Image Analysis: A Suggested Process - Essay Example

VISUAL TEXTS DISPLAY THE BELIEFS AND IDEOLOGIES ON THE CULTURE IN WHICH THEY APPEAR December Question Visual texts display the beliefs and ideologies of the culture in which they appear Image Analysis Image Description The photograph in figure 1 below was taken by Brent Staples who is a renowned artist and a photographer in the period after the Second World War, during the civil rights movement era. Figure 1 Subject The image shown in figure 1 represents a photograph of chicks of different color that is symbolic of racism against people of color in America. It depicts the inequality in space ownership during the post Second World War among the American citizens of a different race. The white chick represents the whites who were privileged to have a safe, well-built shelter, while the black chicks represent the Black Americans who were crowded in the available space. The black chicks can be seen exposed and feeling cold, which makes them vulnerable to their predators and to ill health due to the effect of weather conditions. The black chicks also appear uncomfortable and unhappy. The picture demonstrates how the African-Americans were exposed to inadequate living conditions, while their counterparts enjoyed safe, decent, and more than enough housing facilities. Form The photograph was taken technically to capture three dimensions that include the space above the chicks, middle level where the black chicks are standing, and the area below the middle ground. It is well focused and shows depth of the photograph, as well as excellent blend of the colors. The written text on the visual is clear and prompts the audience to seek for the hidden meaning. The fonts are basic without style or elegant layout in order to magnify the theme of the photograph. The photographer has used light variation to impress the audience, and also enhance the difference between the white chick and the black chicks. The atmosphere above the black chicks is darker; therefore, displaying hopelessness in the black chicks. Medium The photograph is 450 by 402 in measurement, and it is a visual text with basic fonts and conservative layout. The camera technology seems to be relatively advanced; probably installed with an ultra-small lens unit which allows for quality motion and scene detection. In addition, the photograph is stable from its view; hence, a high-standard digital camera is the only camera that is capable of these results. The photograph appears to have been cropped, since its frames are well defined, and the photograph is clear. Style The photograph represents a historic era of civil rights movement in America; where the discriminated African-Americans expressed themselves through the print media, such as the visual images, visual texts, and books. The period was also marked by widespread mass street demonstrations for the same cause, hence the photograph displays expressionism. The subjects in the photograph are symbols of the actual subjects, in that the photographer uses the chicks to express the inequality in resource distribution in the American society. The camera creation of different platforms in the photograph, and the open space above brings the lesson out in a simple and clear manner (Logan 2014, p. 68). Comparison with other Artists Brent Staples has done other visual art, but mainly dealt with language art. The photograph on figure one is one of the best visual texts that is in print. Comparing with the work of the fellow artists, Brent rates well and displays outstanding art in general (2010 Photography & Illustration Awards Winners 2010, slide 1-105). Interpretation The photograph shows a lot of details on the lesson intended by the photographer. For example, the subjects of the photograph are sharing the same environment and location, yet they are living in quite different conditions. It also depicts that though the chicks are in the same locality, one is inside, and the others are outside; hence the same environment can possess different situations. I feel the photographer was very creative and imaginative in bringing out the theme of the photograph, and relating it in an aesthetic way. As a result, the photograph displays a well fitting analogy in nature and practice to explain the difference in housing for the two races. The form of the photograph is fulfilling in that it clearly describes the three dimensions making it easier for the audience to perceive the meaning. Moreover, the image shows the sad and desperate mood in which the deprived Black- Americans are in due to circumstances. It is shown by the posture of the black chicks, looking down and disinterested with the white chick who is trying to get their attention. Also, the black chicks show a sense of being neglected, since they are out in open space where they are exposed to danger. The photo emphasizes the history of the Americans and the socio-cultural interactions