Dissing The Dada

   Today I want to talk about Marcel Duchamp's sculpture 'Fountain'. Where to begin? It's a porcelain urinal. That's pretty much all that can be said to describe this 'work of art'. This shining example of Dadaism is something about which I feel quite strongly.

   The Fountain is merely a urinal. A run-of-the-mill mass produced piece of toilet furniture, which has been placed on it's back and signed with Duchamp's pseudonym 'R. Mutt'. This piece created controversy, with many of his contemporaries refusing to accept its validity. It was also refused for exhibition by his fellow members of the Society Of Independent Artists. I would tend to agree with them, as personally I just can't see it as a genuine piece of art. It is argued that he was putting forward the question 'what is art?'. It was Duchamp's intention to change peoples' view of the artform from the physical object and the skills required to make it, to the intellectual interpretation of the object as art in itself. I would have to challenge such a notion, after all it would surely follow then, that we would gain enough nourishment talking about our food rather than eating it.

   It has been suggested that what Duchamp was attempting to create was 'anti-art', and it was his own way of passing comment on some of the work on offer during his time. If this is the case, I don't feel he pulled it off successfully, as he spawned many imitators and in so doing created a 'bona fide' genre, which in my humble opinion is a rather a lazy and pathetic excuse for creativity, which undermines the best will, intentions and hard work of so many more worthy individuals. The way I see it, true artistic expression takes time, effort and passion. Not only should it convey quality and craftsmanship, it must also have some power of transcendence. For me, and I am sure many others, a 'pisspot' or its ceramic cousins just does not cut it.

   You may well have gained the impression from this, that I am not the biggest fan of conceptual art and it's ilk. And you would be correct. You may strongly disagree with me, and you are perfectly entitled to do so. For me, it was a period that I find to be quite undesirable, aesthetically and emotionally. Although it may have inspired some modern conventions that we have today, personally I believe that this period, and much of which followed destroyed the prestige that art once had. The legacy of this genre meant that anyone can become a renowned 'artist', simply by making a hasty scribble, splashing paint or bodily excretions or re-purposing everyday objects, 'et viola c'est l'art!'. Rant over. 

Some Links, in case you want to read on further:
Dada 
Marcel Duchamp 

(all pictures used are the copyright of the relevant owners. No copyright infringement intended.)

 

  

Deep, Dark And Dangerous

   On another breezy autumnal day in Dundee, I made my way to the University lecture theatre. After finding a seat I settled in to listen attentively to this week's subject, which covered a range of art styles, from Renaissance to Modernism. The period that I found particularly interesting was Romanticism. One particular piece of work that really spoke to me was 'The Nightmare' by Henry Fuseli. During a series of slides being shown to us, this painting really stood out, being both striking and evocative, portraying a dark and eerie scene full of symbolism.

   Apart from it's bold composition, one of the most interesting things that struck me about the painting was it's ability to invert and upset the accepted traditions of the time. For example, we may typically expect to see a recumbent female nude, surrounded by cherubs or attendant maids in a light and airy scene enjoying abundant fruits or gazing upon a beautiful vista, et cetera. Instead, with 'The Nightmare' we are treated to a reversal of these norms as we gaze upon a woman in the midst of night terrors. Her clothed form lies back slumped over the edge of her bed and upon her exposed and vulnerable chest sits a demon, malevolently staring out towards the viewer. This bizarre scene is made more disturbing by the presence of a dark horse with soulless eyes, peering from behind a voluminous red drape in the background.

   As I lock eyes with the imp, I believe that he represents the oppressive weight of worries and fears that can trouble the subconscious of the unconscious. The term 'nightmare', as much as I might like to link it to the horse in the background, actually refers to a feeling of suffocation and of difficulty in breathing during a tormented state of sleep. I feel that the incubus sitting upon the troubled female effectively represents this aspect, as his presence, weight and malevolence bear down upon her. Sitting in a position of oppression, he casually commands her ability to breathe easily or not. Perhaps the rather peculiar expression on the face of this creature, as he sits appearing to ponder something with a hand raised to his chin, could represent the victim as she internally struggles with her woes. Fuseli makes effective use of light and dark to provide a very striking composition, a realm of darkness, doom and foreboding contrasted with areas of light, colour and hope. I'm not quite sure what to make of the 'blind' horse, perhaps it represents a vehicle for escape from the hellish turmoil, or even a method of being delivered deeper into the torment. According to Germanic folklore, horses (nags or mares), often appear in the dreams of men experiencing troubled sleep and carry them around on a wild journey.

