⒈ Semiotics In Contemporary Art

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Semiotics In Contemporary Art



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This activity invited teacher researchers to reflect on and extend their immediate responses to a work. The battle for power — nature or mankind? A flickering flame. One person was allotted the role of interviewer, the other interviewee. This reflexive critique of an initial personal response aimed to uncover some of the biases and assumptions upon which readings of art works were made. Diagrammatically mapping the process of enquiry demonstrates how fertile a personal response to an art work can be when treated reflexively. On reflection, the links and associations offered by personal responses can offer new vistas for exploring the art work and be as revealing about the viewer as about the work itself. Already this response is literally located in a specific world view — an aerial one.

This prompts a layering of associations — she relates the river tributaries to cracks in concrete, which in turn become metaphorical cracks in notions of republics and nationhood. A consideration of her emotional responses to the work records feelings of fascination about the ideas in the piece and its method of production. Thinking about the processes involved in making the work leads her to wonder what the seemingly random paths of the ants might represent — which in turn invokes thoughts of rationality and chance. In the plenary session the teacher-researcher spoke of how intrigued and surprised she was by this process of tracking her responses. Her diagram references particular world views and knowledge brought into play by the art work, for example a political language of republics, nationhood, invasion, force and power and a philosophical language of belief systems, of free will, reason and chance.

It indicates the non-linear quality of responses to the art work, in which ideas are fluid and iterative. Reflecting on the activity in a plenary session, the following key observations were recorded by the group:. The dialectical approach provided checks and balances on personal responses, enabling the interviewee to stay focused on the art work. Questions for further exploration which were noted for further consideration the following day included:. In the fast-moving world of contemporary visual art it can sometimes seem that the only constant is change.

This makes keeping up with subject knowledge something of a challenge. Or does it? Teaching pupils the skills of interpretation in such a precedent-defying discipline as contemporary visual art poses the question of the status of knowledge. The anti-traditional nature of contemporary visual art means that there is no accompanying stable or substantive body of knowledge, but rather a plethora of theoretical and critical texts which ebb and flow around and within the art. What kinds, and how much, subject knowledge is useful in the process of interpretation is therefore a key question.

Finding a way into an art work which has meaning for pupils does not necessarily tally with knowing everything there is to say about an artwork. Teacher-researchers were invited to curate a route of between three and five works through the galleries using the Looking at the Subject framework as a way of making links between the works. The selected works could demonstrate how artists had expanded or problematized the overall theme of the display. However, it is fair to say that the resulting routes were muddled; rather than making arguments for connections based on what could be seen, links were made through referencing a priori chunks of knowledge about the artists or the art works.

The routes were not a set of interpretations but instead a collective, disjunctive effort of rehearsed information which was not based on visual evidence. This makes possible the contradictions between many viewpoints and a single viewpoint, which is where dialogue starts. A priori knowledge can limit the way we look by tripping us up into making false connections and leading to a discursive dead-end rather than coming to a place of open ended-ness. Using the Ways of Looking at the Subject framework the group revisited their connections between the selected works and refined them to a handful of key ideas backed up by visual evidence.

This activity suggested that useful subject knowledge about the field of contemporary visual arts is as much to do with an attitude of questioning paralleled in the making of contemporary visual art and focused looking, as it is concerned with the detail of individual artists, movements and tendencies or with the art object itself when such an object exists.

In considering the artwork within the framework for enquiry which focused on its objecthood, we commenced with a brainstorm about the variety of ways contemporary art conveys meaning through its material and formal qualities. Activities which make it difficult to recreate the chosen work pushed the teachers to focus on one aspect of the art work, extrapolate and develop it. This led to a focus on the decisions behind formal qualities in the work. Deliberately limiting options only using collaged gummed paper, reducing a work to five lines, etc. It allows them to avoid the pressure of feeling they have to demonstrate skill once again this is about avoiding the temptation to fall back on a position of authority. In feedback the value of the individuality of the responses was emphasised — a sketchbook equivalent of the multiple readings idea.

The examples from the Looking Logs suggest the importance of allowing time for a purely physical response to an art work based on its objecthood. Questions are posed and thus the discussion opens out. At the centre of this diagrammatic enquiry into the hard-edged mirror cubes is a circle: interpretation as an infinite process. Just as the gallery map has been ripped up and remade in an exploratory fashion, so too in making interpretations nothing is certain except the precariousness of meaning. Having first noted what could be seen, these responses were then extended by discussion of the associations arising from the material properties of the object.