that were the foundation of the present day United States. The photograph falls in what Barrett classifies as both ethically evaluative and interpretative visual image, due to its capacity to explain the ethical issues being experienced in the American society (Swinnen 2000, par.5). It prompts the audience to focus on the photographs details thus drawing the hidden meaning implied by the photographer. It also requires the audience to interpret the symbolic language that is embedded into the picture in a relational and meaningful way. Evaluation The photograph is formal in that it satisfies qualities such as being sharp, well focused, and displaying the photo’s depth in style. It also expresses both the mood and ideology behind the image effortlessly, hence confirming the style of the photographer. In addition, it explains the ensuing culture of the Americans, their beliefs, and the ideologies held by the different groups. There are those who felt deprived and discriminated who comprised of the Black- Americans, and their awareness of being in an uncomfortable situation is captured on the photograph. Therefore, the awareness and the behavior thereof implies their belief in equal distribution of resources, hence the bowed-down posture they adopt to express their feelings. The white representing the white Americans shows a spectator posture, free and in relatively comfortable situation where it seems oblivious of what the counterparts are experiencing. The behavior implied from the photograph depicts a belief in having the best and being comfortable regardless of the others circumstances. It culminates the ideology of racism in the American society during the period when the photograph was taken. It explains how the racial differences shaped the Americans culture by use of mere chicks as symbols. Photographers and visual artists use their artwork to expose the beliefs, values, and the prevailing ideologies in the various cultures; hence the artwork is a form of expressing and educating the society. Artwork also serves as an avenue to reveal abstract and sensitive issues in the society that cannot be expressed verbally. Therefore, based on the context in which the photograph was taken, I positively commend the photographer for skillfully merging the pictures and the intended theme. Essay Visual texts When using visual texts, the artist intends to communicate to a particular audience, hence the use of color, size of fonts, the text layout, symbols; the underlying concepts are elements that need to be carefully integrated to appeal to the audience (Moys 2014, p.41-42). The bright colors, various font styles, and busy layout are more appealing to view and hence, it is mostly used when the message is meant for younger people who may easily be bored by dull colors. However, the meaning of the color need not be compromised when other elements can be altered to accomplish the same purpose. The dull colors, basic fonts and simple layouts represent traditional values appreciated more by the older people, withdrawal behavior or low emotions, and lonely environment. In addition, shiny colors, varied font sizes and fancy layout are used by the visual artists to attract an audience who prefer prestige or luxury (Moys 2014, p. 42). Hence, the elements are integrated to represent beliefs, values, and the ideologies of a society, and whether they achieve their goal or not depend on the expertise of the artist or the photographer. The Hungarian map is an example of a visual text that is ubiquitous in Hungarys public life, hence forming a visual culture. It is drawn on T-shirts, car stickers, refrigerators, forms clock shapes, and other ornamental materials. Although, it functions as a propositional tool to show the existence of the state of Hungary, it has credibility (Palmer 2014, p.12). The Hungarian map bears authority since it has been accepted as an authentic document which is connected to social and political institutions that formed it. In addition, it gives the country geographical attachment and identity to the people who live in it. The history behind the map of Hungary has influenced the passionate use of the map as a visual image by the citizens. Hungary lost part of its territory during the First World War when it lost the war and became largely communist country. However, after the fall of the iron curtain, Hungary became an independent country and regained its lost territory to form the "Greater Hungary" (Palmer 2014, p.14). The map of the greater Hungary became the symbol of integration, and patriotism was built by embracing it and hence giving the Hungarians National Identity. The new Hungary map signifies unity for the Hungarians, a fact that is embedded in its compositional elements which spell the national ideology. The map announces to the citizens and foreigners alike its ideologies through the visual text in the form of a map. Moreover to explain the map of Hungary ideologically