Images & Theory - Project Overview

• A revised version of the previous project overview. Decided to narrow down the topic of discussion.

• Was inspired by Lee Miller's autobiography. I wanted to discuss more towards how creative practitioners decided on what to produce/communicate (ethics? social responsibilities?). 

• I am looking into reportage in particular as it involves storytelling, visual communication, culture and understanding visuals

PRACTICAL APPROACHES

The practical approach would mainly focus on a mix media of documentation through photography, film and collaging, sketching. I am particularly investigating on global storytelling, giving voice to people and culture that are not portrayed or praised as they should be. I am looking into people's world-views and visual communication across cultures, the social responsibilities and ethical consideration that comes along with it.  David Abraham stated, "...sort of interesting observation or documentation of things that you may or may not notice; the fine line between beautiful and ugly." From such quotes and theories, it could be a starting point to illustrate my response and thoughts to the subject matter.

I am looking into reportage and documenting my experiences from my travels to different parts of the world, from Asia (Cambodia, Japan) to Europe (Prague, the United Kingdom). I would initially document through photographs, perhaps mainly landscapes, street photography, candid photos etc. Then a more on sight illustrations. The visual journal would generally be a place to document my findings and activities. Then as the final piece, I would perhaps refine the findings and create a more coherent visual narrative. 

Images & Theory Project Summary 

David Abraham stated that "it's your own way of seeing the world". This project will examine to what extent does ethical compass influence a creative individual's practice in reportage? Communication is essential to the general public and there are various ways to present meaning. Visual language is one of them. It is a common method of communication, which can be seen through any form of visual art.

I will examine how creative practitioners decide what to include in their work? To a certain extent this touches upon self-censorship, unveiling the truth, incorporating other cultures without appropriating them, social responsibilities and ethics. John Vernon Lord said drawing has a considered approach, being less instant than a photograph and is more reflective. Stories could emerge from those hand crafted imageries. I would look into reportage in particular because it is journalistic in nature and has a strong sense of storytelling either mundane things or a much more sensitive topic.

Images & Theory - Project Overview

Images & Theory - references, theorists

"...sense of storytelling is culturally based." - Arthur P. Shimamura Phd

• Created work in response to his surroundings, documentation of places he travelled/photojournalism/reportage
• He communicated a message, story that not everyone might be aware of through his sculptures and photographs

“You choose things based on your cultural background: how you have grown up in your own world and your day to day influences from your surroundings. You make unconscious decisions based on that, it’s your own way of seeing the world,” - David Abrahams

Stuck in Belgrade - George Butler

• Not too keen on his illustration, however it is the process and idea of reportage that strikes me
• It is interesting to see 'another' or a completely different side of the story. It is that storytelling vibe from these illustrations that I personally find surprising

"Cultural influences play on our thoughts and feelings." - Kaiping Peng, psychologist

• His illustrations are mainly based on scenes or landscapes, very observational. 
• Though it is the idea of the 'mundane' feel memorable that I find fascinating from Lee Kyutae's works.

Images & Theory - imagery, symbolism

• A question is that to what extent is the importance of culture in art? There is this issue about culture appropriation or stereotyping. The issue of black face in South Korean entertainment (SBS). Is it considered entertainment or simply ignorance? 

"It would be good if my work would have something universal as a result." - Hayao Miyazaki, 2008

• I would look into ways of visual communication, perhaps through editorial which often deals with a global audience. 

• The relation between cultural understanding and visual language. Perhaps through art there could be some universal language.


Full Article 
Animator Hayao Miyazaki worries about children's future. November 28, 2008. Japan Today. Taro Fujimoto <https://japantoday.com/category/features/animator-hayao-miyazaki-worries-about-childrens-future>

Images & Theory - key terms

Main subject: CULTURE 

Semiotics -  investigating signs, symbols, how meaning is understood and communicated

Visual language - communicating through visual means

Cultural perspectives - understanding certain culture views of the world

Universal Language - hypothetical language in which the people (globally) understands

Cultural appropriation - adopting a certain culture in someone else's, sometimes deemed offensive

Censorship - suppression of information, content that is politically unacceptable, indecent

Images & Theory - what? why? how? to what extent...
Proto-research question(s)

• Cultural differences can affect how the audience perceive artworks? 
• Why cultural tropes work better through art rather than through any other means of communication?
• To what extent is importance of universal understanding in art? (With the cost of diluting the difference in culture, diversity, individuality)

- Perhaps look into editorial illustrations and ways of visually communicating, semiotics.

