You are viewing semioart

semiotics of art [entries|archive|friends|userinfo]
semiotics of art

[ userinfo | livejournal userinfo ]
[ archive | journal archive ]

Semester roundup [Jan. 31st, 2013|05:08 pm]
margusva
Semioart entries:
Lecture notes - http://margusva.livejournal.com/1169.html
Опера Зайчик - http://margusva.livejournal.com/1639.html
Apple and camel - http://margusva.livejournal.com/1389.html
Handcraft - http://margusva.livejournal.com/778.html

My z00z00 entries from previous year:
http://z00z00.livejournal.com/162921.html
http://z00z00.livejournal.com/162563.html
http://z00z00.livejournal.com/162315.html

Margus Vait
linkpost comment

Lectures of semiotics of art [Jan. 30th, 2013|11:57 pm]

rannohiire
From the beginning.

Lecture 1
Culture is a non-genetic memory.
Possibility in everything:

586
the other thing from the lecture is Pussy Riot
p14_RTR36UAK

Lecture 2
Sometimes art is defined as the opposition between humans and nature. But. Art can be done by anybody: animals, nature itself, people, space.
By animals:

By space:


Lecture 3

I think uneasiness makes it funny, its the same with Mr.Bean. When somebody is in a troble, other people tend to laugh. Its crule but its true.
Sometimes bad things need to happen to make positive things to others.

Lecture 4

Everything is overwritten in the world, specially every culture.
Lotman: there is no beginning in culture, a culture is always built, “written” on another culture. No beginnings other than maybe the big bang.
If you see a pattern, there is a way to see it everywhere. The best example is the movie Pi

The movie is about mathematical patterns, which the main character thinks rule the world.

Lecture 5
Perceiving the surroundings and transferring them into an art.
I think tracks were the first objects to be art.
Animal tracks are so beautiful.
tracks

Lecture 6
Creativity is wider than art, art is a special zone to practice creativity.

Creativity is the impetus behind any given act of creation: inventions, compositions, etc. It is a fundamental human compulsion and largely related to notions of what separates human from machine intelligence.

The range of scholarly interest in creativity includes a multitude of definitions and approaches involving several disciplines; psychology, cognitive science, education, philosophy (particularly philosophy of science), technology, theology, sociology, linguistics, business studies, and economics, taking in the relationship between creativity and general intelligence, mental and neurological processes associated with creativity, the relationships between personality type and creative ability and between creativity and mental health, the potential for fostering creativity through education and training, especially as augmented by technology, and the application of creative resources to improve the effectiveness of learning and teaching processes.

appleglobe_WupL9_6648

Lecture 7

A ritual is a set of actions, performed mainly for their symbolic value. It may be prescribed by the traditions of a community, including a religious community. The term usually refers to actions which are stylized, excluding actions which are arbitrarily chosen by the performers.

The field of ritual studies has seen a number of conflicting definitions of the term. One given by Kyriakidis (2007) is that a ritual is an outsider's or "etic" category for a set activity (or set of actions) which to the outsider seems irrational, non-contiguous, or illogical. The term can be used also by the insider or "emic" performer as an acknowledgement that this activity can be seen as such by the uninitiated onlooker.

A ritual may be performed on specific occasions, or at the discretion of individuals or communities. It may be performed by a single individual, by a group, or by the entire community; in arbitrary places, or in places especially reserved for it; either in public, in private, or before specific people. A ritual may be restricted to a certain subset of the community, and may enable or underscore the passage between religious or social states.

The purposes of rituals are varied; with religious obligations or ideals, satisfaction of spiritual or emotional needs of the practitioners, strengthening of social bonds, social and moral education, demonstration of respect or submission, stating one's affiliation, obtaining social acceptance or approval for some event—or, sometimes, just for the pleasure of the ritual itself.
And we were talking about skulls and hands:

neo-primitive.tumblr

Lecture 8
Good backpack and good shoes make everything possible.
My choice for backpack is Jansport.

