Level 5 Essay: To what extent does Japanese modernist graphic design reflect the unique native particularities of Japanese culture?

To what extent does Japanese modernist graphic design reflect the unique native particularities of Japanese culture?

Japanese graphic design has always been fascinating, a design style that at face value almost seems unaffected by the styles developing alongside the Japanese scene around the world, especially the European modernist movement of the early 20^th century. One of the first aspects of Japanese design one notices is the colour, the spatial consideration and the incredibly experimental layout fused with Japans unique sense of humour. Japan had an incredibly eventful 20^th century with landmark events signalling Japans prosperity – The Tokyo ’64 Olympic games being a notable example counter-balanced with scenes of absolute terror such as the Hiroshima and Nagasaki events, more earthquakes than almost anywhere in the world and nuclear scares. Amidst all this, Japanese design has never shied away from tackling social and political issues and often with unique Japanese sense of humour and confidence portrayed underneath it all, sometimes with an almost post-modernist take on things - serious mixed with tongue-in-cheek humour - a satire.

This essay aims to further investigate the Japanese visual style, sense of humour, key designers throughout post-war Japan with the increased importance given to design from the 50s onwards, the modernist movement in early 20^th century Europe, key historical events and design conferences which had a lasting impact on Japanese design and Japanese designs legacy and influence around the world will also be considered.

The first focus of this essay is the concept of modernism and the revolutionary art and design movement in Europe throughout the late 19^th and 20^th century. Modernism directly links to modernity and the technological innovations and industrialisation taking form around Europe and with extension, the world.  Modernism as a broad term encompassed the activities and creative output of those who felt that “traditional” forms of art, architecture, literature, socialism and religious organisation were outdates in the new economic, social and technological climate.

‘Modernists, including the De Stijl, Constructivism and Bauhaus movements, departed from the rural and provincial zeitgeist prevalent in the Victorian era, rejecting its values and style in favour of cosmopolitanism.’[AMBROSE, 2009; p58]

 One of the key symbols of early modernity in the late 19^th and early 20^thcentury was Paris. Almost the ‘centre’ of this mass urbanisation and industrialisation. A core concept of modernity was to show off technology, show off where the country and its people were at in relation to the rest of the world, almost as a form of self-validation. ­­

‘The 1925 Exhibition… this bombastic display signalled modernity highly pertinent to the revitalisation of post-war France: the cascade of light celebrated specifically modern and urban rituals – those of shopping and consumption.’ [GRONBERG, 2003; p47]

This form of self-validation I feel was noticeably prevalent in the Japanese design scene as they too aimed to establish themselves amongst the rest of the world with the rise of graphic design in Japan from the 40’s onwards as it merged a modernist outlook combined an as narrow-minded as it might seem to say, a frequent post-modern visual style with definite post-modern principles from the 60s onwards.

Cities became immensely populated compared to before; rural life was swapped for city life. New forms of entertainment and transport such as movie theatres and train transport changed peoples lives and leisure habits, this changed the demand for design, the role of a designer almost became to shape society, work was no longer for the church or for a more ‘traditional’ cause. This same development also happened in Japan, especially in Tokyo in the early 20^th century with huge technological and urban growth. Modernism almost brought about the rise of the skyscraper, in the 19^thcentury public buildings were often horizontally expansive and private buildings were vertically planted, in the 20^th century this relationship was switched with vertical buildings frequently being tall. The development of Tokyo to today’s neon skyline has had a huge legacy and is iconic and synonymous with Japan, influencing others around the world as much as it influences the Japanese design scene itself. Ridley Scott’s 1982 dystopian, post-modern and almost pessimistic vision of the future in science fiction movie Blade Runner clearly references the neon high-rise landscape of Tokyo.

‘Blade Runner’s set in the future, but with an aesthetic rooted in the past - it's as influenced by Metropolis’s art deco buildings and film noirs of the 40s and 50s as it is by the neon glow of 80s Tokyo’ [LAMBIE, 2012]

In terms of Japanese design reflecting the culture itself in an almost subconscious way look no further than Ikko Tanaka’s poster for a noh production (traditional Japanese theatrical production) from 1961. (fig.1) Clearly influenced by the ancient art of Japanese calligraphy and typography, itself a key factor in establishing a unique Japanese visual style that significant pre-dates the modernist movement yet still remains intact in modernist Japanese design.

