CoP Lecture 10: Modernism

Definitions:
Modernity: Using latest techniques.
Modernism: Early to mid 20th century movement in Art.
The process of modernisation allowed modernism to develop and Flourish.
Pre Modernity : Governed by the Church.
Patriarchy - world dominated by men.

Industrial Revolution influenced Modernity by allowing new techniques through the new technologies, the mass production, and by creating the working class a new culture was born with more people having money to spend.

1750-1789 was the age of enlightenment, during this time people questioned the church, especially Voltaire with his satirical take on religion.

The French Revolution occurred in 1789.

These events helped along the movement of Modernism by allowing three major processes:
Rationalisation, allowing reasoning, mainly through Darwin and the new ideas of evolution.
Secularisation, more and more people where abandoning religion.
Democratisation, more equality, more people where allowed to vote and express there opinions although society remained Patriarchal.

Then there was the invention of Photography, which lead to the start of Bohemianism and an artistic lifestyle in the 1850's. Artists such as William Turner inspired impressionists such as Monet and people such as Cezanne took the impressionism further, as the medium of Photography. This meant developed painters no longer where required to paint to a lifelike style, they could embrace the medium and be a lot freer with the outlet. Then Picasso was even more radical painting a prostitute in an abstract way which led to cubism being developed in 1910. During the time of cubism in Italy, a group started Futurism which was mainly led by Umberto Boccioni.

All of this led up to Modernism whose basic premise was the Form Follows Function. The main properties of Modernist art was the Minimal Aesthetic through the Bauhaus recognised as international style. As well as the art came a new breed of Architects one of the most notable was Le Corbusier, who designed hi-rise flats. He was ahead of his time with a clinically clean aesthetic.

In conclusion Modernism is regarded as an Idealistic, utopian response to war.

CoP Lecture 9: Communication and Mass Media

In this lecture we looked at mass media so public Communication reaching a large audience,in a short time via TV, radio, newspapers, magazines etc. The mass media are diversified media technologies that are intended to reach a large audience by mass communication. The technologies through which this communication takes place varies. Broadcast media such as radio, recorded music, film and television transmit their information electronically. Print media use a physical object such as a newspaper, book, pamphlet or comics, to distribute their information. Outdoor media is a form of mass media that comprises billboards, signs or placards placed inside and outside of commercial buildings, sports stadiums, shops and buses


In context of being in an art school, the disciplines and processes that are affected most by mass media are; Communication Design, Visual Communication/Graphic Design, Typography Branding, Advertising Propaganda, Printed Media Packaging and Social Commentary/ Signage.

In this lecture it is mainly looked at through the eyes of a graphic designer. Therefore lets start from the beginning by looking at the introduction of the term and different interpretations.

1922, William Addison Dwiggins (successful designer):

‘In the matter of layout forget art at the start and use horse-sense. The printing-designer’s whole duty is to make a clear presentation of the message - to get the important statements forward and the minor parts placed so that they will not be overlooked. This calls for an exercise of common sense and a faculty for analysis rather than for art’.

Richard Hollis: ‘Graphic Design is the business of making or choosing marks and arranging them on a surface to convey an idea’

Paul Rand: ‘… graphic design, in the end, deals with the spectator, and because it is the goal of the designer to be persuasive or at least informative, it follows that the designer’s problems are twofold: to anticipate the spectator’s reactions and to meet his own aesthetic needs’.

‘Whatever the information transmitted, it must, ethically and culturally, reflect its responsibility to society’.

Then we go on to look at how mass media came hand in hand with consumerism and how this might be seen as negative for society, yet lets not forget whilst reading this that there is a positive as way for graphic designer to get commercial work. Barbara Kruger was also shown shortly after this making a very bold statement on mass media, with red white and black slogans and consumerism.

