I used my summary of categorized materials to research and develop the argument and my position. This one - “A fatal event occurred, the cause of which was many years of propaganda. It shaped new social norms and aesthetics in my society. Emotionally, I was involved in global events through destroyed personal relations. These emotions are manifested by bright synesthetic outpourings in my works. Therefore, it is important for me to explore the translation of this trauma into a tool for communication.”
Next; I reformulated my main points as follows:
Propaganda shapes social norms and aesthetics
My statement: Yes, propaganda has an unconditional influence on the formation of social norms and aesthetics, but it is not the only tool.
Other opinions: Some argue that while propaganda can influence public opinion and cultural narratives to some extent, it does not have the sole power to shape social norms and aesthetics entirely. There are factors like: individual character, critical thinking, and diverse cultural influences, complexities of cultural production and reception. Edward S. Herman and Noam Chomsky in the book "Manufacturing Consent: The Political Economy of the Mass Media" state that "it does not imply that any propaganda emanating from the media is always effective." (Chomsky, Herman 2011). The authors argue that while propaganda plays a role, it is not the only factor in public opinion and cultural norms.
Defining conditions and context: The situation in Russia has been going on for more than 20 years. This is a whole new and conscious generation of people.
Justification: In this case, unfortunately, even given all the features of the freedom of the formation of judgments and culture, this is a closed shell of the country. In my previous essay "Killing the inner fascist ..." (https://www.marinawittemann.com/post/critical-review-contemporary-art-killing-the-inner-fascist) I analyse my own development and work with the fascist beginnings that I received from my culture.
Bright synesthetic outpourings – Synaesthesia impacts on emotional expression and perception of Trauma
My statement (define, state, distinguish, compare, contrast): My perception of events is more complex and stronger.
My first imprinted sensations of colour were caused by my first love. Since my feelings were not divided, I found paint from my dad and began to draw. Now, analysing these events, firstly, I still remember the feeling of colour, and secondly, there was a form. Since the discovery of my synaesthesia in 2020, I have not asked the question of form and texture. But now, returning to this issue and analysing my materials, I must note that something has always been there. For example, this is the first feeling of love, it was purple, with shades of orange. Why did I portray such a half-eliminated shape, and not just painted over the entire piece of paper?
Another early example is a drawing of grenades. By the way, I noticed that pink and purple variations of colour, in me happen when it is connected with joy, love and sex. This figure is one of the first works by oil, and I remember this was an incredible feeling to make these strokes. It was exactly what was happening inside me. But again, why did it inspire me like that? Because there was texture and material. It is so smoothly pulling, a bliss, a paste in which I want to wrap myself. In the natural world, the texture and the form give me sensations or enhance my colour impression. The question is, do my sensations have a form and texture?
Well, this is rather a rhetorical question, because if you take into account that all my sensations occur in my head (body), they cannot have textures or forms. And at the same time, for example, when I see a halo around people or objects, it is always a luminous transparent whitish-yellow slightly fluffy or soft colour. Or, for example, I often see before bedtime, flying or pop-up figures. And so they are definitely endowed with form and texture.
Regarding traumatic experiences. Red was for me a feeling at the moment when I missed my parents and home during the Lockdown in 2020. After the war, at first, there was a shock, and then there was a transformation into black. I embodied this in my short video where I presented this transformation time through the video tool. My feelings from the loss of loved ones are like mental pain. This is the pain of not being able to do something anymore - hug my mother the way I hugged her before or laugh with my sister the way I could do it before. Here I’m talking about the relationship between my emotions from trauma and synaesthesia. They can be considered together or separately, but in both cases they exist and influence my work.
Other opinions: Some critics or researchers might argue that while synaesthesia can enhance sensory experiences and provide a unique lens through which to interpret emotions, it may not fundamentally change the underlying emotional responses or perceptions of trauma. Other factors, such as cultural influences, cognitive processes, or personal beliefs, also play significant roles in shaping emotional expression and perception. Additionally, sceptics may question the consistency or reliability of synesthetic experiences and argue for alternative explanations for the observed phenomena.
Defining conditions and context: Whether synesthetic perception exists constantly or not, in my case the facts of increased perception and intensity of emotions, including colour ones, cannot be denied.
