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DOCUMENT RESUME ED 391 503 IR 017 656 AUTHOR Dake, Dennis M.; Roberts, Brian TITLE The Visual Analysis of Visual Metaphor. PUB DATE [95] NOTE 13p.; In: Eyes on the Future: Converging Images, Ideas, and Instruction. Selected Readings from the Annual Conference of the International Visual Literacy Association (27th, Chicago, IL, October 18-22, 1995); see IR 017 629. Contains illustrations and photographs which may not reproduce well. PUB TYPE Reports Descriptive (141) Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Computer Graphics; Freehand Drawing; *Games; *Metaphors; *Visual Learning; Workshops IDENTIFIERS *Bisociation; Physiognomic Perception; *Visual Communication ABSTRACT This paper presents an approach to understanding visual metaphor which uses metaphoric analysis and comprehension by graphic and pictorial means. The perceptible qualities of shape, line, form, color, and texture, that make up the visual structure characteristic of any particular shape, configuration, or scene, are called physiognomic properties; the mixing of these properties in different categorical matrixes is called bisociation. Combined, physiognomic perception and boundary breaking, through bisociation, form the basis for visual metaphoric communication. Sixteen adults (13 female and 3 male) participated in a workshop which focused on playing a visual game, "Bisociative Pictionary," based on the current commercial game, "Pictionary." A self-portrait pencil drawing was selecled as the visual metaphor for analysis. Participants were divided into teams and encouraged to find as many bisociations as possible within a 30-minute game period; only graphic, drawn responses were allowed for communication. A bisociation could only be confirmed when another member of a team guessed the name of the object or activity being drawn; successful matches were totaled at the conclusion of the game. Participants then analyzed the drawn responses for categorical patterns. Participants discovered three of the artist's six predetermined levels of meaning. The patterns of visual matches indicated that such a purely visual game can help individuals discover multiple levels of shared visual meaning. Selected participant drawings are shown, matched to the levels of meaning predetermined by the artist. Forty-seven photographs, drawings, and charts illustrate the discussion. (Contains 16 references.) (AEF) *********************************************************************** Reproductions supplied by EDRS are the best taat can be made from the original document. *********************************************************************** PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED U S DEPARTMENT OF EDUCATION BY EDUCATIONAL RESOURCES INF ORMATICr, Alice D. Walker CENTER ERIC, 13 This 0006mont has beer rerroliiced received Iron, ler origoalin9 it 0 M,not chanty., 1,011 impro,e rd.rdi,,, TO THE EDUCATIONAL RESOURCES INFORMATION CENTER IERICI Polo!, oh VIPS,. ddiurnent dv no' ncy-i The Visual Analysis , othc.,a! OF RI pc,3 Of Visual Metaphor Dennis M. Dake and Brian Roberts Most professional literature on AMBIGUITY AND THE NATURE OF VISUAL TRUTH metaphor says that metaphor is primarily a linguistic experience. Current theoretical and experimental models generally The visible world is forever break metaphor into separate components, ambiguous and open to individual, idio- such as vehicle, ground, and subject and syncratic interpretation. The mental then further subdivide it into a large imagery constructed within an individual variety of types. (Ortony, 1993, Feinstein human brain, from perceptual inputs, is 1983, Kennedy 1982) further confounded by individual differ- ences in expectations and prior experi- Even the professional literature on ence. This subjective, perceptual filter visual metaphor, commonly uses verbal leads to differing, individual conclusions metaphor as its primary evidentiary base concerning the meaning of all percepts. and uses analogies to verbal metaphor as Does this imply then, that there can be no its theoretical structure. This current meaningful visual communication be- paper presents a more visually based tween individuals? If the answer is yes, approach to understanding visual meta- then the very foundation of visual literacy phor. The methodology suggested in this is called into question. paper is that of metaphoric analysis and comprehension by graphic and pictorial The contention in this paper is that means. It is the authors' contention that visual communication does not make its visual metaphor functions more simply primary contribution to shared human and more visually than tie current theo- knowledge through literal means and retical models suggest. Yet in spite of this serial causation. It is clear, from both the simple structure, the rich nature of per- scientific and artistic evidence, that visual ceptual and mental images can provide a expression is most effective in the area of multileveled complexity of significant the metaphoric and multi-leveled, parallel 0 metaphoric meanings. communication of meanings. 