Blog Book by Caitlin Burns

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G O O D A S S B L O G

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Contents Chapter 1 of Visual Methodologies

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Chapter 3 of Visual Methodologies

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Chapter 4 of Visual Methodologies

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Chapter 5 of Visual Methodologies

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Chapter 6 Summary

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BLOG ENTRY Chapter 1 of Visual Methodologies Ch. 1 prompt: In this chapter, Rose describes the challenges of critically examining visual imagery as well as defines quite a bit of her key terminology for the various methodologies she describes in later chapters. Also, within this chapter, she explains some of the basic tools we will be using as we examine our chosen images. In section 4 of chapter 1, she outlines these sites and modalities (sites: production, image, audience[s]; modalities: technological, compositional, social). After reading sub-sections 4.1–4.3, briefly explain the sites/modalities for both images. You can break them up into two separate blog posts (one for each image).

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For this prompt, I will not require you to write a formal response (as outlined in the Assignment section above); instead, you are able to create a list and short description for each site/modality (remember that each site will include, in some way, all three modalities). However, it may help if you also briefly explain (in your own words) what defines each site/modality so that you will better understand what it is you’re looking for in your images.

Image 1: Migrant mother Florence Thompson & children photographed by Dorothea Lange. (1936) Site of the production: Not everyone agrees about whether or not the circumstances of an image’s production can affect how people view it. This particular photograph is rather well known, and was taken in 1936. Technologically speaking, at that point in history, cameras weren’t necessarily bulky nor did they require slow developing film. Because the photographer likely was using a portable camera, we can assume that the photo was not staged in a studio, the subject was not required to sit still and pose for an absurd amount of time, the photo is just a peek into the life of a mother during the great depression. This is similar to the Doisneau photograph that is given as an example for explaining the various sites and modalities.

Site of the image: I feel the social is the most important modality in viewing this image. It is common knowledge that this famous photograph is a snapshot of desperate poverty as a result of the great depression of the 1930’s. Because of this, there is a definite, blatant inference to the consequences of certain economic systems. Had we not the known that this woman was a victim of stock market circumstances, and perhaps assumed that she was a refugee from a war, or

even a model staged to look like a weathered, exhausted, melancholy mother.

Site of audiencing: To quote the textbook: “[...] you bring to [the image] your own ways of seeing [...]” ... There are many different aspects through which you can analyze an audience viewing an image.

Compositionality is first brought up. The composition of this photograph does indeed have an affect on how it is viewed. The emphasis on light/dark values as well as the body language of the subjects are examples of how the image itself can affect how someone views it. The technological site also plays a big role. For instance, I am viewing this image on a big fat, ridiculously shiny, new macbook pro. I am looking at this desperate woman and feeling like a gluttonous tool of the capitalist regime. I feel lazy and ungrateful. I feel that the social modality is closely related to the technological, as in the technological is most often related to or caused by the social. Here I am in my comfortably sized house with my parents after eating a nice dinner with them and I’m doing my homework while they watch baseball with my brother.

Perhaps if I were not in such a comfortable situation, I would feel differently towards this photo. But as it stands, my current surroundings are pretty much polar opposite from what is depicted, and it’s bumming me out. (in a self-loathing way, not a pity way) Image 2: Kanye West Homecoming (from the album Graduation, 2008) Site of the production: This is one of my favorite music videos, for a number of reasons, but I feel it is very relevant for this assignment, especially when comparing it to Dorothea Lange’s photograph. What makes this work of art different, however, is that this is a big budget production, done moreso for fame, notoriety and wealth as opposed to a genuine, realistic interpretation of urban life in Chicago. (sorry Kanye. I love you, but you got a big head. And a drinking problem.) Despite this, it still tells a complex and multi-layered story.

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It tells the story in the lyrics, it tells another story in the imagery of the video itself, and it tells yet another story, detached from the visual, about hip-hop culture and the value of staying true to your hood roots.