‘One of Tanaka’s specialities is his trademark design, born of his deep appreciation of the shapes and lines created by Japanese calligraphy. These kanji letters…are arranged in traditional fashion, reading from top to bottom, right to left. The beauty of the letter forms is enhanced by the printing of different parts in distinct colours.’ [THORNTON, 1991]

The World Wars have had a significant effect on Japanese design, motivations and overall psyche. The most significant shift in Japanese design and conventions changed during World War 2, a flurry of war restrictions was placed upon Japanese design in 1941, with complete military control over material such as magazines, newspapers and posters. Poster design, just as in wartime Europe was often used as a means of propaganda for national interest and military campaigns. Notable designers in this practice were Tadashi Ohashi and Ayao Yamana. An actual agreement was in place in the advertising industry regarding restraint in colour and design - aspects of Japanese design that have historically been paramount, especially colour. Japanese people had never even experiences invasion by a foreign force or even military defeat until WWII. This devastation, along with the restrictions and lack of freedom in the design scene fused with the utter devastation of the Hiroshima and Nagasaki bombings shaped Japan’s psyche and motivation for design and modernisation in its structure.

‘The devastation caused by bombs and complete economic collapse brought severe psychological “loss of face.”’ [THORNTON, 1991; p65]

At first glance one would think this occupation of Japan by the American forces would devastate and cripple Japanese rule, it did, but seeds were planted for Japanese to rise again with newfound hunger and optimism. Under American rule, a new constitution was passed in 1946, which provided coeducation, and voting rights for women for example, Japan was slowly starting to become a forward thinking country. This attitude didn’t neglect the design scene – the Japanese Advertising Society was established in 1946 and held it’s first exhibition in 1947. During the occupation, western influences were beginning to become part of everyday life in Japan with American magazines such as Saturday Evening Post filling the newsstands in Shimbashi, Tokyo.

‘Fall down seven times, stand up eight.’ A Japanese proverb.

You would be wrong in thinking this is the first time Japanese design had been influenced by the burgeoning modernist movements of Europe and America though. In the early 20^th century, the Bauhaus school of design was set up in Germany after the outbreak of war from 1919 to 1933 until Hitler’s Nazi regime caused a halt to it. There was also the Constructivist movement in Soviet Russia, also established in 1919 and focused on shaping society and the blue-collar workforce. Of all the movements in Europe though, it is fair to say Bauhaus had the most impact on Japan with several Japanese posters of the ‘30s showing clear typographical influences of European designers such as Herbert Bayer and Jan Tschichold. Takashi Kono was a legendary Japanese graphic designer heavily influenced by the European scene, his film poster advertising Lady and Beard  (1931) illustrated flat faces in the same vein as Picasso, showing multiple facets in a flat image. (fig.2). Many iconic designers in their own right such as Tadanori Yokoo and Ikko Tanaka regard this poster as having a significant influence on their own development.

What often does not get noted in art history and many a graphic design lesson though is Japanese designs influence on the European scene, including the Bauhaus movement.

‘I am intrigued by the Japanese influence on Bauhaus, modernist design. It is inevitable to connect the two with the shared emphasis on minimalism and clean, spare, lines.’ [RILEY, 2007]

Looking at the NC State’s campus, one of it’s buildings seems to synthesise an International style with Japanese minimalism and architecture. (fig. 3)

One of the best-known Japanese graphic designers internationally is Ikko Tanaka, receiving international acclaim for his Japan Style exhibition design held in London, 1980. During the time he came up in the 60s, European poster designers such as Raymond Savignac and Herbert Leupin were at their peak, clearly influencing Tanaka. As with most Japanese graphic designers, Tanaka nit-picked what he admired from European design and infused his countries and his own strong and visual style with it, creating a mathematical and logical style Tanaka became synonymous with. A beautiful example of European structure meeting Japanese design is a UCLA festival poster designed by Tanaka in 1981. (fig. 4)

Shigeo Fukuda is another symbol of Japanese design and post-modern expressionism, winning more international poster prizes than any other Japanese designer ever. Admittedly influenced by the Bauhaus movement and notably Constructivism. Fukuda often addressed devastation and war with an irreverent Japanese tongue-in-cheek sense of humour, a prime example is the Victory peace poster, 1976 (fig.5). “Kawaii” literally translates to “cute” and is ever present in Japanese culture.