Jansport-Big-Student-Grey-TDN7-6XD-0
I recommend these bags heavily.

Lecture 9
Hands was the theme for the lecture. Black anc white ones. I chosed this photo.

black_and_white_hands

Lecture 10
Still life was the theme.
Kuzma Petrov-Vodkin “Herring”

herring-1918

Lecture 11
Fixing your own memory was the theme. Is it possible to have a new memory?
man-inserting-memory-card-in-brain
In psychology, memory is the process by which information is encoded, stored, and retrieved. Encoding allows information that is from the outside world to reach our senses in the forms of chemical and physical stimuli. In this first stage we must change the information so that we may put the memory into the encoding process. Storage is the second memory stage or process. This entails that we maintain information over periods of time. Finally the third process is the retrieval of information that we have stored. We must locate it and return it to our consciousness. Some retrieval attempts may be effortless due to the type of information.

Lecture 12
We were analyzing some paitings
diponegoro03
10225_900
I really liked the backround and it made me think more about whats in my back.

Apple and camel
camel-apple-label-washington-state_i-G-29-2991-2NMQD00Z

A Zed And Two Noughts (1986) by Peter Greenaway
zed_still_27
All you need to make cinema is a point of view (and of course the view to which it points). Or a frame of reference and the reference which it frames. In Greenaway all these exist together, knowingly, as forms within forms. A story of twins looking to overcome grief by studying the decay of death is the reference here. Zebras, lizards, swans, we see the empty shells of body decay before the camera. Kept under the scrutiny of our gaze in life, inside cages, they remain under it once dead. At what point do all these symmetries which conjoined together make up the miracle of life stop being the sum of their parts, and by which process; how much of these parts that we understand as the self can be taken out before the self is no longer recognized; and the symmetry once broken, what mystery renews it. These obscure ruminations are framed against the question of existence, which implies god and pattern. How come that something so systemised, so perfectly designed and evolved from nothing, from amoeba and algea, can come to pass by the whim of chance? Having taken millions of years for creation to unravel its complexity, why does it take a second to destroy it? Which is to ask, at what point does the system, which in hindsight appears ordained and patterned, become random and meaningless. Various eccentricities are enacted in this process, all pointing to some kind of symbolic nakedness. When the legless woman gives birth to new life, twins again, the old twins, the blueprint for them, must step aside. The film ends with an poignant thought. Having carefully staged their own death so that the decay that follows may be captured on film, we see how nature intrudes upon this scene and foils the effort.
An atheist himself, Greenaway here gives us a pessimism that cuts deep; no consciousness survives this.



Ranno Hiire
link2 comments|post comment

Semester roundup [Jan. 30th, 2013|11:56 pm]
platosnothere
I have uploaded my notes of the semester.

It needs to be downloaded from here:
https://dl.dropbox.com/u/63545794/Rauno%20Kivi%20-%20On%20semiotics%20of%20art.docx
linkpost comment

Rosencrantz and Zed analysis [Jan. 28th, 2013|09:46 pm]

Mark Mets

Rosencrantz & Guildenstern Are Dead
The disappearance of probablility, determinacy dictated by the film makers. They know that something is off, but are unable to do anything about it. It was fun to see them carried by such translucent plan, especially with such great british actors. The scenario was about two minor characters from hamlet which is a unique way to approach a well known cultural text. So the film was built around that previous text, never going actually in it and resulting in text in text. I also found quite unique the amount of metaphors, which all pointed to those men inevitable fate. As a result the film experience was great and Tim Roth`s approach reminded me with pleasant surprise Quentin Tarantino`s scenarios. 