   I was very interested to learn that Fuseli's painting was an inspiration to Mary Shelley as she wrote her best known work 'Frankenstein'. In fact Henry Fuseli had a lengthy love affair with Shelley's mother (Mary Wollstonecraft) a few short years before her birth. In Shelley's novel, there is a scene which reflects the imagery of 'The Nightmare' in which Victor Frankenstein's bride Elizabeth is murdered by his 'creation', and her corpse drapes lifelessly over her bed. Whether it was Fuseli's painting or any of his later variations, or perhaps Shelley's writing and that of her peers, there was a desire amongst their receptive audience for a diet of mystery and horror. This is all rather odd perhaps, as it comes under the umbrella of romanticism, which seems something of a paradox. However, this movement helped inspire a great many artists and writers to produce many splendid works enjoyed both at the time and to the present day.

Here are some links: 

Romanticism 

Mary Shelley 

Mary Shelley's Influences 

Gothic Nightmares 

Henry Fuseli 

Mary Wollstonecraft 

   

Before Is After

   A pair of brown trousers billow and drift across a blue sky. Suddenly, an old Winnebago hurtles down a dirt road in the New-Mexico desert, trailing plumes of dust and scattering volleys of gravel. The driver, a man wearing only a gas-mask and his underpants, struggles to control the wallowing vehicle, as his respirator becomes obscured with the condensation caused by his rapid breathing. In the passenger seat, a younger man sits unconscious, also wearing a mask. As the large motorhome careens side to side across the arid desert road, we see two lifeless bodies sliding across the vinyl floor inside the vehicle, amidst spilled chemicals and an improvised chemistry lab. As the driver's mask fully steams up, he loses control of the vehicle, and veers wildly into a ditch.

   In his bizarre state of undress, we see the man stumble out into the desert sun, after bursting open the vehicle door. Yanking off his respirator and throwing it aside, he then dons a green shirt which had been clinging to the wing mirror, having been hung there previously. In the distance the faint wail of sirens can be heard, gradually becoming louder. Filling his lungs with air and holding his breath, the man climbs back inside, returning quickly with a camcorder, a wallet and a gun. Composing himself, the man then looks into the camera and records an ad hoc farewell to his wife and son. As the insistent cry of the sirens grow louder and louder, and the tangible force of authority comes closer, he then places the camcorder on the ground, next to his wallet. The man then steps out on to the road, facing the direction of the sirens howl, and draws the pistol, taking aim at his impending doom. He stands waiting, gun in hand as the tension builds.

   So it is, that we are introduced to Vince Gilligan's Breaking Bad, and the character of Walter Hartwell White. This is the opening scene from the pilot episode. The first time viewer knows nothing of the character on screen, nor how he ended up in this situation. We, the observers are thrown straight into the action, with no explanation of the events leading up to this scene. With a sense of mystery created, the audience desires to know more and willingly become involved in the story, in the hope of finding out what happens next, and perhaps more importantly, what came before.

   In film, television and writing this type of opening scene is classed as 'In Medias Res'. This term for the narrative technique is taken from Latin and means 'in the midst of things'. When a story employs this approach in its structure, the tale is told from a point in the middle or later, rather than the beginning. In most cases we are often thrust into a scene of intense drama or conflict, rather than allowed the more classical character introduction and gradual exposition. Incrementally, the backstory is unveiled to the viewer with the use of flashbacks, which serve to bring us up to speed with the plot and it's history.

   The opening introduction to Breaking Bad perfectly defines 'In Medias Res'. Having been introduced to Walter in such surreal and dramatic circumstances, we are later clued-in to the 'whys and wherefores' of his predicament, as we witness preceding events through 'flashbacks'. As the audience, we can enjoy the dramatic irony as we watch the story unfold, knowing full well what Walter does not. Having caught up on itself, the story then continues along a more conventional and chronological path, carrying both Walter and his audience in the same direction.

   When it comes to film and television, I am quite fond of the above technique, as it can inject a rush of adrenaline and excitement, thereby grabbing my attention from the start. It's a narrative device which I have been aware of for quite some time, and I like to naively refer to it as 'Before is After'. When used well, a sense of interest is imparted to the viewer, compelling him or her to be drawn into the story and become intrigued to learn more.