229 n AVAILABLE BEST COPY Looked at in terms of modern BISOCIATION cognitive psychology, bisociation is an exemplar of what neuropsychologists have The perception of meaning in identified as "thinking by appearance." visual metaphor begins with a heightened Levy and Trevarthen concluded in their sensitivity to visual structure. The 1976 study that, "The right and left hemi- perceptible qualities of shape, line, form, spheres are specialized for detecting color, and texture,that make up the structural and functional similarities, unique visual structure characteristic of respectively...". In other words, the left any particular shape, configuration, or hemisphere makes logical connections scene, are called physiognomic proper- between objects based on their ability to ties. fulfill similar functions. The right hemisphere is, to the contrary, specialized for Physiognomic properties are making comparisons based on purely perhaps best understood through visual structural appearance. Right hemispheric example. The illustration (Figure 1) by choices are based on a purely image-based Charles Philipon, shows the similarity of reasoning. To draw upon an individual physiognomic qualities shared between storehouse of mental King Louis Philippe and a images contained in common pear. This is a memory involves an act of classic example that is imagination (image - a often used to illustrate the nation: a nation of learned nature of physiognomic images). The authors characteristics. So fluid suggest that "thinking by are physiognomic charac- appearance" is a vital teristics that they can mental process necessary easily cross categorical to create, analyze and boundaries at the expense understand visual meta- of common object recog- phor. nition and culturally approved meanings. Figure 1: Charles Philipon, Les Poires, 1834 The mixing of Visual artists have physiognomic properties Plocol.r.ma often remarked on the fluid from objects in different and category-breaking categorical matrixes has nature of meaning in the visual sphere. been called bisociation (Koestler, 1964). Best known for his comments on the Koestler coined the term bisociation to subject is Spanish artist Pablo Picasso. differentiate the type of fluid, generative thought we are considering here, from "Reality is more than the thing ordinary associational thinking. In his I look always for the super reality. itself. book, The Act of Creatim, Koestler Reality lies in how you see things. A demonstrates that bisociation is the green parrot is also a green salad and a foundation for what humans commonly green parrot. He who makes it only a call the act of creation. parrot dimishes its reality. A painter who 230 BEST COPY AVAILABLE copies a tree Literacy Association, blinds himself to in Chicago, Illinois, the real tree. I see on October 18, 1995. things otherwise. Rather than present a A palm tree can further written become a horse." explanation of visual (Pablo Picasso, metaphor it was the July 10, 1950 in decision of the Sunday Observer) authors to demonstrate, in visual Combined, practice, the efficacy physiognomic of the visual analysis perception and of visual metaphor. boundary breaking thinking, through Figure 2: Brian Roberts, bisociation, form 183 Days, Pencil on Paper the basis for visual metaphoric com- PARTICIPANTS: munication. Sixteen adult partici- Without the rich pants self-selected to and multi-layered attend this workshop analogies that are entitled, "The Visual suggested by these Analysis of Visual two thinking Metaphor." It was skills, visual meaning is reduced to a low assumed that attendance indicated a level of literal illustration. positive attitudinal mindset toward the subjects of visual metaphor and visual A PLAYFUL GAME TO UNEARTH analysis. The participants were members MULTIPLE MEANINGS of the International Visual Literacy Association with intense professional The remainder of this paper will interests in matters visual and educa- report, in largely visual form, the results tional. Thirteen of the participants were of a workshop held at the 27th annual female and 3 male. They ranged in convention of the International Visual approximate age from 30 to 70 years of age. They came from a wide range of professional, visually related. disciplines. PRIOR ANALYSIS OF THE VISUAL META- PHOR: A self- portrait pencil drawing, entitled, "183 A visual comparison discovered through workshop game. days." (FIGURE # 2) 231 4 No within a 30 minute game period. created by one of the authors, Brian verbal clues were to be given to other Roberts, was selected as the visual meta- team members about the bisociations phor for analysis. This highly symbolic individuals saw. Only graphic, drawn visual art work is the result of much responses were allowed for communica- disciplined visual thinking through tion. A bisociation could only be con- disciplined sketch pages (some of which firmed when another member of a team are reproduce here). These thoughtful guessed the name of the object or activity pages show a careful and creative evolu- being drawn. When a successful match tion of many levels of meaning. The was confirmed, it was added to a stack of intended and discovered meanings were correct matches for that group. At the carefully analyzed, prior to the workshop conclusion of the 30 minute round each so that they could be compared with team totaled up their confirmed responses meanings discovered subsequently by the and the team with the most non-dupli- workshop participants. cated responses was declared the winner. WORKSHOP (The winning team in ACTIVITIES: The this particular contest workshop focused had 83 confirmed on playing a visual matches.) game, Bisociative Pictionary, based on the current Jt* commercial game, Figure 3: Workshop Pictionary. This participants sorting drawings into categorical game allowed :or themes and taping in , participants to groups on the wall. visually discover tl bisociations in the drawing, "183 Days, To determine the possible mean- without excessive verbalization. ing behind these bisociations, the winning team was then asked to analyze its stack The participants were divided