I thought I should validate this process. I spent five times as much time fizzling out a starting point for the written assignment. Although it isn’t an easily read or formatted example of drafting, it’s the proven place of where my ideas begin before they are bought onto the computer. (Below the image: Some ideas are written from the pages).
- Disassembling the information of visual language forms and observing them through critical lenses benefits the practice of art and design.
- To allow better art and design practice, It is important to look closely and think critically about visual texts.
- It is important in art and design practices to look closely and think critically about visual texts
- Often art and visual images are ambiguous, visual languages communicate through this ambiguity.Ideas: the use of imagination, surface learning, abstract art.
- Being responsive in the delivery of information , presenting existing ideas through new communications (the visual language), unbiased critiques. Ideas: critiquing the digital age, the tomb of the unknown solider
- Learn the rules, before you break them.
- By being reflective, critiquing self, an individual voice in the visual language is established and innovative ideas can be formed. Ideas: Walker, therapudic, what does this say, is it something I want to say, is this the best way it can be said, being responsive to information we are required to constantly ingest.
2. First Written draft
Observing visual texts requires a critical lens because the ambiguity of the visual language needs consideration in order to be understood. It is important to be critical of the possibilities of what is being communicated and our own imaginings that take place in viewing visual texts. As much as realising what a visual text is communicating, realising that you can have communication with an idea or the empathetic individual who created it is a way of connecting people. To the untrained eye, the 2- dimensions of visual images gives the impression that visual texts have similarly low depth of context, yet their ability to trigger response in the viewer is successful. Critical anaylsis avoids possible fustration in art.
In art there is no space for “Surface Learning”, a term presented in “bla” by “bla” used to define the learning in university that only takes “face value”. “Surface learning” is discouraged for it’s discounting of deeper consideration of the information one ingests.
In modern visual culture, this idea of ambiguity can be observed in the interaction with digital medias. Alternative to “bla”, the author of “How to See the World”, Mizerof, speaks of how the availability of knowledge staged through the distribution of visual texts allows understanding through imagination. An important statement made by Mizerof about the way we treat visual images, is that “Seeing is not believing. It is something we do, a kind of performance”. In art and design practices, an awareness of the degree of immediate critique and questioning that occurs in a viewers can give a better understanding of what will be effective forms of visual communications. Mizerof’s theory applies to art and design practices as when creating images for a digital platform such as smart phone screens or website. When we see an image online there is a certain level of visualization that also takes place as you have to imagine the circumstance in reality, or want to because your body is lacking that “sensory feedback” you’re only kind of getting. It is important design and art practices to be aware of any critical mentality an audience may posses with the platform in which they view visual texts.
By being reflective, critiquing self, an individual voice in the visual language is established and innovative ideas can be formed. Her position is as a contributor to Maori theorem by displaying her negative experience in her education.Theories upon how one can learn, can be taught, such as the way Maori may learn Pakeha education, although researched, are still only theorized. Walker conveys how when theories cannot be applied to them it is frustrating and limiting but not impossible to find means of expression. Relating back to bla bla, introduces the idea of Paradigms and how these can be though of as“The end products of people’s reasoning merely so that you can reproduce them”. In art and design practices, the most creative ideas are often sourced from the artist/ designers emotional understanding of something. In some other forms of communication language that is “Emotive or loaded” is thought of as “a manipulative tactic rather than a precise description of some actuallity”. Tho, it is important for an artist or designer to be critical in the artistic/ or design principles they follow to make clear communication of a personal idea. Artist Pablo Picasso once said “Learn the rules like a pro, so you can break them like an artist”, with that in mind he remains one of the most influential and revolutionary artists of history. An artist can learn and source a lot of information from their own established understanding of the world and create work from this, but context develops an idea and helps it to exist in the time it is created, the audience it is intended.
3. Second Written Draft
To allow better art and design practice, It is important to look closely and think critically about visual texts. Disassembling the information of visual language forms and observing them through critical lenses benefits both the making and observing of art and design. Key reasons to use critical thinking to contemplate visual texts include the ambiguous nature of art and the visual language and the role of the imagination in this, and how the purpose of visual texts as innovative communicators requires self critique and personal response to information.
Observing visual texts requires a critical lens because the ambiguous nature of the way the visual language communicates and is received. A clear example of the ambiguous nature of art is seen in the American abstract expressionism artistic era. In the instance of the piece “Orange and Yellow” by Mark Rothko, the meaning or intention is believed to come from the viewer. Rather than asserting context/ information through tangible imagery Rothko explored how meaning in art “…often must be impaired by the eyes of the unfeeling and the cruelty of the impotent”. The artist, in this case, may use the areas of the visual language left for viewer interpretation as what they focus their art on. Examples of critical thinking in the process of Rothko’s colour fielding included the questioning that led to the dismissal of tangible/ existing imagery being needed to create response in the audience of a visual text. In the case of the viewer, critical thinking must be applied to art as the way in which artists communicate is constantly being developed and experimented with, and often the lucidity an audience is accustomed to is not the artist’s clearest communicator.
As an artist or designer, being aware of any critical mentality an audience may posses with the platform in which they view a visual text is important.
- Flexible lens
- Immediate critique, expectations
- Platforms with purpose
- Attention spans
- Understanding the treatment of digital media comes from critiquing our own treatment of it. these to solve issues of how best and effective to gain attention, stand out
By being reflective, critiquing self, individual visual language innovative ideas can be formed but it is context that develops an idea and helps it to exist in the time it is created, the audience it is intended. position is as a contributor: “The end products of people’s reasoning merely so that you can reproduce them”.
are still only theorized /theories cannot be applied / frustrating and limiting
displaying her negative experience in her education: Maori may learn Pakeha education, use of personal context.
“Emotive or loaded” is thought of as “a manipulative tactic rather than a precise description of some actuallity”.
the artistic/ or design principles
“Learn the rules like a pro, so you can break them like an artist”,
influential and revolutionary