Alphabet pictures of the culture behind the block

They were collecting money from high school to go to Bucharest. In an opera show. which one. Because they haven’t seen an opera in the provincial capital. Craiova is even a historical regional capital that, in other words, has a national theater as well as national museums.

The difference with teenagers from a local community or from a small to medium town is that they simply do not imagine that they might want to see an opera. It is already self-evident to note that access to the traditional consumption of art and culture (what is offered in the form of museums, galleries, theatres, etc.) is almost non-existent outside a few large cities and very rare elsewhere (for example, there is a public theater in Bîrlad, But not in the provincial capital Vaslui). However, for the current (and future) generation of teenagers in forgotten corners of the country, cultural consumption is there – it has just changed what consumed How
consumed where It is consumed. Oh, and the definition of culture.

And we can have many discussions about how online video montages, video clips, Tik-Tok and Instagram, and the mountains of images we all take and post through all virtual ways are forms of artistic expression. But (I hope) it is indisputable that all these manifestations represent types of visual communication that use, consciously or unconsciously, the languages ​​of images common in art that require decoding using exactly the same tools as art. Like art, it works with the image’s immense ability to generate emotion, generate knowledge, and manipulate through emotion. And just as culture, in its restricted classical sense, constitutes thinking, worldviews, and sets of values. It has nothing to do with beauty and is often unrelated to taste (it is itself an idea with a highly variable content in time and space) in an aesthetic sense, but in symbiosis with the need to be able to interpret a world increasingly dependent on the image.

Delays and layovers

but. Through “visual education”, nowadays our education system understands the former “painting” – the old theme where widowed artistic talents mobilized their most talented relatives in the subject to produce various photographic attempts and everyone got a 9 or 10, not spoiling environments – has become, over time Time, “plastic education”, “skill development” in order to “produce artistic products, carrying a message” (i.e. the new language of the same “learning to draw”).

And the departure from the stage with the world in which we all live (by the way for decades) appears in the name of the same thing, in the term “plastic” – in conditions where the environments of artistic production have diversified so much, and techniques related to the image are so ubiquitous that it is quite absurd to think that what 8th grade teens learn it in school is to make fixed natures with pencil and color. (Yes, the expression “visual education” also appears in the program, but it is still embossed, etc.) The irony is not that artistic drawing is not a skill that can only be mastered through effort and learning, but in many cases, these teens have no way or place To see an exhibition of drawing in the body and instead consuming, for example, photography and video game design on bread. that make up their sight and taste, regardless of still life and point practice in school, among others precisely because they perceive the distance between the art And the pictures they are exposed to daily.

This total gap between what is warranted by authority (the first school) and what is the inner culture of the generational and social environment means that anything related to the critical decoding of the artistic image at the educational level is instinctively rejected when it comes to images of another spectrum.

One of the reasons for moving away from traditional educational paradigms is that, in the Roman school, as well as in our culture, it is very difficult to carry out a kind of spirit of recovery spanning over a very long period of time, from the revolution until now. The lack of appetite for the Ceausius system for high/professional culture, the political employment of art, and equal treatment (as an artistic and social role) for professional and amateur artistic practices, after 1989, led to a sense of necessary revenge: the restoration of high culture and professionalism (in the highly normative and acquisition-based sense). , including the behavior of the audience: “At the opening we dress elegantly and do not speak loudly!”) In the central position and the recognition from which he fell.

Except that, as might be expected, this did not lead to the wide spread of high culture, from Bucharest to the last hamlet, but, on the contrary, to a complete separation between formal discourses and specialized cultures / officially undesirable art forms. In a world of social interactions where the image is dominant, new generations are expected to learn to decode the images in the corner of the block and from the teachings of the elderly (that is, those over the age of two or three) – that is, to remain, perhaps forever, captive

There are a few organizations—mostly in the field of film, which limits visual education (just as the visual arts have been polluted by video and film)—that have been working for years to train teachers to teach what we can do Call, in the broadest sense, “image education” (static or moving) ). Like all independent initiatives, this approach relies on and depends on the voluntary nature of participation in the project: such exercises take place in large cities or open schools. They are drops in an ocean, bottles of wreckage in the sea (the metaphor is one’s choice). The model must be changed in the whole school.

There is nothing natural in a captured, reproduced, reconstructed, still or moving image (in painting, sculpture, photography, photography, edited video, and augmented reality). The production of the image itself presupposes, even if not presumed, a kind of “montage”. And to know how image production works, in a critical way, is ultimately no less than the clay modeling technique.

Yulia Popovici that it expert Rin cultural policies.

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