But when analyzing the technological modality, you can’t help but see Kanye surrounded by professional, record-label hired cameramen and art directors, and this knowledge sullies the illusion of “realness” which he is trying to achieve. This goes against the auteur theory espoused in the end of section 4.1: “The notion that the most important aspect in understand a visual image is what its maker intended to show you” Site of the image: In terms of compositionality, I feel that the use of black and white film is wise. The video itself deals with subjects of poverty, childhood, overcoming unfortunate circumstances to achieve your dreams, love of music. The black and white pays homage to harder times. The silhouettes reference, in my opinion, the artist’s attempts to keep his past/childhood a part of his music. The mirrors throughout the video symbolize seeing yourself in your surroundings.

Site of audiencing: I feel the most important modality in respect to the site of audience in this case would be technological. For example, take how I am sharing the video on my school blog. I’m using Youtube, a free service which enables anyone with access to the internet to view these videos. This common form of sharing images allows anyone, anywhere, to view or share the video. So, no matter how poor you are, you are able to watch Kanye’s ‘Homecoming’, perhaps add it to your favorites, post it on your facebook. The internet is empowering.

It is communication at its most unbridled, and it allows the message of the video to reach potentially anyone. The people who would derive the most significance from this video are those who have little to no access to other forms of media. (you can get online at the library!)

Rose sure wasn’t lying when he wrote: “[...] the distinctions between sites are less clear than my subsections here might imply.”

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BLOG ENTRY Chapter 3 of Visual Methodologies Chapter 3 focuses on the interpretation and description of the formal elements of visual imagery. Unlike the other methodologies for describing images, though, this method does not concern itself with the social aspects of the image, focusing only on the compositional modality.

For your prompt, choose one of your two images, then describe its compositional qualities (much like you would describe it to someone who may not be trained

in critically examining visual imagery). You must follow the guidelines outlined in the Assignment section above when formatting your response.

Remember that you are allowed to discuss things that relate compositionally, such as genre, production technologies or similar imagery.

Remember, you are not critiquing the image’s social relationships, only its formal description.

For this chapter I will be analyzing Kanye West’s Homecoming. Because it is a moving image, I will use the language associated with a film’s compositional interpretation. However, I’d like to also look at some individual screen shots and look at them as individual works of art.

This is one of my favorite music videos ever, and I watch a lot of music videos. I feel that music videos bridge the purely visual and the purely auditory, which is an extremely important relationship in this ocularcentric society.

Many cinematographic tools are used in creating this music video, to great success, in my opinion.The most prominently used technique is most certainly the silhouette effect seen at various points throughout the video.This is a form of superimposition, the showing of two separate images simultaneously. The use of the silhouette is interesting in terms of symbolism. The director could have chosen to show the two images (Chris Martin jamming out, and Kanye looking thoughtfully at his reflection) side by side, or perhaps even one after another in a montage. But neither of those methods would have the same personal emotional connotations that the superimposition would.

This effect stirs feelings of connectedness to one another, connectedness to a locale (Chicago, in this case), brotherhood, agreement, fond-

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ness...

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Then, even deeper than that, there is the strange yet alluring quality of the juxtaposition of the emotions portrayed in each layer. Christ Martin seems to be giddily singing this song, shimmying a little here and there, in a subdued expression of joy... Whereas Kanye is looking at himself in this iconic landmark in his hometown.

(Chris Martin is from England, so it’s not like he’s particularly excited

by Chicago...) Moments later the camera pans out to show the Chicago skyline behind him as he rests his hands upon the Cloud Gate.

The moments shown where Kanye is contemplating himself can be interpreted as either vanity of a legitimate questioning of self identity.

(But keep in mind that when this video came out everyone still though Kanye was the Christ of Hip-Hop, he has recently revealed more of his true colors, and being familiar with his behavior one cannot help but interpret this mirror-abundant video in a different way.)

Another quite interesting thing to note about this music video is the very powerful use of a completely black and white palette. (I’m not sure if the term ‘palette’ can be used when describing moving images...?) Why is black and white perceived so differently than all color film?

How does this use of color (or lack of color) contribute to what the artist intended to highlight? Notice how all of the in the below screen capture are they themselves black, and wearing mainly black clothing. The background and other parts of the surrounding environment are quite bright in value compared to the subjects that inhabit it.This brings up many questions. I had to word this differently a few times for it to sound right, but could this be a way of literally showing, through cinematography, how society values to light over the dark? For instance, why is something that is darker consider “low value” and something that is light is considered “high value”? Just an interesting thought to ponder.

