#so much artwork of them employs it as a visual signifier

[i-gwarth]

it will always be funny to me that the most persistent visual legacy in fanart of the Shadow of Mordor/Shadow of War games turned out to be Sauron's smithing hammer that he uses to bash Celebrimbor's head in

[amyhendry-contextualstudiesyear1]

The Legacy of Frida Kahlo

Frida Kahlo is a Mexican born artist formerly remembered for her paintings, more specifically her paintings based on nature and Mexican culture as well as her many self-portraits. Kahlo took up painting whilst recovering for a bus accident she was in as a teenager, the accident left her in a full body cast for quite some time and painting was her way of distracting her from the pain of recovery. Her work is heavily inspired by her culture which she incorporates in the clothing and scenery that she depicts in her paintings. In her lifetime she completed over 140 paintings (55 of which being self-portraits). A common theme in Kahlo’s work is both physical and emotional pain, the physical pain coming from her multiple surgeries she had to undergo because of her accident and her emotional pain came from her rocky relationship with her husband, fellow artist Diego Rivera (who she married twice). Despite that Kahlo is recognised as one of the greatest artist Mexico has ever seen and has become on of the most widely known artist in the world.

Kahlo was born in Coyoacán, Mexico City on the 6th of July 1907 and her full name is Magdalena Carmen Frieda Kahlo y Calderón. Kahlo’s father was a photographer who immigrated from Germany to Mexico where he met her mother Matilde, she is the third child with her two older sisters Matilde and Adriana and her younger sister Cristina. Even before her accident Kahlo had problems with her mobility as she contracted polio at a young age that damaged her right foot and caused her to have a limp from the age of six. In 1922 Kahlo became one of the only female students to attend the renowned National Preparatory School in which she became very politically active and joined the Young Communist League and the Mexican Communist Party whilst still a student. Not long after (1928) she married fellow artist Diego Rivera in what would become a very rocky and unstable relationship going through several periods of separation and rekindling, it was this relationship that would inspire some of her most famous paintings.

Kahlo first exhibited her work in 1939 in an exhibit in Paris, her work received massive praise and not long after Kahlo was commissioned by the Mexican government for five portraits of important Mexican women in 1941, however she was unable to finish the project due to the passing of her father as well as her chronic health problems. In 1953 Kahlo got her very first solo exhibit in her home city and, despite being bedridden, she refused to miss the opening and arrived by ambulance to celebrate with attendee’s. After Kahlo’s passing in 1954 her work became the symbol for female creativity and helped fuel the feminist movement in the 70’s, it was such events that has made her artwork iconic. “Frida expresses her own experiences in her works, it is exactly what she is living in her present, how she interprets it and how she believes that others live it. She paints after her divorce, as already mentioned before, “Las dos Fridas”, which we can locate within Surrealism (1939), because the surrealists do not want to copy reality but prefer to capture their reality, which is what they interpret of her dreams, or in the case of Frida, her own experiences, since she was able to create wonderful works from them. (…) Frida differs from the surrealists because she does not pretend to paint her dreams or liberate the unconscious, but through the technique of surrealism expresses her own experiences, which emanate suffering.” – Galeria Valmar, artes visuals, 2019.

The Broken Column 

For this next part I wanted to analyse some of Kahlo’s most famous paintings and explore the deeper meaning behind them, starting with ‘The Broken Column’. ‘The Broken Column’ was a self-portrait created in 1944 shortly after a spinal surgery Kahlo underwent due to her accident, the surgery left her in a full body cast and a spinal brace which can be seen in the painting. Also in the painting we can see her body appearing almost cut in half, as if her spine had been ripped out, as well as nails poking out of her body. This actively demonstrates the physical pain constant years of surgery has caused Kahlo with the nails being a physical representation of such. Through the centre of her body the column taking the place of her spine is broken in several places creating the effect that it’s about to crumble and collapse on itself. Almost all of Kahlo’s self-portraits are meant to display her suffering caused by her accident, which left her both unable to bear children and ended her dreams of becoming a doctor, this is often shown by her facial expressions with ‘The Broken Column’ being no exception. After a closer look you can tears falling down her face as well as strong highlights in her pupils to emphasise the physical and emotional pain she was suffering. “The Broken Column was painted shortly after Frida Kahlo had undergone another surgery on her spinal column. The operation left her bedridden and “enclosed” in a metallic corset (…) The accident ended Kahlo’s dreams of becoming a doctor and caused her pain and illness for the rest of her life. (…) Although her face is bathed in tears, it doesn’t reflect a sign of pain. The nails piercing her body are a symbol of the constant pain she faced.” – Zuzanna Stanska, The daily art magazine, 2017.

Some people also believe that this painting is not just a representation of the pain Kahlo endured because of her health, many believe that it is also a commentary on the emotional pain caused by her unstable marriage. Most of the Kahlo’s most iconic pieces are inspired by her suffering and serves as a visual representation to her inner thoughts and emotions, her marriage being a large source of suffering throughout her lifetime. Some view the fragmented column lodged in her chest to be fragments of her marriage impaling her. “Despite the somewhat in-your-face symbolism, this is a favourite subject for bad art theory papers, identifying the column as everything from her fragmented marriage to a giant phallus penetrating her body. While such interpretations could be partially true, we think that sometimes a spinal column is just a spinal column (…) She referred to her medical ordeal as her “punishment.”  She also took her tragedy in good humour, saying of this painting, “You must laugh at life...Look very closely at my eyes...the pupils are doves of peace. That is my little joke on pain and suffering…”  Some claim the larger nails over her heart reflect her tortured relationship with Diego Rivera.” – Griff Stecyk, Startle, 2019.

Thinking about death

The next painting I have chosen to analyse is titled ‘Thinking of Death’ which is a self portrait created in 1943. This painting was created around the time Kahlo’s health really began to deteriorate as it depicts herself surrounded by nature with a small skull in her for head. Kahlo painted herself in very traditional clothing with her hair done up in a bun. The skull depicted in her forehead is supposed to represent the fears Kahlo had due to her health battles, with how sick she was death was a constant thought for her with it having come so close multiple times in her life. In Mexican culture death can mean the rebirth of life with is meant to be represented by the lively green leaves behind her as well as her facial expression which shows no sign of fear or panic suggesting Kahlo’s acceptance of death being another part of life. “Due to her poor health condition, death is an inevitable thought which lingering over her mind. In this painting, death is symbolized as skull and crossbones which shows up in her forehead. In ancient Mexican culture, death also means rebirth and life.” – FridaKahlo.org, 2017.

The skull itself represents the thought of death and sits right were ones third eye would be, this suggests that maybe Kahlo views the thought of death as some kind of wisdom instead of a fear, although Kahlo never wished to be labelled as a surrealist artist as her paintings come from her reality. “In Kahlo’s collective work, death seems to pervade almost every one of her paintings as an expression of pain, or a motif of oppression concerning female gender roles. Kahlo employs an almost anatomical eye in looking at her form, juxtaposing it beside images of adorned skeletons.” – MaryFrances Knapp, Seven Pounds, 2017.

Self Portrait with Thorn Necklace and Hummingbird

The final painting I have chosen to analyse is titled ‘Self-portrait with Hummingbird and Thorn Necklace’ which is another self-portrait completed in 1940. In this painting Kahlo is surrounded by animals such as a monkey and a black cat with a large necklace of thorns around her neck, in the thorns there is a hummingbird tangled amongst them. She is also surrounded by green leaves much like ‘Thinking about Death’ with insects like dragonflies and butterflies in her hair, with a blue sky barely peaking behind the leaves. The painting was completed soon after Kahlo’s messy divorces with Rivera following the theme of suffering throughout her paintings. The thorns around her neck could be a visual representation of how it felt to grieve her relationship much like the nails did in ‘The Broken Column’, though it could have a religious meaning referring to Jesus’s crown of thorns. Kahlo also incorporates Mexican culture into this piece with each animal representing something different that is relevant to the context of the painting with hummingbirds symbolising love, black cats symbolising bad luck, Dragonflies symbolising prosperity and monkeys symbolising lust. “This self-portrait was created following Kahlo’s divorce to Diego Rivera (…) There are obvious religious overtones to the piece using Jesus’s crown of thorns. Kahlo has painted herself as a Christian martyr, enduring the pain of her failed marriage (…) In Mexican culture, hummingbirds signify falling in love and are used in love charms (…) Kahlo often used vibrant flora and fauna as backgrounds for her self-portraits, to create a claustrophobic space teeming with fertility. It is thought that the emphasis of her monobrow and moustache – with the lines of her eyebrows mimicking the wingspan of the hummingbird around her neck – was intended as a feminist statement.” – Tara Lloyd, Singul art Magazine, 2019

This painting is a great look into Kahlo’s attention to detail and how every piece of her paintings represents something, she is very in touch with her culture and has great understanding as how to show her emotions and life experiences in each of her pieces. “Like many other of her paintings, this artwork is a lot akin to a painted assortment of symbols. Every element in this painting gives specific clues to Kahlo's mental state, perhaps none more than her still, direct, emotionless gaze that seems to express the immediacy of her pain.” Audrey V, Wide Walls, 2018

To sum up everything thus far Frida Kahlo is an incredible artist who poured her life into her work, her pain and passion has made her paintings so iconic in this modern age. She has become a symbol not only for Mexican artists but female artists as well, paving the way for many like her in the years to come. In response to why she painted so many self-portraits Kahlo responded, “I paint self-portraits because I am so often alone, because I am the person I know best”.

