State of Entropy
In an earlier post I highlighted why analyses became the solution to my disarray and uncertainty, allowing me to overcome the expanse of knowledge I was investigating. However, recently I have become overwhelmed with a discord of ideas and attempting to search for lucidity out of my current perplexed state. Having spoken to Dr Stephen Thompson I began to consider that I may have been trying to implement methodologies to design that perhaps remain solely associated with photography, in particular the mimetic artifice inherently ingrained within the photographic image.
By acknowledging that my former approach was convoluted with predisposed ideologies that did not really attain relevance to my latest endeavours I feel that I am now able to reveal my true intentions. Perhaps I was lazy and relying on my prior research and by taking a step back I have begun to explore and assimilate a more suitable focus.
An artist is a man who digests his own subjective impressions and knows how to find a general objective meaning in them, and how to express them in a convincing form.
Contemplating my former attempts to conjure a theoretical grounding from which to base my forthcoming project allowed me to uncover the rudimentary elements that were prevalent throughout, predominately visual communication, although it is important to note that I plan on expanding my future research to cover multiple instances of sensory stimuli. Rather than focus on the creative act, a foundation which I previously relied upon as an artist whereby I became preoccupied in the act of self-expression, I now need to consider others. Striving to transform my methodologies towards the field of design in which others (clients) and their messages are to be cogitated and conveyed, the successful transmission of ideas becomes imperative. This is not to say that I plan on relinquishing my own sense of diegesis throughout this project, I solely want to foster a greater propensity to articulate meaning via design.
Let us consider two important factors, the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity.
The Creative Act, Marcel Duchamp
At this moment in time I am constructing my amended theoretical framework that I anticipate will assist in invoking a thought-provoking venture into not only graphic communication but also the transmission of ideas within the study of aesthetics i.e. empirical aesthetics and incorporating components from psychoanalyses.
Perhaps investigating the inception of ideas in my study is too expansive in the time that I have, therefore an emphasis on the transmission and inferred connotative/denotative meaning within graphic communication would be more fruitful.
The books I intend on reading over the coming weeks encompass semiotics (Mythologies | Roland Barthes), the capabilities of the human mind, along with its flaws and limitations (Brain Bugs | Dean Buonomano and How To Create A Human Mind | Ray Kurzweil), the instigation and foundation of human creativity (Last Ape Standing | Chip Walkter) and why the traditional artist is being transformed into the designer (Design as Art | Bruno Munari).