Bigger era.. Bigger toys .... Bigger imagination

The revolutionary changes of technology is not because of evolution.. but its because we are in need of an upgrade.
Who wants the new ipod ? 4k 16k 34k? or the nano? or the ibook?

Our own material needs fuels the constant technological changes.
Our imagination fuels are creations.
Our needs and desire keep us wanting more.


What's next for the future? Let our minds wonder and explore.

Graffiti from different perspectives

          Graffiti has a diversity of expression that can be found throughout cities and neighborhoods globally. Some works of graffiti have their own names. A "tag" is the most basic representation of an artist's name, which can be seen as a means of personalizing, or signature. Some graffiti artists opt to remain anonymous due the threat of facing consequences for displaying their art. Through their anonymity they have chosen to protect their own identity and reputation. This week’s blog discusses the role of anonymity in graffiti and how being anonymous influence’s the nature of the graffiti artists through reference of theoretical concerns.           

            In the first blog I read, the author discusses how the ‘E’ on the Engineering block (along the Main Mall, UBC) signifies as an example of graffiti. The existing red ‘E’ is painted over time many times by different people whether artist or not artist. It identifies with graffiti art because people paint over it in example of portraying pride over their own faculty. Through the repetitive notion of graffiti-ing the ‘E’ it portrays a palimpsest of graffiti pride through UBC faculties. In response, engineer student re-graffiti the ‘E’ to re-emphasis their own faculty as a symbol of dominance over others. The author examines how the ‘E’ marker functions as a means to express oneself through their faculty. Here, the author identifies that the use of graffiti is used as expressive tool to represent and present the image of their faculty. The blogger author incorporates William Mazarella’s theoretical theme of mediation from his article “Culture, Globalization, Mediation” (Mazarella, 2004) The blogger discusses how media, a form of mediation, is a gateway facilitating one to present ourselves through their work as well as through the identity of the emblem ‘E.’ I suggest that this is a form of ‘tagging’ through the identity of engineering students. “This graffiti style uses a signature or logo (sometimes stylized and called a ‘tag’) that is unique to an individual graffiti writer or ‘taggers,’ experienced graffitist within the subculture could identify and credit work.” (Powers, Lynn. p.137) The painted red ‘E’ set against a white cairn is designed in a manner to demonstrate their artistry, and becomes an expression of their imagination and voice to portray pride in the area of engineering studies.

            In the second blog I read, the author addressed the issue of anonymity. The author discusses how people who draw graffiti typically concern themselves with topics that are usually seen prohibited because they are socially unacceptable. The example that the author provides us with is the use of graffiti in bathrooms. I for one have identified with these experiences in bathroom stalls and have seen how these typically taboo topics aid the process of discussion. The function of mediation that Mazzarella is interested in is the way media can represent us. Focusing on the notion that is similarly addressed by the author of the blog in that the media affects the manner one presents themselves and interact with each other, through Mazarella’s concept of mediation. “The anonymity afforded the graffitist allows the opportunity to use language, and present beliefs and sentiments, which are not acceptable in ordinary life.” (Gonos, George. p.42) The blogger concludes that by presenting these socially unacceptable topics in bathrooms stalls, in response to the graffiti people would add additional comments to demonstrate their options on the taboos topics. (creating graffiti back)

            Through examining two blog entries of graffiti it is clear that graffiti is viewed as a method as a means of self-representation and to voice a larger opinion. The example of the graffiti in the bathroom demonstrates that some sort of expression due to unaccepted topics, one may react in response by responding to the works of graffiti and becomes commonly identified as an expressive, creative art form, often highly personal.

Identifying the structuralism theory in film

           

 This week’s blog focuses on the British film “Pride and Prejudice” (2005) and demonstrates how it meshes with the theoretical framework of structuralism film theory. Gordon Gray’s article on “Cinema: A visual Anthropology” illustrates how the theory plays a vital role in establishing a fundamental unit of filmic meaning. “Pride and Prejudice” assumes the more simplistic perspective of the theory where “the basic preposition of structuralism is that humans engage with, make sense of, and function in the world though sets of binary oppositions.” (Gray, p. 53)  Structuralism film theory erects systems of binary oppositions such as good/bad, left/right, for example while “Pride and Prejudice” is concerned with binary oppositions of female/male, marginal/not marginal and wealthy/not wealthy, which are lucidly demonstrated throughout the movie.

