Visual communications being a totally new area of study for me, I must say that at the onset I was not even sure of what exactly they dealt with and Part 3 has so been first and foremost a voyage of discovery into culturally foreign territories. As I progressed through the course it became apparent that these territories are indeed very close and often hastily taken for granted and that if we spend great part of our days in receiving and exchanging visual messages it really matters if not becoming specialists of this area at least try to understand what kind of messages we are talking about, how they are made and which meanings they convey.
Perhaps more importantly I realised that visual communications do not stand by themselves but have their roots in and are nurtured by the visual culture they have in common with the arts, literature and other cultural expressions at large, and reflect it back in a two-way exchange and influence. The ground is the same, the themes of time and space run through them as connecting threads and concern them all. More, I am becoming aware that the separation into different areas – contemporary arts, writing, photography and so on – is mainly functional and fulfills the need for a structured approach that allows us to come to terms with the complexity of human creativity and research it in manageable bites. And whenever I concentrate my efforts on a single topic or exercise I keep telling me that it is difficult but necessary to not lose track of this shared ground.
What perhaps most interested me was to start investigating the semiotic approach and exploring the concepts of signifier and signified and denotation and connotation as helpful tools to analyse the cultural ‘broth’ we live in. I find this line of thought very stimulating also in connection with the other parts of the Creative Arts Today course.
I did not find Part 3 easy because for all the exercises proposed the scope of research was very large and the possibility of getting lost in a never-ending chain of cross-references a very real menace: for me it is always difficult to know where to stop and as I said at some point in my blog I inevitably get the frustrating feeling that I am just dipping my little finger in the ocean and never have the time to take a good swim. But I think this too is part of the learning process.
I particularly enjoyed working on the collage exercise in connection with the recontextualisation of images and the research on photomontage artists, especially the intriguing narrative and the skillful composition of Martha Rosler’s visual stories (Project 2: Combining visual elements). It was a challenging exercise and though I was less than satisfied with my literal and amateurish work at least I had a chance to get my hands dirty and experience how difficult it is to produce structured meaning.
Another exercise that will stay with me was that on the semiotic analysis of posters (also in Project 2): I had never before examined so closely a film poster (Kill Bill 1 in my case) and a DVD cover (Downton Abbey series) and have learnt how much these apparently simple images can tell. But I found very interesting also the exercise on the semiotic analysis of the apple through time (Project 3: Reading visual communications) and that on Knitting Patterns (Project 4: Time and place).