Perception, art, and the space between meanings

How much do we grow used to interpreting symbols around us? When it comes to understanding traffic rules for example, a red or a green traffic light is relatively easy to understand. Red means “stop”, green means “go”. The tricky bit is when your kid sees a green light but it’s for other road users.

Now arrows… arrows are tricky by default.

Perception: Meanings of an Arrow

Knowledge of specific conventions tell us what an arrow means.
[OCAL image]

  • It’s up to you to gain enough general knowledge about the world and our conventions to recognize the shape of an arrow, and to understand that arrows point in a direction,  that it’s the pointy bit that does the pointing, and that there’s a reason for it to point.
  • Your next hurdle is understanding that you need to look around you to see what the arrow is doing in its context – to find the reason for the arrow. Why is it here, what is it supposed to show you, is it even there for you – or for the car in the lane next to you?

Just to point my own arrow at a minor detail here: you’re an expert in a lot of ways without realizing it. You just read the stuff I wrote about arrows and conventions like traffic rules, and you’re still here. Now let’s move a step further.

The effect of learning in professionals

I’ve taken a quote from an interesting post about learning and its effect on us: “…once we have learned to see design, both good and bad, we cannot un-see.”

It’s easy to point at stuff you’d like to learn – but you can’t point at things you’re trying to forget AND succeed at forgetting them. What if you told someone “Right now I’m trying not to think about those purple bears over there, hanging out on the beach drinking pink-and-green cocktails with fake strawberries on straws in them. And they’re wearing high heels, which is no joke for a purple bear on a beach.” Check out the size of that arrow 😉

The author of the quote goes on to list examples of how designers, artists, and other professionals cope with the gap between their trained professional self, and their untrained clients. Like I stated in an earlier post: un-learning is possible, but it takes a conscious effort. It’s a lot harder to forget or ignore specific bits of knowledge that have become entrenched in the corners of your brain, than to focus on learning them. (The one example I’ve run into of people being unable to step away from what they’ve learned is not so much designers but IT professionals. We’re all guilty of being an expert at something.)

Perception, art, and the space between meanings

Some things mean everything to us, and nothing to the person standing next to us. This is particularly clear when art is concerned. A piece of art is filled with meaning by the artist. Compositions as a rule don’t drop from a handy cloud. Details don’t miraculously pop up in a painting. A work of art is constructed, and its details are where the artist put them for a reason.

The way we perceive any piece of art is defined by our personal experience. Our general knowledge of the world. Our knowledge about other works of art and any convention we have grown used to. If our personal knowledge overlaps to a great extent with that of certain artists, we’ll perceive their art much the way they intended. On the other hand, if there is little to no overlap – say you’re admiring a 16th-century Italian painting and you’re

  1. unfamiliar with classical mythology, and
  2. not a religious person,

it’s going to take some explaining to get even a rough sense of what you’re looking at and what story the artist wanted to tell in that painting. That artist was creating a work of art with a specific audience in mind. I guess it’s safe to assume you’re not the audience he (probably not she) was thinking of at the time.

Read more:

Do you watch (your) kids learn about the meaning or meanings of the things around them? What do you make of perception, art, and the meanings of familiar symbols?

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2 thoughts on “Perception, art, and the space between meanings

  1. I am in no way good at ‘interpreting’ art. I like things that strike me bluntly, instantly. I’m not even good at reading poems with vague illusions.

    I’m neither a wine critic nor an art critic, not even a life critic.

    • A ‘life critic’ hmmm… interesting thought.
      I’m fine with ‘old’ art because it’s either very well made (a lot has been lost) so there’s a chance it does ‘strike you bluntly’ and then there’s a story to be discovered in it. With modern art history I had the problem that in many cases I didn’t see the point of studying something I didn’t actually admire. Because if you leave out the appreciation of modern art, you end up studying history and learning the facts. Not really my thing 🙂

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