            The novel-based movie focuses on the main character of Elizabeth Bennet who deals with issues of manners, upbringing, morality, education and marriage in the society of the landed gentry of early 19^th-century England. Addressing major themes such as social standing through being wealthy versus not possessing wealth, plays a major role in demonstrating the disadvantages and advantages people confronted during this era. Wealth, however, is not necessarily an advantage in Elizabeth’s world. The failure of this is shown when Mr. and Mrs. Bennet become blamed for their lack of judgment. When Elizabeth walks to Netherfiled and arrives with a muddy skirt, to the shock of the reputation-conscious Miss Bingley and others, this reflects on the Bennet family’s rank of class and wealth. Since this incidentth e ill-mannered behavior of Elizabeth Bennet bestows her a bad reputation which creates conflict between ties of her social relationship with the Bingleys and Darcys. This identifies how lines are strictly drawn concerning social status and wealth. Through the thematic oppositions of wealthy versus non-wealthy, the reader is able to perceive how education and upbringing support binary oppositions.

In contrast, Mr. Darcy proves to be quite the opposite, as through his wealth he shows a distinct understanding of the mannerisms and education that proves to demonstrate a certain aspect of morality, unlike Elizabeth Bennet and her parents. Mr. Darcy demonstrates oppositional qualities through his higher education in being principled and scrupulously honorable as well as being proud and overbearing. The female and male position in the narrative contributes to understanding the meaning of the themes and therefore contributes to how the author has employed the distinctions through wealthy/non-wealthy and marginal/non-marginal oppositions. Through the different themes that contribute in addressing the binary oppositions in this film, it is clear how “people, places, and things may change from one set to another, or may take on elements of the other ...structuralists suggest that what happens is that certain things, stages of life, times, etc. are mediations or transitions between those two sets.” (Gray, p. 54) These transitional zones are where the fictional narrative transpires.   

            Vladimir Propp concludes in Gray’s article that there are thirty-one basic narrative units and eight character types, with the roles being distributed among different characters in the film. Elizabeth Bennet represents the princess, the donor and the dispatcher through her character. (Propp) Through identifying the structuralism theory elements in this film, those who view the film are able to understand ‘themselves’ in addition to the role they play in society. “The very processes of successful cinema, eliciting empathy in viewers and the suspension of disbelief, were seen as aiding in constituting the viewers as subjects of the ruling orthodoxy.” (Gray, p. 55) The use of oppositional features in the film and a reliance on structuralism theory “allows the theorist to build a persuasive case for the coherence of a director’s body of work and for a more theorized approach to film study.” (Gray, p. 55) which clearly demonstrates  similarity with semiotic theory.

           

Radio, a vehicle for communication

                  In this week’s blog, I will discusses a short documentary about the CBQM radio station in Fort McPherson that is located in Inuvik, the Northwest Territories and the women’s radio program in Guatemala discussed by Tal Nitsan in class. The blog discussion illustrates how radio both reflects the nature of the community it serves yet also creates a community. Some of the features of these radio services oscillate between serving and creating.

                  Fort McPherson is a small community where radio is used as a reliable system to communicate and keep everyone informed of daily and ongoing issues. The CBQM radio station has becomes a practical device to assist the community. For example, the station holds daily gospel sessions where they read biblical passages to its community members to provide a religious outlook to everyday common lives. The radio station addresses the concerns and issues that a typical community confronts and serves to raise awareness of the problems that need to be identified to keep the public informed. The community water supply and an egging incident are apt examples of news reports seen via the documentary on the radio station and what it features. Like many radio stations around the world, CBQM also plays daily doses of music for its public audience.

Radio functions as a means of mediation between people at home and acts as a vehicle of communication to provide awareness, yet also to create a distinct society in which everyone is familiar and on the same level of information. Radio maintains its close community by having a great number of listeners and maintaining a foundation of devoted citizens. Discussing problems such as the egging or drinking incident in the community creates a social awareness for the community in which everyone is influenced, due to the size of the community. The Bingo games offered via radio has people call in if they win, which creates a unifying act from home-to-home. The participation of the general community via radio provides a united front for their community and social relations and creates a space in which everyone is connected.