and historically, a video frame from the video Karpatia and a photograph of a tree symbolizing the map of Hungary were chosen. In the analysis of the visual images that were chosen, the State meant to reinstate its beliefs and ideologies in a more simple and clears the way. The pre-modern fine art used emotion to communicate to the society key messages, taboos, and difficult occurrences. The role of the art was to make it easier for the audience to understand and also for the artist to transmit the messages. The pre-modern rhetoric has been incorporated to the visual art to utilize emotions to explain social, political, and cultural themes (Duncum 2014, p.204). Aristotle, a renowned philosopher, predicted that there was a very close relationship between the emotions and reasoning that was reciprocal in nature. (Blatter 2014, 13-14). In addition, he concluded that "rhetoric and visual art were different sides of the same coin" (Duncum 2014, p.205) since they were composed of the same elements. The two consisted of emotions, imaginations, satisfaction of good roles, and arguments. The outlined elements prompted reasoning so as to judge, appraise, condemn, commend or criticize certain beliefs, values, and ideas in the society. However, both the rhetoric and the visual art have different roles in the performance. The rhetoric presents persuasive arguments on practical matters in the society that stimulates all direction thinking in the audience. The artist has to consider which emotions are linked to his concept of the rhetoric and those emotions that would persuade an audience. In addition, the artist needs to know what may arouse emotions on the audience, either positive or negative, and prompt action (Blatter 2014, p.14). If the artist succeeds in connecting to the audiences emotions, then it is imperative they may influence audiences opinions (Duncum 2014, p.205). As a result, the artist will achieve their goal where the message of intention is well communicated; also, its impact causes the desired change. On the other hand, the visual art creates fictions that have hidden meaning for the audience, hence prompting the audience to engage in inventing and visualizing the life from a broader perspective. The broader and sharpened perspective may involve audiences reasoning about the present situation or the past happenings or how things should be in the future (Duncum 2014, p. 206). The audience is exposed to argument and comparison of different situations, events, times, values, beliefs, and ideologies. Therefore, the visual images are strengthened by the text or the rhetoric, and both are drawn from the resident culture whose beliefs, values and ideas they represent. Visual art consists of symbolic language, metaphor, simile, and visual metaphor in order to assist the artist to educate in simplicity, clarity, and in straightforwardness. The style of the language used to pass the message to the audience may be used to exaggerate the content of the message in favor of the artists argument (Duncum 2014, p.205).When the emotions, logical arguments, and truthful arguments are contained in the rhetoric, the visual art cements the performance, hence giving it an aesthetic feeling. The visual arts or images and logical rhetoric penetrate through stubborn emotions and reasoning on controversial issues (Duncum 2014, p.206). The rhetoric in performance accomplishes persuasion, while the visual art achieves argument, hence the audience succumbs to the sum effect in influencing their opinions on beliefs, values, and ideologies. St Augustine, the Christian leader and painter artist, remarked once that those people who were eloquent in persuading the evil, and for justice would better be involved in the service of truth (Duncum 2014, p.206). The statement implied that the persuasive power of the rhetoric and the convincing argumentation of the visual art could be used for overcoming evil and obtaining justice in the society. For instance, the visual art and rhetoric was used in the Christian messages of salvation. It was demonstrated in the "late medieval images of Christ hanging from the cross, with bleeding wounds, and hurting head with thorns" (Duncum 2014, p.206). The images caused the audience of the time to react with pity and horror which culminated to tears for Christs suffering thus igniting deep appreciation for his sacrifice for their sins. There were mixed feelings of fear and love expressed by the Jesuss disciples that the artist claimed prompted them to respond to the message of the cross. Duncum (2014, p.206) reiterates that the visual images used together with the message prevented the early Christians from backsliding to evil ways, and that kept the church together as a community. Visual texts became popular in Italy in the 1960s and the 1970s when the artists moved from the conventional poetry to combination of language and visual imagery. They included the "use of