WEEK 2 - 'CONNECTING CREATIVITY'

Luigi Maramotti.
Hartley, J (2005) Creative Industries.
Blackwell Publishing pp. 205- 213

Maramotti writes about what I believe to be his company and the creativity behind fashion design. He talks of fashion as a language. "In reality, it is difficult to frame the rules by which creative thought gives a shape to fashion and its changes"
He goes onto explain how the history of fashion has influenced and still influences modern day garments, "linked in some way to technological innovations in textiles." For example, the process of embroidering by machine. "The fashion industry purposefully identifies garments and accessories as indicators of social status." "The motivating force for creativity within fashion is nearly always, or often, cultural."

WEEK 3 - THE ARTIST IN THE MARKET PLACE

An interview with Charlotte Cotton, Director of Cultural Programming, Art and Commerce. 

After reading the interview I found it interesting to see how one may try and push the boundaries of 'traditional' photography. Charlotte describes Independant Practice as - what a photographer creates when no-one is paying for it, there is no guaranteed round of applause, but you create it anyway; and describes Commissioned Work as - involving the opinion of other people, the possibility of earning your living through the thing that you love. 

She also goes on to explain the difference in being commissioned as an artist and working editorial.

I found the interview quite tough to read and get my head around, there was a lot of information that wasn't necessarily 'easy' to read.

Philippe Ramette

 

FAY DUNNAWAY - OSCARS 

BY TERRY O'NEILL

'CREATIVE HISTORIES & INDUSTRIES' - Research Project:Initial Ideas

 

1. Which areas of Creative Practices particularly interest you (these may include areas outside of your immediate subject specialism)?

PHOTOGRAPHY – PHOTOJOURNALISM; I’M INTERESTED IN DOCUMENTARY PHOTOGRAPHY MAINLY LANDSCAPE.

2. Are there any questions that you have identified in your responses to the readings and lectures that have formed part of the module to date? What about any questions that you have posted on your blog?

WHY IS SOME ART CONSIDERED CONTROVERSIAL? AND WHAT IS CONTROVERSIAL ART? THE COST OF ART CAN BE EXTORTIONATE, WHY IS THIS?

3. Which aspects of the readings and lectures from the module have you agreed with?

SEMIOTICS AND THE SCIENCE OF SIGN SYSTEMS. THE WAY SIGNS ARE USED IN MOVING IMAGE AND ADVERTISEMENTS, MOSTLY CONCERNING CONSUMERISM.

4. Which aspects of the reading and lectures from the module have you found to be particularly interesting?

ETHICAL ISSUES IN ALL FORMS OF CREATIVE PRACTICE, WHATS SEEN AS RIGHT AND WRONG AND HOW FAR I’D GO PERSONALLY AS A PHOTOGRAPHER.

5. Which aspects of the reading or the lectures and discussions from the module to date have you disagreed with?

I PARTICULARILY FOUND THE LECTURE ON ETHICS WHERE THE EDITING AND RE SHAPING OF PHOTOGRAPHY WAS DISCUSSED, HOW ‘FAMOUS’ IMAGES HAD INFACT BEEN EDITED DRAMATICALLY. I DISSAGREE WITH HOW SOMETHING SO NATURAL LIKE A PHOTOGRAPH CAN BE MISLEADING.

6. Are there any specific issues that you feel strongly about? (Art, Design & Media related or not?)

AFTER ANSWERING THE QUESTION ‘DO ARTISTS/CREATIVE PRACTITIONERS HAVE MORE RESPONSIBILITY THAN OTHER MEMBERS OF SOCIETY FOR ADDRESSING SOCIAL ISSUES’ I FELT QUITE STRONGLY ABOUT THE MATTER AND AFTER THINKING ABOUT IT IN DEPTH I REALISED THAT ACTUALLY, AS A CREATIVE PRACTITIONER YOU PROBABLY HAVE MORE FREEDOM TO ADDRESS SOCIAL ISSSUES THAN SAY A WRITER DOES.

7. Which exhibitions/events/screenings have you been to see since beginning the programme? Are there any specific aspects of these that have particularly interested you?

I WENT TO THE NATIONAL PORTRAIT GALLERY TO SEE THE TAYLOR WESSING PRIZE EXHIBITION. FOUND PHOTOGRAPHERS WHO HAD CAPTURED OBESITIY IN ITS MOST NATURAL FORM REALLY INTERESTING, ESPECIALLY THE WAY THE ILLNESS IS VIEWED IN TEENAGERS AND HOW THEIR PORTRAITS CHALLENGED THESE VIEWS.

8. What do you know about contemporary employment practices in your chosen area of specialism?

I UNDERSTAND THAT LIKE IN ANY CREATIVE PRACTICES IT IS A DIFFICULT INDUSTRY AND THAT POSSIBLY WORKING FREE LANCE, DEADLING WITH COMMISIONS FOR MAGAZINES OR NEWSPAPERS IS A ‘GOOD’ OPTION. I THINK COMPARED TO OTHER FORMS OF CREATIVE PRACTICE PHOTOGRAPHY HAS MANY PATHWAYS FROM FASHION PHOTOGRAPHY TO PORTRAITATURE TO PHOTOJOURNALISM.

9. Are you specifically interested in any aspect of commercial practices?

I’VE NEVER REALLY BEEN INTERESTED IN STUDIO PHOTOGRAPHY, BUT HAVE ALSO NEVER ACTUALLY EXPERIEMENTED WITH IT. I’M QUITE INTERESTED IN CHALLENGING MYSELF TO CAPTURE THE SAME SORT OF FEEL IN A STUDIO COMPARED TO A NATURAL LANDSCAPE. I AM HOWEVER INTERESTED IN THE DEMOLISHION AND REBUILDING OF BUILDINGS, ESCPECIALLY THE URBAN ENVIROMENT.

10. What do you intend to do at the end of the Foundation Degree? Do you know how you are going to go about this? What do you need to know to pursue your ambitions?

I’D LIKE TO CONTINUE ONTO THE HONOURS YEAR AT BOWER ASHTON AND LOOK FORWARD TO GAINING WORK EXPERIENCE, PUTTING MY PRACTICE INTO THE INDUSTRY. I ALSO NEED TO PREPARE MYSELF FOR HOW COMPETITIVE THE INDUSTY IS AND HOW DRIVE AND ENTHUSIASM IN MYSELF AND IN MY WORK WILL HELP THIS.

'CREATIVE HISTORIES & INDUSTRIES' - Intertextual/Fetish

Intertextuality is the shapes and the meaning by other terms. It revolves around the idea that a given text is a response to what had already been written; it can be explained as the reference to another seperate and distinct text within a text.

A 'Fetish' can be described as a form of sexual desire in which gratification is linked to an abnormal degree to a particular object/object of clothing/part of the body. It could also be an excessive and irrational devotion or commitment to a particular thing.
When thinking of things that have been 'fetised' I focused more on image and style, things like apps on iPhones, or UGG boots could be said to have been fetised. Their original use (communication/ footwear) has been overrided by the obsessive 'need' of the customer.
Another example could be something like Starbucks, the way in which it has been branded and celebritised could make it a fetish for some people. Although it serves customers in the same way any other coffee shop would, its branding and the way in which celebrities are 'spotted' with its cups has made the general public 'need' starbucks. These needs aren't a must, the products have just been over gratified.