Despite the inaccessibility of the Russian poster text, meaning could still be construed through reading the formal qualities of the works — design decisions about point of view, font size and choice of graphics, the formal relationship between word and image. Responding to the works in collage, the group used newspaper print to create new interpretations of a poster of their choice. Learning took place through the experience of re-making the art work, a visual process of interpretation. We also talked about which kind of art the group preferred — the art they felt communicated simple positions clearly or the more ambiguous approach offered by for example the Kiefer and Horn work — dealing with similar themes but with completely different intentions.

The collage activity, book-ended by looking at the works by Anselm Kiefer and Rebecca Horn , worked as a way of exploring ideas about intention and the desire for and impossibility of a universal language. The Looking Log examples demonstrate the investment of time and thought the group brought to developing new and personalised ways of recording information. We experimented with diagrammatic forms of recording responses for example, exploring the hang in a particular room or more linear, flow-chart approaches when we were thinking about the stages of individual looking looking deeper, looking again. Throughout, we asked the teacher-researchers to draw on areas of their own expertise to create a personal shorthand for recording their experiences.

As pupils are already very familiar with the formal language of image making, these kinds of activity can offer a good introduction to critical analysis and the process of creating interpretations. Untitled is an old-fashioned wardrobe which has been filled with concrete, into which a domestic wooden chair has been buried. The group engaged initially with the work through stream of consciousness writings in which its material properties were uppermost, evidenced through a parity of responses and moments of coalescence. Boarded up Lion, Witch, Wardrobe — dream shut off, cold, frustrated household object.

An abject object. Wood looking out of cement — stuck, lodged, uncomfortable, tight. Responses to this piece were striking in their sense of mutuality. Likewise, when we participate in an experience of an artwork, we give ourselves over to the context of meaning that comprises the work, and, thus, allow our interpretive experience to be governed by the limits and possibilities of interpretation appropriate to the work. The claim that the hermeneutical experience of truth is conditioned by tradition is not reducible to historicism or the historicist project of determining, say, what an artist or an author took to be true through a reconstruction of the historical context of the artwork or text under consideration.

Quite to the contrary, the hermeneutical experience of truth concerns something that holds true for our own existence. Rather, then, the hermeneutical experience of truth is conditioned by tradition in the sense that it is limited and made possible by the historical transmission of meaning. Contrary to a common misconception of Gadamerian philosophical hermeneutics, traditions are not monoliths. Accordingly, to belong to a tradition is not first to possess an identity derived from a cultural or ethnic heritage; it is, rather, to be a participant in a movement of handing down, delivering over. Tradition, so conceived, proves to be a legitimate source of authority for the hermeneutical experience of truth. In this, the motto of the Enlightenment is that we should think for ourselves, basing our beliefs in our own use of reason and not the authority of tradition, whether this authority is conceived in terms of superstition, religious or aristocratic rule, or custom.

Gadamer recognizes that the Enlightenment charge to think for ourselves is legitimate, but he does not believe it follows from this that tradition cannot be a source of truth. He writes,. But this does not preclude its being a source of truth, and that is what the Enlightenment failed to see when it denigrated all authority Gadamer, Truth and Method , To be sure, tradition is not therefore a foundation of claims to truth. This means that our attempts to understand are always guided more by tradition, and thus prejudice, than we are able to make explicit to ourselves. This principle, as Gadamer maintains, has important normative implications for interpretive experience.

These implications follow from the fact that it is impossible to become completely self-conscious of the prejudices operative in our attempts to understand. Because of this, the experience of truth leads not to self-certainty, but to the insight that we should proceed always with a Delphic self-knowledge of our limits. Such Delphic self-knowledge should carry over to our assessment of knowledge secured by modern science, as well. This is evident first of all from the humanistic study of the history of science. After all, knowledge based on the best results of science today may well have the same fate as the discredited scientific knowledge of past times.

It is also evident that we should carry over Delphic self-knowledge to our assessment of scientific knowledge from the fact that scientific inquiry is always guided by more prejudice than can be kept in check by any method: for example, in the selection of research questions, in hypothesis formation, and in any number of metaphysical or other assumptions tacitly or unconsciously used to characterize objects of inquiry. In this concept of horizon, it is not difficult to hear the echo of the humanistic sensibility that interpretive experience is educative.

