Tuesday, 17 February 2009

Week 6 Project Supervisor Meeting

Contents Outline for Dissertation:



Establishing the concept of ‘metaphor’ for the reader - (to contextualise the project) –

  • discussing the traditionalist views of metaphor and its place in philosophical thinking.
  • introducing conceptual metaphor and its influence particularly on communication, understanding and derived meanings.
  • Allegories/Myths

Visual Metaphor in Art/Animation

  • provided case studies of particular use of metaphor in visual arts – examples of strong use of conscious visual/conceptual metaphor. Te resulting impact of this on an audience.
  • Focusing more on the use of metaphor within animation – narratives etc.

Arguing the effectiveness of considered use of conceptual metaphor in Animation.

  • Methods – signs to look out for.
  • Learning the structure – the conceptual framework within which to attribute metaphorical connotations. Being aware of them is the first step.
  • How this structure can then be applied. What are the results?
  • Negative effects? Creative limitations?



Action Point – 3 Paragraph Summary of Dissertation

If metaphor is to be taken as a process of thought, rather than a derivation of language we must cast farther back than the abstraction of metaphor through written work. Such realisations will be evident in other aspects of human expression. Indeed- in science, in order to explain some kind of computational process, metaphors are used to guide understanding.

A framework must exist on a primary of thought and idea. Discovering this in Lakoff and Johnson’s Metaphors we live by, this gave cause to investigate conceptual metaphor not as a (cognitive) linguist but as an artist, working primarily in the visual domain.

Animation has a history of utilising metaphors in order to convey significant meaning to an audience. Through metamorphosis in particular, characters can literally portray the visual characteristics of the comparison being drawn. But – is there another way?