Lecture 3 - The History of Type - Part 1

DEVELOPMENT OF ALPHABETS

An insight into the history of type in this weeks lecture initiated a greater understanding of type as an influential component of visual language. The very process of reading relies on type as it controls what language looks like. As noted by Robert Bringhurst; 'Typography is the craft of endowing human language with a durable visual form', it offers speech a tangibility. Language here controls words and ideas, but type controls impact and interpretation. 

The evolution of letters provides an interesting topic for discussion. Through Greek and Latin alphabets there is a clear development from Phoenician and hieroglyphic imagery. This consistent aesthetic quality within the letters exemplifies the idea that for language to exist, a shared understanding of one thing meaning another must be in play. I then wonder how easy it would be to interpret other languages by process of decoding these visual symbols. 

EDUCATION AND READING

In light of the 1870 Elementary Education Act, I am interested to consider the place of type in Children's books. The need for type to visually document words and speech demands an ability to read. It would be interesting to research how different typefaces have paved the way of education and how this relates to the typefaces that children are faced with in books in the present day. The art of hand type seems to be prominent in many illustrated books and I wonder how important a typeface is in the development of a child's ability to read. Within the context of my practice it may be relevant to consider the visual clues provided by typefaces in a narrative sense and the efficiency they have in making a page understood.

SB1 - Finding Images - Initial 20

 

Considering the quote; 'Rules of taste enforce structures of power', I have sourced 20 images which could form the base of my image analysis essay, and help the development of my understanding of the quote and issues connected to it.

My approach to the task was to collect images that demonstrated the stereotypical high arts, the commercialization of the high arts, images that challenge conventional taste, and then illustrations that seem to critique art power structures.  

I am particularly interested in the place of high art imagery in children's books, for me, the use of these pictures demonstrates the definitive idea of 'taste' that is projected on to us from a young age, seeming to suggest that autonomous taste will not develop.

Alternatively, I selected some images of high art to discuss why it may be that they maintain such a high and undisturbed position of status, alongside images that demonstrate a mockery of this status, through commercialization. 

Grayson Perry seems to provide some interesting critiques of 'high art' culture and status, and I am also intrigued by Jeff Koons' rather garish, kitsch aesthetic which operates in a 'high art' context. In light of my chosen subject I will study the connection between context and subject, and how this alters the aesthetic qualities of art and design.

SB1 - Study Task 1 - Finding Research Sources

To commence our independent research into context of practice, we discussed the process of carrying out research and the elements we cover or consider in the process. A consideration of credibility, reputation, vested interest and expertise, were elements I concluded as being key to the application of research. Has a source been written by somebody in the relevant field? Are they likely to be biased in their ideas? Can the source be identified as having a good reputation of credibility? All of these questions should be asked of the research we collect in order to draw conclusions that are validated and sufficiently supported. 

Considering potential counter arguments also aids our understanding of information as we attempt to view it in the context of other possibilities. A source may appear to offer a valid concept or idea until we unpick it's flaws by validating a counter. Flaws in information such as omissions, overdrawn conclusions, and lack of reasoning contribute to the value of the information we source and it's place in our whole research.

There is then of course the practical experimentation that works as a research process. Trialing ideas and processes to investigate outcomes and possibilities. 

Working through the study task, I identified 19 potential sources from which I could draw quotes and concepts. Looking into academic papers, websites and books, I sourced a range of writings relating to my quote; 'Rules of taste enforce structures of power'. The tone of voice in these sources varied from author to author, some as philosophers, others as artists, and others as feminists, the responses covered a wealth of interpretations of taste, aesthetics and power. The utility of these sources revolves around the separate interpretations and elements they cover. Many of the more academic sources offered very well informed, in-depth ideas referring to the psychology of taste, while others refereed more simply to the presence of popular culture. When writing my critical response to the quote I will study these and evaluate their credibility and utility against the key elements of the quote.

Lecture 2 - The History of the Image

This weeks insight into the context of visual communication revolved around the history of the image itself. It is interesting to consider the modern image in the context of the first documented images. Considering the Lascaux cave paintings, these images may merely have been the outcome of a recording process, documenting sights and discoveries, or even simple leisure drawings. Either way, they assert artistic authority through their historic prominence.

 The art of the everyman.

IMAGES AND POLITICS 
Interestingly, a point was made around the pretentious of abstract expressionism and its place in politics. Learning that the Soviet Union banned the art form as being un-relatable, I then wondered how  art such as Jackson Pollocks has so much acclaim and value in the art world. The idea of socialist realism being the art of the everyman was challenged by Americans who employed Pollocks work as propaganda for freedom. The persuasive power of the images is here acknowledged as a political weapon. I then question why the cave drawings have such historical prominence if they do not have any definite purpose or meaning. 

This idea of a piece of work being good art is an institutionalised concept, encouraging us to bow down to altars of culture which, questionably, are in fact glorified tourist attractions. While these works can be high quality, pioneering works of their time, the enforced hierarchies around them in galleries seems to restrict their 'class' and 'status'.

SB1 - Investigating Quotes Task 2

Continuing on from the investigations made in our seminar, I've carried out further research within the theme of aesthetics. Referring to Susan Sontag's idea "Rules of taste enforce structures of power", I have considered the following definitions:

Taste - The sense of what is fitting, harmonious or beautiful.
          - The perception of what constitutes excellence in the fine arts.
          - The sense of what is seemingly polite.

Power - Political or national strength.
           - The possession or control over others.