A Zed & Two Noughts
Very similar film to Rosencrantz regarding the inevitableness of death, althought the atmosphere is much darker, and maybe even sarcastically dark. Also the amount of metatext/hybertext/text in text is similar to the last film, for example a short scene in the cinema, regarding the view film (by us or by them) which doesn`t correspond to viewers expectations. One distinct feature in "Zed..." is the emphasizing of duality, firstly the twins themselves and all the scenes with two characters, which may easily refer to the natural way of communication between two individuals. Regarding my subjective opinion, it`s more an art piece than something to watch late night with chips, but not bad in comparison to my experience with other highly metaphoric films.

One of those lines where laugh is shared with deep tought:

"It`s funny smell in here."

"It`s me, I`ve stopped washing."

linkpost comment

Summary of lectures [Jan. 28th, 2013|08:09 pm]

Mark Mets

1. Memory as the basic unit for art and the connection between material object and memory.

2. Our understanting of the world is derived from the image drawn by our brain a.k.a. perception+consciousness, through everyday experiences. Conciousness is firstly represented by and connected to our body (e.g. perception, optical illusions).

3. Connecting the first two lectures: memory and consciousnes, using mnemonic decices, to keep memories. The art of consciousness. Also coming back to the first lectures pussy riot`s subject, this time approaching it as mental virus, using media as medium.

4. Hypertextuality (chronologically or  double or more layered text) is everywhere, even in cultures. Memes: primitivity and metatext. Time

5. Perceptual organs provide the information horizon for our mind, needed even in the simplest of organisms. When eyes closed, other sensory organs take their place. Rituals – everyday working and playful simulation. Art as the most powerful programming mechanism, creating something new.

6. Music as an ancient form of art, its harmonization and power towards mind and body. Symmetry – principle of organization; requires simultaneously similarity and difference. Rituals – collective syncronization which strengthens existing structures. Art creation is similar to ritual.

7. Icon – similarities. Index – direct connection between object and subject. Symbol – without restrictions, allows us to transform the world. Digital and analog as the basic principle.

8. One`s own style needs differ from his icon as well as resemble. M. Bakhtin`s chronotope – describing space and time in language. Narration depends upon its end, finality (J.Lotman). Females and femininity.

9. Overall subject - body. Hand gestures are easily read. Skin contact importance to a baby. Practicing expression and gestures, actors.

10. Still life with Petrov-Vodkin example. Everything has its meaning and purpose

11. Continuing Still life. Devices that adress visual information. The author of the text, the death of the author (Barthes). Optical clues and functions – reflection, distortion, refraction (e.g. Petrov-Vodkin)

12. Basic matrixes are digital and analog. E.g. a poster that can be expressed in binary code or graphic figure.  When comparing paintings – importance of colours.

linkpost comment

Skulls [Jan. 28th, 2013|04:42 pm]

Mark Mets
The protector of our brain and mind. Symbol of human in general or individual together his wisdom and knowledge. Skulls or skull shaped object have often legends or aura of mysticism surrounding them, e.g. crystal skull which is said by some sources to been worshiped by native americans, not to mention the new age religion.


But skulls have also been in everyday usage since around 15,000 BC, in the form drinking cups. Later have their significance become more ritualistic as a cup, used in rites by celtic tribes, pagan cults and treated many others to celebrate battles and vanguished foes. Warlords made cups from enemies skulls long til nowadays (though someone somewhere is probably still drinking from one right now) in Europe, as well in Asia, Africa, The New World and basically everywhere with the material and reason to do it.



Now we have lots of imitated skull cups, since the making from real skull is regarded as barbaric. Still the meaning of the symbol is well known and therefore used by both poets an warriors, and by all devoured by consumerism or in search for aesthetics. Skull as an art is covered in all areas, althought the question remains about the importance of its original meaning.