Some links relating to the subject:

In Medias Res 

Examples of In Medias Res 

How We Got Here 

Video used is property of AMC. No copyright infringement is intended 

Blink And You'll Miss It

   Put simply, animation is an illusion. It's very essence relies upon the ability of the human mind to interpret a series of quickly moving images as a continuous motion. Without this phenomenon, we would not be able to appreciate the wonders of animation or film. The name given to this experience is the 'Persistence of Vision'.
  
   Persistence of Vision is a theory that lies at the core of animation. It is a phenomenon that occurs within the human eye, in which an image remains for approximately 1/25th of a second in the retina. The concept was first written about by the physician Peter Roget in his 1824 paper 'The Persistence Of Vision With Regard To Moving Objects'. In his work, he attempts to describe the effect, and suggests that the eye works in such a way that when it perceives two or more images rapidly replacing one another, it is seen as a continuous flow of motion. 

Thaumatrope Example

   Roget’s writings on the subject influenced the development of several experimental animation devices in the Victorian era. Two such machines were, the Zoetrope (invented by William Horner) and the Thaumatrope (invented by Sir John Herschel). These rudimentary mechanisms helped demonstrate the theory, by demonstrating the above theory, and they soon became amusing parlour tricks that entertained many. Many now recognise these devices as the ancestor to the modern film and animation industry.

 

Who's Knocking At The Door, Zoetrope, 1870's

   It was discovered quite early on, that if a sequence were to be played at less than 16 frames per second, noticeable flickering would occur in the movement. Once the frame rate rises past what is known as the 'flicker rate', the sequence will appear fluid, as the blank spaces between frames are filled in by the residual image in the eye. Without the ability to perceive the images as an unbroken sequence of motion, we would be aware of the 'black' gaps between each frame. If you would like to mimic this experience, try blinking your eyes and slowly waving a finger in front of your face. Blinking fast, you will perceive a small break in your vision, but when you blink slowly you will begin to notice an obvious break in your vision. This is a very crude example, however, it should serve well enough to demonstrate the effect.

   These discoveries and the many experiments that were carried out around the time, influenced the modern frame rate of the motion picture, which was standardised at 24 frames per second. This was found to be the best speed to achieve a smooth motion, whilst remaining manageable with regards to quantities of film used, etc. Animation also stays close to this, with a standard rate of 25 frames per second. However, sequences of animation are commonly shot 'On Two's', which means that every drawing will hold for two frames of film, which basically cuts the workload in half. Therefore every second of film requires only 12 drawings as opposed to 24. This is a way of saving time, and reducing the costs involved with producing such features. Fortunately, we are still able to perceive motion at 12fps, however, it it is noticeably not as smooth as an animation produced at a higher frame rate. Of course, if the constraints of budget were not an issue, the possibilities and creative output would become more flexible and interesting

   It is safe to say that The Persistence of Vision is a theory that has helped define an art form. It lies at the heart of the magic that allows moving media to exist and be enjoyed by millions around the world. It's discovery led to a massive leap forward in the development of film and animation, the techniques used and improved upon, and helped the art forms become what they are today.

Here are some cool links to look into:

Victorian GIF's 

Frame Rate Comparison

Interactive Frame Rate Comparison

Frame Rate on Wikipedia 

Peter Roget
 

(All pictures used are the copyright of the relevant owners. No copyright infringement intended.)

Shedding Some Light On The Dark Ages

   After the collapse of the Roman Empire in the 5^th century came what is known as the Medieval Period, or the 'Middle Ages'. It acted as the bridge between Antiquity, and the Modern era. This time in history is also referred to as the 'Dark Ages'. Despite its nomenclature, not everything was doom and gloom, as little rays of light shone through with several unique art styles, with their own distinct forms that shared some subtle connections with the past.

   The Byzantine Period was the earliest, and was based around the remains of the Roman Empire to the east, in countries such as Greece and Turkey, where the new Byzantine Empire was formed. The Empire's capital city of Constantinople (named after Constantine the Great, from its former name of Byzantium), was the heart of the Byzantine Empire, and was a cultured and prosperous trade centre. Built during this era, the Hagia Sofia still retains many of the mosaics of the time, which can be marvelled at and enjoyed by the present day visitor.

Court of Theodora, Apse Mosaic, San Vitale, Ravenna, c. 547

   Starting around the 11^th century, began the artistic period known as 'Romanesque'. The term referred to the influence of older Roman traditions which inspired the style. During the Romanesque period, a strong Byzantine influence could still be seen in the artworks. The growth of monasticism and the building of larger churches to accommodate greater audiences, placed a demand on artists of the time to develop their style and meet the needs for worshipful decoration. The vivid beauty of the artistic translation of many Christian themes would have been as breathtaking then as they are now.