Perspective also plays a key role in many of the shots in ‘Homecoming’. The video plays with shots of Kanye from below, looking up at the Chicago skyline. In addition to this, there is also a shot

of him from beneath the Cloud Gate (the huge weird bean-shaped mirror) which skews the reflection greatly, creating a very unsettling sort of perspective. This could potentially echo the different ways in which the subjects views himself. As someone who is looked up to, as an unfamiliar stranger, or as an everyday man on the street.

In the end, I think ‘Homecoming’ is a very deep and beautiful portrayal of one man’s search for identity in a hectic, materialistic world. Through striking visual imagery it successfully communicates in an aesthetically pleasing manner, a quarter-life crisis at its most rudimentary. “Who am I?” “What do I want to say?” “What should I say?” “Where do I belong?” ... all questions answered with art.

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BLOG ENTRY Chapter 4 of Visual Methodologies Chapter 4—Chapter 4 looks at ‘Content Analysis’ as a methodological and quantifiable means of looking at and assessing imagery. It’s goal is to be more of a scientific process rather than one based on potentially non-replicable visual interpretations.

For your prompt, you will need to find 10 or more images/motion clips that are similar in some way to the original images you have chosen—for example, if your still image is an ad for women’s clothing, you could find 10 more images that either portray women, sell clothing, sell clothing to women, or define fashion. Likewise, if your motion clip was the opening scene from Raiders of the Lost Ark, you could find clips from other films/television/games that exhibit western exploration of world cultures, stereotypical leading male action heroes or chase scenes.

Next, using the methods outlined in sections 2.1–2.4, you will need to create a list of categories which you will be coding within the images (try to determine

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at least 5 different categories), followed by analyzing the images based on your categories. Finally, you will choose two categories you found the most interesting and create a short analysis of what you believe your findings tell you or others. Remember that this is an interpretive method and will require you to support your findings logically.

For your post you will need to include the following: * A brief summary about content analysis, including when/ why it might be used * Links to your other image sources * Bulleted list of categories you will code within your images * Bulleted list of the results of your coding (i.e. how many times did you find item ‘A ’ in your imagery) * Some sort of visual graphic (chart, graph, etc.) that displays the results of two of your findings from the content analysis * One or two short paragraphs describing your interpretation of the findings from those two categories

This is my original image - “Migrant mother Florence Thompson & children” photographed by Dorothea Lange. I have chosen a number of other photographs from the same time period, all of the images selected have come from Google’s Life Magazine archive.

The 1930’s were a tumultuous and upsetting time in America. Many people were affected by the depression, and the way these people and families were portrayed is quite interesting. Looking back, were the photographs meant to instill pity? Anger? Hope? Are the photographs dehumanizing the actual strife?

Through content analysis we can determine the intended popular opinion of the families affected by depression & poverty.

The catagories of coding I will be using are: * children present in photograph * facial expression * food present in photograph * quality of shelter * comparison to middle class With these categories, I feel I can accurately determine the intended message and audience reaction to the set of photographs from LIFE magazine circa 1930’s... (Please note that not all of these photographs were taken in America, many are European.)

In doing content analysis, I have determined that 50% of the selected images portray either children or sadness in some way. Often both are portrayed in the same image. Decent shelter is only featured in 50% of the images as well. Food is a subject in only 3 of the images, and most astonishingly, the way of life for those unaffected by the depression is only alluded to in 2 images. * presence of children - 5/10 * sad expression - 5/10 * presence of food - 3/10 * image of shelter - 5/10 * allusion to middle class - 2/10 What can we deduce from this data? emotion, care of children, and shelter are 3 things that are most commonly thought of when discussing poverty. I assume that LIFE magazine used these images because they are the most resonant in the comfy middle class. Readers will be flipping through and think to themselves “How sad, look at those hungry children, wish I could help them.� (Reader then sees image of government worker attempting to bring aid to those dislocated by the dust bowl... reader feels bad for not doing anything, even though this is happening in his own backyard) The fact that non-impoverished characters are so rare in this selection proves that those reading the magazine did not want to compare their relatively comfortable lives to those experiencing such hardship.