Bibliography

Galeria Valmar, artes visuals, 2019

Zuzanna Stanska, The daily art magazine, 2017.

Griff Stecyk, Startle, 2019.

FridaKahlo.org, 2017

MaryFrances Knapp, Seven Pounds, 2017

Tara Lloyd, Singul art Magazine, 2019

Audrey V, Wide Walls, 2018

[elleywestbrook]

Examining Layers of Meaning in Rebellious Silence.

This is my essay on meaning for critical studies. I chose this artist for her photographic images that raised many questions for me when I first came across her work. I love the layering of script on photograph, the staged manner of her compositions. They are so clearly staged that it calls for further interrogation...what is she trying to convey and why? 

Examining Layers of Meaning in Rebellious Silence

Rebellious Silence, 1994, Shirin Neshat.

Ink on LE silver gelatin print, (131.8 x 92.7 x 4.8 cm).

Introduction

In this essay I will examine how meaning is made and translated in an image by Shirin Neshat titled Rebellious Silence, part of the Women of Allah series. I intend to evaluate and analyse the image employing Roland Barthes theories of semiotics and intertextuality.

Theory and Framework

Barthes was one of the leading theorists of semiotics which is the study of signs. In this context, a sign refers to something which conveys meaning – a written or spoken word, a symbol or a myth (Robinson, 2011). Semiotics is concerned with anything that can stand for something else, it is an interpretation of everything around us. According to Barthes’ theory, every ideological sign is either Denotative (literal) or Connotative (Roland Barthes and his semiotic theory, 2018). In the dictionary Connotation is an idea or feeling which a word invokes in addition to its literal or primary meaning. Signs have both a signifier, being the physical form of the sign as we perceive it through our senses and the signified or meaning that is interpreted (Roland Barthes and his semiotic theory, 2018). Neshat’s work is dense with powerful imagery and I will use this to consider the meanings of various signs within the image.

Intertextuality is the shaping of a text's (or image) meaning by another text, in this case I am concerned with the interconnection between the related works of the series of pictures Women of Allah and how the interpretation of the individual image is affected by placing it within the series. I will use this theory to reflect upon how my interpretation of the work developed from a naive first reading, through to a more informed understanding based upon how the work related to Neshat’s wider practice.

Artwork and Author

Rebellious Silence is a staged black and white photograph of a woman dressed in Chador, which is a full body cloak held closed at the neck (A Brief History of the Veil in Islam, 2020). Her hair, head and shoulders are covered but her face is not. The photograph has had Farsi text added to the woman’s face by Neshat post-production. The woman is holding a rifle, her hands are not included in the image’s composition but from the way her arms are held beneath the Chador one would suppose she is holding the butt of the rifle securely in both hands. The barrel of the rifle perfectly bisects her face and the image vertically. It appears as if her chin and nose are touching the barrel and her eyes stare at the viewer from either side. Her eyes are defined using a black, Kohl eyeliner. Behind the figure is a horizontal line and would form a cross with the gun barrel were the figure not obscuring the line.

Neshat, an Iranian, was absent from her homeland during and after the Iranian Islamic Revolution for a period of about 12 years. The Iran she found upon her return was very different to the secular Persian culture she had grown up in and had left behind in 1975, aged just 17. She was able to visit again in the early 1990’s finding a country that was now under theocratic Islamic rule and very changed. She produced this series between 1993 and 1997 because she felt compelled to make art that reflected what she had experienced in Iran and to find a way to frame her own questions regarding the foundation of the Islamic Revolution and especially how it had impacted the lives of Iranian women (Neshat,2019, pg.75).

Evaluation and analysis.

Initial Reading

Personally, I encountered much confusion and nervousness when I first came across this image, but found the image so visually arresting that I was encouraged to investigate rather than move on. On my first reading, I assumed that it had been made as a comment on the terrorist attacks of 9/11. However, I later discovered that it was produced in 1994, seven years before the World Trade Centre attacks. My experience of the image changed as I increased my knowledge of its context and the authors intended meaning, and upon reflection I can see that my initial reaction to her work was the result of cultural ideologies formed from a Westerner’s viewpoint.

Symbolism, Sign and Signified

The woman is centralised, her figure is bisected by a gun barrel, creating an image of two halves. The shape of the gun, held in such a way, seems evocative of praying hands in the Christian tradition. Although it’s unlikely that Neshat intended this reading of the work, given her Muslim background, I can’t escape the way that my own Christian background informs this interpretation. In his essay “The Death of The Author” (1976), Barthes asserts that we need not ask ourselves what the author intended in the creation of his or her work but how the viewer reads or interprets it, he focuses on the interaction of the audience, not the maker, with it. This means that the text is much more open to interpretation, much more fluid in its meaning than previously thought (Short summary: Death of the Author - Roland Barthes, 2017). I don’t adhere entirely to his ideas on this, I believe the intended reading is as valid as my own and that it will be just one of many interpretations.

Dr. Allison Young remarks in her essay that “The woman's eyes stare intensely towards the viewer from both sides of this divide”, (Young, 2015). To me, this visual divide reads as a potent signifier of the opposing cultures Shirin Neshat has experienced and her negotiation of the chasm that separates them. The one she was born to and which has, since her leaving Iran, intensified into a Theocracy (by way of a revolution) and the one she has been adopted into, in the USA. She has found herself an alien in both circumstances although arguably belonging to both, one by birth and the other by residence and choice. In Iran, she is considered as subversive and provocative, her work has offended the caliphate and she is banned from visiting, whereas in the USA, she has had to contend with prejudice and outright hostility, especially during the Iranian hostage crisis in 1979, during which time American sentiments were distinctly Anti-Iranian (Neshat, 2019, p.16). The ideologies of both cultures are opposed, anti-Muslim stereotypes prevail in The West, marking Muslim women who wear the veil as a symbol of religious fundamentalism and extremism. Neshat is confronting the overriding discourse on the part of the West towards the East. She provocatively employs the Remington rifle to split the face, she sees and experiences both sides.

The gun in the photograph is a particularly powerful image. It has connotations of power, death and destruction. I find it uncomfortable and it raises many questions. Is she hiding behind its power, is she manipulated by the weapon or is she the manipulator? Is the carrying of this weapon her choice? Does she represent the power and aggressor or the defender of her culture or ideology? Or is it a comment on the power of the Theocracy? Women were called to arms during the Iran/Iraq war in the 1980’s and this was hailed by the government as being progressive and liberating for women, whilst paradoxically mandating them to observe religious piety in the wearing of the veil; their freedoms, sexuality, expression and movement are physically restricted.

Intertextuality

This photograph was taken during the second tranche (there were 3) of the Women of Allah series, the Farsi writing we see layered upon the photograph here is by the Iranian female poet, Tahereh Saffarzadeh.  Farsi is the Persian word for the Persian language. Farsi and Arabic are not the same. So are the woman or women in these pictures identified or identifying as Persian, with connotations of the previous more socially permissive rule of the Shahs, rather than Iranian? Persia, as a culture, is rich in symbolism. Conversely the poem deals with the issues of martyrdom which became popular and was encouraged by the new Iranian Government during the revolution. The audience majority in the West will find that the Farsi writing covering the face is unintelligible, incomprehensible. To a Westerm audience, who the work was arguably made for, the meaning is hidden in plain sight. The text that we are unable to comprehend is reduced to decoration under our gaze. The script also serves to complete the veil figuratively, in that her face is further disguised from sight. It is a complex relationship that Iranian women have with issues such as Martyrdom, cultural identity and the wearing of the veil. Each interrogation of the image simply provides me with more questions as the layers are examined. Neshat says in a conversation with Glenn Lowry that she approaches her subjects as a sociologist would, framing the issues but never providing any answers. (Neshat, 2019, pg.75).

One should not overlook the relevance the Women of Allah series has today, post 9/11, even though the series is almost 25 years old. It has most recently been exhibited at the Broad in Los Angeles, as part of a retrospective exhibition of Shirin Neshat’s work. Neshat’s intended reading is changed by the context the work is displayed in, and by the events that happen in the intervening years given the current global events relating to fundamentalist terror attacks this century. An audience’s reading is inevitably different now than it would have been when the work was made adding another set of layers of interpretation. Are we able to make the distinction between Persian, Iranian or ‘Arab’? Can we view these images without reference to suicide bombings carried out by veiled women? I think not, which speaks to its relevance in today’s society.  Recently exhibited alongside her films and more recent of works, the exhibition as a whole adds to your experience of the singular, I imagine the breadth of subject matter, the multi-media nature of her work and the monochrome nature of the offerings speak to an intensely personal experience.

