perception and idea projection in representation

Historical painting’s purpose: the idea is held on the canvas. The communicated idea sits within the image on the page, passing the idea of landscape, person or object onto the viewer. Similar to that of descriptive photography, the fixed meaning is communicated directly to the viewer with little need for a creative interpretation. Advertising imagery maybe fits into this niece, although contemporary mass mindsets are highly trained in creative association due to image saturation. 

Gainsbourough and the artists discussed in GOM. Begin the transition with the theory of idea projection onto indistinct brush strokes and the active participation of the viewer. The viewer has to be trained to see. If the viewer is not familiar with the image-based world, they will make no sense of the mass of coloured shapes (the required activity is probably closer to association rather than projection, GOM talks about projection is the sense of the artist projects details onto a mass of colour in order to give fixed reference points). The same effect was found when showing photographs of animals to native hunters in the Amazon, no relation to the animal was seen, the hunter had not been trained to recognise the form ‘ wolf’. – I forget exactly who or what I am quoting here. With relation to Lacan, until the self can recognize an external form and give it meaning, no internal change can take place (as in the Mirror Stage). 

Contextually, a shift in the cultural reading and activity of image viewing by the elite caused the meaning of skill in art to be shifted away from mere mimesis and painstakingly finished imagery, to a more ‘free’ style, actuating a mental process within the viewer. GOM offers an anecdote of the sculpture PLINNY who creates a statue for the top of a temple that looks brutal when viewed in the studio, but amazing when placed in situ. Cultural ideology gives shape to the forms of its visual production. 

Modern art (well, post impressionism) removes the idea from the canvas completely, and creates it in the minds of the trained viewer. Projection from the object onto the brain, which is why approaching modern art from a purely visual perspective is completely inappropriate. When considering modern art photography, the same projection is apparent, but can be more difficult to convey due to the fixed reality basis of the photographic image.  Without proper conditioning, the audience is a mere 'trote bebe'.

Exploring Lacan: The Concept of 'I'

The Formation of the ‘I’ – Pre reading for Lacan’s Ecrits

As a core concept in a primarily feminist discourse to date, the idea of the viewer gaze has become a central part of analysis of all things image. Laura Mulvey offers the idea of the ‘ubiquitous male gaze’ in Hollywood cinema as a defining template for most modern (pre fem) analysis of the visual arts, but this idea stems from the core concept of an individual existing. When reading Pollock and Braxandall, as well as Gamman/Marshment, often references to Jaques Lacan’s concepts are made, namely his ideas around that of the image shaping personal perception of self. It would be safe to assume that the feminist points made in Pollock’s discourse relating to ideological state apparatus (also an Athusserian concept!) shaping the gender of the modern capitalist has stemmed from a study of Lacanian thought.

In order to underpin the reading of Lacan’s Ecrits, a highly complex and lengthy series of ideas, I want to first explore and define the concept of ‘I’ and its roots. Starting with Descartes ‘Cogito Ergo Sum’ as foundation for western philosophy; the Descartian idea of there are thoughts, therefore there must be a mind offers an un-intruded view of self awareness. I have consciousness, so therefore I cannot doubt that I exist, which seems to be an undeniable fact. In order to process the concept of existence, one must exist to be able to comprehend the problem of existence. Even in the light of cartesian doubt, the self is assured by the process, not by the influence upon the process. J.P Sartre could be referenced here with counter arguments of a non concrete self awareness, a mere removed idea that self is infact as perceived, also offering a ‘matrix’ style hypotheses of sensory doubt.

Turning to Freud, the triadic self and its set stages of formulation offer a bridge from the state of nature (I refer to John Locke) of the Id to a rational, self-aware and controlled ego in the early stages of development. If the cogito is to take place, perhaps at the mid stages of ego formation, and before the super ego is formed by external input and language. Stating libidinal sources and phallic drives as the motivator for all actions, the oral and anal stages of development would therefore be paramount in the formation of self perception. Gaining pleasure from the phallic centre to quieten the Id would therefore become a conscious process (I think)? It would seem that Freud and Descartes exclude the external from the development of self, Freud with biological and chronological set developmental stages, Descartes by doubting the existence of anything except his own perception. Lacan would seem to differ in his stance upon the formation of self awareness by placing the external in a key position in development. His core concept of the 'mirror' stage in the immobile infant suggests that placation of the id, that action of providing said natural instinct with libidinal sustenance, becomes a conscious effort at the mirror stage, when formation of a conscious self is re enforced by visual stimuli.

