The Function of the Art and Design - Essay Example

The Function of the Art and Design Introduction The concept of art is one which can easily alter depending on how the spectator looks at the work. This is not only one which is based on the overall look and perspective which is given. The function of the art, design which is used and the overall formula which occurs also creates different meaning, all which is dependent on the spectator (Silverman, 1984: 15). The aspect of art that alters is based not only on the meaning which changes according to the spectator but also relates to the objectification of the work. Since the art is only an object, the meaning and definition can be communicated from a variety of perspectives. This includes differences in the design, function and mechanics that are related to the artwork. This paper will examine the ways in which the concept of art can alter, specifically which is based on the perspective of the spectator in relation to the elements used to create the designs. Process of the Work To determine the way in which spectators are able to define objectification, as well as perspectives, different artwork was slightly altered. This consisted of a chair that had one leg cut off, a second chair which had nails driven into it and a chair that was made from corrugated cardboard. The main approach was to determine how each of these objects could become a piece of art through the object and design that was used. More importantly, there was a specific understanding of how this would relate to the spectators viewpoints and how they would relate to the design which was completed by each of the chairs. The end result was called “hierarchical comfort,” which worked as a means to show how the concept of art related directly to the potential functional differences and took the concept of the objects and turned it into a philosophical approach. Using this main concept then allowed those who were looking at the artwork to be pushed into different perspectives based on their own experiences. Theory of Emotional and Functional Differences The concept of changing the meaning of the object through function was based on creating differences through the emotions and functions which spectators would have as a response. The design consisted of objects of the chairs as well as objects that changed the function of the chair, such as nails, cardboard or the leg which was cut off. This was done specifically to build the hierarchy of the chairs and to create a specific response from those that were looking at the design. The theories which were associated with these differences were based first on creating emotional and functional differences that would guide the spectator into the understanding and meaning of the chairs and the objects which were related to these. The first concept related to this is based on the use of everyday things. Chairs, cardboard, nails and the main objects used are a part of the everyday objects used. This includes the concept of utility, usability, function and form. Each of these is designed specifically to create practical applications to the everyday components which are a part of the design. The main concept which is taken into place is then based on the value of the chair as one which is associated with everyday needs. However, the concept of function of objects is also related to emotions. When one sees a specific object, it links directly to joy or sorrow or leads to memories and other definitions of the emotions. Even though the aesthetics of the object may only be based on the components of the design for function, there is always a link to the association with emotions (Norman, 2004: 8). The concept of function relating to the emotions is one which comes from the personal as well as the social associations with the designs. Prior knowledge and experience are some of the predictors of how one responds to the objects which are a part of one’s life. Conscious awareness is then related to the social signals that are given and associated with individuals in a given group. The objects that are used work as signifiers within society. This then relates to the knowledge and experience one has, all which are directly associated to the signifiers that are a part of the social associations. This then leads to altered associations and behaviors that are directly from the object which is used. The perception of the signifier then relates to the function as well as the definition and associations which an individual has in relation to the artwork. The object changes definitions and ideals according to the platform, expectations and the relationship which each spectator decides to place on a given object (Norman, 2011: 90). In this particular experiment, everyday objects were used as the signifier. When attaching this to other signifiers, such as cardboard or a nail, it changes the perspective of the function and alters the meaning and definition that is used with the function. The object then relates not only to functions but to several layers of emotions, definitions and meaning within the artwork. Design as Art The association with emotions and functions also links to the concept of design and the link this has to art. When most look at design, it is based on function. However, the function is directly linked to the emotions and responses that occur among various spectators. From this perspective, the design which is created immediately becomes art. One can use the design to change the perspectives of an individual and to create an emotional reaction or meaning from the function, then it changes from the general design and into something which changes perspectives of spectators. When altering this, the subjects and the designs become a definition or meaning that triggers an emotion or reaction from the spectator. The artwork which is created is based on the ability to take objects and to form a meaning that spectators can use. This is not only based on aesthetics, but also comes from the form and function that is used with the objects (Munari, 2009: 7). An example that can be seen with this is from Rene Magritte’s artwork “Ceci n’est pas une Pipe” as seen in Figure 1. Figure 1: Ceci n’est Pas Une Pipe When looking at this object, it can be seen only as a pipe which is painted as a still life. However, there are other implications with this object, specifically which relate to the spectator, the relationship to the idea of the pipe, memories which it has and different facts which may relate to the pipe. Other spectators may change the relationship to the object based on the historical facts and philosophies of the painter or the time frame which this was painted in. Another interpretation of this work relates to the colors, background, lines, textures and other techniques used through the painting. Even though the basis is only from a design, the pipe becomes a piece of art because of