‘The Japanese are born into cute and raised with cute. They grow up to save money with cute (Miffy the bunny on Asahi Bank ATM cards), to pray with cute (Hello Kitty charm bags at Shinto shrines), to have sex with cute (prophylactics decorated with Monkichi the monkey, a condom stretched over his body, entreating, "Would you protect me?"). [ROACH, 1999]

Post-WWII was Japan’s renaissance in graphic design with the primary purpose of increasing Japan’s prosperity on a domestic and international scale, in terms of employment, trade and worldwide recognition. Japanese graphic designers were now hot property in a much more modernised and forward-thinking Japan, driven to succeed and almost ‘show-off’ to the world and tell the world Japan is not just the land of the Samurai.

‘Government regulations in the late fifties forced major manufacturers to develop design policies. Swept up in this economic growth of industries were designers who suddenly found their profession in demand.’ [THORNTON, 1991; p93]

This new found importance and confidence in Japanese design brought about the need for an international design conference to showcase the social role of graphic designers, interior designers, industrial designers and architects in Japan’s blossoming economy.

The Tokyo World Design conference of 1960 was Japan’s first international design conference. Influential designers from all over the world were invited to this exciting exhibition showcasing the best this fresh new industry had to offer, attendees included Herbert Bayer, Joseph Muller-Brockman and Saul Bass. Japanese graphic design clearly inspired and attracted some of the most revered graphic designers of the 20^thcentury but this is rarely mentioned in for example a modernism lecture, Bauhaus and constructivism are often heard but Japanese modernism less so.

‘For Müller-Brockmann in particular, WoDeCo was the beginning of his long relationship with Japan and Japanese design. It was his first visit to Japan, immediately following his departure from the Kunstgewerbeschule in Zurich. Müller-Brockmann had an affinity for Zen teachings, believing that objective design was closely related to Zen themes of empty space and the tension between the positive and negative.’  [THIS IS DISPLAY, 2011]

The Tokyo Olympic games on 1964 was an undeniably huge event in Japans recent history, especially in Japan rising from the ashes of WWII. Japan initially was set to host the 1940 games but this privilege was taken after an invasion of China, eventually the games were scrapped altogether because of a world war. The ’64 games was going to be watched by the entire world with Japan hosting countries from all over the world, a huge opportunity for Japan to show it could stand on it’s own two feet and also an opportunity to present cutting edge design and branding.  The design committee for the games was established in 1960 and Yusaku Kamekura’s iconic emblem of the five Olympic gold rings blended with the Japanese red sun was chosen as the Olympic logo. This is a further example of Japan as a land itself being just as iconic as the graphic design. It’s rare to find Olympic graphic design before or since the ‘64 games that merge the countries culture with design as prolifically as the Tokyo games. The Tokyo’64 Olympics was a huge step forward in modernist design in mainstream culture, comparing the logo to the previous logo of the 1960 games in Rome only illustrates this further. The objective of increasing Japanese international recognition was going to plan.

A question worth asking is why and how did Japanese style seem to have such a unique and experimental outlook compared to the rest of the world, in terms of composition, colour and concepts? Before modernity, art wasn’t hobbyist or an expressionist form of self discovery, it often had the sole purpose of being a portrait, a religious piece of work or even propaganda or some of personal interest for the client, especially so in Europe. This notion still obviously existed in Japan but looking deeper, it ‘s arguable Japan had a long established art of design which was much more hobbyist and expressionist with unique disciplines established long before modernism in the Edo period. These disciplines and cultural iconography such as the red sun, samurai, geisha and unique layout and type composition still show through in Japanese design from the 20^th century onwards. Modern Japanese design still calligraphy, colour and a strong pride in Japanese culture. Calligraphy for example was one of the first major imports from China in the 1800’s. Three principal styles of calligraphy were developed. The first style was ‘Kaisho’, a standard or regular script, the second, ‘Gyasho’ a more abbreviated and loose form, the third ‘Sosho’, a more expressive form often used for poetry and personal letters. In the present day, these styles still remain intact along with more contemporary forms such as Kanji, Katakana, Hiragana and Romaji. It’s arguable that this work is perhaps enjoyed more outside of Japan with the fact that most Europeans can’t read Japanese symbols so work is objectified as a piece of art in the purest sense – shapes and colour and enjoyed in such a way, instead of a means of communication.

