Surrealism Without the Unconscious
Jameson begins this reading with saying that every period of time has a type of genre describes that time. In this modern age he believes that Capitalism best describes it. With Capitalism there is the "extinction of the sacred and spiritual." Culture is materialistic. Film and Video seem to best fit this post mordern era. He explains that there are two kinds of art, television and experimental video or video art. He says that breaks serve as a time to contemplate or remember what has happened, however, in television he says that commercial breaks only serve as a break to get food or use the bathroom.
I don't really know what he's talking about. Hopefully, after it is further explain I'll be able to ask some questions because as of this moment I really don't know what's going on.
Claus Cluver: On Representation in Concrete and SEmiotic Poetry
Claus Cluver begins by giving James Heffernan's definition of ekphrasis as "the verbal represntation of grahic representation." (36) Hefferman excludes all non-representational paintings, sculptures, and architecture from this definition. However, Cluver defines ekphrasis as "the verbal representation of a real or fictitious text composed in a non-verbal sign system". This definition includes all those excluded from Hefferman's definition as well as "non-verbal and non-visual texts." Cluver then goes on to give different examples of ekphrasis poetry. Near the end of the essay Cluver says that many of these poems can be interpreted in many ways. Because of this, a title limits the readers interpretation but at the same time guides the readers.
In ekphrasis poetry it seems that the words and the visual image it produces are equally important. What do people notice first, the image as a whole or the words? How can this affect interpretation of the piece?
Hypertext as Collage-Writing by George P. Landow
Landlow begins the essay with a definition of collage, "the action of gluing." Hypertext is defined as "text composed of lexas (blocks of words, moving or static images, or sounds) linked electronically by multiple paths, chains, or trails in an open-ended web." (pg 156) Just from these definitions we can begin to see similarities between collage and hypertext. Different pieces make up the whole composition, but at the same time we recognize the individual pieces. This is true with hypertext as well. Landlow describes hypertext as multilinear. This meaning that it can be read many different ways. The reader is in control and pick whatever links he/she finds interesting while skipping others. There is no one way to view the hypertext. When using hypertext the author has the ability to directly link to other sites, texts, and images by different authors. Whereas in writing the author feels that he/she must summarize the original text in order to make it different. Because of this, there is no one author.
I thought it was interesting when Landlow said, "When I write 'translation,' I cannot help thinking of the Italian (translator=traitor) Does he mean that some of the essence of the original is lost when transferring information?
Christiane Paul's Digital Art Chapters 1 and 2
In chapter 1 Christiane Paul discusses digital tools in the use of manipulation. Photography, film, and video have always been manipulated, but when it comes to digital media there the amount of manipulation is questioned much more than "traditional" tools. With the use of digital media, Paul writes, "the reality of 'what is; at any given point is constantly open to question" With this new technology a hyperreality has been created. Something that is hyperreal is something that is not quite authentic but not completely artificial at the same time. Digital technology has opened doors to views of the world no one has ever seen before. The possibilities of digital technology seem limitless.
In chapter art we see how digital art is used as a medium. Paul explains how digital art can be used in a variety of was. It can be installed as an installation, internet based art, as software, or a combination of any of these. Digital Art allows interaction between the viewer and the artwork. Because of this interactivity, the viewer is able to contribute to the art.
Pablo Picasso's The Old Guitarist
Image-Music-Text by Roland Barthes
In this essay Roland Barthes analyzes the relationship between image and text. He asks, "How does meaning get into the image? Where does it end? And if it ends, what is there beyond?" To answer these questions, Barthes studies advertisements to discover how image and text are being used.
Barthes primarily focuses on an advertisement of "Panzani." He states that images have three messages: linguistic, coded iconic, and a decoded iconic. The linguistic message is the text that tells the viewer the direction that the advertisement is going and how the viewer should interpret the advertisement. The image itself is also encoded with symbolic messages. Although the viewer might not know it consciously, subconsciously the advertisement uses images to put the product in a positive light. The fresh vegetables placed with Panzani brand items give the Panzini brand a sense of freshness and naturalness.
Barthes then argues how he believes that the photograph is the only true image because it "transmits the (literal" information without forming it by means of discontinuous signs and rules of transformation." Unlike a drawing, where items can be: edited; changed; etc, photographs are records of real life and "guarantees objectivity." (pg 43-44) Although photographs do record real life, I do believe that like drawings the artist/photographer can place the objects where they want to convey their point. In that way, I believe that they are more similar than they are different.
On page 38 Brothes remarks that we are still, and more than ever, a civilization of writing." In advertising, how much importance is placed on the text compared to the image? Is an advertisement with only text more eye catching, more appealing?
W.J.T. Mitchell's Iconology: Image, Text, Ideology
In this reading, Mitchell looks at the different ways we use the word "image" and reveals some of the problems that we encounter when we define the word simply in the visual context of the word. Mitchell first breaks up the different ways we define "image" into the pictorial definition, that we are most used to (ie. graphics, statues, mirrors, projections). He then departs from this widely known meaning of the word to also include mental and verbal images (ie. dreams, memories, ideas, descriptions, etc) He explains some of the difficulties that people have in describing those of the second definition as "images." These difficulties include a lack of fixed experiences. Mental images differ from person to person, so it is understandable that this would cause some confusion in defining "image." Mitchell argues that images "proper" are really not as static as people really think they are. They can be perceived just as differently as visual and dream images can be. Mitchell then shows how verbal images and pictorial images are interrelated in hieroglyphics. We are used to having words having symbolic meanings that reach into our minds and create mental images.
Mitchell then goes into the spiritual definition for image, "likeness." I think our definition of "likeness is less exact than "image". While we can say that something is a likeness of another, it is not a replica.
I don't really understand Lessing's belief that "painting is incapable of telling stories because its imitation is static rather than progressive, and that it should not try to articulate ideas because these are properly expressed in language rather than in imagery." (pg 40) In this statement, I'm not really sure what he means by saying "imitation is static." I understand that words are usually better at explaining than pictures are. I believe Mark Twain is right when he states how important a label can be in helping express the attitude and expression in a painting. Because of the label explaining Guido Reni's portrait of Beatrice Cenci, people feel incredibly moved by the situation of the girl, while this same feeling might not be if it were not for the label. But I think that because images "proper" and verbal images are tied so closely together that sometimes it is necessary to use both in order to gain a full understanding.