Rules - A principle or regulation governing conduct, action or procedure

Two key words that stand out to me here are perception and procedure. This definition of taste being a perception of what constitutes excellence reveals the very subjective nature of it, we all perceive art differently. And yet we operate a taste 'procedure' whereby the socially accepted 'tasteful' art is engrained into our culture of viewing and thinking. In agreeing or conforming to the taste of critics, curators or gallery owners, we appropriate their power over art hierarchies and taste. We are submissive to the seemingly 'highbrow' or 'acclaimed' artists such as Michelangelo or Van Gogh or Da Vinci because we are told they are good and informed this by their tourist attraction labels. We like these works and connect with them as we believe we have to. I have observed this sense of conformation in the National Gallery where there seems to be a permanent crowd around Van Gogh's Sunflowers. 

As viewers of such works, we uphold the power of the critics, enabling gallery structures to remain in force. This conformation, however, seems to challenge the issue of taste as here taste is unlearnt, impersonal and over popularised, begging the question then that is good 'taste' in fact distaste? Surely it is more tasteful to appreciate art which has not been programmed in to our view of 'good art' and is in fact driven by a personal interest and connection with a piece. 

It is interesting to consider the place of art in children's education. This spread from Marion Deuchars 'Bob the Artist' illustrates the institutionalised concept of what art is. The famous imagery employed by Deuchars communicates to children 'this is art', suggesting that a common perception of art is programmed into us. In light of this being a children's book, it would be appropriate to recognise this as a primary step in the a child's art education, rather that a complete ideology they might adhere to.

Lecture 1 - Visual Literacy

VISUAL LITERACY

Visual Literacy as the first stop on the COP lecture programme initiated some interesting concepts. Considering one of the most common examples of visual communication, the universal symbol for toilets, it is clear that the role of the visual communicator is to send a message that is based on a shared understanding.

The universality of the toilet symbol proves it is the relationship between the communicator and audience that validates the success of a visual aid, since it is in the accessibility of the imagery to all that makes it function. The designer, or communicator, cannot force their audience to foster a new way of thinking, the communicator must employ visual literacy in a way that constructs discernible meaning. In this sense it appears that visual literacy relies on an awareness of context, audience and message in order to speak volumes. While signage may operate universally, cultures may enable visual language to be used more specifically with more contextual groundings. These altered images may still conform to a certain degree of universal symbolism though.

VISUAL SYNTAX

The way in which visual syntax decodes the message of an image then suggests that universality of a symbol can in fact be challenged by the pictorial structure surrounding it. The organisation of these medical instructions exemplifies the significance of syntax since it is the layout of these elements and the divisions between them that issue their meaning and understanding. If the pictorial elements were to be displayed in a disjointed or jumbled structure, the meaning of the image would be sacrificed and communication flawed. 

VISUAL SEMANTICS

Interestingly, visual semantics seem to offer symbolic possibilities to almost any object, with contextual references altering the communicative function of imagery. In line with illustration, visual literacy then seems to work in conjunction with semantics to extend the suitable audience of a work. An image may rely on culturally informed symbols to create a specific narrative, but the designer's consideration of syntax and gesture may assert a universality unemployed my single elements.

SB1 - Investigating Quotes Task 1

Considering the artist's social context, David Shrigley's quote seems fitting to the flux in which the artist operates; "In his studio the artist has no social responsibility. But when the artist displays his work the situation changes". My first concern with this quote is that the volume of visual language undoubtedly differs from situation to situation. Artwork seems to demand social validation and in this sense, the artist seems to assert power when they leave the non-judged realm of their studio. The flux the artist enters however is one of duty to meet expectations, versus duty to challenge expectations. Shrigley's term 'social responsibility' suggests a duty of care and sensitivity to the audience in a struggle against a duty to shock, establishing the greater struggle between acceptability and uniqueness. The definition of social, provided by www.dictionary.com, states that the subject is characterized by relations, or is suited to polite or fashionable society.  This definition reveals the artists obligation to tippy-toe around controversial issues. More specifially, the definition of polite refers to a subject that is refined or cultured. Since the context and audience molds this definition of polite, the audience is relied on to initiate the 'responsibility'.

 

Considering Marcus Harvey's 'Myra', the artist seems to assert dual responsibilities; to initiate a sensation, but then to react to that sensation. While in his studio, Harvey may have felt a social responsibility to expose the horror of the moors murders as a duty to the victims, in doing so he also asserted a social responsibility to take the work away, and conceal it in a duty to protect his audience from the sensation it evoked.

 Alternatively, the trangressive nature of Chris Ofili's 'The Holy Virgin Mary' challenges Shrigley's 'social responsibility' as it explicitly mocks conventional religious imagery. Ofili's purpose may have been to offer an extreme counter to the religious imagery we are familiar with which depicts Mary as a clean, very feminine figure, and instead portray her as a vulgar figure. It could be argued that Ofili rejected social responsibility in creating such a transgressive image and in displaying the work, Ofili submits his idea of socially responsible, a duty to challenge preconceptions and disrupt the polite.

COP Task - Political Hats

Considering the main themes of COP, writing out lists of words that we associate with each theme initiated some interesting ideas. The interpretation of words in the room seemed to vary from literate to more abstract, revealing the breadth of inspiration that COP can offer to our practice. Working with the themes of culture and technology, my selected sub-themes were travel and robots. Immediately, the idea of travelling robots seemed to stray from the more broader ideas that many others had encountered such as nurture and dependence, or modern experience. Yet responding to this theme provided a great path for humorous image making.






















Responding to the theme of 'travelling robots', I began to consider daft situations in which a robot would uncommonly be, working with humour. Refining this then to draw a series of skateboarding robots demonstrated the extent to which a contextual discussion can be stretched to host an idea. These images seem to open up a potential narrative and foster a concept that I may not otherwise have considered. Referring to context of practice then, it seems a consideration and study of contextual themes can not only support a broader understanding of subject matter, but initiate new concepts too.