Josef Muller-Brockman

‘Although graphic design as we know it originated in the late nineteenth century as a tool of advertising, any association today with marketing, advertising, or capitalism deeply undermines the graphic designer’s self-image. Graphic design history is an integral part of advertising history, yet in most accounts of graphic design’s origin, advertising is virtually denied, or hidden behind more benign words such as “publicity” and “promotion”. This omission not only limits the discourse, but also misrepresents the facts. It is time for graphic design historians, and designers generally, to remove the elitist prejudices that have perpetuated a biased history’.

Ken Garland, First Things First Manifesto, 1964

‘Quite understandably, the people behind these campaigns have come to think of themselves as cultural philosophers, spiritual guides, artists, even political leaders. For instance, Benetton, rather than using its ads to extol the virtues of its clothing, opted instead to communicate what Oliviero Toscani believed to be fundamental truths about the injustice of capital punishment. According to the company’s communication policy, “Benetton believes that it is important for companies to take a stance in the real world instead of using their advertising budget to perpetuate the myth that they can make consumers happy through the mere purchase of their product”’.

Naomi Klein, Truth in Advertising, 2000 (in Looking Closer 4, page 64)

During in the lecture lots and lots of examples of mass media were thrown at us, the two primary example were the infamous advertising campaign for Benneton, absolutely outrageous pieces, a white woman breastfeeding a black baby. Brains where blown. I've recently been on to find there latest campaign quite interesting too. It's big political figures spreading the love having a smooch. Although I don't really know how appropriate a jew kissing Hitler is, that's a bit extreme. But that's what they do, the push people ideals to the extremes to attract attention and keep conversation on them. Also considering the above quote it does tackle the deeper issues in the world, I don't really know how successful they are at selling clothes, but they are still going. I think what matters is that as a commercial company they are trying to make a difference and that it rare these days.

Post Modernism

Postmodernism

Term applied to a wide range of cultural analysis and production since the early 1970s. Whilst there are different attitudes to what postmodernism is, it is generally referred to as a significant shift in attitude away from the certainties of a modernism based on progress. The cultural traits usually associated with postmodern cultural production include the acceptance of many styles, the importance of surface and the playful adoption of different styles through parody and pastiche.

Term used from about 1970 to describe changes seen to take place in Western society and culture from the 1960s on. These changes arose from anti-authoritarian challenges to the prevailing orthodoxies across the board. In art, postmodernism was specifically a reaction against modernism. It may be said to begin with Pop art and to embrace much of what followed including Conceptual art, Neo-Expressionism, Feminist art, and the Young British Artists of the 1990s. Some outstanding characteristics of postmodernism are that it collapses the distinction between high culture and mass or popular culture; that it tends to efface the boundary between art and everyday life; and that it refuses to recognise the authority of any single style or definition of what art should be.

If Modernism is roughly from 1860-1960, then logically Postmodernism is 1960s - Today, However some critics state Postmodernism is over and we have entered a phase of Post-Postmodernism.

If Modernism equates with; Simplified aesthetic, Utopian ideals, Truth to materials and Form following Function. Then Postmodernism involves; Complexity, Chaos, Bricolage (mixing up of styles and materials), Parody and pastiche and irony.

Postmodernism has an attitude of questioning conventions (especially those set out by Modernism)
Postmodern aesthetic = multiplicity of styles & approaches 
Theme of ‘double coding’, borrowing, or ‘quoting’ from a number of historical styles
Knowing juxtapositions, or ‘postmodernist irony’
Questioning old limitations 
Space for marginalised discourse: 
Women, sexual diversity & multiculturalism

Robert Venturi: 

‘I like elements which are hybrid rather than “pure”, compromising rather than “clean”, distorted rather than “straight-forward”, ambiguous rather than “articulated”, perverse as well as impersonal….’

‘I didn’t like Europe as much as I liked Disney World. At Disney World all the countries are much closer together, and they just show you the best of each country. Europe is more boring. People talk strange languages and things are dirty. Sometimes you don’t see anything interesting in Europe for days, but at Disney World something different happens all the time, and people are happy. It’s much more fun. It’s well designed!’