During the mid 20^th century, technological restrictions in Japan often gave the design a recognisable quality and shaped the style. Often shapes and elements had great consideration of colour and an almost grungy line quality, one of the reasons why is because designers often had low budgets; often working with limitation of one or two colour lithographic prints, or three for rare occasions. The work process frequently involved photocopying and placing elements way larger than the original copy, creating an ephemeral, fuzzy line quality.

Studying Japanese graphic design, especially during the modernist movement and post WWII it’s clear how much Japanese design was inspired by the European design scene, especially Bauhaus. Infact during the 30s and 40s many Japanese art schools were opened to support the next generation and be inspired by the art scene around the world. Tsunehisa Kimura’s film poster for Ziguneir Weisen (1980) references Constructivism heavily with it’s angular lines, photomontage and type treatment.

‘Shin Kenchiku Kogei Gakuin (New Architecture and Industrial Arts School) was established in 1931 as a Japanese version of the Bauhaus.’ [THORNTON, 1991; p76]

It’s also clear the Japanese design scene was internationally recognised with notable international design conferences held in the 60s and 70s, winning international awards and acclaim and having ties with leaders of European design such as Muller-Brockman but it’s difficult to see this same inspiration being mirrored back in Europe. Looking at European design during the same period, the visual style almost seems unaffected. It still seems as if Japanese design was working in hibernation but its designers were clearly influenced by the west. A definite factor in this lack of synthesis between the Far East and Europe is a communication barrier. This same problem also possibly leads to the lack of awareness in European art schools of Japanese design history and its beauty and experimentation.

‘The free and easy flow of design exchange between Europe and America had difficulty reaching Japan. First there was the factor of distance from Japan to the West, and then there were formidable language problems for most Japanese.’ [THORNTON, 1991; p53]

In terms of legacy, the intense experimentation and at times secluded form of work in Japanese design led to design decades ahead of it’s time. A recent case study of this is Tsunehisa Kimuras photomontage for Pioneer Electronics, in 1979 titled Gan Hosoya. The poster consists of a superimposed Niagara Falls on the Ney York skyline, with copy reading “Sound is flooding our world”’ (fig. 6). This same poster has directly influenced the record cover Australian electro-punk band Cut Copy’s 2011 release, Zonoscope – A record cover winning numerous design awards (fig. 7). Kimura’s photomontage is also eerily reminiscent in the poster for Oblivion, A soon to be released sci-fi movie directed by Joseph Kosinski (fig. 8)

To conclude this essay, I feel Japanese design has clearly been influenced by the European and Western design scene but at the same time Japan has still had it’s own strong foundations, maybe more expressive and experimental than established design styles in Europe with less work for the church and much more personal work for personal exploration, these values still held true with the rise of modernist and lead to deeply cultural work with visual cues that have come to distinguish Japanese graphic design. The culture and the sense of humour shows through in even the darkest subjects, such as with the series of posters for the Hiroshima Appeals somehow managing to tackle an atomic bomb with grace and cheek. Japanese graphic design post WWII was a hugely inspired period for Japanese designers and and in turn Japan inspired others, unfortunately history hasn’t remembered this as it maybe should have and also inspires me - someone who has grown up being accustomed to seeing European graphic design in everyday life and being taken aback by so much of Japanese design and it’s beautiful, timeless and always surprising art.

Fig. 1

Ikko Tanaka

1961

Fig. 2

Takashi Kono

The Lady and the Beard

Directed by Yasujiro Ozu

1931

Fig. 3

NC State Campus, USA

Fig. 4

Ikko Tanaka

UCLA Festival poster

1981

Fig. 5

Shigeo Fukuda

Victory peace poster

1976

Fig. 6

Gan Hosoya

Poster for Pioneer Electronics

1979

Fig. 7

Cut Copy

‘Zonoscope’

Modular Recordings

2011

 

