Panorama view of exhibition in Jedlitschka Gallery, Zurich.

Panorama view of exhibition in Jedlitschka Gallery, Zurich.

06 December 2017

Dr Great Art Podcast Episode 26: Artists Create New Metaphors to Live By


My newest Dr Great Art podcast, Episode 26: Artists Create New Metaphors to Live By
My Artecdote this episode is the an explanation of my assertion that "Artists Create New Metaphors to Live By." Under the inspiration of Lakoff, Johnson and Turner's Cognitive Metaphor Theory, I describe my assertion that artists create for themselves new metaphors to live by, by creating new metaphors to create with, which viewers can then also use to think with and live by. This I refer to as artists’ metaphor(m)s or central tropes.
http://drgreatart.libsyn.com/episode-26-artists-create-new-metaphors-to-live-by #arthistory #metaphor #cognitivemetaphor

his is the script (not a transcript, as I change elements when recording).

Dr Great Art Podcast 26


------------------------ 
 
Hi this is Mark Staff Brandl, with the 26th "Dr Great Art" brief podcast. I hope you enjoy it and come back for each and every one.

Today my Artecdote is the an explanation of my assertion that Artists Create New Metaphors to Live By

Under the inspiration of Lakoff, Johnson and Turner's Cognitive Metaphor Theory, years ago, I made the personal discovery which was the foundation of my dissertation, many articles, much of my art, and many podcasts here. This is, that artists create for themselves new metaphors to live by, by creating new metaphors to create with, which viewers can then also use to think with and live by. This I refer to as artists’ metaphor(m)s (spell) or central tropes.

Much of the highly imaginative work of discovering their metaphor(m)s is accomplished by artists through what Lakoff and Turner term an "image-mapping." However, these authors at first undervalued this discovery, describing image-mappings as "more fleeting metaphors," in the book More than Cool Reason. They assert that "the proliferation of detail in the images limits image-mappings to highly specific cases." By contrast, they find "image-schema mappings" less detailed and more useful in reasoning.

Image schemas generally rely on an abstracted sense of space and vision, yet can also be grounded in sound, others senses or even in cross-sensory, synaesthetic perceptions. They can often be described with prepositions or simple directionality: out, inside, from, along, up-down, front-back, etc. Something like spatial diagrams for action.

In the arts, both these image-metaphor activities shade into one another along a vast spectrum of possibilities. It must be said, that both of these authors expanded their study of visual mapping in following books. Notably, Lakoff intensified his investigation of visual art in his pioneering essay "The Neuroscience of Form in Art," in the book The Artful Mind, edited by Mark Turner. In his contribution, Lakoff reflects on Rudolf Arnheim, form as metaphor and presents the theory of "cogs" to explain this. Cogs are neural circuits, involving mirror neurons, which ordinarily perform motor control, but additionally can register and structure observation. Image schemas and force-dynamic schemas are presented as potential cognitive explanations of the application of cogs to reasoning.

I believe image-mappings are purposefully interwoven by artists into this structure of inferences as well. Furthermore, Turner's entire conception of cognitive integration and blending offers an excellent account of how metaphor(m)s are brought into being. The principal book on that theory is The Way We Think: Conceptual Blending and the Mind's Hidden Complexities by Gilles Fauconnier and Turner.

Because of its proliferation of details, image-mapping provides a bonanza of abundance necessary for mining new metaphors, thus making it very important in literature and visual art, FAR more consequential than often imagined.

The operation of image-mapping is simple to describe. A mental picture is projected in the mind's eye onto another "target" image. For example, envision matching the appearance of a tree to that of a woman. Her litheness as she stands slowly moving in the breeze is dramatically foregrounded in this process, --- brought to the reader's attention. Creators structurally, often visually, pursue this reasoning within the confines --- or better said, using the treasure chest of --- their media and genre. They find potential meaning in either projecting an image onto a formal element or finding schemas adequate for use which are natural characteristics of a formal element. This is described more precisely in my dissertation, where the creative process of conceiving central tropes is delineated in detail. A few examples will suffice for now.