Christ In Majesty, Mural, Seu d'Urgell

   The13^th Century saw the 'Romanesque' give way to the 'Gothic'. Initially, the term 'Gothic' was used to mean 'Barbaric', as many believed the style to be quite crude and not as refined or cultured as the classical art that had gone before. Gothic art is very often associated with the many beautiful cathedrals built during the time, such as the Notre Dame de Paris, which is probably the most well known example. Today, visitors to France can still witness the splendour of many more cathedrals of the Gothic style, in Lyon, Amiens and Bourges to name but a few. The Gothic art movement was also bolstered and allowed to flourish with the commissions received from many wealthy patrons who wished to decorate their domestic environments with this spectacular art.

 

Melencolia I, Engraving, Albrecht Durer, 1514 

   Lastly, we arrive at the art style known as Insular, which we will be looking at in a bit more depth here. Insular art takes its name from the the Latin word 'insula', meaning island. This refers to the fact that the style originated in Ireland (that much loved island to the west of Britain) around the 7^th century. The art form then moved and was developed further in Britain, before moving on to mainland Europe. This pattern of movement was that of the monks and scholars from Ireland and Great Britain who made their missionary journeys, taking their scripts and artwork with them in the form of their Bibles and their manuscripts. Insular art (also known as Hiberno-Saxon art) is quite distinctly different from the other Medieval styles, with Insular art seeming to favour abstraction, intricate patterns and the use of vivid colour. It was undoubtedly influenced by earlier Celtic art, reflected in its use of geometric patterns, knotwork and labyrinthian detail. The Book of Kells is possibly the most famous example of this art form. 
 

The Book Of Kells, Opening Page of the Gospel of Mark

   The Book of Kells is an 'illuminated' manuscript written in Latin, and contains the four Gospels of the new testament. The term 'illuminated' refers to the use of gold and bright colours to decorate the illustrations and script within, giving a sense of brightness and radiance. This amazing book is believed to have been produced by monastic scribes around 800 A.D. (give or take a few years). Legibility of these documents was improved by the inclusion of spacing between letters, which also helped increase the impact of the text. The Book of Kells is such an important and treasured example of Insular art, and it is one of only a few remaining manuscripts in such good condition. The book is a stunning work of art, with every page having been given immense care and meticulous attention to detail. The pages are made of vellum (calfskin), and six hundred and eighty of the original pages have survived to this day. Of these, only two lack any decoration, with all the others having several illustrations and designs worked into them. These designs are complex and highly detailed, with many requiring magnification to see clearly. Throughout the book, ten different dyes are used to colour the decoration. Some of these dyes were very expensive and hard to come by at the time. One such example is the blue pigment obtained from Lapis Lazuli, which had to come all the way from Afghanistan

 

The Book Of Kells, Chi Ro Monogram

   The Book of Kells is thought to have been created by the monastic community on the Isle of Iona, off the west coast of Scotland. Some believe it was made to commemorate the 200th anniversary of Saint Columba's death (circa 597). During Viking raids on the island and the surrounding isles which took place at the end of the 8th century, many (if not all) of the monks fled for safety to Ireland, taking the Book with them along with any other treasured items for safekeeping. They settled in Kells, county Meath, Ireland, where an abbey had been founded by Saint Columba (circa 554 A.D.). In the relative safety of their new home, work continued on the Book of Kells. The Book then remained at Kells until the 1650's, thereby cementing its title through association with the area. Upon arrival of Oliver Cromwell's troops to the area at that time it was felt necessary to move the Book to Dublin for safekeeping. In 1661, the Book of Kells ended its journey at Trinity College, Dublin where it has remained ever since.

The Book Of Kells, Illustration

   In conclusion, the Middle Ages was a period rich with distinctive art and artistic styles, spanning hundreds of years. Whilst dubbed by some as the 'Dark Ages', the Medieval era was anything but 'dark', producing many spectacular and extraordinary works of art and architecture during this time. The varied styles coming out of this period, continued to influence later forms which followed, and the many artefacts that have survived since, are seen as being truly significant in both the historical and aesthetical sense.

As usual, here are some useful links: 

 The Book Of Kells Online

 Byzantine, Romanesque and Gothic Art

 History of the Byzantine Empire 

 Medieval Art 

 

(All pictures used are the copyright of the relevant owners. No copyright infringement intended.)