Justification: «Culture shapes the expression of traumatic stress.» (Kolk, 2014 p. 216). And I cannot but agree that both culture and my personal characteristics influence my final expressions. As part of this work, it will be interesting for me to understand the features of what influences and how on the formation of my final piece of art.
to explore the translation – ability of the unconventional materials to convey personal narratives
Untitled (Fairy tale), 2024, canvas, paint, recycled newspapers, screws, metal grid, cardboard, acrylic, fixatives, wood, 104 x 174 x 15 cm.
My statement (define, state, distinguish, compare, contrast): Unconventional materials can convey the artist's narrative. And I will even try to admit that sometimes even more than traditional and conventional materials. I believe this is due to several factors. Firstly, the artist takes responsibility for the risk in choosing such material. The risk is non-recognition, misunderstanding, failure of one’s experience, etc. Secondly, the productive transfer of narrative occurs because, as a rule, the artist has a personal history with such material. (examples, Louise Bourgeois and rigging, Phyllida Barlow and het things) Thirdly, unconventional materials themselves can contain a story and therefore they develop into metaphors and symbolic images, which enhances the perception and involvement of the viewer. (Mona Hatoum - hair, glass, and household objects) Fourthly, unconventional materials offer tactile, visual, and sometimes olfactory or auditory sensations that traditional art materials may not provide. This multisensory engagement can intensify viewers' emotional responses and deepen their immersion in the artwork's narrative.
Other opinions: Opponents of this position might argue that the emphasis on unconventional materials can overshadow the conceptual depth and artistic merit of the work. They may suggest that the focus on materials distracts from deeper thematic explorations or critical engagement. The novelty or shock value of unconventional materials can sometimes also overshadow the artistic intent or message. Some traditionalists (like in Russia) within the art world may maintain that mastery of traditional techniques and materials is essential for the development of artistic skill and expression. Additionally, there may be concerns about the sustainability or longevity of artworks created with unconventional materials, raising questions about their conservation and preservation over time.
Defining conditions and context:
Justification: There are as many opinions and truths as there are people in the world, so the correct conclusion will be the individual view of the artist.
a tool for communication - the impact of art (aesthetics and critical thinking) on the viewer
My statement: Art is created for communication and for humans. Philosophers have not yet answered the question of whether there will be art without people on earth, so I define art as created to evoke feelings and reactions in humans. Even though our opinion is often shaped by many things in society, I adhere to the position that aesthetics (which includes the beautiful and not only) attracts the viewer to art so that he interacts with this art and provokes critical thinking.
Other opinions: Aesthetic Theory: Developed by philosophers such as Immanuel Kant, Arthur Schopenhauer, and Theodor Adorno, aesthetic theory examines the nature of beauty, the role of the artist, and the subjective experience of art. Kant's theory, for example, distinguishes between the beautiful and the sublime, emphasizing the importance of aesthetic judgment and disinterested pleasure in art. (The Concept of the Aesthetic, Stanford Encyclopedia of Philosophy. Online At: https://plato.stanford.edu/entries/aesthetic-concept/ (Accessed 14/02/2024)
Marxist Aesthetics: Derived from Marxist philosophy, Marxist aesthetics analyses art within the context of class struggle, social relations, and economic structures. The theory explores how art reflects and perpetuates dominant ideologies, serving the interests of ruling classes. (Britannica, Marxist aesthetics, Online At: https://www.britannica.com/topic/aesthetics/Japan (Accessed 14/02/2024)
Postmodern Aesthetics: Postmodern aesthetics challenges modernist notions of aesthetic autonomy and originality, emphasizing mixture, irony, and plurality in art. Postmodern theorists such as Jean-François Lyotard and Jean Baudrillard question the concept of universal aesthetic standards, arguing for the plurality of interpretations and the breakdown of traditional distinctions between high and low culture. (Levinson, 2005 pp. 771 -782).
Critical Theory: Rooted in the Frankfurt School tradition, critical theory examines the social, political, and ideological dimensions of art and culture.
Feminist Aesthetics: Feminist aesthetics explores the representation of gender, sexuality, and identity in art, challenging patriarchal norms and structures. Feminist theorists such as Laura Mulvey, Judith Butler, and Bell Hooks examine how art reflects and constructs gendered subjectivities, advocating for diverse and inclusive representations in the art world. (Levinson, 2005 pp. 647 -666).
Justification: this is a rhetorical question and needs to be tested
Bibliography and references
1. Edward S. Herman, Noam Chomsky. Manufacturing Consent: The Political Economy of the Mass Media, Pantheon (2011)
2. Bessel van der Kolk (2014) The Body Keeps the Score. Brain, Mind, and Body in the Healing of Trauma. Penguin
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