Simply whether a sculptural form emphasizes verticality or horizontality is a rich source of possible image schemas or image-mappings. For instance, perhaps the piece is vertical and building-like. Therefore, it is more "up" than "down," linking it to all the foundational metaphors of UP: GOOD IS UP, HAPPY IS UP, etc. Depending on the composition, perhaps the piece is vertical, yet stresses its downward movement. This would elicit metaphors of DOWN. Another example: Long, winding sentences could be seen as matching the experience of taking a leisurely journey. Image-mapping consists in conducting a kind of "sampling" of the world of experience. It does not, therefore, have to be only a visual one, although I believe it generally is. It might be based in one of the other senses, or as our culture becomes increasingly multimedial, it might be based on a combination of sensory impressions.

"New metaphors are mostly structural," according to Lakoff and Johnson, in the book Metaphors We Live By. For artists, the structure of form and the structure of desired meaning (i.e., content) are functions of one another. When an image-mapping is solidly rooted in structural similarity, Lakoff and Turner refer to it as "iconic."

This is, in general, what iconicity in language is: a metaphorical image-mapping in which the structure of the meaning is understood in terms of the structure of the form of the language presenting that meaning. Such mappings are possible because of the existence of image-schemas, such as schemas characterizing bounded spaces (with interiors and exteriors), paths, motions along those paths, forces, parts and wholes, centers and peripheries, and so on.

Therefore, metaphor(m)s are often iconic image-mappings or image schemas raised to life-determining power, Weltbestimmung through Weltanschauungen. To return to my preferred metaphor of painting, here I have reached what painters refer to as their style or approach.

The second of these terms is often preferred by creators because in common-use the term style has been debased, signifying nothing more than individual, characteristic forms of expression without content or thought --- habitual, unconscious quirks also referred to as tics. True style is much more than this. The linguistic field of stylistics shows how rich the concept can be. While such study has chiefly been carried out on literature in books such as The Concept of Style, it has exciting implications for the visual arts as well. Style is the distinctive, personal mode of production and expression of an artist which is visibly unique to his or her work: ones individualistic, intellectually and emotionally-charged mechanics of embodying meaning. (In the case of my own art this becomes more of a modus operandi, as the term is used by police to describe a criminal’s characteristic way of committing a crime, rather than a stable series of representational choices.)

Cognitive metaphor theory proffers a mode of thinking which can be applied to the analysis and creation of art, while accentuating the efforts of the makers of these objects. After the object-only orientation of Formalism, after the medium-only focus of Deconstruction, this may lead to a feeling of liberation, of agency. Oh no, the "A" word! Nevertheless, this is a theory which brings with it a new sense of the burden of the past. Whereas the Academicists were trapped in an illusionary past, Formalist Modernists felt dilusorily free from the past and the Deconstructivist Postmodernists are endlessly tangled in an inescapable present, artists as viewed through cognitive metaphor theory are directly responsible for fashioning their own tropes through the processes of extension, elaboration, composition and/or questioning. This they accomplish in and through the formal parameters of their work, with enough cultural coherence to be able to communicate, but enough originality to be significant. Important tropes cannot merely be selected from a list; they are discovered and built out of revisions of cultural possibilities, in fact, fought for and won in creative work.

Metaphor, as Lakoff and Johnson explained, is a fundamental mechanism of thought, one that allows us to use physical and social experience to understand other objects and events. Such metaphors therefore structure our most crucial understandings of our experience, they are "metaphors we live by, " often shaping our perceptions and actions without our ever noticing them. However, we can concentrate on them, notice them, and actively seek to improve our understanding through them. This occurs usually through the arts, wherein we discover new vantage points on our experiences. Therefore, artists create NEW metaphors to live by!

Artists Create New Metaphors to Live By!

Thanks for listening. Podcast number 26.

Again, thanks for the recent huge upsurge in listeners, by many thousands! Thanks to Salon.com for recommending my podcast as a great art history one. If you enjoy my podcasts, please go to Apple podcasts and give me 5 stars and a recommendation! It helps others find this podcast. Additionally, if you have any questions or requests for topics, please feel free to contact me with them! I'd truly enjoy covering them!

If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch.

I take viewers inside visual art and art history. Entertainingly, yet educationally and aesthetically, I analyze, underline, and discuss the reasons why a work of art is remarkable, or I go through entire eras, or indeed through the entirety of art history, or look at your desired theme through the lens of art history. The lectures often take place with painted background screens and even in my painting-installations.

