Analysis Question On Respiration

What strikes one in stock?

's analysis of some photos may allow us to better understand what makes a photograph unique.

Floch Doisneau analyzes a photo of the fox-terrier on the Pont des Arts.

The picture has three protagonists: a painter, a passerby who observes the work and her dog. The peculiarity of the picture is that the 'artist, yet in a position to justify the representation of a landscape (in fact he is on a bridge toward the city as if to take "inspiration" from the perspective) is about to paint a nude. This choice seems to be related to the awareness of 'artist who that person will attract the' attention of passersby, the painter is also decentralized in relation to this framework and is designed to enable the vision.

Even the photo of Bresson, L 'Arena of Valencia, is particularly interssante. The artist 'specifies that it can not exercise considered playing the real or staged, but as a composition of plastic and figurative elements. Those who assume the right and left bright colors and sharp contours with darker colors are not well defined, separated by a gray vertical segment. The photo, image deconstructing them and bringing up a two-dimensional plane, recalls the Japonisme. The ultimate aim is to deny that the photograph is only a mimetic representation of reality.

Also in the picture Stieglitz, Bridge third class, we find a division in the middle of the photo. In this case the partition is represented by intermadio a bridge between the first and third class of vessel. Punctum is represented by a white cap, very noticeable for its color. The picture is quite asymmetrical and does not present a precise point of reference.

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Studio photograph of Barthes

Barthes identifies two key elements in the picture: studium and punctum .


studium : the part that involves the public interest, the non-practitioner of his semi-willing audience. This is the part that takes the photo viewer's cultural background on the subject of that photo. This part informs, encourages. The studium

"gives pleasure to the subject "





punctum: "That fatality in which it pierces me" these are the words of Barthes to define the punctum. This is more specifically that particular photo of that photo that makes me different from others. The punctum " does enjoy the viewer"

Barthes analyzed photos of some famous photographers.

Locate the photo The army patrols the streets taken by Wessing, during the war in Nicaragua, the existence of heterogeneous elements: nuns crossing the street and the soldiers who are patrolling. These elements give rise in 'culturally defined emotional reactions, so you do not go beyond the studium.

Barthes has also faced more photos Wessing and noted that there are details (punctum), which alters the perception of 'image, make it unique.

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For a semiotics of photography

Peirce
He believes that photography has a value indexical and highlights the sense of continuity . He criticizes the thought of Barthes, shown below.




Barthes
believes that photography is a message that has a code with which to interpret the message. The photo you know when the issue goes out to all connotative denotative; advertising uses extensively this link (example: advertising Panzani pasta where the colors of the letters recall those of the Italian flag)

Barthes does not consider photography as a sign: signifier and referent are not separable.


The author is also influenced by the ideal Cartesian in because it considers the photographic element of the presence of a certification : bears witness to the existence of something.








ECO
distinguishes two basic types of approach to the sign:

1. primary Alfa = mode "so that before we decide that you are in front of a sign-function expression is perceived stimuli surrogate for that object or scene that then elect a level of expression the sign-function "


2. secondary mode = Beta" order to perceive the plane of the sign function must first be assumed that it epressione "

also distinguishes two catogorie of signs:

1. ipoicone (iconic signs) related to mode = Alfa


2. all other signs associated with mode = Beta

E ' difficult to define a crossing point between mode Alpha and Beta, in fact, they intertwine and overlap.

DUBOIS
speaks of "Ontology image " It is impossible to release the image from its referent, because this the sticks. The essence of the photo indexicality is not related to the similarity between sign and referent, but the method of generation of the sign itself, which arises from a "cosmetic measure".





SCHAEFFER
theorized "precarious Image" does not exist anymore continuity between the photograph and the reality is that, because the code behind the photo is binary (0-1). The certainty of the picture is given by the confidence that you have the photographer.

FLOCH
talking about possible "footprint forms" and think that every photo has its own way. The analysis of the photograph is based on two dimensions:

1. hidden dimension or plastic
2. syntagmatic dimension

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The semiotics has its limits?

Sebeok

introduces the concept of global semiotics or the theory that semiotics is able to involve any any cultural context ( Example: linguistics, history ...)

