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Brown Scrapbook Creative Project Presentation

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THE DIFFERENT

PLANES OF ART

Prepared by: Prence Diether C. Rojas


WHAT is a
PLANE?
• its particular language or vocabulary that
has to do with the mediums, techniques,
and visual elements of art that constitute
it as a distinct area of human knowledge
and signifying practice. This is not just
what is commonly called the formal
aspect of art, but it is what constitutes art
as a particular human activity different
from the others.
•ART has its specificity: Its particular language or vocabulary that
has to do with the mediums, techniques, and visual elements of art
that constitute it as a distinct area of human knowledge and
signifying practice. This is not just what is commonly called the
formal aspect of art, but it is what constitutes art as a particular
human activity different from the others. ART is historically
situated and shaped by social, economic, and political forces. The
meaning, signification, or system of significations of a work is not a
mental state, nor is the understanding of a work a reductive process
which reduces meaning to a summary, statement, or single insight.
Meaning in art is a complex of intellectual, emotional, and
sensory significations which the work conveys and to which the
viewer responds, bringing in the breadth of his or her cultural
background, artistic exposure and training, and human experience
in a dialogic relationship with the artwork.
The analytic study of how the various elements and material
features of the work produce meaning should lead to a more
stable and consensual field of meaning, away from erratic,
whimsical, purely subjective and impressionistic readings.
Four Levels of Content in Plane
Art are:
1. Semiotic Plane
2. Iconic Plane
3. Contextual Plane
4.Evaluative Plane
1.SEMIOTIC PLANE.
Plane Semiotics is the study of signs and
signification. According to Emberto Eco, “Semiotics
is concerned with everything that can be taken as a
sign.”The individual who studies andpractices
semiotics is a semiotician. The Swiss scholar
Ferdinand de Saussure presented many concepts and
definitions used by modern semioticians.
Saussure described a symbol as any movement,
action, illustration, sequence, or occurrence
conveying significance. He described language as the
structural system or grammar of speech, and
language as the decision taken by a person speaking
to communicate that relevant data. He looked at the
signs concerning language.His emphasis is not on the
basic language structures but on the development of
signs and their significance.
He looked into the meaning of symbols through the langue and
parole. He defined langue as the system of signifier/signified or
linguistic signs. It includes the rules that govern a specific
language like grammar.
And the parole, which is the practical application of the system
within a specific language, or the articulation. It may be through
spoken words or written expression. He has also established two
key concepts in contemporary semiology. Thesignifieris about
the physical aspect, the actual spoken or written word. On the
other hand, thesignifiedor the mental construct—the idea of a
symbol.
It implies the examination of time, convention, and practice. It also relies on its connection and
its variation from other words. He concluded that the sign is a whole that is a result of the
association of the signifier with the signified. An example is the word “tree”, it is a sign which
signifies the “idea of a tree.” According to him, there are three types of signifiers:
A. Icon- is physically like the meaning which is represented.
B .Index -demonstrates what it represents. The relationship among signifier and the signified is
described by an index. Without the presence of the signified, a signifier cannot exist. Smoke for
instance is a fire index.
C .Symbol -has no similarity between both the signifier and the signified. It is necessary to learn
the link among them culturally. Symbol is not logically related to what it stands for. The
relationship must be
2.ICONIC PLANE OR THE
IMAGE ITSELF.
This remains part of the semiotic method because it is still based on a
significant relationship. But here, it is not the material components of
the work which are treated as in the fundamental semiological plane,
but that has to do with the unique attributes, parts, and characteristics
of the picture. The image is an "iconic sign”, which means beyond its
narrow association with religious icons in the Byzantine style, it is a
distinctive sign with a unique, specific, and highly nuanced meaning.
It is as distinct from a traditional sign, such as a road sign with a
single literal meaning.
The iconic plane involves the selection of the subject with political and
social impacts. An example of the art history is the choice of workers and
ordinary people by the French realist Gustave Courbet in his works,
instead of the Olympian gods and goddesses or the Greek and Roman
ancestry heroes, who were the foundation of classic and university art
until the nineteenth century.
he positioning, frontal, profiling, three-fourths, etc. of the figure or
pictures and the implications of these varying presentations are the focus
of the iconic plane as well. Does the artwork demonstrate a primary
theme with the key character, or is it decentered and the structure
asymmetrical? How can these illustrations make a difference in terms of
significance? Does it look formal or unintentional to the person or
subjects? How would I characterize the role of the central character:
calm, confident, dismissive, aggressive, or distant?
A significant aspect of the iconic plane in the style
of the figure. The figurative form is not simply
caprice, trendy or personal compositions of the
artist; afterward, it entails a specific re-
presentation or perception of the environment, or
world views, if not philosophy.
A significant aspect of the iconic plane in the style
of the figure. The figurative form is not simply
caprice, trendy or personal compositions of the
artist; afterward, it entails a specific re-
presentation or perception of the environment, or
world views, if not philosophy.
3.Contextual Plane
In Contextual Plane, you put the work in context and its
relationship to society. It is an advantage if the artist/ viewer
has a knowledge of society’s history and its economic, political
and cultural conditions, national and world art and literatures,
mythologies, philosophies and different cultures and world
views.
Here, you come from the fundamental semiotic and iconic
planes, from which you can obtain awareness and perspectives
into the historical and social sense of original artwork.
Here, you come from the fundamental semiotic and iconic
planes, from which you can obtain awareness and perspectives
into the historical and social sense of original artwork. The
research will be re-situated from its context and the full human
and social consequences might well show. The audience needs
to draw the discussion between art and society. Art derives its
creativity and power from their social environment, being a
cultural force and the impetus for transformation.
4.) Evaluative Plane
As an art critic, find out what is considered as a value in your nation. Is it
depicted in the artwork? What are the underlying social issues conveyed in
the work? It is concerned with an analysis of a work’s values. It is
impossible to determine without learning the work.
It can often be easy to say that assessment encompasses both facets of form
and content. However, this segment is conservative theoretically as both are
philosophically divided. The semiotic analysis includes the basic semiotic
plane, iconic plane, and contexts, which demonstrates how meaning is
generated by the connections between meaning (material traits) and meaning
(concepts and values) of the specific picture symbol that is an art piece.
Meaning is rooted in the content structure at all times.
Thank You

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