What The Futhark?!

   In reality, very little exists of the written form of many ancient languages. Of those that do exist, and can be understood by the modern scholar, one such is the Futhark, the ancient Runic alphabet and language system of many of our Nordic ancestors.
 
    Runes have been found to have been used all across Europe, Britain, Scandinavia, Iceland, and even parts of North America. Today, Runes are considered as mysterious and cryptic symbols by many, with connotations towards mysticism, magic and the occult. This mostly occurs because of the fact that it is no longer used, and therefore not as commonplace as it once was. In this post we are going to have a short look into the history of Runes, and its descendant scripts.
 
   The earliest example of Runes appeared around AD150. This form is also known as the 'Elder Futhark'. The name 'Futhark' comes from the first six characters in the set – fuxark, hence the name. The Futhark originated in parts of Europe that were home to Germanic tribes, who developed the Runes as a writing system. It is thought that the Elder Futhark originated from the 'Old Italic' script, which itself was derived from the Phoenician alphabet. The link between them does seem to suggest a relationship between the three, and they share some similar features. This form consists of 24 Runes, as shown below. 

 
   Sometime during the 5^th Century AD, changes occurred to the Runic alphabet, which was partly related to the invasions in parts of Britain and Germany (At the time, known as 'Frisia') by the Anglo-Saxons. It was these invasions that possibly brought the Rune as a form of writing to Britain. This form is known as the 'Anglo-Saxon Futhorc'. This Futhorc brought along with it changes and additions to the existing series of Runes, with the total rising to 29 Runes, and with some of the existing Runes having their sounds and forms changed. The name changed from 'Futhark' to 'Futhorc' as a result to the changes that occurred within the system. 

 
   Around the 9^th Century, a newer, younger form of Runes emerged – 'Younger Futhark', also known as 'Scandinavian Futhark', which was a simplified version of the Elder Futhark, now stripped down consisting of only 16 characters. This change occurred when the Norse language developed into what is known as 'Old Norse'. The forms of the Runes in the Younger Futhark were simplified, and some Runes came to represent several sounds. This version of Rune was spread around by the movement of the Vikings, into areas such as Greenland, and it is also believed that they brought Runes to North America.

   In the 12^th Century, The Younger Futhark was once again bolstered to contain one sign for each character of the language. Dotted variant Runes were added to expand the range of sounds that the Runes covered. This style of Rune is known as the 'Medieval Runes' and was used from the 12^th to the 15^th century, in the Middle Ages.

   Whilst the Futhark was still in popular use up until even the 19^th century, the rise and spread of the Latin alphabet caused a decrease in the use of Futhark, due to many cultures adopting the newer alphabet. The Latin alphabet started to move into Britain in the 9^th century, with the later Norman Conquest later cementing the change. Futhark carried on to be used much longer in Scandinavia, however eventually it fell out of popular use, again in favour of the Latin alphabet.
 
   Today, Runes are now mainly a thing of study for scholars and archaeologists, and are still used for their aesthetic value in decorative ventures. There have been a few recurrences of the Runes being readopted, with the 'Gothicismus' movement occurring in Scandinavia in the 19^th century, and Germanic Neopagaism of the 20^th century, where the Rune was reused alongside other traditional German aspects.
 
   The Runes were a beautiful method of communication, which served a practical purpose whilst also looking very distinct and striking. The angular nature of the runes and their simplicity is something I find very captivating, and the slight mysterious aspect that they hold is an alluring feature of them for many. Just imagine, what if we had not adopted the Latin alphabet? What if Runes were still used as our means of writing? Its a funny thought, and one worth thinking about for a minute.


Lastly, here are some fun links to more content on Runes, should you wish to explore them a bit more.
Introduction to Runes 
Runes
Old Italic Script
Gothicismus
Germanic Neopaganism
Viking Runes
Frisia

Fragments of Feeling

During our time spent learning about Semiotics, I learned that it applies to sounds as well. A sort of Sonic Semiotics if you will. Specifically, we will be taking a short look into musical sampling, and how it can relate to the field in question.

Musical sampling refers to the process of taking a sound sample from a pre-existing recording, and then using it in some form in a different song. Therefore, when sampling, some of the characteristics and associated icons of the track will carry over to the new recording. The process of sampling older records can lead to continuing an existing signification due to the recycling of the clip used.