the associations with it and the aesthetics which are created as a result. The spectator then uses their own knowledge to create meaning that is a part of the pipe as a piece of still life. The concept of function changing according to the design was one of the perspectives taken with this particular experiment. The main objective was seen with taking out one of the legs of the chairs, adding in nails and moving into a cardboard box. The function of each was lost and instead was replaced with creating meaning from the everyday object. In turn, the experiment was able to move from a basic design and into a statement about the object which signified a piece of art. The significance of this was based on the ability to change the perspectives of the spectators by taking the everyday object of the chair and altering the design to make meaning out of the main object. The associations seen with the artistic experiment as well as from other artists relates directly to the way in which design becomes artwork. While the object is one which is only an object, the visual organization is one which begins to change the significance and meaning of the work. The theory which links to this is known as Gestalt Psychology. This looks at the properties of the physical world and instead of only keeping them as objects alters the meaning according to the psychological and emotional responses. The visualization which occurs then relates to the form, which creates a meaning behind the function and the association which it has with the materials, form and the work created. From the Gestalt philosophy, any object can become an art form, specifically because of designs which are used and the way in which individuals may associate with this (Koffka, 2001: 106). Another association with the function of art and the way in which objects and design relate to the artwork is from the ideology of semiotics. In this application, the structure is what determines the meaning of the work. It is the main structure or the alteration that occurs with the structure that creates meaning. The object, while in regular function, may not have an association with the emotional applications that are a part of the overall function. However, when the semiotics is applied and the structure is altered, it also changes the meaning which is created. In turn, this builds a set of assumptions and preassumptions that are based on the changing of the object. In regular form, the object is assumed to work with a specific function. When this alters in function, it also changes the perception of the object and what it means to the spectator. The design then becomes the artwork because it is able to change the perception with the altered design (Hawkes, 2003: 3). Humanizing Objects The objects which are altered with design not only remain as an object but also become a subject that means something and creates definition. The definition is usually related to an emotion or an experience that moves beyond the basic form and into the other of what the specific object should mean. The concept of humanizing objects is the main association with this, specifically because the object becomes a way of describing a human concept. The change created is based on the perception of past experience and the relationship to the present moment. The meaning of the objects can relate to historical events, social movements, current events or personal relationships that are associated with the object. The humanization of the object is then one which relates to statements that are a part of the current trends and which become unlimited because of the humanization which can occur (Kanizsa, 1979: 52). The concept of humanization of objects is one which is specific to contemporary art and is known to create a different relationship to the works. The contemporary art began to emerge in the early 1900s and followed the consumption society and industrial components which were creating mass objects within society. During this time, many artists questioned the meaning of mass production and how this related directly to the concept of aesthetics. The result was the establishment of taking objects and questioning the aesthetical value. The contemporary art is one which now takes the ordinary object and alters the aesthetics to show a different side to mass production. This perspective is one which moves outside of the machine and into the inter-human and the social connections which are a part of the philosophies of many of the artists. The concept of humanization from this perspective are based on taking the objects and showing how this is more than a mass production, but instead has a link to humanity that shouldn’t be lost in the age of consumption (Bourriaud, 1998: 17). Meanings of Art as Objects The art that creates a specific sense of meaning is furthered by the concept of perception and how the visualization occurs among those that are in society. A fundamental element that is associated with art is based on the ideology of visual perception. When the art works together, it is separated by simplistic alterations, such as lines and colors that create different meanings. When the lines, colors and objects are transformed, then the meaning and definition also alters. This relates to what is known as the Ganzfeld, also which means the whole field. In this particular association, the art and the objects are not separate, but instead form a blur or fog over the complete object. From this perspective, the form of art is created when the experience of the object changes by the visualization in which one has. In perceptual psychology, the concept of visualization changes according to the way which the lines and other objects work together as well as the association which this has with the individual (Solso, 1996: 52). The concept of visualization in various art work is not only based on the perceptions from how an object is looked at. The perception which one has can be altered physically as well as through psychological components. One may change meaning by seeing a specific visualization related to the object. However, this psychologically changes according to the conscious brain and the way in which it associates with the way in which one thinks. If one has a specific set of knowledge or concepts which relate to the visualization of the object, then it will transform the understanding of the object and the way which it relates to the art. The concept of psychological relationships is furthered by the evolution of individuals, understanding of different social concepts and how this relates to the main aspect of the self and others. The objects and the way in which this relates to the object then becomes a personal relationship with the object and the artistic visualization which is associated with this part of the artwork (Solso: 2003: 260). There are several concepts which relate directly to the object of art and how