                  Tal goes on to discuss a radio station specifically directed towards women, the ‘Voces para mujeres’ in Guatemala which has created an alternate venue in which women can command a voice in their issues while simultaneously being provided with pertinent information. It is a public yet private space in which women can listen from their homes, street or elsewhere and know that they will be heard.  This radio station with a rather specific mission creates a space in which women can be educated about their history, rights and legislation. Raising awareness through the radio serves as a teaching tool to inform the women of Guatemala about concerns that they may deal, such as domestic abuse or the dangers specific to street life. The radio station reveals how in today’s world women no longer have to be in their houses, they can live amongst men, and are able to work and share the same responsibilities that they were constrained from in the past. Radio, here becomes a public forum in where issues are discussed and expressed to ultimately establish a more equal and educated community among women. An understanding of their rights and developing awareness of the issues that concern women provides them with an equal platform on par with men. It serves to engage the public (women) with what is transpiring at local and even global levels, and acts as a secure social network for women. “Voces para mujeres” effectively bridges the gap between the unknown and the scared, and manifests a public yet, private social group where people can interact, free from outside imposition.

Repurposing, Reformatting, Re-presenting and Remaking

         “Cosmopolitanism, Remediation, and the Ghost World of Bollywood” (2010) tells of David Novak’s complex remediation and remix of “Jaan Pehechaan Hoo”, a song and dance sequence from the Bollywood film, Gumnaam (2004). The debate triggered from the “Jaan Pehechaan Hoo” remediation can be seen as a cultural appropriation which provides a multicultural identity for a different audience, in this case, the United States. Certain characteristics are acceptable while others are non acceptable when reusing works; Novak illustrates how a modern creation of Romeo and Juliet (1996) serves as an acceptable version of re-presentation while the Coldplay song ‘Viva La Vida” exemplifies an unacceptable work of reuse.

Novak describes the process of remediation as ‘repurposing’ media, or a reformatting of the original work into something else. This notion links to the anthropological understanding of how remediation creates a re-presentation of something that is superficially unreal (virtuality) to social experiences and pertinent globalization issues. Remediation thus allows the audience to both keep up with and comprehend circulating trends and cultural globalization discourses on another level.

         William Shakespeare’s Romeo and Juliet tells of two tragic and young ‘star-crossed lovers’ whose death ultimately unites their feuding families. This story is one of the most romantic and most well known love stories worldwide and may be the most filmed play of all time. Romeo and Juliet has been adapted on various occasions for stage, film, musicals and opera and in 1996 Romeo and Juliet was successfully re-made into a film by director Baz Luhrmann. The film was accompanied by a soundtrack targeting the ‘MTV generation,’ a young audience of similar age to the characters. The play turned-movie presented a grimmer, violent and superficial appearance of society. Novak’s addresses an idea introduced in the 1990’s labeled “follow the things,” a concept in literature which illustrates “how media is diversified by the detachment of texts from their original context in transnational circulation, and how appropriation creates conflicts around the cultural authorship.” (Novak, p.41) This concept of remediation assists one to re-identify the features and conditions for new themes established through these practices of appropriation. The reuse of media is seen appropriate when original material is given voice.  In this case, to identify and acknowledge the original works of Shakespeare and his storyline, yet modify it (by removing material or adding material) and placing it within a believable MTV-inspired storyline (with a dose of action, guns, and music.) The director’s creative expression demonstrates how re-use of material can be seen as the appropriation of a creative act. In creating remedies the director instills a cultural identity through self-expression. The author comments on how ‘dubbing culture’ creates a global media circulation. “The power of the ‘dub’ comes not by erasing authenticity but by inaugurating new authenticities not dependent on traditional or translation.” (Novak p.54) Remediation thus becomes a powerful tool to re-exemplify cultural identity through multicultural projects such as the Ghost World and Jaan Pehechaan Hoo.         
           Novak reflects on the negative side which remediation becomes problematic with cultural authorship, especially when the creative work is ‘detached’ from the original context. This generates a boundary where remediation becomes unacceptable. In 2004, guitar player, Joe Satriani, filed a lawsuit against the band Coldplay for alleged copyright fraud, yet the two parties eventually reached a financial settlement as there was no concrete proof to demonstrate the band’s wrongdoing. Copyright issues often paint a clear picture of the misuse of material. While it is wise to be alert to copyright issues, it’s also important to maintain a perspective on the relevant issues and laws that contribute to its regulations. Outright attempts to steal songs in today’s music business are actually quite rare while modern copyright law safeguard’s songwriters to help protect their rightful ownership of songs they create. This, however, can also refocus and reestablish a new subject through the practices of appropriation. (In creating remedies they serve a sense of cultural identity through self-expression and cultural expression.) Novak discusses how “openness to dubbing and juxtaposition in Bollywood, allows these songs to slip readily into an alternate receptions overseas.” (Novak, p.50)  This was produced through the remixing of the film’s songs through DJ compilations. This ‘mash-up’ is a combination of “cultural references; of different global voices and bodies places and mind,” (Novak, 50) works in creating another mode of acceptable remediation. For Novak, not only is the meaning of the original piece intentionally lost, but remediation generates a fine relation between ‘mockery’ and ‘tribute’. This reveals new aspects on the world of popular music as multidirectional social imaginary due to the imbalances of global media circulation. “Remediation works by pushing the limits of cultural identifications with media, and its productivity lies in its recognition of different juxtaposed interpretations.” (Novak, 62)