collage, calligraphy, typeface, Braille, photography, visual, and textual elements in the objective art" (Tornatore-Loong 2011, p.308). The elements were used with a view of improving the quality of presentation. They classified their art into concrete poetry and visual poetry. The concrete poetry was termed as the ‘image as word where the concrete artist altered the text from typeface or other traditional forms to a visual image. Concrete poetry communicates a deeper meaning to the audience than a normal text. On the other hand, visual poetry is defined as a ‘fusion of word and image, where the two aspects, the rhetoric and the visual art, are skillfully combined. According to Tornatore-Loong (2011, p.308) the emergence of the concrete and visual poetry transformed not only the field of art of the 20th-century, but influenced the political, socio-economic and cultural landscape through its effective application. The visual art was used to describe the ideological differences between the capitalists and the communists thus, exposing the socio-cultural relationship existing in Italy. Artists had an opportunity to express the hostilities experienced by the society branching from the patriarchal system of family in Italy. Artists such as Betty Danon, Mirella Bentivoglio, among others condemned gender discrimination and sexual oppression through concrete and visual poetry. The form of the visual texts and images was an easy avenue to express the issues that were regarded as taboos in the society. The revolution of Italian art was greatly influenced by the futurist ideology of Filippo Tommaso Marinetti, which was against the traditional expressions of art that could not present the messages of war and the growing industry. The change included simultaneous presentation of text, graphic, and phonic, hence capturing both the visual and the aural art. The expression of social-political ideas and feelings openly through the visual and aural art is suspected to have caused the socio-political disorder, terrorism, radical militancy, and neo-fascism (Tornatore-Loong 2011, p.309). The Marinetti futuristic ideas influenced the 20th-century art, inspiring the younger artists such as Carlo Belloli to embrace visual poetry in their performances. Visual poetry was used widely to propagate the language of war in an artistic manner. For instance, Carlo Belloli wrote and published a visual poetry known as ‘Words for War, assisted by Marinetti. He later wrote other audio-visual texts that signified the connection between the modern culture and art to the 20th-century culture and art. "Bellolis style of art included typography, text, sound, and image thus, inheriting Marinettis aesthetic and poetic legacy and abandoning his political beliefs" (Tornatore-Loong 2011, p.310). Sound added value to his visual art and made his poetry different from that of Marinetti thus, he became a poet with his style, not just inherited expertise (Villacorta 2014, p.84). The visual art became a medium of communication on issues affecting the rapidly growing industry and technology in Italy in 1970s, with a number of artists criticizing the encroaching American capitalist culture in Italy. The visual art addressed the political instability, assassinations, bombings, and the street riots that were increasing from the 19702 to 1980s (Tornatore-Loong 2011, p.312-313). The artists exposed these problems to the public eye and provided a critique of the events especially where the political administration failed. The visual and the technological imagery were used to discredit the emerging culture of the mass media and consumerism. Nonetheless, the Italian media have used the visual images and visual texts to denaturalize the Romanies, also referred to as the Roma and the Gypsies who live in Italy. As a result, this group is maltreated by the majority Italian citizens and the government which is downplayed to cover the governments failure to accomplish its policies (Catalano 2013, p.159-160). The visual art can be used to propagate negative beliefs, views, values, and ideas if there is no legal check on the artists. The deeper meaning of words, images, gestures, and texts can be found using semiotic analysis. In order to obtain the meaning of the a message in these forms of art, its significance, interpretation, and the social dimension it has in influencing the individuals and the society, then social semiotic analysis is required. Visually communicated racism is not easy to define, and the racist may deny committing it, as opposed to verbally communicated racism. Hence, there is a need to have critical methods of analyzing non-verbal means of communication in an accurate manner in every culture. The meaning of visual texts and verbal language is drawn from the culture from which they originate; hence, the culture and the form of communication are inter-related. When an authority dominates in governance in a way that socio-political