- Getting the message across a global audience.

- Look into culture appropriation in art (Orientalism?)

• Studio Ghibli made movies for the western audience and the US release edited two sequences as they deemed that it is irrelevant to western culture and that the general audience would not understand the cultural reference (Hayao Miyazaki: Master of Japanese animation. Helen McCarthy, 2002)

• It was an interesting point that they had a part removed due to cultural irrelevance despite it obviously being a Japanese made animation.  

My Neighbor Totoro, Studio Ghibli (1988). The statues is a common
symbol of protecting children in the Japanese Religion.

Reading + Understanding Texts

This is a short article on an interview with Studio Ghibli's founder, Hayao Miyazaki. I thought that I would look into this particular studio as they tend to communicate a few cultural references, political and social issues through their animations. 

• This article mainly discusses social issues and the current generation (in Japan). However it covers several topics on perspectives and culture. 

"Miyazaki also cautions about Japan viewing the world from a homogeneous perspective. 'We need to see the world from a multi-ethnic viewpoint,'" 

• This made me consider the fact that cultural background would influence how people perceive any creative platform, the world even. As simple as street signs, Japanese people might read into symbols differently than westerners.

• Though there is this idea of 'lost in translation'. What would it mean to create a universally accepted/understood content, in this case artworks. Is it even possible to surpass the large cultural difference and diversity of the world?

More Reading - AI WEI WEI, ORIENTALISM (?), CULTURES, SEMIOTICS, UNIVERSAL LANGUAGE...
Reading material 

• Cultural Perspectives in Film: The Wind Rises, Psychology Today. Arhtur P. Shimamura Ph.D
• Ai Weiwei has become a symbol of dissidence worldwide. It shows in his art, Vox. Lindsay Maizland
• Orientalism (?)

"It's a prison for freedom of speech." - Ai Wei Wei talks about being an artist in China. 'A city that doesn't really belong to its residents.'

• That phrase in particular made me think about freedom of expression in art, an yet Ai Wei Wei for instance is restricted when it comes to creating art, expressing certain content. Could it be due to the culture? Politics perhaps?

• Cultural disconnect - an interesting word I came across when I read a book on Hayao Miyazaki's animations. Basically not understanding the cultural context. 

Blowhard. David Plunkert. (2017)

• If I weren't up to date with current news and history, I wouldn't possibly get the context or message behind that editorial piece. This made me think of ways of visually communicating 

Themes, Subjects to look into

Cultural understanding and its relationship with visual communication

• Eastern + Western Culture --> International culture

Semiotics = visual language

Universal understanding = universal language, symbols, signs

Establishing a Research Question?

Key words (interests)

Society

World art

Culture

Environmentalism/social issues

Psychology

Photography/documentary 

Editorial 

Possible topics: 

• Human psychology --> market/advertising in art. Perhaps look into consumerism (behaviour wise) 

• World culture/art --> ethics and freedom of expression. Leaning more towards symbols, metaphors and ways of visually communicating.

Next step

• The topic is still quite broad, I might need to narrow down further. But I think that I still need to do more researching, look at articles and phrases or quotes (as a starting point)

END OF MODULE EVALUATION 401

Leeds College of Art BA (Hons) ILLUSTRATION	Level	04
OUIL401 Context of Practice	Credits	20
End of Module Self Evaluation