The veil has come to be understood as either a symbol of Muslim women’s oppression or their resistance, constructed as dichotomous perspectives (Ladhani, 2019). In a free, liberal Western society, the veil is often read as the subjugation of women and a mechanism of control. There are many Muslim women who take exception to that perception, finding a freedom beneath the veil, free from the critical and sexual male gaze. Part of the provocation of these images is to question our ideological affinity to this discourse. The veil worn in its various forms (leaving out Christian traditions around the marriage ceremony) ‘by women appears with such constancy that it generally suffices to characterize Arab society’ (A Brief History of the Veil in Islam, 2020). In this picture we see an Arab, Muslim woman, holding a gun and staring at the viewer, it shifts the subjugated female to a politically motivated weapon, there is an undercurrent of violence and politics. The eyes seem to penetrate, and her face is adorned by incomprehensible text. I was initially nervous of this image, she seemed completely ‘other’ to me.  I questioned whether it was a challenge to faith or ideology or was it a propaganda image? The way the gun is positioned is reminiscent of holding a finger to your lips in the internationally recognised sign or command for quiet, silence. Is she silenced by the gun or does the reference to the gun create the silence by fear? By intertextually using other images that speak to one another in a series she is able to more fully explore the symbolic nature of the gun. They inform one another. The weapon is conceivably passive in Rebellious Silence, whereas if you view another in the series, Faceless      

          FACELESS, 1994. (Shirin Neshat, MutualArt, 2020)    

the subject is actively holding the gun with the viewer in its sights, her finger on the trigger and hand covered in Farsi text which is extolling the beauty of Martyrdom. The meaning of the text is still hidden from us, that in itself promotes a degree of fear, we are excluded from understanding it.            

Both the gun and the poem give the woman a voice whilst cloaked in a silencing and constricting Chador.

Unveiling,1993, is one of her earlier photographs but still part of the same series, Neshat is pictured in the photograph and has written the poetry of Farrokhzad over her face. The words of this poem deal with the struggle women find in navigating the strict religious, social codes whilst recognising their sexual desires. It is a love poem, the author’s works are banned in Iran, whilst Tahereh Saffarzadeh writings about Martyrdom are applauded.

Unveiling (Christies.com, Shirin Neshat, 2012)

 Here she appears naked beneath her Chador, it is a seductive and sensual image and the poetry, if we could but understand it gives voice to her desires. These images and the others belonging to the same series give a duality of message. Speaking to the differing circumstances and roles women inhabit in contemporary Iran and prodding the Wests perceptions and judgements. It is no one thing, this issue of Women of Allah, it is varied and complex and difficult to grasp and articulate. Sheliza Ladhani says in her essay Decentering the Veil, that contemporary discourse surrounding Muslim women who veil continues to be about them as opposed to from them (Ladhani, 2019). Within Iran, and amongst Iranian women are women who want to express themselves and their desires as well as those who adhere whole heartedly to the religious dictates. Neshat delivers both these women and others to our notice in her series. She also explores her feelings of separateness and exile from her home, family and culture. Ed Schad says in ‘I will Greet the Sun Again’, the catalogue that was produced for the exhibition at The Broad, that Neshat’s photos are beautiful articulations of empathy and identification, saturated in a visual language learned in New York and applied to an examination of contemporary Iran. These photos echo the voices of women whose freedom balances precariously on the fault line of an Iran caught between modernizing and conservative forces (Neshat, 2019, pg15).

Conclusion

Neshat recalls that her first exhibition of the Women of Allah series was written about by a New York Times critic. He had complained about her work as being too confusing, wondering where she was coming from. He asked was it a case of radical chic or a way to romanticise violence? (Neshat, 2019, pg. 76). He may have a point. The inclusion of the gun in some of her works in this series is provoking and shocking, it is a tool of destruction and violence. When seen in reference to an Islamic veil and in the hands of a woman our minds travel to radicalisation and fundamentalism. But there is an irony and conflict here too, given the US’s much debated and firmly held right to bear arms. Neshat as a naturalised American has the right to bear arms, but as a Muslim, she could be said to be one of the reasons that the US want to bear arms – for protection. The inclusion of the rifle could be speaking to this dichotomy.

As we have seen Rebellious Silence is a deeply layered and challenging work, but its impact lies in its ambiguity, complexity and difficulty. By confronting the viewer with a dense set of signs and symbols, Neshat forces us to think more deeply and to question her intentions. Nothing can be taken for granted and nothing is made easy. It’s through this challenge that the photograph and wider series Women of Allah prompts debate and discussion, which is ultimately how change and awareness come about. The photographs openly wear paradoxes and what seem like contradictory points of view, says Ed Schad (Neshat, 2019, pg. 15). In agreeing or disagreeing with the artists intended meaning and debating its efficacy, we bring ourselves into the experience and thus have a unique reaction and viewpoint from which to decipher the work. Perhaps it is because of these many layers of meaning that the work is still so relevant today.

[clarissaartap]

Jeepneys by Manansala 1951 Enamel on fiberboard 51 cm x 59 cm

     Born on January 22, 1910 in Macabebe, Pampanga, Vincente Silva Manansala is an acclaimed Filipino painter and artist. In his youth, he considered his hobbies, kite-making and creating charcoal sketches on paper, as fun, temporary escapes from his labor-intensive jobs of being a newsboy and shoe shiner in Intramuros. At the age of 15, he found that his inclination to the arts brought him under the mentorship of Ramon Peralta to learn the fundamentals of painting at a sign and poster shop. A year after, he enrolled at the University of the Philippines School of Fine Arts. When he graduated in 1930, not only was he able to master the basics of oil-painting, but he was also able to merit a great deal of financial aid, scholarships, and grants from art establishments around the world due to the artistic prowess and prodigious creativity he displayed during his stay in the institution. Later in his career, he received multiple awards and held positions in esteemed local and international art establishments. 

   The education and training he took up in countries like France, Canada, the United States of America, and Germany, was reflected in his approach to his artworks, which were obviously products of international influence. It was refreshing in the local art scene at that time, which drew in a massive audience for his exhibits. Rapidly gaining popularity, Vicente’s eccentric aesthetic made him a pioneer of modernism of the arts in the Philippines. His style could be referred to as “transparent cubism,” which involves scattered facets of varying hues across the painting. His paintings created lasting impact to their audience, as his technique seamlessly blended geometry with expressionism, calculation with spontaneity. His genius as an artist transcends beyond his technical innovation, as the subject matter in his paintings, centered on the post-war urban experience, spoke to a new Filipino audience. The end of World War II sparked a type of social awareness that Vicente tastefully incorporated into his artistry. As he took inspiration from his immediate surroundings, Vicente’s paintings revolved around the life of the commoner. He took everyday scenes, objects, and places, like family gatherings, cockfights, native delicacies, the slums in the urbanized areas of the country, religious figures, and painted them in his slightly more westernized fashion that somehow made them iconically Filipino (Paras-Perez, 1980).

   Jeepneys is the title given by Vincente to his work. Based on the title, and the painting itself, the image he intended to create was the daily traffic congestion in the metropolis. Given that the jeepney is one of the most affordable means of transportation readily available to the masses, Vicente probably wanted to cement the theme of daily Filipino encounters as the core of his collection. This work was made in 1951, just six years after the war ended. It is known that jeepneys quickly surfaced as a makeshift, creative way in an effort to re-establish inexpensive public transportation, much of which had been destroyed during World War II. This was done by repurposing and decorating the surplus jeeps from American troops in order for it to be suitable to accommodate several passengers and look visually appealing, colorful, and eye-catching as it traveled on the road (Platino, 2014). The popularity and the history of the jeepney during that time may have also prompted Manansala to create this artwork. The painting is currently displayed in the Ateneo Art Gallery as a gift from Fernando Zobel. 

   Jeepneys is a painting done on a fiberboard using enamel. A wash of white and bright yellow was laid down first, before hasty, daubs of other colors in varying saturations, like orange, red, and brown were applied. The use of enamel on fiberboard allowed for the different-colored strokes to be semi-translucent and glassy without the need for tedious modification of the paint, permitting the yellow hue to penetrate through the secondary layer of pigments. This mimicked a filter of warmth throughout the piece and brought about a more cohesive color palette. The presence of the different colors also distinguish one entity in the painting from another, allowing for clarity of scenery despite the expressive style employed by Manansala. This clarity is also achieved through the use of actual, irregular, black lines that serve as outlines of the subjects in the painting. The inconsistency and coarseness of these lines give a sense of spontaneity to the piece. On top of these outlines, smudges of warm blues were added as accent colors to impart variety against the otherwise unified, chromatic value scale of only varying shades of red and yellow; this makes the painting more interesting and more captivating of the attention of its viewers. Slivers of white highlights also creep through the painting. 