Fig. 8

Oblivion Movie Poster

Dir: Joseph Kosinski

2013

Bibliography

BELTING, H (2003) ‘ART HISTORY AFTER MODERNISM’, CHICAGO, THE UNIVERSITY OF CHICAGO PRESS

LUCIE-SMITH, E (1997) ‘MOVEMENTS IN ART SINCE 1945’, LONDON, THAMES AND HUDSON LTD

KOZAK GISELA, E & WIEDEMANN, J ‘JAPANESE GRAPHICS NOW!’, HOHENZOLLERNRING 53, TASCHEN

THORNTON S, R (1991) ‘JAPANESE GRAPHIC DESIGN’, SINGAPORE, LAURENCE KING LTD

LAMBIE, R (2012) ‘Ridley’s universal robots: artificial life in Alien, Blade Runner and Prometheus’, ENGLAND, DEN OF GEEK, AVAILABLE FROM <http://www.denofgeek.com/movies/alien/19074/ridley%E2%80%99s-universal-robots-artificial-life-in-alien-blade-runner-and-prometheus> [12/01/2013]

MARTINEZ, D (1998) ‘THE WORLDS OF JAPANESE POP CULTURE: GENDER, SHIFTING BOUNDARIES AND GLOBAL CULTURE (CONTEMPORARY JAPANESE SOCIETY), LONDON, CAMBRIDGE UNIVERSITY PRESS

GRONBERG, T (2003) ‘DESIGNS ON MODERNITY: EXHIBITING THE CITY IN 1920’S PARIS’, MANCHESTER, MANCHESTER UNIVERSITY PRESS

AMBROSE, G & HARRIS, P (2009) ‘THE FUNDAMENTALS OF GRAPHIC DESIGN’, SWITZERLAND, AVA PUBLISHING

RILEY MACBRIDE, S [2007] ‘FROM WEIMAR TO WAKE COUNTY’, UK, BLOGSPOT, AVAILABLE FROM <HTTP://BAUHAUS-RILEY.BLOGSPOT.CO.UK/2007/11/FROM-WEIMAR-TO-WAKE-VAKE-COUNTY.HTML> [14/01/2013]

ROACH, M [1999] ‘CUTE INC.’ SAN FRANCISCO, WIRED, AVAILABLE FROM < http://www.wired.com/wired/archive/7.12/cute.html> [14/01/2013]

ANON. [2011] ‘WORLD DESIGN CONFERENCE IN TOKYO’, BROOKLYN, KIND COMPANY, AVAILABLE FROM < http://www.thisisdisplay.org/information>

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Essay Plan: "In what ways does Japanese modernist design reflect the unique native particularities of Japanese culture?"

The essay question I'm going to be looking into is:

How does Japanese modernism reflect the unique native particularities of Japanese culture?


I've picked this topic as I've always been drawn towards Japanese design and culture and Japanese graphic design especially has really caught me off guard in the past year or so, I feel the sense of humour, colour palettes and layouts are noticeably different from a more European style we're accustomed to seeing in everyday life. I want to look deeper into Japanese culture and their sense of design, what inspires them and the unique sense of humour I've seen in works by designers such as Shigeo Fukuda. Also to research into whether it is in fact arguably different to European and Western design I'm used to seeing and why.

From the outset and these early stages before finding out more I've always thought Japanese design has almost been working in hibernation, in Europe and extendedly the whole Western world - the design is so samey-same, we all influence and basically copy each other. It seems we haven't studied Japan enough and they haven't studied us enough, consequently they have such a unique and noticably different design style which fascinates me. I need to find out if this theory could actually hold true and what other writers and designers think about this. If this is indeed the case, I want to increase awareness and argue of the stylistic influence Japanese design may have had which isn't celebrated enough with the Tokyo Design Conference in 1960 being a good example.



These are the books I'm going to be reading through. 'Movements in Art since 1945' and 'Japanese Graphic Design' in particular have been very useful.





Essay Plan:


Introduction to the essay and my reason for researching the topic. What I will be covering in the text

Brief outline of modernism- early 20th century and WW1 and WW2's it's effect on art and design in Europe brief. Influence of military occupation. Mentioning Europe and comparing to Japan because European design is what we've grown up with and see everyday.


Japanese modernisation and industrialisation. It's identity and cultural change. Wartime Japanese graphic design - Post war Japan and the significance and importance of artists in a post-war period.


20th century Japanese graphic design, early international recognition and influence. The need and desire for Japanese to establish design in Japan and Japan as a groundbreaking design community and not just the "land of the Samurai".Tokyo World Design conference 1960 and Tokyo Olympics 1964, chance to show off to the world and show post-war Japan as a forward thinking and thriving empire.