NAME	Diandra Wardhana

1.  What skills have you developed through this module and how effectively do you think you have applied them?
I consider researching a skill that I developed throughout COP 1. I did not just learn how to investigate at a surface level, but actually to analyse and synthesise information. I personally think that research is not a simple task or skill. I think that I have effectively applied them as I learned to take elements that derive from research and implement them to my practical work. Another essential skill is the ability to evaluate and be critical of my own practice, particularly being able to then plan out what to improve or further develop. I feel that evaluating my work is quite difficult as I am required to think, consider what is successful, why and how I took certain approaches. It is the process and learning curve that I thought is effective. For instance with the Visual Journals, I started off with creating generally random and representational images, though through research and reflection, it led me to more concrete illustrations.
2. What approaches to/methods of research have you developed and how have they informed your practical outcomes?
Reading theories, articles, and philosophical books. I usually focus on the ethos or certain key words from these sources and translate them to visual means or imagery. I feel that the most effective and developed way of researching was through practical work. I think that the subject I looked into made much more sense and I could see a more defined connection when I begun to visually respond to it. I could understand what methods or materials work, how I could create a certain aesthetic or why I did it, why it was a success or a failure. For instance for the Visual Journal, creating multiples and exploring materials often lead to more ideas, which then urges me to do more research. When it came to the collages, I mainly work with paper and printed photographs, though I would create the same imagery with different media. That led to creating collages digitally as I was looking into modern society and values. Researching by doing and experiencing is also an approach that was helpful. For instance, talking to peers, tutors and people is beneficial. Not only do you get answers to questions, such as what do you think about this or what do you know about social media, but I also obtain different opinions. From there, I tend to further look into certain topics of the conversation through the Internet or books.
3. What strengths can you identify in your work and how have/will you capitalise on these?
I feel that I did quite in depth research and have a sufficient understanding about the topic. However, there are still some parts that I still find myself stranded in the grey area. I personally think that my research informed significantly on my practice, particularly the visual journal. That is where I could try to make sense of my understanding through visual means. Though from research, reading and evaluating, it gave a concrete base on the content of my work. For instance, with the visual journal perhaps some of the viewers would think of my collages as ‘random’ illustrations without meaning. Though there is thought, research and process done for every single element.
4. What weaknesses can you identify in your work and how will you address these in the future?
I would say, quality. I think that I should spend more time crafting my work, both the visual journal and essays. After completing these tasks, I feel that there are certain areas in which I wish I could have changed or improved. There are also parts that I hoped that I could have done more. Particularly the visual journal. There are sections where I wish I could explore even further from a different angle. For instance, aside from simply looking at modern ‘aesthetics’ through collages, I perhaps could look into photography or a more illustrative approach? Another case would be the essays. Perhaps I could have been more straightforward with my writing and have more concrete argument. Indecisiveness also played a part in this feeling of dissatisfaction. I found it difficult to decide on one idea or design to focus on, hence my work tends to be rather vague at times. For future reference, I would perhaps consider spreading out action plans. I may have spent most of the time given doing research rather than gathering them into a more conclusive outcome. I perhaps need to consider investing my time in the quality of the work rather than to just complete tasks.
5. Identify five things that you feel will benefit you during next years Context of Practice module?
-       Synthesis. To be able to research in an analytical level. Also not to simply look at information, but to try and make sense of them. Eventually creating links and connections to my own practice. They are not separate entities and actually inform one another.  -       Contextual research. Aside from linking research with practical work, I think that looking at other creative practitioners or field of work is essential. Not only in terms of art and design, but perhaps society or culture. I realised in COP, that art and design could not stand on its own. They are often informed by the society, history, politics, they are a response to the world. -       Time management. Particularly for the COP 1, there were several briefs to complete. Planning thoroughly would be very crucial. I never realised that researching was very time consuming, as it requires verification, counter arguments through crosschecking with other sources of information. -       Motivation and generally having interest in the subject. From the general topic, my interest and curiosity led me to further explore those particular areas. Thus, I am more invested and immersed in my own work.
6.How would you grade yourself on the following areas: (please indicate using an ‘x’)  5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor
	1	2	3	4	5
Attendance				x
Punctuality			x
Motivation				x
Commitment				x
Quantity of work produced			x
Quality of work produced			x
Contribution to the group		x
The evaluation of your work is an important part of the assessment criteria and represents a percentage of the overall grade. It is essential that you give yourself enough time to complete your written evaluation fully and with appropriate depth and level of self-reflection. If you have any questions relating to the self-evaluation process speak to a member of staff as soon as possible.