   With the guidance of the chromatic value and the black outlines in the painting, I can identify many jeepneys and people as subjects, which makes me infer that the setting is an urbanized area, like Metro Manila. In the upper portion of the painting, I can see even more people, lined up, probably waiting for a ride to get where they want to be. I deduce that these are common Filipinos, patiently queuing for transportation to get home from work. The reds and yellows make me believe that it is sunset, or time for people to return to their homes after a day at their jobs. The primary colors of the painting may also signify the colors of the Philippine flag, in order to place emphasis on the Filipino origins of the jeepney, and on just how routine the scenario depicted in the painting is in the country. 

   Unlike the vast majority of Manansala’s works, this particular painting of his makes use of more organic shapes than geometric ones, a hallmark of his signature “transparent cubism” style. Similar to his other paintings, this painting is composed of superfluous shapes of different colors that contribute to an overall puzzle-like look. The distribution of these shapes and visual weight is more or less uniform across the entire work, which makes the painting balanced. The irregularity of the shapes, formed by both colors and lines, also evoke a touch of movement and life to the whole piece to be perceived by the viewer. There is also very minimal negative space in the painting; the fiberboard is saturated with different objects and characters. This gives the piece an disorganized rhythm which almost makes the conveyed scene feel chaotic to the viewer. The seemingly rough texture of the painting, probably achieved through the use of a fiberboard with grooves and indentations as its canvas, gives the painting a rustic, undone edge. There is also an absence of a defined vanishing point in the painting, which makes the elements appear very packed and arranged in a collage-like manner.

   In my opinion, all of these elements reinforce the mayhem and frenzy of the traffic scene in the painting. Manila is known for its notorious traffic; streets are rarely peaceful in the midst of the relentless honking of vehicles, the reckless attempts of drivers to beat a red light, and the rowdy crowds of people on the street desperately trying to find a good deal or any sort of transportation to get where they need to be. The dynamism and movement in this painting, that I was able to immerse myself in, was successful in transporting me into the legendary Manila traffic. Given that this painting was made just a few years after the end of World War II, the Philippines was eager to rebuild its economy that had suffered tremendously during the war. This could have led to more Filipinos joining the workforce, and the subsequent increase in the number of people that had to be on the road to earn a living. The work of Manansala, Jeepneys, through its elements and composition, has successfully communicated the essence of a bustling city, brimming with vitality just as it is with madness. 

   I have utmost respect for Filipino artists like Vincente Manansala, who use their acquired techniques from other parts of the world to help in the progress and development of their own country. Jeepneys, along with Manansala’s other paintings and illustrations, is a carving etched on the history of art in the Philippines, as he spearheaded the rise of modernism in the local field of art. Other artists like Mauro Malang Santos, Antonio Austria, Angelito Antonio, and Mario Parial have been inspired to experiment with their own distinct, unconventional styles in painting because of the contributions of Manansala. His artistry birthed a new generation of artists that embraced their personal aesthetics. Beyond his mastery of art, I commend him for the common thread of daily, purportedly hackneyed conventions in the lives of everyday Filipinos that is firmly woven throughout his series of paintings. He shows that the average Filipino is worth creating art for. An image of the traffic-bombarded roads of the city are just as enthralling as extravagant portraits of doñas and dons, paintings of picturesque views that only the upper class can afford to see in a lifetime, and illustrations of glamorous novelties. I believe that in a way, Manansala’s work was able to open the once inclusive, intimidating realm of art to other people who resonate with his work that captures the unfeigned, honest heart of the Filipino. 

   To me, this painting does not necessarily pass the classic standards of rhythm, harmony, balance, and proportion, as it does in fact look disarrayed at first glance, especially when I consider that Manansala did in fact intend for this painting to represent a scene of jeepneys. It might even be difficult for some to make sense of the painting at first. In spite of this, I cannot help but be in awe when I look at this painting, maybe because a sight that I am so familiar with, has been transformed into a expressive impasto of color, with details that take my gaze from one impressive fragment to another. The more I look at the painting, the more things I am able to find that make the work even more fascinating. I do find significant cultural value in this painting as well. The use of primary colors keeps the painting grounded in its Filipino roots, and it also allows for a more graphic projection that the jeepney is a mode of transportation unique to the Philippines. Its history of it being a product of Filipinos’ resourcefulness and resilience after the war makes it a cultural staple in the country. There is a deep heritage and origin to something deceivingly simple like a humble jeepney, like there is a hidden complexity and masked grandeur and to the everyday, seemingly mundane, themes of Manansala’s works. 

References:

Paras-Perez, R. (1980). Manansala. PLC Publications.

Platino, M. (2014). Philippine jeepney: World War II surplus vehicle that became a cultural icon. Retrieved from https://globalvoices.org/2014/04/20/philippine-jeepney-world-war-ii-surplus-vehicle-that-became-a-cultural-icon/

[recfd]

THE EXCELLENT MOVEMENT OF ART   Achille Bonito Oliva / Curator; Critic; Founder of Transavant- garde Movement

The classicism of Qin Feng lies in the unscandalisedacceptance of the intelligent fortuity of life, the availability of the universe. Art becomes the place where the artist for malisessuch principles, incorporating them into the artwork traversed by a geometry pivoting on asymmetry that produces dynamism and not staticity. The Chinese artist always works on families of artworks, since they derive from matrixes capable of multiplying themselves into complementary yet different forms, between abstraction and figuration. In this way the concept of design takes on a new meaning, no longer evoking a moment of magnificent precision, but rather one of open testing, albeit guided by a method built on practice and exercise in execution. The method naturally recalls the need for a constant and progressive parameter, anchored to the historical awareness of a context dominated by the principle of technique.

Technology develops productive processes anchored to standardisation, objectivity and neutrality. From such principles, American pop art and Chinese neo-pop art are the iconographic confirmation and representation of a philosophical materialism and a vital consumption spawned by the urban culture of the big cities. These are constituent principles of a different mentality from that of Qin Feng’s abstraction which is built on a profound and highly subjective idea of diversity. In this sense, the Chinese artist is an immune carrier of an art that can produce difference through the creation of forms that use standardisation, objectivity and neutrality differently in a fertile manner: a manner capable of filtering the imagination of a mass society pervaded by the supremacy of technique and emptied of subjectivity and spirituality by this technique itself.

But in Chinese painting this emptying is not seen as a loss, as it could appear to a late Humanist or Marxist mentality. On the contrary,it leads to a new human anthropology operating through a metabolism of modular reason. However, this does not signify symmetric repetition but asymmetric multiplication, that is, the application of new rules of intelligent fortuity as opposed to undifferentiated chaos.

Intelligent fortuity means man’s ability to accept discontinuity without succumbing to the despair of incapable rationality. The acceptance is generated by the loss of pride in Western logo centrism which encompasses the patient analytics of the oriental world and moves pragmatically, not in battle trim but with openness towards the world. A globalised world where influences between East and West are reciprocal. Zen has influenced American action-painting, European painting and Cage’s music. American pop art has stimulated Chinese figurative work towards the representation of urban reality. It has done so through a static vision of space.

Qin Feng’s work comprises trust in the ethical reason for art, capable of melding linguistic forms appropriate to its own time. The difference lies in the diverse notion of utopia employed by Western artists active in the late capitalistic society of the late twentieth century. Here what prevails is a positive concept of utopia, which is also present in all the historic avant-gardes of our century. It is, indeed, the idea of the power of art and of its language to reverse its own order upon the disorder of the world. The Western rational optimism, albeit in this case creative, in the ability to affect the process of transformation of the world and of social behaviour.

Qin Feng what emerges is a concept of healthy negative utopia, understood as awareness of the impossibility of art to establish an order beyond its own confines. In a sense the ethic of doing prevails over the politics of creating. An ethic that, moreover, identifies a process of focusing the conceptual and executive process of art. In fact, the artist conceives the forms in a solitary manner and then sometimes delegates the execution. This does not meanthe abandonment of the product or the pride of the artist favouring the moment of conception over that of realisation. On the contrary, it posits the possibility of art to open up to exchange and social contact, eliminating the conventional ritual of the invention, the sacredly obscure moment of the realisationof the artwork which has accompanied much contemporary art. Asymmetry also signifies the principle of collaboration and of collective contact.

Here there is a prevalence of what can be figured, a medley of abstract and figurative, whereas art instead tends to underscore forms, to give body even to geometry. Indeed, these two-dimensional or three-dimensional forms are always concrete linguistic realities, statements of a mental order that is never repressive and closed but fertile and unpredictable. In any case, the forms germinate and multiply with unexpected angles that unfurl the potential of a new eroticism. These forms always display a domestic monumentality, which does not allude to the arrogance of the American skyscraper or the rhetoricof sculpture.