Unique and iconic characteristics of Japanese design, stemming from Japanese culture. Is it arguable Japanese culture reflects it's culture more than 'Western' design possibly does in terms of typography, layout and colour? For example Hiroshima Appeals posters

Japanese culture and sense of humour reflected often in it's design. Examples of this and quotes on Japanese sense of humour, does this happen elsewhere and in Europe?

Japanese being influenced by Russian formalists, constructivists and Bauhaus but in Art history and throughout 20th century design, it's hard to see the inspiration returned. Japan taking 'western' design and giving it a Japanese flavour.

Japanese graphic design today and its legacy

Conclusion. Does Japanese graphic design clearly express unique native particularities, short breakdown in which ways and why it's possibly so unique and fascinating in my opinion, overlooked in todays world?

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Lecture Notes: Communication Theory

Semiotics




Two Ronnies sketch: Confusion. O's? Hose? Pantyhose?

Demonstrate how precarious communication is. The meaning isn't guaranteed in whatever you say. People don't realise and are confident in what they say without realising it can be misinterpreted

LINGUISTICS

Theories and theorists

What is Semiotics?

Ferdinand De Saussure - definied semioligy as 'the study of sign systems'

Linguists - are people concerned with language

Helps to understand visual commnication aswell.

Signifier - signified - reference

Word/image/colour/stands in place for something else - not the thing itself/the mental image or concept, what you create in your head - the actual thing itself

Saussure also separated the process of speaking from this speaking of language itself (la Langue) - the process of communicating is a willful thing on our part. We decide what we want to say. The language itself doesn't belong to us, it precedes us. Belongs to society and the human race.

Semiotics is a form of meta-language - a language about language.

E.G. Green and blue have their own connotations. Green - grass/nature? Blue - water/cold?

You add some walkers crisps next to them and the green means salt and vinegar and blue means cheese and onion. Wasn't always this way, it's almost a mental agreement.

Blue as a colour itself has no real connection with cheese or onion in terms of colours and the kind of flavours through prior knowledge that blue imagery creates in our minds.

Saussure tells us that meaning is established in differentiation.

Denote. Connote?

Myth

Barthes linked myths to ideology - 'Bourgeois ideology...turns culture into nature' (1974)

Myths often appear to 'go without saying' yet function hige dominant cultural values.

To Barthes they are a 'third order' of signification after denotation (first order) and connotation (second order) Myth would be (third order) no logical connection but naturalised over time through society.

FOR EXAMPLE...

Red Wine

Associated with class, intelligence. In actual fact no logical or realistic connection between red wine and intelligence. Particularly in France.

Milk

Particularly in US. Associated with strength, Freedom, liberty, like most things in the US. In actual fact bares no logical connection with freedom, liberty. 

SYNTAGM - a series or collection of signifiers within a 'text' e.g. a sentence

Syntagmic relations - how signifiers within a syntagm relate to each other.

Paradigm - signifiers that relate through function or relative meaning (e.g. boy/man male/female)

 FOR EXAMPLE

"he hit the boy" "he hit the man" by replacin the words it completely changes the meaning and perception of the sentence.

SO HOW DOES THAT WORK WITH IMAGERY

D&G

So in terms of a syntagm. Matther McConnaughey for D&G. Bottle of perfume in bottom right corner, right type. And so on. It's syntagmatic relations, the composition, the way he looks at you, in the first third of the image. The rule of thirds. 

In terms of paradigm - replacing one of the signifiers but replacing it with something in the same paradigm/collection

Replacing that signifier with a cowboy ( it's now going to become aftershave for rugged men, the perceived smell and social impact of the fragrance would totally change.

Marlboro Man
Rugged, chilling, man. Replacign the man with a woman would completely change the communication like on other cig adverts.

Metaphor and Metonym - are both non-literal forms of signification, as such require a level of interpretation.

metaphor - where one signifier is replaced with another of similar character or concept

metonym - where a signifier stands in for another to which is conceptually or physicall a part of. For example referring to your car as "the wheels". Small part of the car.




The White House
Saying The White House doesn't necessarily mean the house itself, it can refer to US politics, democracy and so on.




RHETORIC
The act of effective persuasion using language. Politicans, Journalists, Advertisers, PR. So subtle, wer'e sometimes not even aware it's happening at all.

