Module 1

First of all, art is a signifying practice which is grounded in society and history.
As such, art has its own

specificity--that is, the elements of art, forms, media, techniques, styles--which distinguishes it from other fields. As
found in works of art, these make up the signs consisting of signifiers (material data) and signifieds (concepts) which in
their relation to one another in the visual work or text produce meaning. Traditionally, one might easily say that this
constitutes the formal aspect of the work. However, and here is the difference from the traditional approach, the
elements of art and its other material aspects are regarded as signs that have a meaning-conveying potential (deriving
both from human psychophysical experiences and cultural codes) which becomes realized in the entire relations of the
work, since the material aspects or signifiers are intimately tied up with the conceptual aspects which are the signifieds.
A merit of this approach is that it makes a more solid grounding for the study and interpretation of the art of the
Philippines and other countries. Such an approach finds a common ground for interpretations on the universal plane,
that is, human psychophysical experiences which are universally shared, and the national or local plane, that is, the
cultural codes shared by members of a particular society.
In simple terms, art is a way of expressing ideas and emotions through various elements like colors,
shapes, and techniques. These elements act like symbols, with the materials used (like paint or clay)
representing tangible things (signifiers), and the concepts or emotions they convey being the underlying
meaning (signifieds). Unlike a traditional view that separates the formal aspects (how it looks) from the
conceptual aspects (what it means), this approach sees them as interconnected. This way of looking at art helps
us understand and interpret it more comprehensively, bridging both universal human experiences and specific
cultural influences, making it relevant for studying and appreciating art from different places, like the
Philippines.
Second, and again this is how one differs from the formalist approach, the work of art as sign is viewed in the
dialogic situation of the work and its viewer. In this semiotic approach, it is necessary to emphasize that the work of art is
seen not as a closed hermetic text but as an open work in which the signs are referred back to their referents in the real
world. For like language, we affirm that art, too, exists in a dialogic situation in which an exchange takes place between
the work and the viewer/listener. Thus, the visual text is not purely self-referential--and here we choose to differ from
the theoreticians of the "infinite play of signifiers" and the postmodernist proponents of the pure surface texture--rather,
one chooses to forestall the formalist closure of the work by resituating it as visual sign and text in its grounding in the
real world. Furthermore, the concern to bring out the worldviews and ideologies of a work does not end there but
proceeds to investigate how these ideas, values, narratives, discourses, worldviews have a bearing on our lives and
interests, and our social context as a whole, and as to whether or not they enhance our humanity and further the goals
of freedom and justice.
In simpler terms, this perspective on art sees it as a conversation between the artwork and the person
experiencing it. Unlike a closed-off text, art is considered an open work that connects its symbols to real-world
meanings. This approach rejects the idea that art is only about endless layers of symbols or surface textures,
emphasizing instead how art relates to the world around us. Beyond just understanding the ideas and values
within a piece, this approach aims to explore how they impact our lives, values, and the broader society,
questioning whether they contribute to our humanity and the pursuit of freedom and justice.
Third, The work of art as human construct and the result of the process. By this we mean that art is not "the
natural reflection of the world it delineates nor the spontaneous expression of the author's subjectivity." What the
concept of construct basically involves is the demystification of the traditional notions of art. For instance, the concept of
art as a "transparent window to the world," as classic realist texts assume it to be, has been subjected to critique.
In simpler terms, this perspective considers art not as a simple mirror reflecting the world or just an
artist expressing personal feelings. Instead, it sees art as a human-made creation shaped by a deliberate
process. The idea here is to break away from traditional beliefs that art is a clear window into reality,
challenging the notion that it's a straightforward representation of the world. It encourages us to think of art as
a constructed form, crafted intentionally rather than mirroring the world effortlessly.
Fourth, From the social and historical contextualization of the work, we can proceed to state that art has social
import. Since the material facts of the visual work or iconic sign have a semiotic or meaning-conveying potential drawn
from human psychophysical experiences and the cultural codes of a particular society, they become value-laden. And
values, in turn, which constitute the axiological aspect of art, are derived from material fact. In other words, facts are not
neutral but value-laden and values themselves arise from the facts and concrete conditions. Color, for instance, is not
neutral because it is enmeshed in the symbolic systems of a society. Likewise, the traditional principles or organization,
such as harmony and proportion, formed part of the classical canons. Because of the axiological aspect of the visual work
by which it becomes a bearer not only of concepts and values, but also and especially of worldviews and ideologies, art
plays an important part in human endeavors as it, directly or indirectly, supports the status quo or interrogates it, instills
attitudes or persuades one to assume positions within a range of interventions--from acceptance to denial, espousal to
rejection, with respect to concepts, issues, events, or various social phenomena. Also because art conveys values, it
assumes different social functions, including healing and therapy.
In simpler terms, this viewpoint suggests that art isn't just about creating something visually pleasing; it carries
social importance. The elements in a piece of art, like color, aren't neutral but are influenced by the symbolic
systems of a society. The artwork isn't just a collection of concepts and values; it also reflects worldviews and
ideologies. As a result, art can either support or question the existing order, influencing people's attitudes and
positions on various issues. Additionally, because art conveys values, it can serve different social functions,
including providing healing and therapeutic effects.

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First of all, art is a signifying practice which is grounded in society and history.

As such, art has its own

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