Graphics Reference
In-Depth Information
And again you commute
Stable but roaming
Sitting quietly while driving in a haste,
Attentive, yet unobservant.
So distinct in your glass case
Yet immersed in milieus
Urban and rural anew,
Too familiar to disturb.
Composing tunes you whistle
Listening to yourself
Learning what you want for sure
Enjoying the company of you.
Philosophers working in the field of
phe-
nomenology
describe semiotic phenomenology
as a method to advance translation studies (e.g.,
Kozin, 2008, Muralikrishnan, 2010); they refer to
the works of Ferdinand de Saussure and Edmund
Husserl and then later theories of translation, such
as those formulated by a linguist Roman Jakobson
(1995) and a philosopher Jacques Derrida. Explo-
ration of possible meanings contained in particular
works of art led Jacques Derrida (1991) to creating
“The Truth in Painting” - a study of an idiom in
painting, where possible meanings, translations,
examples, etymologies, and supplementary par-
ergas were composed into a piece of literary art.
Translation of meaning can be augmented by the
use of visual rhetoric, for instance metaphors
acting as explanatory analogies, by making one-
way or two-way connections, and performing
comparisons aimed at identifying similarities and
oppositions (Lengler, & Vande Moere, 2009).
Deborah Harty (2010) explored the translation
of experiences of water into drawing on iPad as
the phenomenological experiences. She examined
the physical elements of the water, its visual and
tactile qualities, alongside with the psychological
affect the water has on the state of consciousness;
what it feels like to experience water.
The act of swimming and drawing about this
experience can be examined in the context of
artists' works, for example, the works of a Brit-
ish artist David Hockney. It can be presumed
that a closer look at this artist's approach to the
phenomenological experience of water in an act
of swimming, presented in acrylic paintings of
swimming pools (with vibrant colors, the light
effects, and the visual side of the swimming pool
culture in California of the sixties) would create
an occasion to view it in wider context. One might
also want to make reference to his studies on imag-
ing techniques (Hockney 2006/2001), drawings
from the eighties with the Quantel Paintbox (a
computer program that allowed the artist to sketch
directly onto the screen), and then, since 2009, his
paintings of portraits, still lifes, and landscapes
In a field of
fine arts
, artists write statements
and manifestos to complement their art works
and then convey to viewers, critics, and jurors the
translation of visual messages into literary forms.
Examination of nature-derived events and laws
may result in developing biologically inspired
computer techniques (evolutionary computation,
artificial life, artificial neural networks, swarm
intelligence, and other artificial intelligence
techniques) for the creation of artistic systems
(e.g., genetic or evolutionary art) and new media
art, music, design, architecture and other artistic
fields (Evomusart, 2012). Whichever source
serves for choosing the imagery, artists examine
mathematical, physical, chemical, biological, and
other laws that are ruling the life on our planet
and search for visual language to give an account
of what they find out.
We may see a continuation of this approach in
the domain of
art history
as well as in the work
of curators who interpret works of art selected
for an exhibition to supply information on labels
and in catalog essays. For example, they explain a
content of the paintings from the Baroque period or
objects of oriental art, thus providing a translation
of images into their symbolic meaning. As stated
by Hover Collin (2012), language is a translation
between logic and natural systems, while biologi-
cal translation is a crossover between science and
art through a biologically inspired computing.