into of drawn responses for categorical pat- teams of four members each and encour- terns. Drawings in each categorical aged, through free association, to find as grouping were taped to a wall and labeled many bisociations as they possibly could with titles suggested by participants. The other workshop teams were then encouraged to contribute their drawings to these visual categories and then to create additional thematic group- ings from their remaining stacks of bisociative drawings. A visual comparison discovered through workshop game. 232 iI RFC". rnrw Chart # 1 shows the quantitative Chart # 2 results of this classifying activity, con- Comparison: Workshop Drairings Disuilation densing all drawings into 12 categories. Levels of Meaning and Pmdetermined Only after the conclusion of this pattern Origisal Wastes Critiaal Asalysk katUrs Padistpaus seeking activity were the participants 0 shown a slide show version of the artist's LITERAL 2 analysis of levels of meaning. MULTIPLE ROLES 23 20 NATURE AND EARTH 43 40 Chart # 1 EROTIC 9 12 METAMORPHOSIS Categorization of Bisociative Drawings 0 5 by Workshop Participants UNIVERSAL 5 2111) Wlft CATEGORY CATEGORI As shown in Chart # 2, this NATURE 40 2 TOOLS 27 critical redistribution resulted in a pattern PEOPLES ROLES 23 2 of, what seems to the authors, clear visual ENTERTAINMENT 22 3 FOOD matches in all 6 predetermined areas of 18 MYTHOLOGY 5 16 meaning. These visual patterns seem to ANIMALS 6 15 CLOTHS indicate that a purely visual game, such 2 14 MAN MADE OBJECTS 3 12 bisociative pictionary can help individu, EROTIC 2 PEOPLE DT ART 6 discover multiple levels of shared visual 3 MSC. 4 0 meaning. The initial categorizing exercise To help the reader judge the map resulted in the discovery, by workshop of visual pattern correlations, selected participants, of three of the six predeter- participant drawings are shown in the mined levels of meaning. Because many following section, matched on the oppo- of participants drawings could also fit in site page to the levels of meaning prede- merc than one category and many draw- termined by the artist. ings suggested knowledge of other levels of intended meaning, the researchers concluded that they should conduct their own critical visual analysis of all workshop drawings. Some addditional visual comparison discovered through workshop game. 233 Participants Visual Analysis by Workshop Level 1: Literal 4 A person them throughout the workshop game. Participants had the literal image before farm-based image of "American Gothic" are viewing himself in a mirror and the Iowa with the artist's rural life. particularly strong visual connections Level 2: Multiple Roles ( life and visually identified by the workshop Among the many roles present in the artist's teacher/presenter. participants were: farmer, glass artist, and Level 3: Nature and the Earth their nourishment, and the forces of weather that The fertile earth, from which plants draw analyzed from visual clues alone. interact with growing things, were correctly 234 Predetermined Visual Analysis by Authors Level 1: Literal The literal level of American Gothic done by Iowa The self-portrait was devel- meaning is that "183 artist, Grant Wood, a historical oped from the photo of a Days" is a self-portrait of connection to the presentation farmer presenting an ear of the artist. corn. of a farmer wearing bibs. Level 2: Multiple Roles Grandfather, father, son: the The future art teacher utilizes The forms of an original farmer's role is maintained many tools for demonstrating glass vase show the from generation to generation. to a class. glassblower's role. Level 3: Nature and the Earth Nature also has its de- Connections to soil where structive side such as A corn plant establishes roots to life begins and also ends. lightning. gather nourishment. Li 235 BEST COPY AVAILABLE Participants Visual Analysis by Workshop Level 4: Erotic / Fertility artist in the visual thinking that Eroticism and fertility were major themes explored by the workshop participants correctly led to the drawing, "183 Days". Several of the teams of detected and visually expressed awareness of this theme. Level 5: Metamorphosis /414'4MIAs' 0L___ transformation and change, was a common The mythical figure of the medusa, a symbol of the many changes currently subject drawn by workshop participants. It corresponds to occurring in the artist's life. Level 6: Universal corresponds to current The shattering of the plane of glass in a window is a theme that observation of nature from a single. postmodern thought, which moves beyond detached static vantage point, projected on a transparent picture plane. 236 Predetermined Visual Analysis by Authors Level 4: Erotic / Fertility !kir Serpent Goddess (16th c. B.C.E,. Crete) and modern In an original preparatory drawing. sculpture, Forbidden Fruit, ( Andrew Leicester, 1991) the artist explores the theme of the are fertility symbols bearing offerings; one offers snakes denial of erotic potential. and the other DNA strands for genetic engineering. Level 5: Metamorphosis Just as frogs mature through Sketches focus on the transformations occurring internally different stages of life, the artist and externally to the arst. As with the Medusa, many is growing through different transformations and changes are occurring. development stages. Level 6: Universal 4 Paintings by Jasper Johns and Rene Magritte demonstrate the Artist explores lack of har- breaking of the Renaissance "window on the world," complica- mony in the world by breaking tions not easily unified into a single perspective. the picture plane. 237 BEST COPY AVAILABLE