Creative Expression

                                   

Graffiti has become a worldwide trend, which is steadily increasing in popularity. We can see that this is growing tendency occurring in the region of Greater Vancouver. Graffiti has been linked to individual or group/gang related forms of expression. The world of graffiti has been looked upon through several negative connotations due to the marking or painting of property – usually without the owners consent. One of the most popular sites that one can see graffiti is on the way to Granville Island, on the south foot of Anderson Street at West 4^th Avenue, there is a mural where several graffiti artist go to present their skills. Through several experiences on my way to Granville Island, I have gone passed these murals and have been astonished at the work of those certain individuals. Last week there were two different illustrations of Graffiti art (see this below). Both of these pieces were very different however, shared one great similarity, they both had some reference to Vancouver culture. Through the pictures I have demonstrated and the idea of graffiti, I would like to concentrate on the theme of creative expression.

                        Interestingly, both of the illustrations were ‘tagged’ demonstrating the members of the graffitists. “This graffiti style uses a signature or logo (sometimes stylized and called a ‘tag’) that is unique to an individual graffiti writer or ‘taggers,’ experienced graffitist within the subculture could identify and credit work. “ (Powers, Lynn. pg 137)  The first graffiti is a ‘Haidagwaii’ design in which it is portraying a raven. (://vancouver.ca/engsvcs/streets/graffiti/ ) This is a common native aboriginal animal and is seen throughout aboriginal culture. The second graffiti is a located on the other side of the mural and it is an illustration of Greater Vancouver- highlighting certain characteristics of Vancouver. (Displayed in the picture is, downtown Vancouver, the mountains and water surrounding the city, Granville islands- including Emily Carr, steam works and more, and the major bridges in the city including the Lion Gate Bridge)

Two of these pieces were designed in a way to demonstrate their artistry, an expression to their imagination and voice within their graffiti. This can be seen as a form of collective conscious portraying a several messages in reflection of the artist works. “What we call expressive graffiti, then, may not be a direct reflection of the dominant community value-system at all,” (Gonos, George.pg 42) but an expressive form of creativity on the individual’s behalf. There can be many understandings from the portrayal of the work of graffiti. The anonymity of graffiti allows one to become part of today’s mainstream pop-culture, however, in addressing their values, beliefs, concerns etc. “The anonymity afforded the graffitist allows the opportunity to use language, and present beliefs and sentiments, which are not acceptable in ordinary life.” (Gonos, George.pg 42) This grants graffiti artists a place or a sense of niche that provides freedom within their own society, enabling artist to freely express their creativity and message through their illustrations.

            The representation of graffiti can be in a sense looked upon like a statement of what one is attempting to communicate. After looking into the graffiti world in Vancouver, I came across a Georgia Straight article indicating that this mural was part of ‘The Restart Program.’ This program was to allow graffiti artists to create a large-scale mural in public areas but expressing themselves without vandalizing private property. (http://www.straight.com/article-324713/vancouver/graffiti-gone-wild?page=0%2C0) ‘The Restart Program,’ originated for kids with bad vandalism records, it gave graffitists a second chance of expression through the guidance and management of a public art programmer. Such programs are funded by the City of Vancouver, promoting the self-expression that is felt through graffiti but keeping them out of future punishable crimes. “We can build a relationship with these youths, build trust with them, give them an opportunity to share their experiences, share their perspectives on graffiti, to speak openly in a safe environment,” Copeland said, “and then, at the same time, hear the perspectives of other people in their community.” (Same site as above) Other examples of the ‘The Restart Program,’ are seen on Beatty Street, which have painted over anti-Olympic slogans. This form of ‘tagging’ that are demonstrated through these graffiti artist (through the picture above) represent their positive transformation of anti-vandalism, yet, still illustrating their love for graffiti. This form of pop-culture has generated a wide range of new artist to maintain this trend. Putting forth their collective experience and ideology through the art of graffiti is their own creative form of expression.

