Sign and memory: The fragment as an artistic and communicative form
- Articles
- Submitted: February 12, 2018
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Published: February 12, 2018
Abstract
This article reaffirms how collage (artistic method, whereby materials and images are combined from different contexts), establishes a communication via signs that derive from associations with geography and culture. Drawing on multiple theories of signs, cultural memory and identity are interrelated in response to critical situations. Collage as an artistic expression of the twentieth century shows how identity and memory are conceived through the use of cultural signs.
References
Ades, D. (1999). Marcel Duchamp. London: Thames and Hudson. Ltd.
Burks W, A. (1949). Icon Index and Symbol, Philosophy and Phenomenological Research, 9, 4, 673-689.
Cuno, J. (2011). Conversation with Jitish Kallat. Art Institute of Chicago Museum Studies 36, 2, 67.
Debord, G. E. (1995). Introduction to a Critique of Urban Geography. Paris, Francia: Nothingness.org, The library, Les Levres Nues. Recuperado de http://library.nothingness.org/articles/SI/en/display/2>
Eco, U. (2005). The Mysterious Flame of Queen Loana. Nueva York, Estados Unidos, Harcourt Inc.
García Canclini, N. (1989). Culturas híbridas: Estrategias para entrar y salir de la modernidad. México, Grijalbo.
Jackson II, L. (2010). Culture, ethnicity and race. Encyclopedia of Identity.1st ed, Thousand Oaks, Estados Unidos. Sage publishing Inc.
Keys, K. (2008). Contemporary Visual Culture Jamming: Redefining Collage as Collective, Communal and Urban. Art Education 61, 2, 98-101.
Prada Londoño, M. (2006). Lectura, memoria e identidad en un texto de ficción: La misteriosa llama de la reina Loana, Granada, España. Realidad y ficción, Revista Lindaraja. Recuperado de http://www.filosofiayliteratura.org/lindaraja/ricoeur/lecturamemoriaidentidad.htm
Schmalenbach, W. (1982). La vida de Kurt Schwitters. Madrid, España: Fundación Juan March. Recuperadode http://www.merzmail.net/vidaks.htm
Figuras:
Kallat, J. (2010). Baggage Claim. (Figura 1). Recuperado de ARNDT http://www.arndtfineart.com/website/artist _ 1066
Burks W, A. (1949). Icon Index and Symbol, Philosophy and Phenomenological Research, 9, 4, 673-689.
Cuno, J. (2011). Conversation with Jitish Kallat. Art Institute of Chicago Museum Studies 36, 2, 67.
Debord, G. E. (1995). Introduction to a Critique of Urban Geography. Paris, Francia: Nothingness.org, The library, Les Levres Nues. Recuperado de http://library.nothingness.org/articles/SI/en/display/2>
Eco, U. (2005). The Mysterious Flame of Queen Loana. Nueva York, Estados Unidos, Harcourt Inc.
García Canclini, N. (1989). Culturas híbridas: Estrategias para entrar y salir de la modernidad. México, Grijalbo.
Jackson II, L. (2010). Culture, ethnicity and race. Encyclopedia of Identity.1st ed, Thousand Oaks, Estados Unidos. Sage publishing Inc.
Keys, K. (2008). Contemporary Visual Culture Jamming: Redefining Collage as Collective, Communal and Urban. Art Education 61, 2, 98-101.
Prada Londoño, M. (2006). Lectura, memoria e identidad en un texto de ficción: La misteriosa llama de la reina Loana, Granada, España. Realidad y ficción, Revista Lindaraja. Recuperado de http://www.filosofiayliteratura.org/lindaraja/ricoeur/lecturamemoriaidentidad.htm
Schmalenbach, W. (1982). La vida de Kurt Schwitters. Madrid, España: Fundación Juan March. Recuperadode http://www.merzmail.net/vidaks.htm
Figuras:
Kallat, J. (2010). Baggage Claim. (Figura 1). Recuperado de ARNDT http://www.arndtfineart.com/website/artist _ 1066
How to Cite
Zapata Garcés, J. E. (2018). Sign and memory: The fragment as an artistic and communicative form. Ciencias Sociales Y Educación, 6(11), 139-146. https://doi.org/10.22395/csye.v6n11a7
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