An interesting story coverning skulls is about Lord Byron from 19th century England. His gardener had found an unknown skull near an old abbey, from which he had made a drinking vessel. It was said to be turtoiseshell coloured and nicely polished; on it he had written a few dark poems. So he sometimes sat, accompanied only by the skull, and wrote.

linkpost comment

Analysis of "Опера Зайчик" [Jan. 28th, 2013|12:46 am]

Mark Mets

Comedy comes in this short animation hand to hand with parody and satire. Fun is made of opera as an emotionally overexpressing and yet externally very serious and deep genre. Here the performance is simple, a rabbit`s tragic life. It`s turned somewhat serious and at the same time silly by the crying spectator and graveness of the choir and music. The humor is added by the characters general resemblance to something or someone that they are not. In this case - human is a rabbit. Also the overgesturing of hunter creates funny atmosphere since he would only have to shoot the rabbit in the real life without asking any questions or hearing the rabbit sob. Overplaying, created by the dissonance of real and theatrical world is therefore the main reason on humor.

And about the task`s late arrival: well... words come later than thoughts and I´m glad that the first has finally found its place.

linkpost comment

On camels and apples [Jan. 28th, 2013|12:22 am]

Mark Mets

The difference? Everything, from head to toe, since the apple is absent of both.
Still, they are both whole. Whole as an object or sign, abstract or clear.
   


Camels are fast animals, but an apple heading towars the ground (or Einstein`s head) may not stay behind.



The both have curves and parts of them that are of different shape, taste and consistency.




They both have a beginning and an end.

Both camel and apple provide life.






So for the love of apples:

FOR APPLE`S SAKE!
I ate my cake.
New I must make
but no apples to bake.
There, I go to the lake
to visit the drake.

He tells me of one rarity
with apple kind similarity.
But he gave it to charity.

Long I searched
under a birch
til I came to red little church.

Full of strange creatures
each one of a kind
striking all features
and their intelligent mind.

They spoke near...
Hear me traveller!
and have no fear,
if youre not scavenger
one who looks for pear.
Apple is here
yet not yours to pick.
But stay! We have pies for your fit.

Starving I was,
stayed even for dinner
and breakfast and lunch.
Felt like winner!
even more with the brunch.

And the new found cake
-Oh for apple`s sake!
was to good for one to make.

linkpost comment

Illusions [Jan. 21st, 2013|02:34 pm]

egmg
[Tags|]

linkpost comment

Semester Roundup [Jan. 13th, 2013|11:13 pm]

univershe
My entries to the semioart journal:
1. http://semioart.livejournal.com/287367.html
2. http://semioart.livejournal.com/295353.html
3. http://semioart.livejournal.com/305011.html
4. http://semioart.livejournal.com/345422.html
5. http://semioart.livejournal.com/345712.html
6. http://semioart.livejournal.com/345944.html
7. http://semioart.livejournal.com/384503.html
8. http://semioart.livejournal.com/384521.html
9. http://semioart.livejournal.com/384911.html
10. http://semioart.livejournal.com/389575.html
11. http://semioart.livejournal.com/393506.html
12. http://semioart.livejournal.com/393916.html
13. http://semioart.livejournal.com/397904.html
14. http://semioart.livejournal.com/398173.html

My entries to the z00z00 journal:
1. http://z00z00.livejournal.com/198777.html
2. http://z00z00.livejournal.com/184784.html
3. http://z00z00.livejournal.com/249667.html
4. http://z00z00.livejournal.com/260162.html
5. http://z00z00.livejournal.com/264521.html
6. http://z00z00.livejournal.com/289982.html
7. http://z00z00.livejournal.com/290493.html
8. http://z00z00.livejournal.com/292180.html
9. http://z00z00.livejournal.com/293972.html
10. http://z00z00.livejournal.com/297996.html
11. http://z00z00.livejournal.com/300098.html
12. http://z00z00.livejournal.com/300424.html
13. http://z00z00.livejournal.com/300998.html
14. http://z00z00.livejournal.com/301137.html

Thank you and goodbye! 
link1 comment|post comment

navigation
[ viewing | most recent entries ]
[ go | earlier ]