The visual gamut and syntactic abstraction

Semiotica ◽  
2022 ◽  
Vol 0 (0) ◽  
Author(s):  
Steven Skaggs
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Theory And Practice ◽  
Art World ◽  
Visual Artists ◽  
Graphic Arts ◽  
Art And Design ◽  
Syntactic Abstraction ◽  
Visual Identity ◽  
Studio Practice

Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

Educating gravure art

2020 ◽  
Vol 43 (2) ◽  
pp. 105-111
Author(s):  
B. Naimanov ◽  
◽  
B. Ospanov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Creative Activity ◽  
Graphic Arts ◽  
Visual Material ◽  
Black And White ◽  
Production Activity

The article tells about the art of gravure, which is a part of the art of graphic, as well as about artists who have devoted themselves to the study of this type of art and the study of aspects of this area of fine art, as well as the study of art in the works of these artists. For a deeper understanding of graphic arts, visual material is needed. Gravure in the field of graphics occupies one of the main positions in the visual arts. With the help of this simple black-and-white graphic, artists achieve mastery by depicting and expressing what they saw in life in their works, and in doing so they develop fine arts. The article also says that gravure has specific features as one of the types of production activity, a unique way of creative activity.

scholarly journals The art of branding − lessons from visual artists

2014 ◽  
Vol 4 (1/2) ◽  
pp. 101-118 ◽  
Author(s):  
Victoria L. Rodner ◽  
Finola Kerrigan
Keyword(s):  
Visual Arts ◽  
Lessons Learned ◽  
Theory And Practice ◽  
Brand Name ◽  
Visual Artists ◽  
Content Type ◽  
Social And Cultural Capital ◽  
The Arts ◽  
Arts Marketing ◽  
Conceptual Paper

Purpose – The purpose of this paper is to highlight the importance of the field of visual arts marketing in the development of wider branding theory and practice. Drawing on examples from visual artists and the art mechanism that connects them, the paper reveals how artists and art professionals foster various types of capital (social, cultural, symbolic) as a way of developing a brand name, ensuring longevity in the field, and gaining financial value on the market. Design/methodology/approach – As a conceptual paper, the authors draw on a range of published works as well as examples from the world of visual arts in order to provide fresh theoretical insight into how branding in the arts may be applied to other industries. Findings – The key findings are the importance of the consideration of the development and nurturing of social and cultural capital in developing brand identity. Additionally, visual art brands are required to be innovative and dynamic, and lessons learned regarding these processes have relevance for mainstream brands. The paper also found that creativity is often collective and that looking to methods for developing work in the visual arts can be utilised by brand managers more broadly in the age of social media and user generated content. Originality/value – This paper follows on the developing body of work, which indicates what mainstream business can learn from looking at the visual arts. The paper highlights the collective nature of creativity in building the art brand as well as the importance of non-economic measures of value in the realm of branding.

scholarly journals Thinking about ‘transcultural capital’ and ‘transnational artistic practices’ of migrant Portuguese visual artists

2017 ◽  
Vol 7 (2) ◽  
pp. 287-304
Author(s):  
Leandro Gabriel
Keyword(s):  
Visual Arts ◽  
Art World ◽  
Theoretical Discussion ◽  
Art Markets ◽  
Visual Artists

This article is inspired by the idea of a transnational art world focused on migrants and the visual arts and it delivers a preliminary theoretical discussion. The article discusses the notion of ‘transcultural capital’ as a perspective within the study of contemporary migrations of artist. It also looks at the concept of ‘cultural scenes’ as places of significant cultural and artistic activities and amenities. Linked to these are ‘transnational artistic practices’ and the production of translocal geographies drawn by an overlap of the migratory destinations of artists and networks of places of creation, production and artistic dissemination which enhance different art markets. This article discusses the ways in which these different theories can contribute to our understanding of the mobility of cultural professionals and, in particular, of the emigration of Portuguese visual artists.