Here is a great example, and a chance for me to wax lyrical about one of my favourite musical acts, Daft Punk. The French duo are known for their use of sampling in their records, especially in their album Discovery, which is heavily sampled throughout.
Here is the track High Life, which I believe to be one of the best uses of sampling in their records:

The track uses a sample of Tavares – Break Down For Love, which can be heard right from the start of the track. Now, unless you are familiar with the sampled track, it would be easy to hear these clipped sounds and not make the connection about where they came from. The way that Daft Punk have rearranged the sample makes it so that it is quite distinctly different from the original source. You could easily be forgiven for not recognising it as a sample at all, given the production quality.

Now Daft Punk's handling of this sample is basically a use of existing signification. They have alluded to Break Down For Love, without overtly revealing itself as having referenced them. In doing so, they have made a hidden link to the icons of the past, an homage to the music that was popular and loved by the duo as children. Myself, having listened to the track for years before, only recently learned the origin of the sample used.

The funny thing is that now I believe the song itself is a musical symbol and icon. Daft Punk have become famous for their unique sound, with many of their tracks having become classics, and as such, I think that the song is both referencing an existing signification, whilst also becoming its own. The use of sampling older records brings a nostalgic edge to the music for listeners that remember those times, whilst younger listeners will discover new music from the past, should they choose to investigate into the samples used.

To conclude, musical sampling can be used to reference music and symbols from the past, and use them to open a window into icons and inspirations from times gone by. The origin of where samples come from is something which I find very stimulating, as for me it adds a whole new dimension to the music that I love. It brings a new story to the song, as I can sit and wonder why they chose a certain record to sample, or what clicked in their head to figure out where to cut and rearrange sounds to produce the sonic alchemy that ends up in their recordings. 

If you want to look further into the use of sampling in songs, check this site out: 

WhoSampled.com

Time O' The Signs

Every day, we see loads of symbols. We see them everywhere, and they are so commonplace that usually we don't even notice them. However, within your mind, you are subconsciously interpreting these signs and their meaning. Your brain needs to recognise these signs, understand the context in which they are being presented, and then deal with it accordingly. The attempt to categorise and understand this process is known as Semiotics.

Semiotics is basically the fancy way to say 'the study of signs'. The concept was first dreamt up by Ferdinand de Saussure (1857 – 1913). He wrote of a science 'which studies the role of signs as part of social life' . Saussure believed that research into the meanings of these signs and symbols was an important part of figuring out some of the processes that occur within our mind when dealing with signs.

In the early days of Semiotics, Saussure created a model that states what makes a sign. It was in two parts. First came the 'Signifier', which is the form that the sign takes, and secondly, the 'Signified', which is the concept that it represents. Combine the two, and you have a sign. In the more modern interpretation of this method, the signifier is now known as the material i.e. physical form of the sign, something which exists and can be seen or felt.

Modern approaches to the field draw upon the work and ideas of the key figures in the subject, Ferdinand de Saussure, Charles Sanders Pierce, and Umberto Eco. The approach commonly used today lists signs as existing within three different forms:

Firstly, we have the Symbol, were the sign has broken any conventional ties with reality, and its form has moved into the realm of abstraction. Symbols require knowledge about how they connect to the signified, as in you must understand the relationship between the two. To demonstrate this, I went on a photographic expedition to gather some examples to show you. Here are some Symbols. 

 

Secondly, comes the Index, which is directly connected in some way to the signified. This is one of the harder concepts to wrap your head around. A great example we were given in our lecture is that smoke is an index to fire, a signal which tells of the Signified. Take a look at a sample of some Index's.

Lastly, we have the Icon. For something to be an Icon, it must resemble or imitate the signified. It needs to share some of the quality’s of the signified, usually visually, but also in other ways, such as how something sounds, or feels. Icons can also be illustrative or representational, such as a photograph. To help visualise this, here are some examples I found earlier.

I must point out that I have barely scratched the surface of Semiotics in my short dialogue here. There is quite a bit of history to consider with this subject, and lots of research and information that I cant really cover here without this turning into a rambling history lesson. Its worth reading a bit more on Saussure, Pierce, and Eco, if this Semiotics stuff floats your boat. I found it to be an interesting concept to consider and read into a little bit, but personally I can't see myself losing too much sleep over the subject in the future. 

Here are some links to further reading on the subject:

Semiotics For Beginners 
Ferdinand de Saussure
Charles Sanders Peirce 
Umberto Eco

Written In Stone, The Mystery Lives On

    Fresh from another lecture I feel eager to get down some thoughts and opinions on the topic involved. This week we looked at the 'Origins Of Communication', and I thought that this would be the perfect opportunity to delve deeper into a local phenomenon.