Qin Feng’s work is anti-rhetorical, inclined to restore an interior and mental human condition. For this reason it rejects the Renaissance perspective that American pop art and the Chinese neo-pop art use to represent urban reality. Here the vision is anti-perspective: this abstract painting looks at the world from different angles with a gaze always in movement which creates dynamic images.

This does not mean waging a conventional war on the forms existing in reality; on the contrary it means creating a linguistic sphere of analysis and synthesis. The analysis is produced by the possibility of testing the germination of these families of forms, and the synthesis by the delicate strength of the whole unfolding before our eyes. The germination of the asymmetric geometry also produces an original execution of theart work which completely opens up its possibility of existing to social solidarity. In this way the art resumes its ancient status as concrete work.

The works of the Chinese artist are sites of confluence, places to think and act where design and realisation concretely entwine to establish a system of production not only of forms but also of social behaviour.

According to Klossowski“every experimental initiative demands a delirious, extremely clear interpretation” and the relation between the artist and language is based on the consideration that it represents the total reality to be addressed, the starting point from which one can move to experiment a possible laceration capable of forging a new articulation.

The strength of the Chinese artist lies in the ability to construct a landscape of forms that, in their own alteration, do not intend to measure themselves against the visual codes of reality. He has no resentment towards the things that surround him, but –armed with an indispensable sense of omnipotence –employs artistic creation as a tool to construct an independent universe, separated from the things themselves.

In this way, his images do not childishly transgress the canons of harmony, proportion and symmetry. They do not constitute alandscape of purely sentimental iconographic resentment, mirroring the cold landscape surrounding man. In relation to language Qin Feng places himself in the condition of a builder who intends to use his own resources to create a world as the will and representation of his own vision.

He employs the clear delirium of a creative process which is entirely based on the economy of purely abstract language.

The artworks possess a plastic tension that is inscribed on the two-dimensional canvas or in the three-dimensional space with the strength and necessity of its own internal proportions. A sense of construction attends the artwork, which is always created with the awareness of a whole that has to support itself though a formal self-sufficiency. A vertical force sustains the image, since it has to challenge the laws of gravity, the possibility of keeping a non-arbitrary system of signs standing. But this calls for rules proportionate to the effort and to the internal tensions of the language employed. Every work demands a specific care and attention proportionate to the foundation of the new form.

Like Alice in Wonderland, Qin Feng is well aware that it is crucial to pass the threshold of the mirror before the realisation of every work. This prior passage ensures that the artist can free himself of the everyday perspective, the traditional procedure, the normalised gaze and also from the surprise which would arise if he employed art as a flagrant process of overcoming reality.

The artist overcomes the threshold of the mirror, of the purely specular relationship with things, the moment he decides to be an artist, to do this and to produce images. From this moment for him there are no surprises, and not even the memory of ancient rules. He adopts an “experimental initiative” which permanently emancipates him from any euphoric and merely transgressive condition, leading him to achieve the foundation of an iconographic universe which is absolutely harmonious with his own fantasy.

Qin Feng’s painting always tends to a total form, meaning by this the achievement of a correspondence between feeling and visual form. The artwork never represents the condition of the fragment, of a detail that navigates separated from a system of the whole. The whole is the result that continually achieved by the artist, armed with a vital sensitivity that always leads him to the condition of the demiurge.

This explains the challenge to abstract language, since it is sustained by a space-time delirium which always brings him to establish the essential conditions appropriate for each specific construction.

The artist employs the dual sentiment of nostalgia and of fear, leading him to establish the Nietzschean pathos of distance with language, the only reality upon which and through which he can build his own image. Nostalgia towards a history that appears to be increasingly separated from nature and fear of the violation inherent in the experimental initiative, which alone is capable of bringing it back to the foundation through the form of a natural sentiment.

But all of Qin Feng’s forms have the strength to withstand even beyond all reference, abstract pieces of matter and colour–black and white –which withstand by internal autonomy beyond all the dictates of memory. Hence the titles of the works, which respond only to the economy of artistic fantasy.

The desire for power that sustains the Chinese artist’s creativity waylays the possibility of considering the artwork as a mere relic of the fantasy, a metaphorical detail removed from a hypothetical totality. The distance permits the detachment necessary to strengthen language in its potential intensity. The pathos is inherent in the artist’s awareness of developing a struggle that can lead language to a formal status which would have been absolutely inconceivable before his intervention.

The work of the Chinese artist merges a total time encompassing the initial moments of life and the final moments of death, terms also belonging to man’s destiny. Within the tension between life and death, present and past, Qin Feng finds the time of the resurrection of language capable of founding the heroic sense of an image build upon its skeleton. Here there is no decaying appearance of the flesh, but the juicy and essential skeleton of a language enduring over time. Hence the freedom of art, its expansion into a great era of peace.

This painting does not loom over man but proposes coexistence, accompanying him within and beyond daily life, like an existential state rendered visible and silently insinuated into the bare dimension of existence.

“Never cause shame to others” Nietzsche taught us. Art places itself outside the logocentric pride of the Western painting, almost always based on the skill of technique and execution, on the superiority of a procedure and a product that is simply astonishing.

This is a precious operation by the Chinese artist, garbing the mute wall with the chromatic sound of a travelling and nomadic painting, which touches places in many countries without ever losing its own identity or cadence. Like music, it can be played anywhere, in its stainless flexibility and incessant capacity for dialogue. The artist has worked on the types of dome and frame, mentally absorbing the places surrounding him. In this way what is generated is an aesthetic expansion of painting capable of living inside and outside, within social attention and social distraction, in the frontality or laterality of the gaze.

In short, the Chinese abstract painter creates a frontier between art and life, a hinge for the social gaze that can oscillate between the inertia of the everyday and the intensity of the aesthetic sphere in a movement of delicate continuity. This is the secular aspect of an incessant and febrile work which can be applied to large and small format, in the awareness of an excellent and magnanimous gesture that can create a short circuit between the self of art and the we of the world.

The Chinese abstraction gathered together in this exhibition illustrates a major emancipation from the influences of other cultures, since it develops a position that is not subordinate to them but is nomadic and dynamic. Qin Feng’s research therefore, goes beyond all permanence within his own cultural territory, experiencing a dialectic relationship with the artistic production of other countries. Between Tao and Zen, vertigo and calmness, vertical and horizontal, Qin Feng’s abstraction ruptures the vision of Western perspective that imposes a single point of view, opening up instead to a multiple vision which is in eternal movement.

Because the Chinese vision is based upon the circular Tai Ji symbol which has no beginning and no end, developing an

image of the world that is spiritual and without hierarchies. While the Western viewer looks at a painting from a single

point of view, there is no doubt that an ancient or modern Chinese reader opening a scroll of paintings will look at it as

he walks. This is the art of Qin Feng, an art in joyful movement.

[sabai9911]

Abstract Arts & Abstract Paintings

Painting lessons are good for people who genuinely wish to improve their painting skills. These lessons provide various kinds and kinds of painting like gas painting, watercolour painting and even abstract painting.

The art of abstract painting created a long time ago. Artists started that art many 100 years ago. In fact, it's likely you have perhaps considered several the more well-known abstract paintings before. You could recall a popular painting made by Vehicle Gogh. Picasso also owned 1 or 2 as well. Modigliani can also be known for his abstract painting work. Because of these artists , and many more, the art of abstract painting has gain popularity in the modern world.

Abstract painting is described in several ways. It usually utilizes form and shade in a non-figurative way and do not signify any entity or thing in the organic world. It does not display things in the natural world. Fairly, an abstract painting makes use of shades and shapes in a non-representing and non-objective way. It can be of any individual, anything, or perhaps nothing at all. It is typically used to explain cubist and futurist art earlier in the twentieth century, which shows sensible forms in an easy manner, making merely a reference of the first subject. A number of these paintings asserted that it only grabbed the organic qualities of the represented points than their external appearance. The terms abstract painting and abstract art were created to communicate a cultural phenomenon that had taken the whole western culture. But, the notion of non-figurative or non-objective art was not invented in the 20th century because so many people have thought. Individuals have previously been doing non-figurative art since man has realized to draw. It had been thought that the Islam Religion forbids rendering of people and had developed Calligraphy, which has been looked at as a greater normal in ornamental artistry and one type of non-figurative art.

This specific little bit of art has exciting, bright, and intense hues. Furthermore, it has a lot of biometric patterns that are applied in combination with the exciting shades to help make the paintings stay out. It's equally strange and lovely to see an abstract painting. It uses a visual language of sort, shade and line to make a composition that may be provide having a qualification of independence from visual resources on earth. It is actually a big umbrella to which a lot of art types lay. It is just a very large type which contains many, several imaginative representations. Basically, any art that doesn't decide to try to really show anything, and as an alternative employs consistency, colors, designs or space to illustrate that point is recognized as abstract.