this changes in perception according to individual and social awareness. Theories which take place at a given point in history are some of the ways in which this alters. For instance, informed art movements, feminist theories and political movements are some of the ways in which art changes its expression. If a specific concept is made into art during this time, then the perception of what the art means as an object can also alter. The association with this is based on the experience which one has as well as the definitions which are a part of the aesthetics and visualizations which are seen. The art as meaning then is based on how the object relates to both personal associations and society. The result is an interpretation as the main component of the object, as opposed to the meaning coming from the intent and the philosophical associations of the artist. The concept of positivism is one which goes against this theory, which means that the artist intention is only what is seen in the object, specifically which come only from facts. However, these facts can take several different perspectives to create an alternative fact or meaning with the artwork, making it a dynamic piece of work according to the spectator or society (D’Alleva, 2005: 10). One of the applications that can be seen with this is surrealism. This takes the specific objects and changes them into a human form, relates it to philosophies and alters the perceptions with the use of various aesthetic techniques. An example of this is from Salvador Dali’s “Melting Clocks” as seen in Figure 2. Figure 2: Melting Clocks by Salvador Dali When looking at this particular painting, there are only objects that are conveyed in the particular work. However, each of these objects are stretched, manipulated and altered, including the background horizon and the clocks that are melting. The objects, while being the main subject, transform because of the association the spectator has toward the painting. This may be a psychological response or philosophical meaning of what melting clocks refers to. There may also be associations with the time frame which Dali painted this in and his revolutionary concepts based on anti-industrial components. Depending on the knowledge one has, as well as the psychological links that are a part of the painting, the art and objects change meaning. The association which is created from the surrealist paintings, as well as from other contemporary works, is based on iconography and iconology. The object is one which is related only as an object. However, the perception and the way in which the object is related to the spectators become related directly to the concepts of what the object can represent. The concept becomes an icon which every individual can associate with because of the social concepts and relationships, associations with the time frame and the psychological relationships that are created from the painting. For the iconography to work effectively, the artist has to establish the social relationship to society and the ideas which represent this. The representation of the icon is one which links to the psychological associations with individuals, relationship to social problems and traditions that have shaped the ideals that are a part of the paintings or objects. The object, from this specific perspective, is always slightly altered as a representation of society and becomes a sense of humanization that is a part of the era of the time (Boeckl, 2000: 33). Final Outcome The chairs that were altered in form were based on the several theories that show how the design of a general object and the alteration of form relate to the changes in perception. By changing the chairs to take away the leg, adding in nails and changing the material into cardboard, it changes the perception of the chairs. The function of each becomes dysfunctional because of the way that the object alters. This then turns the object into an art form that can be perceived in a different manner while altering the association with the objects. This is furthered by the perception of the structures which occur. Even though the objects are only manipulated in form and structure, the spectator viewpoint also alters. The function leads to alterations in how one looks at this emotionally and psychologically first. This also relates to other levels of knowledge which spectators may have, such as historical relevance, social interactions or the components which are associated with the artwork. However, each spectator will have a different perspective dependent on the amount of knowledge that is a part of the artwork and the display which is created. With the artwork of the chairs, different relationships could be taken into consideration because of my philosophies, social movements of the time and personal concepts relating to nails, cardboard or missing legs. From this perspective, the artwork only forms a different design and object and the spectator interprets the function of the object from an individual and social perspective. Conclusion The concept of artwork and the relationships which are created in terms of the artist are defined through several perspectives and elements. The design and the object first change the meaning of the artwork. However, this is further determined by the spectator. Individual relationships, components which are associated with the social movements of the time and the creation of how the artwork establishes several meanings and definitions are the main components. In return, the artwork becomes associated only with the viewpoints of the spectator and is an object which changes meaning according to the object, function, emotional and psychological responses as well as the way in which this relates to the perceptions that are created from the artwork. References Boeckl, Christine. (2000). Images of Plague and Pestilence: Iconography and Iconology. Michigan: Truman State University Press. Bourriaud, Nicolas. (1998). Relational Aesthetics. France: Les Presse Du Reel. D’Alleva, Anne. (2005). Methods and Theories of Art History. UK: Laurence King Publishing. Hawkes, Terence. (2003). Structuralism and Semiotics. New York: Routledge. Kanizsa, Gaetono. (1979). Organization in Vision: Essays on Gestalt Perception. New York: Praeger. Koffka, Kurt. (2001). Principles of Gestalt Psychology London: Routledge. Munari, Bruno. (2009). Design as Art. New York: Penguin Classics. Norman, Donald. (2004). Emotional Design: Why We Love (or Hate) Everyday Things. New York: Perseus Book Group. Norman, Donald. (2011). Living with Complexity New York: MIT Press. Silverman, K. (1984). The Subject of Semiotics. New York: Routledge. Solso, Robert. (1994). Cognition and the Visual Arts. Massachusetts: Massachusetts Institute of Technology. Solso, Robert. (2003). The Psychology of Art and the Evolution of the Brain. Massachusetts: Massachusetts Institute of Technology. Read More