Sources:

Brown, W. K. "Graffiti, Identity and the Delinquent Gang." International Journal of Offender Therapy and Comparative Criminology 22.1 (1978): 46-48. NCJRS Abstract-National Criminal Justice Reference. NCJRS. Web. <http://www.ncjrs.gov/App/Publications/abstract.aspx?ID=149159>.

Gonos, George, Virginia Mulkern, and Nicholas Poushinsky. "Anonymous Expression: A Structural View of Graffiti." The Journal of American Folklore Society 89 (1976): 40-48. JSTOR: American Folklore Society. JSTOR. Web. <http://www.jstor.org/pss/539545>.

Lachmann, Richard. "Graffiti as Career and Ideology." American Journal of Sociology 94.2 (1988): 229-50. American Journal of Sociology. JSTOR. Web. <http://www.jstor.org/stable/2780774>.

The Effect of the Modern Ease of Reproduction on the Value of Original Art

            Even through people’s lifestyles may not be changing very quickly, media, such as the internet, are having profound new effects on peoples’ imaginations.  From man-made artifacts to replicas, in “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin asks an intriguing question: “When does a unique work of art become a reproduction?” Benjamin illustrates how the ‘developmental tendencies of art under the present conditions of production’, are driven by the mechanical means of reproduction. In other words, the new relative ease of reproducing art and music is changing the nature of art itself.

            In his work, Benjamin emphasizes the uniqueness of an original work of art. He refers to an artwork as having an aura, and emphasizes the ‘nautral-ness’ of its features and history. He goes on to mention that, when it is reproduced, an art work loses its aura: “In principle a work of art has always been reproducible” (Benjamin, page 1). However, the reproduction of a work of art is limited in the sense that it will not replicate the original essence of the original work (by essence, I mean its uniqueness and place in history). On the other hand, Walter Benjamin discusses the fact that, over time, as technology improves, the relationship between an original work of art and its reproductions might also improve. This can be seen in the example of the “Jai Ho” videos on YouTube. After the movie Slum dog Millionaire became such a big hit, ‘Jai Ho’ became an exceedingly popular song and dance in the world of YouTubers. There are several versions now, replicating the original work. Through the different works, we see different forms of expression in their production of the video ‘Jai Ho’.

For example, we can see the original Slumdog Millionaire popular hit (Jai Ho )through the various interpretations of The Pussycat Dolls, Karan Khokar and Divya Ikara-Tamil Sneham, and much more. The replication of ‘Jai Ho’ by the Pussycat Dolls shows us a different concept or outlook on the interpretation of the song. Although Benjamin might see this as threatening the authenticity of the original work, when I think about it analytically, I must ask:  'Aren’t these different works demonstrating the different perspectives and skills of these artists, drawing on their own ideas of what they want to present in relation to the arts of song and dance, and what the original song meant to them, in contrast to the original work of ‘Jai Ho’? While the original piece still remains the same, yet Walter Benjamin would argue that the aura of the piece is lost due to these constant replications.

            Walter Benjamin states that in the context of tradition, films destroy many of the traditional values of cultural heritage. I question this, however, because while, over time, our culture remains the same, yet it shifts due to changes in technology and  current event, etc. Because of these shifts in culture, to which we must adapt when necessary, media have become a social necessity for many around the world. Our dependence on media demonstrates how influential they have become in making sense of the fast-changing world around us. Therefore, many would question whether or not films and videos are destroying the traditional values of specific national cultural heritages. Could it be possible that films and videos, such as the Pussycat Dolls version of the more traditional ‘Jai Ho’ actually contribute to our cultural modernity, while, at the same time, complementing the essence of the original work of art?  Or do replicated versions, in fact, dissolve the work’s aura and its meanings? Benjamin emphasizes the point that the object or work of art’s aura is reduced when we take it out of its original context or origins. There has been a grand transformation over time, in which art, which was once introduced through ritualistic practices that  didn’t have to be viewed by many people or that only certain people could see ), is now created for a world-wide audience. The idea of moving away from the precious and ritualistic view of art was seen first in the profession of photography. The cultural artistic dance from Pakistan (India?) has been replicated and morphed into the style of the Pussycat Dolls. In this sense, it has become sexier and more fashionable, which, because it stands in stark contrast to the original work that is associated with compassion, love and a sense of cultural identity, only serves to highlight the original by comparison.  This demonstrates the huge impact of worldwide media on present day art.