imbalances are the norm in the society, then there is distortion on the social cognitions. "Social cognitions are socially shared representations of societal groups and relations. In addition, they involve mental processes such as interpretation, thinking and arguing, making inferences and learning that form a core element of an individuals social identity" (Catalano 2013, p.162). The political domination may imply imposing of knowledge, values, beliefs, ideologies, and attitudes onto the people being governed which may be transmitted through the visual art and verbal language. The social cognitions of the majority Italian citizens may have been determined through the influence of their beliefs, values, ideologies, and attitudes by the visual art. As a result, the discrimination of the minority Romanies is executed in a situation that appears acceptable to the society, though it is not. Finally, the way a visual text or a visual image represents the identity of the photographic subject needs to align with the viewers perception of the identity of the subject (Labbato 2014, p. 81). The structure of the studio needs to provide appropriate positioning for the best view by the audience. The theaters architecture should allow a unifying aesthetic of the visual art to be realized (Jacobson 2014, p.53-54). In the world of art today, an artist may not overemphasize one aspect of art but may require combining several forms of art to attain optimum effect in performance. Therefore, the visual culture theorists need to work with the haptic and the kinaesthetic artists for meaningful integration (Chaplin & Walker n.d, p.24). The haptic artists focus more on the sense of touch, texture, and contour while the kinaesthetic artists concentrate more on body movement, manipulation of muscles, tendons, and joints. Any representation of information, whether visual, verbal, haptic or kinaesthetic influences how the audience perceives and thinks about the environment and the events therein (Chaplin & Walker n.d, p. 26). Both the visual art and written art expresses the existing ideologies whether social, political or cultural. Visual art clearly portrays the social classes that people belong to in how the art is represented. For instance, an artist known as Berger noted that art exposed the gender inequalities between men and women. In the worlds arena, men are the world’s leaders, and women are treated by men as sights and objects (Howells n.d, p.81-83). The visual texts represent the beliefs and ideologies that are prevalent in a society and at the same time; the beliefs and ideologies may be the creation of the visual texts and art. References Blatter, J., 2014. Waynes World(s): The Emergent Image and Image Making in the Design of the Comic as Sequential Art, International Journal Of The Image, 4, 3, pp. 13-28, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Catalano, T., 2013. The Denaturalization of Romanies in Italy: How Language and Image Work together, International Journal Of The Image, 2, 4, pp. 159-171, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. Duncum, P., 2014. Revisioning Premodern Fine Art as Popular Visual Culture, Studies In Art Education, 55, 3, pp. 203-213, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. Jacobson, B R., 2014. Fantastic Functionality: Studio Architecture and the Visual Rhetoric Of Early Hollywood, Film History, 26, 2, pp. 52-81, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Labbato, D., 2014. Reading Identity in Everyday Images, International Journal Of The Image, 4, 2, pp. 81-93, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. Logan, L., 2014. Crazy Quilts, American Craft, 74, 6, pp. 64-71, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Moys, J., 2014. Typographic Layout and First Impressions - Testing how changes in text layout influence readers judgments of documents, Visible Language, 48, 1, pp. 40-67, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Palmer, Z B., 2014. Maps, Meanings, and Ideologies: The Case of Greater Hungary, International Journal Of The Image, 5, 1, pp. 11-24, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. 2010 Photography & Illustration Awards Winners 2010, Applied Arts Magazine, 25, 3, pp. 46-149, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Swinnen, J., 2000 Criticizing photographs (Book Review) (Undetermined), European Photography, 21, 67, p. 74, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. Tornatore-Loong, M., 2011. Poesia Visiva: Italian Concrete and Visual Poetry of the 1960s and 1970s, International Journal Of The Arts In Society, 5, 6, pp. 307-347, Art Full Text (H.W. Wilson), EBSCOhost, viewed 30 November 2014. Villacorta, E C., 2014. High Fives and Neil Young for the Road: Lynda Barrys Writing the Unthinkable as an Aesthetic Experience, International Journal Of The Image, 4, 3, pp. 83-96, Art Full Text (H.W. Wilson), EBSCOhost, viewed 1 December 2014. Read More