Getting paintings for your property may be the first faltering step in putting your personal touch to an interior decoration. Decorating your individual residing place is a vital require; we all need to live in a space which makes people feel great and relaxed. Our houses are small havens and sanctuaries; therefore presenting art in your home is ways to personalize and level the space you reside in. Modern art paintings are an effective way to create your space breathe imaginative creation and style.

Modern art paintings have now been typically the most popular art pieces the previous few decades, sometimes displayed in art galleries for arbitrary readers and fanatics, or as part of the decoration in our living or working space. You can find tens of thousands of devoted collectors of Modern art paintings throughout the earth, who're willing to invest some serious levels of money to be able to purchase the items of their desire. Whether you see them being an expense or as art pieces for private satisfaction, unique modern paintings are an absolute must have.

Presenting modern art parts and paintings on the surfaces of your residing or working space, can be quite a substantial shift in order to totally modify the tone in the space or enhance some of their functions: a landscape painting can automatically create a more serene and calm environment, a painting that depicts water and sea can add to your desire for traveling or help your mind avoid; artworks presenting creatures or trees could be the right match of furniture in a rural home or help you create a more relaxed and lodging feeling, generally in a very innovative way.

No real matter what their topic may be, modern art parts and paintings may have a very calming effect; they can also be perfect decorative pieces. Even although you have never been a knowledgeable art individual and lover you cannot help it but price their uniqueness.

It depends on the artist , but typically, yes abstract paintings have a purpose. The reason is simply to beautify your environments with intrigue. Okay, but why do people pay therefore much for what appears like a canvas with some color placed about it? Abstract paintings can be very economical if purchased from an up and coming artist. And believe it or maybe not, usually there is a purposeful effort at where that paint arrived on the canvas. The wonder of abstract art , both for the artist and the audience, is that anyone can get what they see and read it nevertheless they see fit black and white original art .

There are numerous different interpretations of abstract art. An artist could be totally non-representational, or he or she may conjure up identifiable types and symbols. In a wide spectrum of abstract paintings, you can find areas, seascapes, organic objects, and vibrant patterns and forms. All and all, abstract paintings generally have a strong focus on shade habits, and/or texture. In this modern day, with photography, digital art , and the ability to produce styles, it's no wonder why artists are seeking to produce it perfectly obvious that everything you see on the material was in-fact created with a more particular human element. The way you ask? Through building up layers of texture, range, or using a glazing strategy that collects and redistributes gentle, creating the color seem luminous.

There is therefore significantly delight in painting abstractly because the walls of rigid preconception are split down. Many artists are using abstract art as a way to discharge thoughts, and also as a means to freely show what they've noticed in nature. When something is completed in spirit and spontaneity, it's obvious and it reveals in the work. The objective of abstract art is to recapture this substance and carry that joy to the lives of others.

[musicacademic]

Year 1 - Semester A - Week 7

November 4th - November 10th 2019

Music Industries

Teaching Music

In Music Industries on Monday morning, we were taught about teaching or we taught ourselves about teaching? Either way, it was probably one of my favourite sessions of Music Industries so far. Most of the session was up to us to see how Music should be taught. My professor started by welcoming us into the room with sweets and asked us how our holiday (as an Icebreaker) which was really nice as we’d been on a weeks holiday before that session and that’s where the lesson began. Right at the door. 

One of the most crucial parts of teaching is to make sure that the students respect that the classroom belongs to you as a space to educate them but also to them as a space to be educated and to not be afraid to ask questions.

After being welcomed in my professor already had the classroom in a layout that he wanted it to be in to teach the lesson which made the transition between standing outside and beginning the lesson much easier as the classroom was equipped for learning.

A line that he made sure to emphasise was “A teacher’s job before anything else is to make sure a student is learning” and the way to do this is usually through assessments. There are 3 kinds of assessment:

- Self: This consists of letting a student look back on their own work and decide where they were successful and how they think they could learn better.

- Peer: This form of assessment can be shown. An example of this would be swapping work with another student to add their own input on how they feel the other’s work could be improved which allows insight on certain things you may not have noticed yourself when learning.

- Teacher: This is where you as the teacher really learn about how your student learns and you pick up on their strong suits and places in which they may require help. This is how a teacher will make sure that their student is learning.

To make sure we understood the lesson he provided to us an assessment of his own which was to plan our own lesson and present it for the class within 1 minute. When giving us this task he made sure to emphasise that as a teacher you must always remain professional even if giving a more relaxed lesson and that teaching always requires a plan. 

See my lesson plan below:

Being a teacher, especially a music teacher within the teaching industry is an extremely hard task due to a number of things my professor listed as:

Noise! - Especially when working with younger years, noise can be a big problem with teaching music as in Primary and the early ages of High School, Music is usually a mandatory subject which means many students that you take may not always be interested in learning how to play music and sadly that means listening to the DJ button on a keyboard going off during your well-planned lessons.

Poor accommodation & funding - With budget cut after budget cut coming from the Government, the Arts are slowly dying as a subject and with less money for Music, schools are less likely to want to put time and effort into making sure that the subject has adequate equipment and workspaces. Which links into the next point:

Lack of administrative support

Competition with other creative arts subjects 

Numbers of classes you will have, names, paperwork, parents evenings…

Small dept teams, including peripatetics (peri-pat-etic: a person who travels from place to place, especially a teacher who works in more than one school or college.)

Stress/workload

Even after hearing about the struggles of being a Music teacher, this lesson really influenced me into thinking about it due to the positive reinforcements from my professor that I would make a good teacher even though it was something that I’d always brush aside and say that I wasn’t ready for.             I’m very thankful that I had this lesson as even though I knew about most of the parts of being a music teacher I’d never equated it to myself as much as this lesson allowed me to.

Approaching Notation and Analysis

Introduction to Transcription

(Worked on Notating Rhythms - Nothing to Show)

A Performer Prepares

The Cult of Virtuoso: Concertos

A concerto consists of an Orchestra playing with Soloist. It is usually used to:- Add Texture to a piece- Give an important Musician a chance to show off- Showcase a brand new instrument- Create a dramatic dialogue between the Orchestra and Soloist

Throughout the different stages of music (Baroque - Romantic), there were many different definitions for what a Concerto was which meant that Concertos varied a lot during this time but once music progressed to the Romantic era, it finally seemed to become one definition. A Classical Concerto (Cadenza) was the first seen improvised solo given to musicians within music whereas concertos within the Romantic Era were based more on the virtuosity of the main soloist rather than musical depth. Most Concertos in this time were written to show off and gloat about virtuosity.

An Example of a Concerto: (Vivaldi’s 4 Seasons - Winter)

[Vivaldi, Concerto No.4 in F minor, Op.8, RV297, “L’inverno” mut.3 Allegro - 1725]

Recording Music

Recording Studios

In this session, we went into the recording studios and were walked through how the equipment worked which I had learned from my time in College. Not much else was learned other than shaking an egg to be recorded which was quite funny.

A History of Popular Music

Mediation, Semiotic Analysis and Musical Dramaturgy

The definition of Mediation in the Oxford English Dictionary states that Mediation is an “Intermediate Agent” and a “Medium of Transition” which when written in simpler terms basically boils down to Mediation is making music marketable. It is usually seen as opposing to Authenticity as it takes away from the original meaning of the song but can also be complementary to the Authenticity of a piece of music.

When thinking about Mediation the sections usually thought about consist of:

- Live Performance - Selling Merchandise / On stage lighting choices and art

- Package Recording - Recording CDs / Vinyls / Cassette Tape (Image/Artwork)

- Filmed Concert Documentaries

- Radio Broadcasts - Live Lounge

- Feature Film Soundtracks - Netflix / Films / TV Shows

- Adverts for Non-Musical Projects - John Lewis Adverts

- Instrument Choice - Dylan Goes Electric

An Example of Mediation could be the performances of Verdi’s “La Traviata” - ‘Brindisi’ (Lost Weekend (Wilder, 1945)) as it shows how the context within a performance is important to Mediation.

Semiotics is the creating of meaning from an action or symbol. For example, some things have multiple meanings such as the sign the 2 fingers up meaning Peace when it comes to Hippies and Victory when Winston Churchill did it after the war. Most Semiotics depend on the context and the subject’s cultural codes / what they grew up understanding.

Codes are signifiers that promote a certain thought or feeling within a spectator due to the individual’s familiarity with the code. E.g. Shrieking Cellos to a Western audience would be a code that connotes horror whereas someone who hasn’t been exposed to the sound within that context may not feel the same feeling of fear after listening to the same sound.

