there are three stages, the first stage is when you are viewing a piece of artwork for the first time, you will recall your sense perception to analysis the art piece. For example our basic primary senses, sight, smell, taste, touch and sound.
The aim of this essay is to explore to relevance the use of semiotics for contemporary design. Holt suggests that the semiotics theory is consequential in understanding design. Tracing back to the basic understanding of semiotics theory, it is defined to be a study of interpretations of meaning from artwork, signs, symbols and images.1 The development of semiotics theory will be discussed, in terms of how images can be translated into words through Roland Bathes’ concept. Focusing on the use of linguistic messages on a sign as mentioned in his book “Rhetoric of the Image”. Followed by how it reflects on the understanding of contemporary art on social media.
Semiotics signs consist of a connotation. The connotation is the hidden message behind the advertisement. The connotations of an advertisement can be defined as “to the emotions, values, and associations that a sign gives rise to the reader, viewer, or listener.” (O’ Shaughnessy, M. Stadler, and J. 2012. P. 136) Too understand the connotations one needs to understand what is going on around you, according to Chandler (n.d.), connotations refers to having some sort of cultural knowledge and ‘personal’ associations ( experiences one has, they way one views things and how one was brought up to view aspects in life. )