Very careful about what they photograph, how they photograph and which photographs they pick to capture the message. For example "war is bad" "madonna likes babies"





THE GREATEST MOVIE EVER SOLD
a movie about making a movie - a metamovie.

Marcel Duchamp 'Fountain'
The loo. An artwork about art, comments about art itself.

STRUCTURALISM
The term used for the broad application of semiotics/semiology to a range of sign systems.
Further than the application solely to linguistics.

Structuralism emphasises structures or systems of signification.

Not what it means but How it comes to mean.

Semiotic linguistic terms/structures act as analogies for other systems.




Roland Barthes - 'Image Music Text' 1977

Barthes anlyses range of visual media in terms of their signifying structures. 'The photographic message' 'The rhetoric of the image' 'The Third meaning' Essays worth reading if interested in semiotics and signifiers.




POST-STRUCTURALISM

People became skeptical of modernism, post-modernism happens. Same happened with structuralism.


Art Thoughtz - Post Structuralism

"using big words to make their work seems interesting. "If you can't make it, fake it. Use big words"

Modernism is kinda like your father growing up. You assumed everything he said was true, Too young to see reality, your hero. Establishing the world for you, differences between right from wrong etc. Post structuralism - "fuck your father, your authority". 

You be like "Maureen I'm not the father of that baby." 

Post structuralism "You are the father of that baby."

Realistic. Pessimistic and no faff.

Post structuralism is a part of post-modernism. It's about skepticism about assumed rules and assumed meaning.



What's wrong with structalism?

Structuralism reduces everything to related elements within a signifying system...

This is authoritarian in nature.

Assumes the presence of meaning ('the metaphysics of presence') logocentrism

Post structuralists aim to deconstruct assumptions and emphasise the plurality of interpretation






Differance

Jaques Derrida established this term both in development of Saussure and disagreement.

Differer - to differ and to defer

Differance is both differing and deferring simultaneously

Derrida states that meaning is not only established in difference/opposition but is also being deferred.


JD 1968 quote. "As rigorously possible we must permit to appear/disappear the trace of what excees the truth of Being. The trace of (that) which itself can never be presrnted: that is, appear and manigest itself, as such in it's phenomenon... Always difering and deferring, the trace is never as it is in the presentation itself. It erases itself in presenting itself.."




DECONSTRUCTION
Where structuralism identified/created structures of signification

Deconstruction aims to dismantle the structures - identifying gaps and instabilities/

Through deconsitruction Jacques Derrida challenged 'binary oppositions' which are deeply rooted in our culture and language.

Emphasising what is lost or cast aside.





Intertextuality

Describes how texts (according Kristeva) subject to influence but also everything that comes before and is similar to.


Intertextuality describes how texts are contructed/collages of previous texts...


Foucalt also writes about intertextuality.

Exists because it references others. 

SIMULACRA

Jean Baudrillard introduces the idea of hyperreality in representation...a copy without an original.

That we have lost the ability to recognise the difference between nature and artificiality







Apple Mac v Nike

Useful for their purposes. But also useful to say Apple Macbook, often instead of Laptop. The status and the brand themselves become more important the brand itself. People who have an iPhone very rarely refer to their phone as a phone anymore, but an 'iPhone". Yet people using a Samsung S3 for example would rarely say "Oh I'm just on my Samsung S3"






CONSIDERATIONS FOR ART & DESIGN

Considerations in analysing art and design

Considerations in creating art and design.

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Verbal Acrobatics: Nas typographic poster

I want to do something different with Nas, to break way from the previous two posters I've done and also because I can't consolidate a consistent visual style and theme throughout Nas' album covers, he has no real iconic visual style, in terms of type and colour schemes.

The most memorable aspect of Nas' album covers and visual material is his head, or himself overlaid on top of a Queensbridge skyline. In particular for the song I've picked, 'It Ain't Hard to Tell' off the classic Illmatic album over.

So I want to somehow incorporate his face with typography and create a face out of typography and go from there.

This top is pretty close to what I had in mind! I'm going to just try and make it a bit more playful and reflect hip-hop a bit more with more movement and looseness like the song in question "It Ain't Hard To Tell"

I like how this typography takes the shape or atleast suggests a 3d elements on the poster so I aim to do this with Nas.

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