 A college graduate just back from her first trip to Europe, in Papanek, V. (1995), The Green Imperative: Ecology and Ethics in Design and Architecture, London, Thames and Hudson, page 139

Postmodern attitude of questioning conventions (esp. Modernism)
Postmodern aesthetic = multiplicity of styles & approaches
Shift in thought & theory investigating ‘crisis in confidence’


‘That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning’

This was the lecture word for word. In my opinion this was, google's synoym's of word I wanted to use: Balderdash, Baloney, Hooey. There is a massive contradiction in the artist's shown during this lecture, Sarah Lucas, Tracey Emmin, Damien Hirst, Richard Long, Olafur Ellison, Barbara Kruger, Martin Creed, and the description of Post Modernism and the very definition of what is given as post modernism. To me the majority (although not all some I do like) do not represent the way post modernism is described, in my head, when complexity, chaos, bricolage and parody is illustrated it's not through these, to me all these artists represent the fine art world, the world where theory is put before skill and talent, the world where the artist is the thinker with assistants to create the work. The world I care about is the one with talented illustrators, like Sarah Illenberger, Graphic designers that shapes the signs and advertisers that subconsciously effect us. This is the design I care about. I don't appreciate Post Modernism, Modernism was a much better era.

Lecture 8: Photography

"Photography is a form of documentation, document means to evidence, photography as documentation functions as evidence for events."

In this lecture we were told a brief history of Documentary photography themes and traditions. These include

• images of the working class and records of poverty in the US and the UK from the 1800’s to the 1950’s.

•Reporting and war both in Europe and during the Vietnam war. •Photographing ‘other’ cultures – documents of travel and conquest •The concept of the decisive moment

•The recognition of an ‘always constructed’ document

The lecture seeks to dispel the myth of ‘the medium of truth’ and to recognise the guises of construction in documentary photography from the beginnings of photography to the present day. In doing so it recognises that rather than asserting that ‘there is no truth’, Postmodern photography can acknowledge that truths are constructed though a multiple of viewpoints and that this is the function of the camera today.  "

"In many contexts the notion of a literal and objective record of "history" is a limited illusion. It ignores the entire cultural and social background against which the image was taken, just as it renders the photographer neutral, passive and invisible recorder of the scene."~ Clarke: 1997:145

"How the Other Live" is a written and visual account of New York by Jacob Riss in 1890, revealing cultural ideologies of ethnicity, poverty and 'the other side'. Riss used this as a tool for social reform, but hypocritically, made a lot of money, yet in one of the photographers paid the men in cigarettes, therefore defeating the point of natural documentation. Photography used through educational purposes, often in these cases they are poorly staged and posing occurs, placing the middle class in a negative light.

Animation in the Commercial Realm

Auteur Theory in animation 

Animation on one hand echoes and imitates large scale film production processes. On the other hand it offers possibility for a film-maker to operate almost entirely alone So arguably it is the most auteurist of film practices. Even at its most collaborative it requires cohesive intervention of an authorial presence

The Avant-garde 
‘The French term originally designated that section of an army which marched into battle ahead of the main body of troops (the ‘van’) but has come to be used in both French and English to describe pioneering or innovatory trends in the arts, and especially music and the visual arts. It originates in the work of utopian socialist Henri de Saint-Simon (1760 – 1825) who applies it to the elite of artists, scientists and industrialists who will be the leaders of the new social order" ~ Macey, D (2000), The Penguin Dictionary of Critical Theory

"Matches: An Appeal" (1899), Arthur Melbourne-Cooper
"Pochta (Post Office)" (1929), Mikhail Tsekhanovsky   
"Lloyds TSB"

"John Lewis Christmas Advert - The Bear and the Hare (2013)"

 Nintendo - Animal Crossing

"Mr Fastfinger"

Lecture 7 : Advertising

Advertising is a tool of capitalism to change established value within society. It has changed the image of women, from 1950's housewife to sexy glamour models.

It changes our perception of what we want or even need. It seductively lures us to to buy things.