    Feeling something of an ancestral pull by my ancient forefathers, I feel happily obliged to introduce the uninitiated to the world of the Picts and their mysterious standing stones.

The Standing Stones, Callanish, Isle of Lewis.

 
     The Picts were were the ancient natives of the land now known as Scotland. When the Romans conquered Britain, the land to the north known to the Romans as Caledonia, was home to fierce, colourful and culturally rich tribes known to the Romans as the 'Picti' (Painted Ones). Very little is known of these mysterious people in real terms, as their presence was later absorbed by the kingdom of Scotland when the 'Scotti' came through the west from the Emerald Isle, known as Ireland.

     Very little remains to prove their existence, apart from some of their physical treasures and weaponry, and a few personal names, such as 'Carr' and 'Marr', and a number of place names mainly beginning with Pitt, such as Pitlochry and Pitcarmick. The most enigmatic evidence left by the Picts, exists in the form of their enthralling standing stones, and the symbols carved upon them.

     The stones left all over Scotland by the Picts remain the most curious facet of their culture, with no one completely understanding where the symbols used first appeared. Over 350 stones have been discovered so far, and over all the stones there are around forty different symbols or ideograms that occur over the range designs. The symbols appearing were grouped into three categories :

     The abstract designs, such as the 'Double-disc and Z-Rod' and the 'Crescent and V-Rod'. These symbols are not representational, and highly stylised, and are some of the most recognisable symbols associated with the Picts.

The Serpent Stone, Aberlemno.

     Secondly, we have the creatures. These consist of real creatures, that were native to the lands of Scotland, such as snakes, salmons and wolves. However mystical creatures appear on some stones. The most well known case is that of the 'Pictish Beast', a unique mythical creature with a dolphin-like face. The creature only exists in the form of Pictish carvings, and is a mysterious figure, one which I find very interesting, it being an example of the Picts imagination and mythology. 

 

     The last group consists of ordinary objects, such as a hammer and anvil, or the mirror and the comb. These objects were not as fantastical as the other symbols used by the Picts, however they may have had a more practical meaning in their culture. They often appear in pairs and towards the bottom of the stones.

     The meanings of the symbols used are not known, and perhaps never will be, with their true meaning lost in time, along with most of their culture. It is believed that they are not a communication of language, as certain discoveries demonstrate a written Pictish language that existed, suggesting that the stones may have a more symbolic or interpretative meaning. It is amazing to wonder why the Picts would erect these stones over an area hundreds of miles in each direction, with the symbols used being consistent to a degree. Even more so, when you consider that the period during which these stones were made was around 300 years in length. Some of the symbols used on the stones are not unique to the rocks, symbols matching them have been found decorating ordinary objects such as jewellery, and painted on cave walls. 

'The Wolfstone', Hill of Keillor, by Cameron Mitchell

 

     Many people have attempted to interpret what the symbols used actually mean, but ultimately these are only the opinions of individuals, as no one can actually state with authority the meaning of these shapes, due to a lack of other evidence which blocks our full understanding of the stones. Without a 'Rosetta Stone' style of discovery, the interpretation of the stones will forever be uncertain and down to the individual viewing the stone to make of it what they will.

     For me, while I may form opinions on what the symbols could mean, I know that they are only my interpretation, and instead I prefer to view the stones and symbols as a link to my heritage, a concrete and tactile way in which to appreciate my history and just where I came from. I also am in awe at the craftsmanship and artwork that went into making these carvings, considering that they have stood the test of time for over 1000 years. 

 

(all pictures used are the copyright of the relevant owners. No copyright infringement intended.)

Sitting in the sunshine with Ray Harryhausen

       The summer of 2013 in Scotland, has been unusually warm and long. It was in this bright realm that I carried out a project that had been set by our tutors before leaving on the summer break. I chose to spend this time writing about one of my favorite people, Ray Harryhausen. 


      Childhood can leave us with many fond memories, and set us up with tastes and preferences for the future. Of these good memories, a deep enjoyment of the warm, fuzzy and sightly clunky movement of the fantastic creatures found in 'Jason and the Argonauts', 'The 7^th Voyage of Sinbad', etc. have left me with a profound and lasting admiration for the works of their creator, Ray Harryhausen. 