Arts Nonprofits—Associations and Agencies: A Literature Review

2019 ◽  
Vol 4 (4) ◽  
pp. 1-63
Author(s):  
Robert A. Stebbins
Keyword(s):  
Social World ◽  
Fine Art ◽  
Art World ◽  
Artistic Development ◽  
Public Benefits ◽  
The Arts ◽  
Or Groups ◽  
Dance Clubs ◽  
Financial Base ◽  
Selection Of

AbstractAn association is “a relatively formally structured nonprofit group that depends mainly on volunteer members for participation and activity and that primarily seeks member benefits, even if it may also seek some public benefits” (Smith, Stebbins, & Dover, 2006, p. 23). The arts that give birth to these organizations can be classified as either fine art or entertainment art. Every art association is embedded each in its own art world and its own social world. Members of these association are mostly amateurs or hobbyists in their art.Publications on arts-related amateur, hobbyist, professional, and mixed-member associations are reviewed. Their prime mission is to foster, present, and sometimes chronicle the art that its members prize. Many of these works report on the structure of the associations as well as on the recruitment, artistic development, deployment of artists, dissemination of their art, and retention of their members. Also reviewed is a selection of publications bearing on what could be called “arts consumption clubs,” or groups such as book clubs, dance clubs, and jazz clubs established to generate interest in a given art. Some of the publications reviewed center on associational management, use of volunteers, and financial base of the group.

FEATURES OF THE INDUSTRIAL THEME DEVELOPMENT IN THE CREATIVITY OF DAGESTAN ARTISTS

2020 ◽  
pp. 92-96
Author(s):  
Zaripat Abdullaevna Akhmedova
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Complete Study ◽  
Post War

The author of the article considers the industrial theme as one of the important themes in the genre of house-hold paintings in the visual arts of Dagestan. The analyzed works reveal the peculiarities and diversity in the development of the theme during its formation, and in the post-war period. The scientific turnover includes previously unexplored works, which are of particular interest for a more complete study of genre (household) paintings in Dagestan fine art.

scholarly journals Impact of Social Media in Adoption of New Trends of Visual Arts: A Case Study of Established Visual Artists in Twins Cities

2020 ◽  
Vol V (II) ◽  
pp. 20-33
Author(s):  
Muhammad Ayub Wali ◽  
Salman Amin ◽  
Muhammad Rehman
Keyword(s):  
Social Media ◽  
Visual Arts ◽  
Art Teachers ◽  
Twin Cities ◽  
Visual Artists ◽  
Significant Relation ◽  
Art Educators ◽  
Innovation Model ◽  
Use Of Social Media ◽  
The Impact

This study has investigated the problem of finding the impact of social media in adoption of new trends of visual arts on established visual artists of twin cities and also how social media facilitates in disseminating new techniques of visual arts among the art practitioners. The aims of the research were to investigate the impact of social media in adoption of new trends of visual arts among established visual artists, and also to evaluate the existing techniques of visual arts through diffusion innovation model among the established visual artists. The researcher has conducted interviews of established visual artists, questionnaires were also furnished. The stakeholders were practicing field visual artists (studio based) and visual art educators (art teachers). The result concluded from the present study was that adoption of social media has a positive significant relation with adoption of new trends of arts and impact on the skills of artists whereas adoption of social media has a negative but significant relation with use of social media.

scholarly journals “It usually works out, but you never know”. Emotion Work as a Strategy for Coping in the Insecure Artistic Career.

2018 ◽  
Vol 9 (3) ◽  
pp. 345-364
Author(s):  
Sofia Lindström
Keyword(s):  
Identity Formation ◽  
Emotion Work ◽  
Art World ◽  
Visual Artists ◽  
Modern Capitalism ◽  
Emotional Work ◽  
The Individual ◽  
Artistic Career ◽  
Late Modern ◽  
Shed Light

This article explores how contemporary Swedish visual artists manage and make sense of career insecurity through emotion work. The specific emotions discussed in the material are trust, hope and luck. Emotion work is related to coping in an increasingly insecure world of work in late modern capitalism, which has been theorized as relying on the creativity, passion and subjectivity of workers. Through analysing what the artists anticipate of their future careers, the study found the main desire of the artists to be the continuation of their creative endeavour—an endeavour not necessarily related to professional success but rather to identity formation. This understanding of success forms part of two overarching discourses found in the material: art as non-work discourse and the art world as arbitrary discourse, which both relate to certain emotional work when failing/succeeding to uphold the artistic creation. The prestigious arts education of the respondents is analysed as part of sustaining hope of continuation when future career prospects seem grim. Trust and luck are analysed as emotion work in relation to having experiences of success, even though the art world is discursively framed as arbitrary. The concluding argument of the article is that understanding emotion work in relation to the insecure or even failed career can shed light on resources related to social position rather than properties of the individual psyche.