Some recent ones were on the entire history of Postmodernist Art from 1979 through today, on Metaphor(m) in Art History, on Mongrel Art, and on Women in Art. Once again, I'd like to thank Chloe Orwell, Brad Elvis, and the rock band the Handcuffs for composing, performing and recording my theme song, "Shut Up and Paint," a tiny portion of which begins and ends every Dr Great Art Podcast.

You can find or contact me at

www.drgreatart.com/ (spell)

book me at www.mirjamhadorn.com (spell)

or find me on Facebook, Twitter, Instagram, all as Dr Great Art. 

Dr Great Art Podcast Episode 25: Exhibition Comics and Iconosequentiality





The newest Dr Great Art podcast. Episode 25: Exhibition Comics and Iconosequentiality in Art
A new artistic development: Exhibition Comics and a new compositional form: Iconosequentiality.
http://drgreatart.libsyn.com/episode-24-exhibition-comics-and-iconosequentiality-in-art
#arthistory #comics #composition

This is the script (not a transcript, as I change elements when recording).

Dr Great Art Podcast 25

------------------------



Hi this is Mark Staff Brandl, with the 25th "Dr Great Art" brief podcast. I hope you enjoy it and come back for each and every one.

Today my Artecdote is the introduction of two somewhat newer terms in art: 'exhibition (or gallery) comics' and 'iconosequentiality.'

A New Artistic Development: Exhibition Comics and A New Compositional Form: Iconosequentiality.

Artist and theorist Christian Hill has created a new term to give a clear identity to a new artistic phenomenon. The appellation is gallery comics. I have revised this to exhibition comics. The second expression, iconosequentiality, is my own creation for a compositional form within comics and fine art.

Hill, a French-American artist living in California explains gallery comics as "artworks using the formal structures of comics to create pieces that are intended to be viewed in the context of a gallery or museum or Kunsthalle or other (fine) art space" --- whether hanging on a wall (a la painting), sitting on the floor (a la sculpture) or as an installation (a la – well, you get it). "A gallery comic is not necessarily, or at least not exclusively, meant to be read left to right, top to bottom."

This idea of gallery comics is open to a variety of applications, from Hill's own clearly comic-derived, fairly narrative works; to Andrei Molotiu or Mathieu Baillif's (aka Ibn al Rabin's) abstract comics; or my own painting-installation works. Thus, these artworks are: sequential, or quasi-sequential works which both can be read like a book and comfortably viewed as a gallery/museum work. So not exclusively linear, albeit sequential.

I find the term gallery comics itself a bit too limiting, and as galleries appear to be dying anyway, I have changed the nomenclature to "exhibition comics."

Now we come to our second newly-minted word, my own iconosequentiality. This is my neologism, for the unique combination of forms of phenomenological perception in comics --- and my art.

In comics as we know them, viewers frequently perceive both the entire page as an iconic unit, similar to a traditional painting, and simultaneously follow the flow of narrative or images from panel to panel, left to right, up to down. A page is often thus concurrently whole/part and openly linear (even multi-linear with the possibility one has to glance "backwards" and "forwards" if desired, while reading).

Such a work is therefore ontologically as well as phenomenologically both iconic and sequential. Aesthetic attention becomes a wonderfully anti-purist conceptually mongrel blend of, or perhaps flickering between, a rich variety of forms of reading and viewing, most of which are under the control of the perceiver. The ultimate hyper-text/hyper-image united with the joys of an image's patient always-there, self-reliant presence.

This is not a reiteration, by the way, of Werner Hofmann's iconostase, (ee-cono-staz) in French, which would be iconostasis (Ei-con-Os-tasis; or iconoSTAsis) in English. While originally meaning the wall of icons and religious paintings separating the nave from the sanctuary in an orthodox church, this notion, as applied by Andrei Molotiu to comics, describes the phenomenon where pages of sequential storytelling occasionally "freeze" into tableaus of panels that make a rather unified whole.