      Ray Harryhausen's journey started in 1933, after watching 'King Kong' on the big screen. He was inspired by what he had seen, and wanted to be able to replicate the animated effects used in the film. Ray spent his youth experimenting with model dinosaurs and early stop motion effects, determined to be able to create a lifelike performance from his models. He practiced these techniques in his back garden and later in his parents garage, using very basic equipment, such as an old 16mm camera.

      At the age of 18, Ray was able to meet the man behind the animated effects used in 'King Kong,' Willis O'Brien. Willis admired Rays ambition however advised that Ray spend some time studying art and anatomy, which would help his animation skills. Ray followed his advice, and later in 1949, O'Brien approached Ray, with an offer to work alongside him on the film 'Mighty Joe Young'. Ray produced most of the animated sequences for this film, which went on to win an Academy Award for Best Special Effects. 

 

      In 1951, Ray was given a chance to work on his first feature film, a movie that would become 'The Beast from 20,000 Fathoms'. It was during the production of his animated scenes for this film that Ray pioneered a new method of split screen animation to combine his models and the live action together. This process later became known as the famous Dynamotion. The method basically sandwiched the model between two panes onto which the live action was projected, giving the illusion that the model was a part of the scene. During the rest of the decade, Ray made animated effects for several films including 'Earth vs the Flying Saucers' and '20 Million Miles to Earth'.

       Rays work on 'The 7^th Voyage of Sinbad' is notable as it was Rays first foray into using colour film with his special effects. The results are beautiful, being able to see Ray's work in a blurred warmth, with sequences such as the sword fight between Sinbad and the Magicians Skeleton being one of Ray's best scenes. 

 

Later in 1963 with 'Jason and The Argonauts', Ray shot another scene with skeletons, this time using seven of them. This is the famous battle in which Jason and his men fight against the 'Children of the Hydra', a scene which Ray choreographed and directed the live action for, in order to achieve a more believable performance when it came to the stages of animation. The animation for this sequence took four and a half months to capture, and I believe it was worth it, as this is my favourite moment from all of Rays sequences. It is so complex and precise, with several different animated events all happening at once on the screen.

      Ray worked on many more movies in the years following, including 'One Million Years BC', 'The Valley of Gwangi', and 'The Golden Voyage of Sinbad'

The last feature film that Ray worked on was 'Clash of the Titans' in 1981. Once again based on Greek legends, this film features the captivating scene with the Medusa. This scene is worthy of note due to the complexity of shooting it. Ray had to not only move the Medusa each frame, he also needed to move each snake upon hear head independently, as well as adjusting the lighting every frame, to imitate torchlight. I really admire the effect Ray achieved with this scene, and it is one I fondly remember from watching as a child. 

 

       Ray Harryhausen was a pioneer in his field. He was a master at his craft, passionate about what he did, a fact clearly visible in his work. His influence is a large factor in today’s world of modern CGI effects. Ray was able to produce all of his effects single-handedly, from concept to finished effect. This is a far cry from today's effects workplace, where teams of people will work together to build an effect or scene, which in my opinion, rarely shows the character that Ray's work had.

      Ray was also an inspiration to many of today’s film-makers. Directors such as Tim Burton, James Cameron, and Peter Jackson all have quoted Ray as having been an inspirational figure through his work. The fact that Ray has had such a large influence on others goes to show how much of a landmark Rays work was in the field of visual effects, setting the bar by creating a professional output on what was at the time a minuscule budget. 

 

       Much as the aforementioned people inspired by Ray, I myself have been inspired by Ray Harryhausen. As a child I watched Ray's films with wonder, marveling over his fantasy creatures, and magical effects. Ray Harryhausen is, in my opinion, one of, if not the - worlds best animator. Ray's work was a massive influence on my decision to choose animation as a field to study, and he will always remain a huge inspiration to myself. His dedication to his field, his creative vision and his quality of output is a standard by which I hope to follow.

     The advancements that Ray brought during his time in the film industry are many, and were pioneering and landmark at the time. His name, and Dynamotion, have since gained legendary status. Many of his films are now regarded as classics, and are still as impressive as the day audiences first saw them. Ray single-handedly brought with him a huge leap forward in visual effects, one which still affects people to this day, and the question is, will there ever be someone who will make as much of an impression as Harryhausen? In today’s world of visual effects and animation, where computers reign over the field, the chances of one person making as much of a difference as Ray, making such a change to the status quo, are quite unlikely. 

 

(All pictures used, are the copyright of the relevant owners. No copyright infringement intended.)

Hang in there folks, this might get bumpy....!