Our horizon is the formation we have achieved through our interpretive experience, both from our formal education and from our life-experience. Thus, the normative demand of interpretive experience is always to become more educated. Really, though, what Gadamer means is that in interpretive experience, our attempts to understand can and should lead us to recognize that our own horizon is not as insular or narrow as we first thought. We expand our horizons through interpretive experience that melts away at the rigidity of our horizon, so that we can see how it melts into and mixes with a larger movement of transmission.

The hermeneutical experience of truth is conditioned by not only tradition but also language. The primary example of such hermeneutical conversation is a conversation between interlocutors about something; but, he believes that hermeneutical conversation also includes all interpretive experience, so that the interpretation of artworks and texts is conceived as a conversation between the interpreter and work about the subject matter of the work. In hermeneutical conversation, interlocutors may, of course, use language to represent, communicate or make assertions. More originally, however, hermeneutical conversation concerns the being of the matter under consideration.

Hermeneutical conversation is thus an event of interlocution that aims to show something in its being, as it genuinely or truly is. The hermeneutical experience of truth can be described as the success of conversation so conceived. In the experience of truth as correct predication, truth is typically conceived as the property of a proposition, statement or utterance that suitably connects a subject with a predicate.

In the hermeneutical experience of truth, by contrast, the concern is not with predication, that is, the connection of a subject with a predicate, but, instead, with conversation, grasped as an event of interlocution concerned with the being of a subject itself. In such a conversation, truth is reached, if it is reached, not when a subject is suitably connected with something else, but, instead, when the subject is sufficiently shown in its own being, as it truly is.

The measure of such sufficiency is established not in advance, but is achieved in the course of conversation along with the claim of truth that it measures. Philosophical hermeneutics maintains that the experience of truth as correct predication is dependent on the hermeneutical experience of truth. This is because in truth as correctness, the proper connection of subject and predicate depends in part on the being of the subject. In predication, the being of the subject is typically either left out of account or is presumed already to be determined or interpreted.

But, the being of the subject—what it truly is—is a matter of interpretation. In illustration, we may consider the fictional conversation presented by Plato in the Republic among Socrates, Glaucon and other interlocutors about justice. Truth as correctness, then, depends on the hermeneutical experience of truth, and such truth, in turn, is a matter of interpretation. Rather, it means that the hermeneutical experience of truth remains always a problem, whenever we wish to understand something, and even when a conversation culminates in an experience of truth. Heidegger believes that for the self-interpretation of human existence, the interpretations of the human condition found in the human sciences are derivative; what is called for is an analysis of the sense of being, or, the structures, of human existence as these are disclosed through our own individual being in the world.

Moreover, his inquiries range over topics in areas as diverse as religion, anthropology, psychology, history, and literature. His contributions to hermeneutics are perhaps especially characterized, however, by the concern for possibilities of the mediating role of language to establish critical distance in interpretive experience and by his focus on the significance of interpretive experience for ethical and political agency. This involves a novel conception of interpretation itself. Traditionally in hermeneutics, the purpose of interpretation is thought of as making apparent the single, unitary meaning of something. Ricoeur, by contrast, stresses that the aim of interpretation also includes making apparent the plurality of meanings at issue in a speech act or text.

Ricoeur maintains that narrative, too, concerns both sense and reference, but on a different scale. In this, he claims that in narrative the work of such schematization of temporal experience is achieved by the composition of the plot, or, emplotment. Through narrative emplotment, we make apparent the meaning of persons, relations, and events that comprise human affairs—say, in fiction, those that can happen, and in history, those that have happened. Ricoeur maintains, however, that the referential function of narrative is not simply to assert something about the world but has implications for ethical and political life. In so doing, fiction refers to possibilities of reality that can orient our agency and contribute to our efforts to reshape reality.

The most significant of these controversies are about the consequences of philosophical hermeneutics in relation to critical theory and to deconstruction. In the case of the controversy in relation to deconstruction, discussion originates between Jacques Derrida and Gadamer. While this discussion is itself layered and gives rise to new questions over time, it concerns, in part, the question of whether the success of understanding genuinely achieves a determination of meaning.