The most effective campaigns are those that are long term.

Advertising often contains sexism and fulfills lots of stereotypes. But although it may be seen as negative, it drives global economies and drives creativity. often considered as a tool used by capitalism to change established values within society .

also considered influential in changing our perception and what we may need and want

no short term effect specific to product

modifies us over a long period of time,

often accused to explore sexism treating people as cultural stereotypes of their sex

then again... does sex actually sell?

if everything we’ve seen so far has been negative, or perceived as negative, what’s good about advertising?

It drives global economies, it drives creativity and It is a very powerful form of art. It also helps shapes popular culture and is endlessly entertaining. It can inspire others and reflect values, hopes and dreams. Advertising challenges you to do something and helps you questions social norms and attitudes, it is also very good at raising social awareness about things.

Lecture 6 : Animation

A Historical Timeline of Animation:

Animation comes from the Latin word Animare, which means to give life to. The whole process is based on a series of images that give the illusion of movement, by fooling the eye through the persistence of vision.

It all started with sequential imagery from the Egyptians 4000 years ago.

In 1650 Christen Huygens designed the first candle light projector called the Magic Candle. The in 1824 the Thaumatrope was created a victorian toy with two discs on a baton that when spun form a moving image. This was then developed to the Phenakistoscope in 1831which is a flat circle with a slit in that shows a moving image. Then this developed to a vertical drum version called the Zoetrope. Then in 1868 the flip book was made and was patented. The Zoetrope was developed to a Praxinoscope Theater by Charles Emily Reynard, which was a more sophisticated version of the Zoetrope with mirrors.

Film developed, which led a major development to animation.

Norman Mclaren said in 1949: 'Animation is not the art of drawings that move by the art of Movements that are drawn.'

George Melies 1902 made 'a trip to the moon' which has since inspired the Mighty Boosh and The Smashing Pumpkins.

Emile Cole, Fantasmagorie 1908. Often considered the first french cartoon, a hand drawn on film character who morphs into several objects.

Winsor McCay, Gertie the Dinosaur, 1908. First use of compositing. A stilted and very primitive animation, one of the first to use registration marks and key frames.

Winsor McCay, Sinking of the Lusitania, 1918. A short reproduction of the boat crashing made news travel faster, an interpretation of telegraphs coming through, went round in seven days.

Lotte Reiniger, The adventures of Prince Achmed, 1926. A german silhouette fairytale, use of coloured lighting and slick movements.

By 1928 animation had developed it's own language and cartoons became mainstream.

Walt Disney began in 1928 with Steamboat Willie, the first animation to have synchronised sound. Then in 1929 the first animation was created to sound, The skeleton dance was created around the sound.

Alexander Ptushko, Novvy the New Gulliver, 1929. First stop motion to have tracking shots.

Ladislaw Starewicz, The tale of the fox, 1930. Took ten years to make.

Mark Fleisher, Dizzy Dishes/Betty Boop, 1930. Took Drugs and the nudity got censored. He also created Pop Eye in 1933.

Wills O'Brien, King Kong, 1933. Stop Motion.

Oskar Fischinger, Komposition in Blau, 1935. Fine art /abstract animation.

Toybox, Momotaro vs Mickey Mouse. Japanese propaganda where japanese folk fight off an evil Mickey and American Folk.

Len Lye, Colour box, 1935/1936. Painted directly onto the film stock advert for the post office, advert for the post office.

Disney, Snow white and the seven dwarves, 1937. Rotoscoping, stop motion techniques, and parallax animation. Then Fantasia in 1941 refreshed Mickey Mouse.

Wan Brothers, Princess Iron fan, first animated Chinese feature length that included over 70 artists and took 16 months.

From 1943-1945 Disney produced a lot of propaganda to get Americans involved in the war effort.

UPA, The brotherhood of Man, 1945. Regarding immigrants to america in the 40's portraying All men are equal trying to get rid of racism.

Gerald McBoing, Boing, 1951. Charming Characters.

