Z3254459 ARTS2090

Slide 1: 

When publishing changes, so does society. Investigate and compare the impact of two publication technologies, one pre-1900 and one post-1962, on a specific aspect of society (e.g. education, politics, creative industries, science, entertainment, social relationships). Pre-1900: Aboriginal Cave Paintings Post-1962: Contemporary Street Art http://www.flickr.com/photos/22179952@N00/3200799987 http://www.aboriginalartstore.com.au/photos/ancestral_rock_paintings_the_w

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Publishing has numerous facets to it that can change at any given time, including the style of depiction, the surface it is published on, accessibility, the method of publication, permanence, distribution and the power to affect. As any of these alter, so does society. This is evident in comparing two publication technologies, one being pre-1900 and the other being post-1962. The former is Aboriginal cave paintings, dating back to 40,000 B.C. and the latter being contemporary street art. Different as they are, these two publication technologies share the ability to affect spirituality in society. Aboriginal cave paintings and contemporary street art share similarities in nature but have impacted spirituality in two very different ways – namely, that Aboriginal cave paintings were inextricably linked to Aboriginal spirituality, such as the Dreamtime, and contemporary street art, whilst it draws parallels between religious spiritualities, such as Islam, it has also evolved the meaning of spirituality in society.

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Cave Paintings Street Art Spirituality Permanent Temporary Expression Conserves ideas through time Challenges social notions Abstract Language: Represents the ‘unrepresentable’ Conveys meanings of rituals Creates culture Strengthens and emphasises beliefs and culture Open access Time-based: Lasting, more authority Externalises society’s thinking Archiving Basis for authority, social formations and culture Powerful platform to reach the public sphere Basis for individual and collective experience

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Aboriginal cave paintings date back to 40,000 B.C. In Australia, there are more than 10,000 cave painting sites. It is a tradition that is founded in Aboriginal culture. Cave paintings were created to relay the beliefs, ceremonies, languages, myths and legends of each tribe; therefore, cave paintings were subjective, depending on the individual’s tribal background. Cave paintings and Aboriginal spirituality are inextricably linked; one cannot exist without the other. These cave paintings were a method of expression for Aboriginal people, a way to continue on their legends, ideas and values that were so prominent in their culture, as explained, ‘art was not simply for enjoyment or self-expression but a means of passing on ideas and values that had complex social significance’ (Allen, S. 2003). These cave paintings convey a sense of spirituality to those in the past, and those observing them with a modern-day eye. It gives insight to the culture of the time, and is highly subjective, based on guesswork of legends and myths that have transited through history.

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http://www.transitionsabroad.com/publications/magazine/0211/aboriginal_rock_art_australia.jpg

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On the other hand, street art is a contemporary form of artwork that is published in a public space. It generally conveys a political or social message that aims to stimulate a change in attitude. The artist aims to affect the mind and outlook of the individual, thus evolving the traditional sense of spirituality from being related to religion. Street art conveys spirituality in its messages, such as the artworks of Banksy, which challenge the notions of society. It makes people think and this is the new spirituality. Most artists use the streets as their canvas because it is a public platform, and they are able to reach more people with their artworks. The externalising of their ideas, allows for individuals to expand their thoughts on varied themes. Street art heightens their power to affect people. Street art is by the people, for the people. It allows everyday individuals to express themselves.   This public activism is an experience for those that view it, converging content and experience, a consumption of publication. It can also be described as a form of sourcing, whereby this form of publishing integrates with our daily lives. We can view it on the walls of buildings as we pass them, or online, but at the same time, allowing ourselves to be affected by these socially relevant ideas.

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http://www.banksystreetart.tumblr.com

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Contemporary street art is able to draw links to religious spirituality and unlike the ties between the Aboriginal Dreamtime and cave paintings; these are able to stand independently. Mohammad Ali, a young Muslim graffiti artist, has found parallels between Islam and street art. He explains, ‘As a graffiti artist, I was already obsessed with the beautification of words. Graffiti art is essentially the decoration of the word of man, while Islamic art is the decoration of the word of God. I was fascinated by this parallel, and how these two art forms that appear to be opposites of each other actually share such a central focus’ (Ganesan, S. 2009). This spirituality in street art is about conveying a message and subtlely persuading individuals to stop and reconsider their actions. Mohammad explains further, ‘It is graffiti art with a deeper conscious message. This art isn’t about me, in fact, it’s the opposite. It says, don’t look at me, look at everything but me, look around you, look at the world. It says, ignore the artist, but read the message’ (Ganesan, S. 2009).

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http://www.emelpostcards.com/images/mohammed.jpg

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http://atdw.tq.com.au/multimedia/TQ/525940_4.jpg http://trippjohnstondesign.com/Blog/files/page4_blog_entry5_1.jpg http://www.muslimhands.org/media/pages/greenstgraffiti/pagebanner.jpg ‘Spirituality, like art, is open and dynamic.. both are the hope of a world so badly in need of transformation’. - Veronica Brady