This occurrence is unquestionably the source of inspiration for what I am proposing, yet is almost the mirror image of what I seek to describe. In iconostasis there is a natural progression which has been slowed down, even stopped, often almost by accident, for aesthetic appreciation. Iconosequential work is the conscious, active, creative use of the marriage of iconicity and sequentiality as a visual stratagem, a "speeding up" if you will. These ideas in practice of course overlap, however the clearest simple examples I can describe would be wonderfully composed pages of panels in Steve Ditko's Spider-Man, iconostasis, as compared to Frank King's famous Sunday strips of the children playing at a house building site, iconosequentiality. Those delightfully choreographed pages of struggle drawn by Jack Kirby seem to fall in-between.

Finally, this is not really the same as the medieval paintings wherein various "adventures" of Jesus or a saint, for example, are scattered across a painting. These works are not generally genuinely sequential, usually, more haphazard, and certainly not using any implied panels or closure, both of which I feel are necessary to be comics, and for the joy of an iconosequential work.

Noticing and using such a new compositional form is important, if not for personal utilization then at least for debate. In addition to a blanket ignorance of the complexities of vernacular and popular art forms, one of the detriments in the fine-art world of the recent past has been the slow-but-steady erosion of knowledge about and interest in painting. Such blindspots have resulted in an attendant attrition of awareness of some startling accomplishments in method and thought in those disciplines, especially painting.

Composition IS important. The agonistic struggle to achieve new types, even if they are at first seemingly rather small alterations. The history of changes in composition shows this --- transformation is crucial, not due to any supposed development of "significant form" or due to a blinkered view of some march of history, but for personal and cultural metaphoric use.

From the conceptual hierarchies of early art, to the overlapping levels of Medieval art, from the Golden Rectangle and Triangle of the Renaissance, to Mannerist routines, from the Baroque spiral-into-space, to Rococo curlicues, from Neo-Classical and Romantic asymmetry, to the shocking yet "relational" composition of early abstraction, from the all-over of Pollock, to unitary Pop and Minimalist form, from Neo-Platonic yet temporal Conceptual art systems, to the environmental envelopment of installation, to now — the tackling of the practical and philosophical problems of composition in art (especially painting) has been an impatient, vital, combative struggle.

Let me emphasize, anti-Formalistically, that this endeavor to forge new compositional tools is important not in order to simply form novel conventions, but to move on to distinctive organizational structures, new tropes useful for the embodiment of arisen desires.

And now more than ever, we need methods reaching beyond the affected Duchampianesque maniere of Postmodernism so far; one for our new critical anti-purism. Iconosequentiality could be the central compositional trope we need. The new "working space" for which Frank Stella has called.

How and Why, concretely? Such a factor determines the specific modes of attention which visual art now needs and which make such works potentially far more radically liberating in form than many traditional or even most so-called new media.

Iconosequentiality has the inherent predisposition to be tropaically democratic. It is also a step beyond Pollock's revolutionary "overall" composition, while embracing that discovery, as well as its child, installation, and not retreating to relational balancing games or Neo-Conceptual "readymade" knock-offs, both of which stipulate hierarchical metaphors I find repulsive.

Exhibition comics and iconosequentiality offer fresh arenas for individual development.

Exhibition Comics and Iconosequentiality!

Thanks for listening. Podcast number 25.

Thanks for the recent huge upsurge in listeners, by many thousands! Thanks to Salon.com for recommending my podcast as a great art history one. If you enjoy my podcasts, please go to iTunes / Apple podcasts and give me 5 stars and a recommendation! It helps others find this podcast. Additionally, if you have any questions or requests for topics, please feel free to contact me with them! I'd truly enjoy covering them!

If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch.

I take viewers inside visual art and art history. Entertainingly, yet educationally and aesthetically, I analyze, underline, and discuss the reasons why a work of art is remarkable, or I go through entire eras, or indeed through the entirety of art history, or look at your desired theme through the lens of art history. The lectures often take place with painted background screens and even in my painting-installations.

Some recent ones were on the entire history of Postmodernist Art from 1979 through today, on Metaphor(m) in Art History, on Mongrel Art, and on Women in Art. Once again, I'd like to thank Chloe Orwell, Brad Elvis, and the rock band the Handcuffs for composing, performing and recording my theme song, "Shut Up and Paint," a tiny portion of which begins and ends every Dr Great Art Podcast.

You can find or contact me at

www.drgreatart.com/ (spell)

book me at www.mirjamhadorn.com (spell)

or find me on Facebook, Twitter, Instagram, all as Dr Great Art.