Neighbours, 1952. Pixelation analergy for the Cold War.

Chuck Jones, Duck Amuck, 1953, First animation for a character to talk to the audience, very playful.

Animal Farm, 1954.

Animals rebelling against mean farmer, the masses facing the government. Halas and Batchelor worked on it and gained lots of commercial work from this.

Saul Bass man with the golden arm title sequence, Anatomy of a murder 1959.

During the next era Money was thrown at animation at the time. Cinemas Changed and decided they wanted to show more films therefore animation had to be cheaper.

Backgrounds became simpler and things like walk cycles were constantly reused.

Hanna Barbera, Flint Stones.

Bob Godfrey, Do it yourself cartoon kit, 1961, Manic Surrealist Humour.

Zagreb, Ersatz, 1961, about absurdities of the modern age. Simple.

Stan Brakhage, Mothlight, 1963, abstract animations, life, death and emotions.

Ray Harryhausen, Jason and the Argonaughts, 1963.

Osamu Tezuka, Astro Boy, 1963, based on Pinocchio, Early Anime.

Jiri Trnka, the Hand, 1965, Social Commentary.

Chuck Jones, The dot and the Line, a romance in lower mathematics, 1965.

1966 Walt Disney does Gordon Murray, Camber wick green.

Terry Gilliam, Monty Pythons, Flying Circus, 1966.

Oliver Postgate, the clangers 1969.

Richard Williams, Christmas Carol, 1971, not a kids cartoon, a ghost story for christmas.

Ivor Caption, The pinch life Grand Prix, 1975. First one to use a bit of robotics in Armateurs.

Bob Godfrey, Roobarb and Custard, 1977.

Martin Roosen, Watership down, 1979.

Rogermainwood, Autobahn, Music Video, 1979, first computerised animation.

Yuri Norstein, tale of tales, 1979.

Tim Burton, Vincent, 1982,

Don Bluth, the secret of nimh, 1982, used colour photocopies in the animation,

Steven Lisberger, Tron, 1982,

Gerald Scarfe, Pink Floyd the Wall, 1982,

Cosgrave Hall, Wind in the Willows, 1983, also made Dangermouse, very well crafted.

Jimmy Murakami, When the Wind Blows, 1986, Surging Nuclear Holocaust.

Brothers Quay, Street of Crocodiles, 1986, channel four funded,

Joanna Quinn, Girls Night out 1987.

Jan Svankmajer, Alice 1988. Combined techniques such as pixelatioon and stop motion.

Disney, Who Framed Roger Rabbit?, 1988.

Katsuhiro Otomo, Akira, 1988.

Studio, Ghibli, My Neighbour Totoro.

Beauty and the Beast, 1991, computer generated backgrounds.

Barry Purves, Screenplay, 1992, Bedroom Shot.

Steven Spielberg, Jurassic Park, 1993. Dinosaurs, big parks, computer generated stampede scenes.

John Lasseter, Toy Story, 1995.

Dave Brothewick, Secret Adventures of Tom Thumb, 1995.

Aardman, Wallis and Grommit, 1995.

Mamoru Oshii, Ghost in the Shell, 1995.

Lasseter and Stanton, Bug's Life.

Micheal Dudok de Wit, Father and Daughter 2005.

Narayan Shit, Freedom Song, 2000, Indian 2D and 3D.

Jamie Hewlett, Gorillaz, Clint Eastwood, 2001.

Run Wrake, Rabbit, 2005.

Pleix, Plaid Itsu, 2006.

Semi Conductor, Magnetic Movie, 2007.

Marjane Satrapi, Persepolis, 2007.

Henry Selick, Coraline, Stop Motion, 2009.

James Cameron, Avatar 2009, 3D Stereotopic. Reference to Pocahontas.

Cyriak, Flying Lotus, Pretty Boy Strut, 2012.

Dumb Ways to Die, advert for train safety for metro.

Not an exhaustive list, but a list to provide examples of all types of animation through the era.