My final conclusion after this research has been that LIFE magazine wanted to portray the impoverished population of America and Europe in such a way that it would emotionally affect its readers,

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yet not discomfort them enough by insinuating guilt for their easy lives. The ignorance of the upper and middle classes is a problem that exists even today. Portrayal of the impoverished usually is

disguised in such a manner that many responses to the images amount to pitiless toughlove, i.e. “pull yourself up by your bootstraps� mentality.

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BLOG ENTRY Chapter 5 of Visual Methodologies Chapter 5—We spent a couple weeks getting comfortable with the world of semiotics, both linguistically and visually. This week’s chapter—suprprise, surprise!—is all about semiotics and semiology as it relates to decoding visual imagery. As you’ll note from the reading, using semiology as a visual methodology is different from interpreting visual composition and/or content.

For this week’s blog post, you are required to focus on one of your two images. The response as a whole will focus on deciphering two of the signs you choose within your image, relating to the social relationships outlined by Rose at the beginning of the chapter (this discussion begins on page 75).

These signs are up to you, and you will need to decide which signs are the most important within you image. To approach this week’s post, you will need to cover the following topics: 1) First, in a single, concise paragraph, summarize what the key difference(s) is/ are between taking a semiotic approach to visual research vs. content and compositional analyses. This is a very broad, gen-

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eralized paragraph (you do not need to go into a highly detailed compare/contrast summary).

2) Next, choose two signs that you feel are important to the interpretation of the social context (focus on power relationships) of the image. Use the lists on pages 81–82 as a starting point. In the second paragraph, briefly outline these signs and what significance they share (i.e. do the signs relate to gender inequality, racial issues, agism, etc.). Think of this paragraph as an outline of your response.

3) Outline and discuss each sign more indepth (one discussion per paragraph). Remember, signs receive meaning in two major ways: their relationship to other signs within the image (Section 3) and the interpretations brought by the audience (Section four). Think about how the signs are interpreted on the surface vs. their ‘hidden’ meanings, and why the creator may have chosen these signs rather than others.

4) Conclude the post with a brief summation of the previous points, and end the paragraph with a statement explaining how being aware of implicit vs. explicit meanings within imagery is important as a designer.

For this blog post I will once more be focusing on Kanye West’s music video for “Homecoming.”

The differences between semiotics and content/compositional analysis are quite vast. Content and compositional analysis are rather scientific in their approach to the interpretation of visual images. Instead of focusing on social implications, they coldly, objectively derive meaning from images. To quote Gillian Rose’s text: “Compositional analysis claims to look at images for ‘what they are’, rather than for, say, what they do.” Content analysis gauges what the intended audience reaction is. In contrast to this, semiology offers

a more complete and well-rounded methodology for interpretation of visual images. The clues are in the names! Semiology is ‘study of signs’ an all-encompassing area of academia. Content and compositional analysis are merely methods of research.

I have chosen two signs that I feel play an important role in the video. Mirrors (reflections) and race are two very big factors present throughout. Both of these signs key into the bigger, more all encompassing theme of personal identity. Search/reaffirmation of identity is indeed an obtuse and somewhat difficult to define form of narrative, and especially with vague lyrics of a song in the background, signs become very necessary in highlighting the ultimate meaning.

Let us look at this particular screen shot. Here we see Kanye a top what is presumably a bus, surrounded by mirrors. Mirrors are a key sign in in this video. They are visible more often than not throughout the narrative. The context in which they are used is very much connotative, meaning they are not objectively perceived. The funny thing about mirrors is they have no ‘sign’ in and of themselves. It’s difficult to draw a picture of JUST a mirror, because it isn’t anything without something to reflect. What it reflects then becomes a sign when projected through the frame of a mirror. When Kanye leers thoughtfully at himself in a mirror, the image of Kanye himself, via the mirror, becomes a sign. I feel this symbolic tool is incredibly useful. When we see Kanye through a mirror, we aren’t looking at the man, but a projection of his persona, an alter-ego, the idea of Kanye, but not Kanye himself. I especially like how this corresponds with the egoism discovered when doing compositional analysis of the mirrors. Perhaps Kanye does not want to be seen as a mortal human most of the time. He alludes to his godliness in his newer videos, and a GOD certainly is not a “being” but an “idea” in most cases.

