rannohiire (rannohiire) wrote in semioart,

Lectures of semiotics of art

From the beginning.

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

the other thing from the lecture is Pussy Riot

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.

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.


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:


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

I recommend these bags heavily.

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


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


Lecture 11
Fixing your own memory was the theme. Is it possible to have a new memory?
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
I really liked the backround and it made me think more about whats in my back.

Apple and camel

A Zed And Two Noughts (1986) by Peter Greenaway
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
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