ECO

argues that semiotics is not but overall there are two ways:

1. natural semiosis = sign and object have a relationship that does not come from man, he is limited only to recognize this relationship


2. cultural semiosis = man down the relationship between subject and object

to echo the only possible semiosis is the cultural

Today's most talked about semiosis, as many as contexts that we face.

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What is Semiotics? WELCOME

For semiotics is the study of signs.

sign The concept was introduced by DE SAUSSURE , who defined it as the union of meaning and significance . The signifier is that which points to a meaning, for example if you see smoke come out by a dwelling (significant) means that there is in fire (meaning). It is a sign that may be of another kind (dog = dogs, two different languages \u200b\u200bbut the same meaning). The significance of a purely conceptual and cultural and not material, that distinguishes it from referent, which is instead the real thing (eg the 'unicorn exists as a concept but not as a concrete thing). Meaning and significance are only in the presence of an interpreter .

Peirce

semiosis has determined that there must exist three different elements:

1. = sign "something that is going to somebody for something in some respect or capacity"


2. object


3. interpretant

between the sign and the object does the interpreter.
Example: varicella in the three elements can be perceived in this way:

1. red dots = sign


2. disease = object


3. varicella = interpretant

E 'physicians to associate the red dots to the illness of chickenpox, they act as interpreter. It 'important that the interpreter possesses the same code and to give context to an object the same meaning and interpretation.

Pierce also defines the concept of unlimited semiosis , understanding it coma infinite recurrence a concept that we possessed. Any definition that we give something is done by using other signs, so there is a sign that last one can be understood without invoking other signs.

The author also has classified the signs in three categories:

1. signs = iconic analogy with what we are meant to represent (for example, onomatopoeic sounds)


2. = indexical signs have physical continuity between subjects and objects (example: the flag that moves with the wind)


3. symbols = signs where there is no any similarity between them and what they want to represent (eg mathematical symbols)

R. Barthes

has identified a distinction between the scope denotative and connotative fundamental semiotic process . The first indicates the objective meaning of the sign, with the second part ofa mean a shift of meaning to something else. Each sign has a field denoting the manifest, but also an area connotative implication, but of greater impact.

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theoretical debate on the photo: art or simple mechanical?

" I believe that art is and can not be anything but an exact reproduction of nature photography ... then must go to his real task, which is to be the servant of the sciences and the arts "

C. Baudelaire

Other authors, as Baudelaire, believed it was necessary to separate art and industry : also believed that photography could take upon itself all the social and utilitarian functions hitherto exercised by the painting.

The distinction, however, remained clear: the documentary function of photography and referential to the formal research and artistic painting.

In contrast, defenders of the manipulative skills of photography show which artists can use photography to make the image independent of reality.

artists such as Umberto Eco, Roland Barthes and Damisch, supporters of photographic practice, questioned the supposed objectivity of photography.

For example Damisch said:

" 's adventure begins with the first photograph of human attempts to keep an image that he had learned to be a long time. This long familiarity with the image obtained in this way explains how the photographic representation seemed generally to go by itself and that do not pay attention to its highly developed ..... The photographic image does not have any natural element as the principles guiding the construction of a camera linked to a conventional notion of space and objectivity. "

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" The rift in the sky "- Short Film

In a small town outside world, even the little things still manage to impress people. It 'just a detail, a mere detail, to shake the players, revealing how little is enough to reveal the fiction in the show's daily life, where small parts of each, their actions, are perpetuated as a puppet show.
Directed by: Stefano Meazza, Giacomo Manzotti, Fabrizio Scimè, Enrico Catani, Paul Giandoso.
Made during the course of Audiovisual Communication at New Academy of Fine Arts in 2008.

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" Super Hog "- Short Film



A short film in traditional animation with a simple, direct and very funny. What happens when an unlikely son asks his father to tell an unlikely story?

He won the short film contest inside the Nuova Accademia di Belle Arti di Milano " Nabawood " in 2006, attended the Milan International Film Festival in the "MIFF in NABA" from 2007 and has riscotrato much success when it was presented pitching contest at the MTV's "More Than Zero Crossmedia Festival 2008" held in Milan.