If we consider the recent study by neo-behaviorist Bushnell (UK), the recognition of facial patterns to infants, namely that of the mother's, sets up in the formation of ego the influence of the visual. The motion starved infant sees mostly abstract areas of light and shade, and makes little to no causal relations, except, as before stated, when libidinal drives are satisfied. The oral stage offers the mouth as a phallic center, the id craves pleasure, the body craves sustenance. When the mother feeds the infant, be it with natural or artificial breasts (referring to the bottle), the facial image is seen in direct proximity to libidinal satisfaction. The psyche forms a causal relation with the image as a pre-curser to satisfaction of the phallus.

In the Ecrits, Lacan states a 'libidinal dynamism' in the semi - mobile 'trote bebe' as functional in the progression of the mirror stage, the acquisition of the image of an alien-yet-familiar mass providing some satisfaction to early the ego in its id placation role. The formation of causal relationships between motor function and motion in the perceived image, paired with that of motor function and non compliance in other alien masses, forces cognitive awareness of self. The abstract 'I' forms, unshaped by language or morality, and at early stages, still somewhat unable to fully control itself, merely aware that that arm is my arm, that leg my leg. Interestingly, with this semi control, the ego gains a frustration, a latent perception of self that forces development and continued formation of an authoritarian 'I'.


Key sources:

Lacan.J(1966)The Mirror Stage as Formative of the I- From Ecrits, 5th ed 2003, Routledge Classics, UK
Pollock.G(1988)Vision and Difference, Feminism, femininity and the histories of art. Routledge. second edition.UK
Robinson,D et al(1999) Introducing Descartes - A study of Modern Thought, Icon, UK
http://infantlab.fiu.edu/Articles/Bushnell%202001.pdf

Dante G. Rossetti's Regina Cordium analysis

 

Above: Regina Cordium Drawing 1860

Above: Regina Cordium 1860 Oil on Canvas

Above: Regina Cordium 1866 Oil on Canvas

Key comparisons between the above images would be to focus in upon the gaze of the subject:

Initially the 1860 gaze is a general, almost averted gaze, showing some interest in the active male viewers phallic ownership, but offers a non confrontational, almost shying away – an effect further emphasised by the slight turning of the shoulders. In my initial criticism, using an earlier drawn version of the image, (included in fig.3) I noted that no barriers were between the object of desire and that of the viewer, and this gave reason for the non active / phallic response to the viewer: I.e. if the returning gaze was closer to that of the 1866 image, a direct and confrontational meeting of the male viewers eye, the risk of emasculation is great due to the female sexual power symbols (un-kept hair, red flushed lips, flower in bloom.) When considering the 1866 gaze, a direct meeting of the viewer, returning the eye with an equally punctive gaze, Rossetti supports his male viewer by offering him supportive signifiers, ensuring the retention of his phallic power. Managed hair, tamed nature in the form of ground trellis and a physical barrier in the form of a balcony / parapet all ensure that while this creature is clearly sexually powerful (roses in bloom, red full lips and folds of cloth provide this signification) the conventions of order imposed by the artist and the hegemony of societies gender norms, the ‘beast’ of female sexual power is tamed, the male viewer is safe to continue with his consumption. In the later painted version of the Regina cordium of 1860, featuring E.Siddall as the template, Rossetti has provided a safety barrier for his male audience, editing his original image. ‘Siddal’ (with reference to G.Pollock) has now been captured within the picture pane by a parapet, and the infinite background of the initial image has been replaced with an ordered gothic lattice, essentially encaging Siddal, an effect further emphasised by the chain like wrapping of the red necklace, securing her to the canvas.  

This drawing and the completed painting use E. Siddall as the template for the construction of icon, and to borrow from Pollocks hypothesis, the image shows ‘Siddal’ rather than being a portrait of Rossettii’s actual wife.

This lead to the continued hypothesis that the 1866 image included these barriers to allow for voyeuristic scopophilia, non emancipation and yet a direct interaction between icon and viewer. Symbols of phallic power are counteracted by restraining / removing immediacy, idealization of form yet still removes the icon away from any human template.  

Key textual sources:

Pollock.G(1988)Vision and Difference, Feminism, femininity and the histories of art. Routledge. second edition.UK

Gamman.L and Marshment.M(1988) The Female Gaze, Women as Viewers of Popular Culture. The Women's Press. UK

Introduction to Blog: MA Art History

Introduction to Art History: My Prep for the MA in Art History

This blog will serve as a holding ground for writings completed during the preparatory stages of the MA course i will be undertaking during the next few years. I have been reading and researching the best sources of information around and will be discussing the ideas and applying some of the techniques to specific artworks.

I have had several years of experience lecturing in Contextual studies and art history, and my academic background is based in photographic studies / fine art. I also hold post grad. teaching qualifications and intend to move from my position in FE into a HE role within five years of completing my MA.

Feel free to post questions and comments, argue and discuss ideas.