Visual Representation In Art - Essay Example

Visual Communication It is an observation that art has been one of the significant aspects ofthe society that has continued to influence and inspire humans since centuries. One of the major attributes of art is its visual existence that enables artists to create a strong relationship with audience aesthetically. Studies related to art have pointed out that art has existed until now; however, it occurred and existed in the form of different art movements that inspired the coming generations to include art in their lives. In the present era, technology has altered almost every field on global level, and experts believe that it is altering the mode of visual communication art used until now. On the other hand, few experts (Candy, pp. 23-25) believe that contemporary form of art, such as films, television, music videos, digital photography are outcomes of inspirations and influences from previous art movements (Candy, pp. 23-25). Thus, all contemporary representations of art enjoy a deeper relationship with different periods of art in a meaningful manner. For instance, Surrealism was a significant and successful art movement of 1920s; however, studies have indicated that present artists are doing nothing but blending technology with traditional artworks of Surrealism, and few other art movements, such as Impressionism, Cubism, etc. Analysis of the literature (Surrealism.org, 2009) related to Surrealism has pointed out that present progression in the field of art has changed only the tools and equipments, and artists are still continuing to add visual elements of Surrealism that will be part of the discussion later in the paper. In the past, Surrealists used to create artworks by their hands and brushes while using the techniques, such as collage, furnage, heatage, bulletism, outagraphy, etc (Surrealism.org, 2009). Today, artists, especially of the music videos are using computer software instead of brushes to use the same techniques, in order to communicate with the audience visually, as well as to present their music in an enhanced and inspirational manner (Candy, pp. 29-36). This is one of the reasons that music videos have now become the influential tools to popularize a song, and despite of weak lyrics of a song, artistic music videos result in success of the music (Williams, pp. 47-61). In this regard, it has now become very important to identify factors that existed and played significant role during the art movement of Surrealism, and have continued to dominate the music videos in contemporary era of 21st century. For this purpose, the paper will endeavor to discuss and analyze different aspects of Surrealism, as well as music videos, in order to identify visual elements and different techniques that facilitated Surrealists in inspiring public during 1920s, and have been an inspiration for the creators of music videos to create a relationship with audience in a visual manner. It is expectation that outcomes of the following decision will allow a wide-ranging understanding of different aspects of visual communication that are playing noteworthy role in human lives. Aspect that makes surrealism and music videos different from other film movements and TV video styles is the fact that Surrealist work and the music videos does not come under limitation of nationalism or the constraints of history. This trait can make this art almost impossible to understand; however, many art critics regard this field of art as an enhanced opportunity to link music videos across the globe beyond the national and historical boundaries in an effective way. The most distinct characteristic of Surrealist and the music videos is that it gives a challenging attempt to the human interpretations of truth by refusing and denying traditional modes of presenting story plots and making lyrics (Richardson, pp. 13-17). Contemporary kinds of music videos are most likely to devise new technological and presentational patterns to dig into different issues related to sociology and psychology. There exists a very distinct point between Surrealist and music videos playing the role of different categories in cinema; these roles integrate to make up the basic grounds of Surrealist art as an ideological orientation. Surrealist cinema represents a movement that induced the ability to respond, in order to gainsay and sideline the existing patterns of society (Richardson, pp. 11-12). Many music videos consist of surrealist portions; however, not all the videos have an aim to challenge and change the norms of society that is distinguishing factor between the two. The necessity and the most important requirement for being a Surrealist is the tendency to exhibit itself as exciting, thought provoking, and radical. Numerous music videos appear to be very imaginative; however, the basic usage of narrations and the choice of issues are very schematic. This fact makes the identification of Surrealist and related videos even more difficult. The term Surrealism is often a part of many of the music videos reviews. A quick look at the monthly listing of pop charts usually have references to comics, music videos, and many times documentaries to several topics under the umbrella of Surrealism (Surrealism.org, 2009). Surrealism has appeared as the most approachable, near to reality, and linked to present living out of all the videos that came into existence in this century under influence of various social and cultural movements. However, the paper reflects the most appropriate realization of the term and also describes its usage in different manners. The most basic point while studying the Surrealism and TV music videos starts with the comprehensive study and discussion of the meaning of surrealism. During the year 1920s, a famous personality Andre Breton formed the Surrealist movement in France (Surrealism.org, 2009). This was the period after the First World War and before the Second, in those times, there was an increased trend in terms of literature on cultural issues. This movement stood out to be one of the trendsetters that deviated from being a particular art movement. Moreover, Surrealist art accentuated the on the positivity of expression and at the same time denied the formal methodology of applying logics in creative arts (Surrealism.org, 2009). However, many of the critics regard it as the disaffirmation of reasoning theories as the movement had much in common with another movement that used to negate reasoning. The basic aims of the founder of this movement were to encourage and promote the usage and applications of unconscious to result in visualizations and visual imaginations (Lester, pp. 57-66). Breton (Surrealism.org, 2009) boosted the involvement of imaginations, fantasies, and visualizations from the unconscious to make itself a part of intellectual environment, changing into surrealism. In addition to the fact, different analysts regard Sigmund Freud as the significant personality in progress of this movement. Many of Freuds theories acted as a positive catalyst to divert artists interest towards Surrealism. Last but not the least, Salvador Dali (Surrealism.org, 2009) holds regards as the prominent activist of this movement who served as the inspirations for many movements yet to come. Surrealism activists were rapid enough to foresee the probability of cinema as a mode of awakening the unconscious mind. Cinema holds certain power and potency that can completely induce the fantasy state in minds of the audience, this ability of cinema is so evident from the manner the critics have always regarded it as the factory of dream (Surrealism.org, 2009). Hence, the Surrealism effect on cinema was the result of integration of both the arts included in Surrealism. This effect implies to the fact of utilizing the tricks and tools of cinema in order to create the most imaginative narrations. These narrations faced the patterns of Hollywood narration. Films then served the purpose of gainsaying the norms and cultures of present society. These confrontations included titillating aspects and anti nationalism or religious perspectives as well (Richardson, pp. 19-20). In making of movies based on Surrealism, it is very essential for actors to perform all the acts in a dream like state, there is very little or no consideration for formal objectives related to narrations. The other modes included objections on hard and limited drama making and the self-acting sensor board of cinema. Analysis (Lovejoy, pp. 37-41) has shown that innovative Surrealists are now making themselves distinct from other conventional cultures of storytelling and narration by getting benefit from the masterminds of computer technologies and utilizing fabulous fantastic and futurist shooting of fashion and related arts while using conventional techniques of Surrealism. For instance, a huge number of music videos represent celebrities, such as Madonna, David Duchovny, etc in creative and fantasy-based settings that portray erotic feelings visually that is one of the fundamental techniques of Surrealism to create a relationship with audience visually (Jarman-Ivens, pp. 45-47). It is a basic belief of Surrealism ideology (Surrealism.org, 2009) that imaginative elements are the most effective modes of representing realities; however, the writing modes exhibit the interpretations and mindsets of the authors and produces and this limited profile is evident from the formal music videos as well. Experiments done in the fields of making montage and collage like representation of different ideas and themes have given boundary less interpretations and multiples aspects in understanding of the theme (Wyngaard, pp. 78-80). Searching for new techniques that are helpful in expressing realistic images, the producers and makers of music videos have again presented deviation in pictures and images by using the technological means effectively that was an important tactic in the basic Surrealist movement, but in a traditional manner. Similarly, the most prominent and vastly used tactic in Surrealism was the technique of making an image double, or producing another image as a replica to the previous image and this tactic has its wide utilization in contemporary music videos as well. Making an image double serves for different purposes other than the transformation of one image into other. It also regards first element of the chain as the most significant element that implies the fact that doubling is totally about changing the raw data into the shape of complete information (Williams, pp. 38-44). The effect is same as that of the conversation when repeating any words changes the intention and significance of the expression. For example, the syllable ha is just a random sound; however, when another ha adds to the previous ha the meaning changes into the sound of laughter and amusement (Lester, pp. 61-64). This is very visible in music videos that are using similar techniques innovatively to enhance the representation of music. Most importantly, female has remained a major visual element in both Surrealism and music videos, used to enhance the artwork or photography of Surrealists in the past, and is used to enhance the music and its video nowadays respectively. As an attempt to obtain the aesthetic touch, the usage of female visuals was a common practice among the surrealism activists. However, the present music videos are inclining towards the same transformation. There is no doubt about the fact the men dominates the effect in music videos of these days but there is no denial to the fact that female singers, producers, and video makers are capable enough of presenting the creative and innovative ideology of Surrealism (Lovejoy, pp. 37-41). Nevertheless, thing that usually does not comes under discussion of surrealism with regard to female imagination is the manner in which, the presentation of female figure intends for fundamental ideas of Freuds amativeness and the male dominancy of Surrealism (Surrealism.org, 2009). Usually, when a female form has its share in the video, the sole purpose is to present it as a titillating target or as a romantic Medusan terror, which exhibits the mysterious relationship between the Surrealism ideology and musical videos (Lovejoy, pp. 37-41). It depicts the substantial significance for the usage of tactics of imaginative elements in order to transmit the idea in the most effective manner. Conclusively, the paper has discussed some of the significant aspects of the relationship of visual communication between Surrealism and music videos. It is an expectation that the paper will be beneficial for students, teachers, and professionals in better understanding of the topic. Works Cited Candy, Linda. Explorations in art and technology. Springer, 2002. Jarman-Ivens, Freya. Madonna’s Drowned Worlds. Ashgate Publishing, 2004. Lester, Paul Martin. Visual Communication. Cengage Learning, 2006. Lovejoy, Margot. Digital currents art in the electronic age. Routledge, 2004. Richardson, Michael. Surrealism and Cinema. Berg Publishers, 2006. Surrealism.org. Surrealism, 2009. Retrieved on December 11, 2009: http://www.surrealism.org Williams, Kevin. Why I (still) want my MTV: Music Video and Aesthetic Communication. Hampton Press, 2003. Wyngaard, Susan. Digital images and art libraries in the twenty-first century. Routledge, 2003. Read More