scholarly journals KECERDASAN SPASIAL DALAM MEMAHAMI TRIMATRA: STUDI STRATEGI PEMBELAJARAN MATA KULIAH NIRMANA 2 (TRIMATRA)

PRASI ◽  
2020 ◽  
Vol 15 (01) ◽  
pp. 10
Author(s):  
Ernawati Ernawati
Keyword(s):  
Learning Strategies ◽  
Theory And Practice ◽  
Research Approach ◽  
Design Modification ◽  
Art And Design ◽  
Design Elements ◽  
Spatial Intelligence ◽  
Visual Spatial ◽  
Kurt Lewin ◽  
Design Students

ABSTRAK           Tujuan penelitian ini untuk  berdiskusi strategi pembelajaran yang oftimal sehingga tercapai tujuan  sesuai dengan visi dan  misi mata kuliah Nirmana 2 (Trimatra) yang tercantum pada kurikulum. Metode pada penelitian ini menerapkan metode tindakan kelas (PTK) dengan pendekatan model PTK dari Kurt Lewin. Nirmana 2 (Trimatra) mempersiapkan mahasiswa untuk memiliki kepekaan rasa, ketajaman analisis visual dan pemahaman mendalam terhadap ilmu dasar seni rupa dan desain. Nirmana berpengaruh terhadap mata kuliah lainnya yang berhubungan denagn teori maupun praktik desain komunikasi visual. Modifikasi strategi pembelajaran nirmana 2 (Trimatra) dengan kontekstual (visual-spasial) dan evaluasi penilaian mampu menjadi poin penting dalam mengatur suasana kelas yang kondusif, meningkatkan kualitas semangat belajar dan menigkatkan pemahaman serta kreativitas mahasiswa untuk berkarya.Katakunci : Nirmana 2,  Spasial, Strategi Pembelajaran, visualABSTRACT          The purpose of this study is to discuss optimal learning strategies so that the objective is achieved under the vision and mission of Nirmana II (Trimatra) courses listed in the curriculum. The method in this study applied classroom action research (PTK) with the research approach from Kurt Lewin, which aimed to explore the strategic roles of the spatial intelligence learning toward the process of students’ creativity development in Nirmala learning. Arts and design students have a close relationship with creativity and sensitivity in which they need preparation in understanding the governance of design elements. Spatial intelligence is an ability to visualize the ideas relating to space and place. Spatial intelligence is an intelligence possessed by most fine art and design students. Nirmana II (Trimatra) prepares students to have a sense of taste, sharpness of visual analysis, and a deep understanding of the basic fine arts and design. Nirmana influences other courses relating to the theory and practice of visual communication design. Modification of the Nirmana II learning strategy (Trimatra) with contextual (visual-spatial) and evaluation assessment can be important points in managing a conducive classroom atmosphere, improving the quality of enthusiasm for learning, and increasing students' understanding and creativity to work. The analysis process is done by collecting data that is measurable.Keywords: Nirmana II, spatial, learning strategies, visual  

Frozen Moments in Motion

2019 ◽  
Author(s):  
Fredrik Rysjedal ◽  
Keyword(s):  
Art Music ◽  
Fine Art ◽  
Art And Design ◽  
The University ◽  
Artistic Research

What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

Synthetic Worlds, Synthetic Strategies

2011 ◽  
pp. 182-197
Author(s):  
Elif Ayiter
Keyword(s):  
Transformative Learning ◽  
Virtual Environment ◽  
Visual Arts ◽  
Teaching Strategies ◽  
Learning Strategy ◽  
Role Play ◽  
Three Dimensional ◽  
Learning Approach ◽  
Visual Identity ◽  
Definition Of

This text will attempt to delineate the underlying theoretical premises and the definition of the output of an immersive learning approach pertaining to the visual arts to be implemented in online, three dimensional synthetic worlds. Deviating from the prevalent practice of the replication of physical art studio teaching strategies within a virtual environment, the author proposes instead to apply the fundamental tenets of Roy Ascott’s “Groundcourse”, in combination with recent educational approaches such as “Transformative Learning” and “Constructionism”. In an amalgamation of these educational approaches with findings drawn from the fields of Metanomics, Ludology, Cyberpsychology and Presence Studies, as well as an examination of creative practices manifest in the metaverse today, the formulation of a learning strategy for creative enablement unique to online, three dimensional synthetic worlds; one which will focus upon “Play” as well as Role Play, virtual Assemblage and the visual identity of the avatar within the pursuits, is being proposed in this chapter.

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