Habermas, building on Hegel, Marx and Engels, as well as his original theory of recognition and communication, maintains that an ideology is a nexus of political doctrines, beliefs, and attitudes that distort the political realities they purport to describe. Accordingly, ideologies reinforce equally distorted power relations that, in turn, prevent the openness of discussion that is necessary for legitimate democratic political deliberation and decision-making see Sypnowich , Sec.

In view of this, one purpose of critical theory is to establish a basis to critique ideology. Habermas and other critical theorists sought a basis of critique with the ability to expose even some of our most cherished political doctrines, beliefs, and attitudes as ideological distortions that result from forms of domination passed down from tradition. Moreover, as we might accordingly worry, what Gadamer describes as the hermeneutical experience of truth might not be an experience of truth at all, but, rather, a distorted communication that is complicit in ideology, since the so-called truth results from a conversation that might not be open, but oriented by prejudices that reinforce relations of domination.

And, Gadamer stresses, second, that the hermeneutical experience of truth is no blind acceptance of the authority of tradition. Rather, as he argues, interpretive experience remains critical, in that such experience unfolds precisely though the questioning of our prejudices, and judgment about what aspects of our prejudices remain valid and which have become invalid for matters of concern to us now. While the relation between hermeneutics and deconstruction is complex, pivotal for the controversy is whether the success of understanding really achieves a determinate meaning. Gadamer, as we have seen, maintains that the success of understanding is to understand something in its being, as it genuinely or truly is.

Moreover, we experience such a truth as a claim, one that we can agree or disagree with, and that purports to be justified by the interpretive experience which first gives rise to it. Gadamer, as we have said, trusts that our experience of truth really involves a determinate claim. First, Gadamer certainly recognizes that every determinate claim of truth remains open to further interpretation. And, second, he recognizes that the hermeneutical experience of a determine claim of truth is itself a legacy of difference, since interpretive experience unfolds in the free play of conversation.

Matters of central concern for the philosophical controversy between hermeneutics and deconstruction have also been further developed by several philosophers associated with hermeneutics, such as John Caputo , James Risser , Donatella di Cesare and others. The rise of postmodernism has proved to be an important impetus for developments within hermeneutics. Examples of metanarratives include, say, stories about the objectivity of science and the contribution that science makes to the betterment of society.

Lyotard sees both a danger and a possibility in the postmodern rejection of metanarratives. But, he believes, the postmodern incredulity toward metanarratives has resulted in a new possibility, too, of liberating the creation of narrative meaning from the need to establish legitimating foundations. Philosophers of postmodernism have sought to clarify such a postmodern possibility for the creation of meaning through the development of hermeneutics see Vattimo, Beyond Interpretation , Gary Madison , John D.

Caputo , ; for a creative intervention in postmodern hermeneutics, see Davey In this, hermeneutics places stress on the possibility of interpretive experience to produce new meaning and shifts away from concerns about truth and existence. Vattimo embraces the postmodern possibility to liberate the creation of meaning from any needs for foundation or legitimacy.

Vattimo, then, defines interpretive experience not in Gadamerian terms of a conversation that brings something into focus in its being, as it genuinely is. Research in hermeneutics is perhaps more diverse now than at any other period in the historical movement, and has also begun to expand interest in hermeneutical considerations to contexts such as feminist philosophy see Warnke , comparative philosophy see, for example, Nelson , philosophy of embodiment see, for example, Kearney , and Latin American philosophy see, for example, Vallega While it is impossible to gather all directions of current research in a short article, some further developments have received particular attention.

Hermeneutics, grasped as a historical movement, is typically associated with continental European traditions of thought and the reception of these traditions in the global context. This reception has included contributions to the development of hermeneutics made by noteworthy Anglo-American philosophers. Philosophers associated with the University of Pittsburgh have also taken up and developed themes in hermeneutics. Robert Brandom, for his part, has argued that his inferentialist approach in semantics is able to support major tenets of Gadamerian hermeneutics, thereby suggesting that the traditions of inferentialism and hermeneutics can complement one another see Brandom and ; see also Lafont A study comparing table-based and list-based smartphone interface usability , Patrick M.

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Nelson, Eric S. In Lunsford, A. Summary Of Lermontovs The Demon articles: Plato and Platonism. Cicero Semiotics In Contemporary Art left a Semiotics In Contemporary Art body of Semiotics In Contemporary Art and letters which Semiotics In Contemporary Art establish the outlines of Latin Semiotics In Contemporary Art and style for generations to Semiotics In Contemporary Art.

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