Within the book Unheard Melodies by Claudia Gorbman, the author proposes that when an audience attributes meaning to film music their reading is based upon their experience and understanding of 3 different semiotic factors (Although sometimes these factors blur and merge):

Pure Musical Codes

Cultural Musical Codes

Cinematic Musical Codes 

Musical Dramaturgy: When broken down Dramaturgy refers to techniques and principles employed in the design and presentation of dramatic works which leads to the idea that ‘Musical Dramaturgy’ separates elements that complete dramaturgical functions from ones that do not.

The terminology used when thinking about Musical Dramaturgy includes:

Added Value - Adding music to a scene gives the visuals a value. An example of this would be having one scene with different music over the top and seeing how the scene is perceived with the change.

Non-diegetic Music - This is where the music within a source is absent from the story word aka music that the characters within the story cannot hear. Example: The Opening Scene from UP - The music that plays within these scenes is obviously non-diegetic as it plays throughout the story of their lives and the characters do not react or interact with this. This music is merely there to add depth to the scene for the audience.

Diegetic Music - Being the exact opposite of Non-Diegetic Music, this music exists within the world of the characters and is often something the characters will interact with either through turning on the radio, putting earphones in or walking into a party and having the music play. Example: A scene from The Amazing Spiderman 2 in which the music switches from Diegetic (Being played through earphones in the main character’s ears) to Non-diegetic (The character taking his earphones out and the music getting louder to connote the switch between the two)

Internal Diegetic - This is the 3rd form of music within the context as Internal Diegetic refers to music in which one of the characters is thinking about a piece and therefore the audience can hear this music but the other characters within the scene cannot hear or interact with the music.

Acousmatic - Is the creating of an audiovisual space which brings the audience beyond the borders of the screen into the spaces in which the camera cannot capture. Examples of this would be like behind a closed door or behind the character as they’re being filmed walking down a corridor.

Empathetic - This music is something that is matched with the mood of the scene or of a character/compliments what the audience would think is appropriate for the scene.

Anempathetic - This music is something that is matched against the mood of the scene or of a character. Example: In Kingsman where there is a massacre within a church and yet the music is happy and upbeat.

Dissonant Harmony - A form of Anempathetic Music which creates a sense of Irony which is reflected through the music and the film scene.

Intracontextual Reference (Leitmotif) - Referencing a song that has been playing throughout a film in reference to a character or a certain event within the film. Example: Top Gun where the song playing on the Juke Box in the cafe is one that is linked with the Protagonist’s relationship with his partner which is heard throughout the film.

Intertextual Reference - Music which creates meaning through its connection with another form of media. An example of this would be if the Jaws theme playing in a different film, the audience link this sound with the idea of something lurking and getting ready to strike and therefore get worried.

Mickey-Mousing - Actions that are syncronised with the music alike what is usually seen in Mickey Mouse cartoons.

Ostinatos and Stingers - An ostinato is a repeated melody or rhythmic pattern that illustrates sudden dramatic tension (A Stinger).

Sound Bridge - Music that starts at the end of a scene and guides the transition through to the next scene.

[micaramel]

Artist: Nina Beier

Venue: The Downer, Berlin

Date: May 19 – July 7, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of The Downer, Berlin

Press Release:

The first artwork I saw by Nina Beier was her performance Tragedy, which she has staged a number of times, but this particular version took place at Metro Pictures in New York on a muggy night in June 2012. Tragedy stars a dog laying on a Persian rug, splayed out and stock-still, playing dead. The performance inspires double takes on different emotional registers; the first is the need to confirm that one is seeing a live animal and not a hyperrealistic sculpture. After a few seconds of observation, one realizes, yes, the dog is shallowly breathing. But then one wonders how this dog is able to keep it together in a hot room filled with a hundred people. The dog isn’t exactly zen. It is still, but its somewhat anxious stare is directed at one person in the crowd. The dog’s trainer is mixed in with the gallery visitors, reassuringly staring back at the animal with a gaze that invokes supreme trustworthiness, indicating the praise, biscuit or whatever reward will be granted to the performer for a job well done. I am not sure how long the performance lasts, it could be anywhere from five minutes to a half hour. Time gets a bit suspended while watching Tragedy.

At this point, I wasn’t familiar with Beier’s work and I unexpectedly stumbled into the performance. Tragedy was featured in a jaunty summer group show about dogs – fittingly titled “Dogma” – and while the piece does feature a dog (and a live one at that), its intrigue and power far exceeded the context. It’s the only thing I still remember from the show. As I’ve learned more about Beier’s work over the subsequent years – and indeed now been able to enjoy an ongoing conversation with her in the months leading up to her exhibition at the Downer – I have come to see Tragedy as a decoder ring to her larger practice, which regularly digs into the more unsayableterritory of art. The fact that it was the first piece of hers I remember seeing is just dumb luck.

Deceptively familiar would be a good way of describing much of Beier’s work, and Tragedy is no exception. A conventional illustration of domesticity is doubled: the pet dog and the Persian rug. The fact that the dog cast for the part at Metro Pictures was a Golden Retriever, a quintessentially suburban American breed, made the tableau almost too rich. Despite itself, Tragedy is less ‘tableau’ and more ‘tableau vivant.’ In inviting her viewers to observe the ostensible nothing going on – which is actually completely riveting – Beier opens a space for considering a subject so familiar that rarely is a passing thought levied on it other than, “Oh, cute.” So after the brief confusion over what exactly is taking place, Tragedy is narrated by each viewer’s inner ruminations on dogs, domesticity, domestication, conditioning, trust, ownership and mortality, and that’s just the obvious stuff.

Funnily enough, Tragedy addresses its audience in the least dogmatic way possible, instead placing the onus of decoding its meaning into the hands of its viewers totally without didacticism. Gettingthe work doesn’t require an explanatory text or an understanding of Beier’s previous projects, but rather a willingness to dig around in one’s own ideas about its component parts. Tragedy doesn’t contribute to our understanding of these. Instead it inspires a meditation on what our understanding of them currently is and how we may have arrived at it.

At some point, the trainer rouses the dog and the audience snaps-to. The small resurrection leaves the door open for a reprise.

While the dog is still on the rug, Tragedy presents a scene aspiring to be a fixed image, though its failure to be completely still is what makes it captivating. A photograph of a dog lying on a rug can’t inspire the same stupefied reflection as seeing the it nervously performed for you. Instability – or unfixed-ness – runs through Beier’s practice. She selects and massages her materials not only into being strange enough to inspire a double take, but also into being myriad things simultaneously. One sees that the unfixed-ness literalized by the seeking gaze and the rise and fall of the dog’s shank exists metaphorically in Beier’s sculptures, assemblages and installations.

Beier’s research into stock photography banks is often mentioned in writings about her work. She has borrowed these images as templates for sculptures, reassembling in physical space the props used in the original photograph. Stock images in general, especially the type that Beier utilizes, have proliferated crazily over the past two decades. Cheaply made by arranging commonplace objects into theatrical still lives, these photos are also unfixed by design, aiming instead to fulfill a bevy of uses and in doing so appeal to the broadest group of paying licensers. Stock image banks host thousands of near identical images of the same objects in similar configurations. This deluge is a perfect illustration of contemporary image culture, in which the societal appetite for visual information is insatiable, but also the paradox of working on no assignment for no client. Thousands upon thousands of things are thrown at the wall to see if they stick, those that don’t just pile up.

Despite their volume, these images consistently employ fairly superficial metaphors: telephone and Ethernet cords signify connectivity and communication; coins and banknotes – commerce; eggs – fragility or fertility. They function almost like visual security blankets, reassuring those who use them that they won’t go over any potential audience’s head. Beier is guilty of employing the same tactic, at least at first glance. Her materials are often quotidian objects – sometimes they are aspirational ones – all of which elicit what I imagine are fairly standard responses from most people. They are familiar.

The seductiveness of familiarity may be what initially draws an audience to Beier’s work, like me to the dog on the rug. But as with the slipperiness of the tableau in Tragedy, one’s recognition is quickly complimented by the realization that whatever one is looking at has been changed or charged to allow it to point beyond its everydayness and into the murkier history that produced it. A cigar is never just a cigar. This is a meaningful duality in Beier’s approach: she simultaneously exploits the emotive, feeling, sensing context within which we are used to approaching art, as well as our contemporary collective unconscious that has ballooned to incorporate all manner of shared information, from Wikipedia to advertising to memes to political dog-whistling. Her work is particularly dependent on her audience’s preconceptions and it bends to confirm or challenge these depending on how willing each viewer is to reckon with them.

In one of Beier’s sculptures that uses coffee beans, a seemingly endless cascade of them spill forth from a tiny espresso mug, piling in a heap on the ground below. The sculpture seems unbound by the forces of the world, with the mug hovering half a meter off the ground (spoiler alert: it’s held up by the beans it is purportedly pouring). In this instance, stillness is unsettling rather than the opposite. This thing defies gravity. Its uncanniness leads one beyond the stock-image-level of communication. Sure this could be an illustration of the warm sensation that washes over you when you have a sip of your first morning cup, or abundance, movement and the effortlessness of global trade, and it is, but here somehow it’s also more. It wouldn’t be heavy lifting for a viewer to spin through these thoughts and end up thinking about the glorifying images of coffee harvesters in Latin America, Africa and South East Asia they have seen plastered on the walls of Starbucks worldwide. Then remembering that coffee is a product of imperialism, which now sits somewhere in the canyon between empowering and exploitative.