Another blatant sign used in this video, one which i briefly touched on in a previous entry is race. It would be incredibly difficult to describe this video, or any urban music video for that matter, without bringing up the subject of race. To properly analyze the role race plays here, we definitely have to separate the images from the narrative lyrics of the song. A certain word used colloquially by blacks to address one another is quite prominent, and the usage of said word is a debate within itself. All of the men present in the video appear to be wearing

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very dark clothing, echoing their dark skin. There is no sense of oppression, it doesn’t seem as though Kanye intends to portray his hometown in a bad light. Chicago is the home of Barack Obama, and the state of Illinois has been the home of many civil rights activists, including President Abraham Lincoln! Race is not intended to be depicted as something hindering or defining of one’s life. Race is just a physical attribute, associated with a certain culture sometimes. In much the same way as Kanye does not see himself as a “man” he most certainly doesn’t want to be seen as a “black man” nor does he want his familiar neighborhoods to be thought of as “black neighborhoods” “Homecoming” is quite personal, consumed with this obsession with identity, and all facets associated with it. Identity is such a vague, ambiguous subject, it’s difficult to state it explicitly. The very nature of identity is most often the opposite of explicit. One must spend time with, and dig though a person’s character before they understand who they are, before they can grasp any semblance of their identity.

In much the same way, one cannot determine the truth of anything without first delving head first into its essence. Sometimes it takes a lot of careful analysis before meaning can be constructed out of the implicit. It is important to be aware of the things in life that aren’t able to be taken at face value. To understand the implicit and explicit is to understand the foundations of society and everyone around us. Signs are just people, and people are just signs.

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HOLY SHT Chapter 6 Summary Psychoanalysis is a method of attempting to understand our occularcentric world. Instead of focusing on concrete methods of visual research, as in compositional and content analysis, psychoanalysis pays exclusive attention to the development of subjectivity in humans. Although we do not agree with most facets of psychoanalysis’ operations, we do advocate its importance in aiding in understanding an audience.

As designers we will never understand a complete audience the way we intricately understand ourselves, through the use of psychoanalysis we can gauge how the audience will interpret images we have created.

The intricacies of psychoanalysis are often ambiguous and hard to pin down in a concise definition. We spent a significant amount of time going over and debating about the subject material found in chapter six of Visual Methodologies by Gillian Rose. We went out of our way to relate the subject matter back to its use in graphic design.

Many of the concepts outlined were vague, cloaked in academic jargon, and extremely subjective; in fact, it was masturbatory.

The essence of subjectivity is that it cannot be discussed objectively.

Aspects of psychoanalysis such as castration complex seem to be dated ideas, not applicable to today’s non-nuclear or gay/ lesbian families. However, the concepts of the Lacanian Gaze and mirror stage were quite interesting and relevant in image making because we can better understand the development of other’s and our own subjectivity. Mirror stage is also important to understand as designers because we are responsible for creating idealized environments to sell products or ideas.

After much debate and adventuring into antiquated academia, we felt forced to come to our conclusions on the concepts presented. For instance, the book describes voyeurism as a way of distancing and objectifying what is being looked at. We took that concept to the next level by applying it to a modern day scenario; we picked apart ads

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and came to conclusions about the images relevant to our culture. Now we do not merely see a scantily clad woman selling chicken wings, we deeply comprehend the thought processes that went into the decision to use a buxom, presumably fertile young woman to sell chicken wings, why it works as an advertising tool, and exactly why most people are compelled to gaze at cleavage.

Hitchcock’s films, though no doubt quality works of cinematic art, are not relevant to today’s graphic design. Through significant amount of discussion and debate we fully understand the concepts of scopophilia, the unconscious, subjectivity, castration complex, mirror stage, voyeurism, fetishistic scopophilia, phallus, phallocentrism, masquerade, the Lacanian Gaze, fantasy, and desire.

The roots of human consumption are deep in the psyche – to tap into this is quite powerful. To be a successful designer one must understand the intricacies of the mind of your audience. Psychoanalysis does just that.

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