The things Beier brings into her work are loaded, but seeing them inspires the realization that everything is loaded. Elsewhere, Hermès ties show up. The ur-luxury-brand (it’s literally the first, or at least the longest operating) signals a very distinct version of entitlement. Their iconic patterned neckties caricaturize world culture with breezy nonchalance. All drawn with the same flattening hand, they illustrate safaris, Holland’s tulips and windmills, Native Americans dancing around a fire, Russian nesting dolls and Indian snake charmers. Another project involved a cache of engagement rings purchased second hand and shown together. The grouping contained rings sporting real diamonds alongside those fitted with cubic zirconias. I’m not sure if this fact was made clear to the audience to send them appraising or if the imposter rings were allowed to masquerade as the real thing with no one the wiser.

At some point, Beier told me about the anthropological term Material Culture. It refers to the study of society through the things it produces and that eventually trail in its wake. It also focuses on how these objects garner meaning, come to represent larger concepts and move between cultures. Beier’s work could be seen as an elucidation of this field, but I think that might be the stock-image-level reading. She does this, of course, collecting and investigating the products of our hyperactive, over-connected and often insolent culture. Concrete take-aways are more elusive, and Beier declines to share hers. Instead, she leaves her audience to grapple with the limitlessness of things, their unbelievable wealth of meanings and, ultimately, their unknowability.

Patrick Armstrong

Link: Nina Beier at The Downer

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The benefits of Music Schooling

benefits of music in children's education

The excellent relevance of making use of music in educating youngsters in schools and in the home!

Whether your child may be the next Beyonce or far more probably to sing her solos while in the shower, she is bound to benefit from some form of music schooling. Investigate shows that understanding the do-re-mis may help kids excel in means past the essential ABCs.

Additional Than simply Music Study has located that understanding music facilitates discovering other subjects and enhances capabilities that small children inevitably use in other places. “A music-rich expertise for young children of singing, listening and moving is really bringing a very critical advantage to children as they progress into far more formal learning,” says Mary Luehrisen, executive director with the National Association of Music Merchants (NAMM) Foundation, a not-for-profit association that promotes the advantages of building music.

Producing music will involve extra compared to the voice or fingers taking part in an instrument; a little one discovering about music has to tap into many skill sets, usually concurrently. For example, people today use their ears and eyes, at the same time as substantial and small muscle tissues, says Kenneth Guilmartin, cofounder of Music Collectively, an early childhood music advancement program for infants by way of kindergarteners that requires parents or caregivers while in the lessons.

“Music discovering supports all discovering. Not that Mozart makes you smarter, but it is a very integrating, stimulating pastime or action,” Guilmartin says.

Language Development “When you search at youngsters ages two to 9, certainly one of the breakthroughs in that spot is music’s advantage for language growth, which is so essential at that stage,” says Luehrisen. When young children come into the globe able to decode sounds and words, music education assists increase those organic capabilities. “Growing up in the musically wealthy atmosphere is often beneficial for children’s language development,” she says. But Luehrisen adds that individuals inborn capacities have to be “reinforced, practiced, celebrated,” which can be finished at your house or in a extra formal music education setting.

According to the Children’s Music Workshop, the result of music schooling on language improvement could be seen during the brain. “Recent studies have clearly indicated that musical instruction physically develops the element on the left side with the brain regarded to be concerned with processing language, and might basically wire the brain’s circuits in distinct methods. Linking acquainted songs to new details also can assist imprint data on young minds,” the group claims.

This partnership in between music and language advancement is additionally socially beneficial to youthful youngsters. “The development of language more than time tends to boost elements with the brain that enable procedure music,” says Dr. Kyle Pruett, clinical professor of kid psychiatry at Yale School of Medicine and a practicing musician. “Language competence is at the root of social competence. Musical working experience strengthens the capacity to get verbally competent.”

Elevated IQ A research by E. Glenn Schellenberg with the University of Toronto at Mississauga, as published in the 2004 problem of Psychological Science, found a tiny boost within the IQs of six-year-olds who were provided weekly voice and piano lessons. Schellenberg supplied 9 months of piano and voice lessons to a dozen six-year-olds, drama lessons (to determine if publicity to arts usually versus just music had an impact) to a 2nd group of six-year-olds, and no lessons to a third group. The children’s IQs have been examined before getting into the initial grade, then once more ahead of getting into the second grade.

Remarkably, the children who were given music lessons over the college 12 months examined on common 3 IQ points increased than the other groups. The drama group didn’t have the identical raise in IQ, but did expertise enhanced social conduct advantages not observed during the music-only group.

The Brain Performs More difficult Exploration signifies the brain of a musician, even a young one, performs in a different way than that of a nonmusician. “There’s some superior neuroscience analysis that little ones associated with music have more substantial growth of neural exercise than individuals not in music teaching. When you are a musician and you’re playing an instrument, you must be employing a lot more of your brain,” says Dr. Eric Rasmussen, chair with the Early Childhood Music Division in the Peabody Preparatory on the Johns Hopkins University, in which he teaches a specialized music curriculum for kids aged two months to nine years.

In actual fact, a study led by Ellen Winner, professor of psychology at Boston School, and Gottfried Schlaug, professor of neurology at Beth Israel Deaconess Medical Center and Harvard Healthcare School, found alterations within the brain pictures of kids who underwent 15 months of weekly music instruction and practice. The college students within the review who obtained music instruction had improved sound discrimination and fine motor tasks, and brain imaging showed changes to the networks inside the brain connected with people capabilities, in accordance with the Dana Foundation, a personal philanthropic organization that supports brain study.

Spatial-Temporal Abilities Investigate has also located a causal website link in between music and spatial intelligence, which means that comprehending music can assist small children visualize numerous aspects that should go with each other, like they'd do when solving a math issue.

“We have some pretty great data that music instruction does reliably strengthen spatial-temporal capabilities in small children in excess of time,” explains Pruett, who helped found the Carrying out Arts Medication Association. These abilities come into perform in solving multistep problems one particular would encounter in architecture, engineering, math, artwork, gaming, and especially working with computer systems.

Enhanced Check Scores A study published in 2007 by Christopher Johnson, professor of music training and music therapy in the University of Kansas, revealed that college students in elementary schools with superior music training programs scored about 22 percent increased in English and twenty percent higher in math scores on standardized exams, when compared to colleges with low-quality music programs, irrespective of socioeconomic disparities amongst the colleges or school districts. Johnson compares the concentration that music training necessitates on the focus essential to complete very well on the standardized check.

Aside from check score effects, Johnson’s review highlights the positive results that a quality music schooling can have on a youthful child’s results. Luehrisen explains this psychological phenomenon in two sentences: “Schools that have rigorous applications and high-quality music and arts teachers most likely have high-quality teachers in other locations. If you have an setting wherever there are a lot of individuals doing innovative, clever, good factors, joyful factors, even those who aren’t performing that have a tendency to go up and do superior.”

And it does not finish there: in addition to far better performance final results on concentration-based duties, music teaching can help with fundamental memory recall. “Formal teaching in music can also be connected with other cognitive strengths for instance verbal recall proficiency,” Pruett says. “People that have had formal musical coaching are usually fairly very good at remembering verbal details stored in memory.”

Being Musical Music can enhance your child’ skills in finding out and other nonmusic duties, but it’s vital that you understand that music will not make one smarter. As Pruett explains, the numerous intrinsic rewards to music education involve currently being disciplined, mastering a ability, remaining component of your music world, managing effectiveness, getting component of some thing it is possible to be proud of, as well as struggling using a lower than great instructor.

“It’s critical not to oversell how clever music could make you,” Pruett says. “Music makes your child interesting and happy, and clever will come later on. It enriches her or his appetite for issues that bring you pleasure and for the mates you meet.” While mother and father could hope that enrolling their child inside a music program will make her a much better student, the main good reasons to provide your child with a musical schooling needs to be to assist them come to be much more musical, to appreciate all facets of music, and to respect the approach of learning an instrument or finding out to sing, which can be important on its personal merit.

“There is usually a significant benefit from staying musical that we really do not comprehend, but it’s personal. Music is for music’s sake,” Rasmussen says. “The advantage of music training for me is about staying musical. It offers you possess a better knowing of yourself. The horizons are increased any time you are involved in music,” he adds. “Your understanding of artwork along with the globe, and how you may think and express by yourself, are enhanced.”

a importancia da musica na educacao infantil

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The Psychology of Haunted Attractions

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