'Global Water Foundation and Iconic Realism (Click onto this title to see and hear the video)

Thumbnail photo from YouTube video

Climate change is not a modern phenomenon. On the contrary, our beautiful planet's climate has been changing for millions of years. Let's look at one current  method of dealing with the changes that do occur, particularly those changes associated with drought. 

An effective way for public service organizations to reach the public is through a multi-sensory approach. Such was the case with the Global Water Foundation. Years ago, to bring awareness of water shortages throughout the world, this organization created a brief, poignant film using iconic realism as a way to elucidate for its audience this grave ecological issue. In this brief film, the iconic image of a whale leaping out of the desert sand focuses the audience's attention to the increasingly devastating diminution of potable water in specific areas across our beautiful planet.  

Image of Jesus in My Maple Tree and Iconic Realism

I took this photo one gray, winter day. 

If you look at the very bottom center, you will also see a natural, etched cross. 

Each morning, as I sip my cup of coffee and look out my living room window, I am blessed with this image of Jesus, divinely etched in the trunk of a maple tree. Sometimes, He is more difficult to see at first, but His appearance always comes through eventually. Isn't that just like Him, though? Whenever we struggle through life, we don't always feel the presence of our Lord until we step back, ponder, and realize that He has been with us all along, guiding, sharing, and comforting. 

How does this reveal the semiotic theory of iconic realism? 

1. We have an iconic, etched image of Jesus, the Christ.

2. His image has been etched by God (or Nature if you like) on the trunk of a maple tree, not the usual placement of such an image. 

3. He is present there to remind my family, friends, and me that He is always with us, even when our troubled, bewildered minds fail to recognize His beloved, peaceful presence. 

A Valentine Poem

A quilt block that I have hand-sewn for a heart-themed quilt. 

The roses and leaves were made from strips of satin ribbon.

Love's Capacity

We human beings

have the capacity to love

like no other creature on earth.

 

Our loving power resides 

in the benevolence

that we extend to others.

 

Not expecting reciprocity,

we can use our essence 

lovingly to enrich the lives of others.

 

Releasing our contribution,

resonating from within 

we tap the universal wellspring: 

Divine Love.

© Jeanne I. Lakatos

To hear me recite this verse, please click HERE. 

Celt and Magyar and Iconic Realism: Part Three (Jewelry and Weaponry)

An audience interprets visual and tactile arts by incorporating the artistic components of color, form, line and texture. Each of these elements could be an iconic representation in that a community establishes a specific association with the art component. Over time, this component represents an aspect of the culture, which establishes the association. An iconic figure originally part of the mindset of a community can be placed in a new reality that the community does not accept as the normal setting for this iconic figure. This placement brings awareness to the community’s consciousness of an aspect within its culture that may need some attention. 

For instance, recent evidence has been unearthed which contains common signs and symbols in the weaponry and jewelry found in archaeological sites from both the Celtic and the Magyar regions of ancient Europe. The visual arrangements of these commonplace associations within the framework of jewelry and weaponry comprise iconic figures within a new reality, thus creating an example of iconic realism.

Below, you will see images of a few archaeological finds from these regions that contain similar artistic configurations. (See images below.) 

Jewelry and Weaponry found at the Celtic Cemetery at Ménfőcsanak, Hungary

For more information, see the article below:

https://akjournals.com/view/journals/072/71/2/article-p443.xml

To wrap up this three-part series, through the use of the semiotic theory of iconic realism, artists shape the consciousness of various aspects of culture, including education, history, business, and aesthetics whereby their works of art combine an iconic figure with a realistic setting that communicates an incompatibility with the accepted environment in which the audience commonly associates the iconic figure. Understanding the language presented through the art form, be it literary, visual or aural, the audience may even respond with an emotional resistance, as it perceives the iconic representation in this new realistic setting. Once this resistance occurs, the opportunity exists for the audience to consider a change of thought that may need to take place.

 

Celt and Magyar Connection and Iconic Realism: Part Two (Music)

       

                                        Celtic Uillean Pipes                                               Hungarian Duda
                                                                      (Both photos from 'Duck Duck Go' images)

A piece of music can contain iconic structures within the two variables of musical arrangement, dynamics and instrumentation. A melody contains structure in the form of rhythm, meter and pitch, arranged in various degrees of intensity.  Often, a particular arrangement will reflect the culture of a community, for example, an Irish jig or a Hungarian czardas. Eventually, this becomes an iconic structure, representing the entire culture. When one hears an Irish jig or Hungarian czardas, usually an image of the corresponding culture comes to mind, making this musical piece iconic. Both the czardas and the jig are forms of folk dances. Personally, I learned how to do the czardas as a child, attending many a wedding celebration. 

The Hungarian pitches and frequencies follow the same structure as the songs associated with the Celtic musical experience, which later had become the Hungarian czardas and Irish jig. Another common musical link between the Irish and the Hungarian is the bagpipe. In Hungary, it’s called the duda, the bag is made from goat’s skin and the instrument usually has a carved goat’s head as the chanter; in Ireland, it is the Uilleann pipes. According to historian, Winnie Czulinski: 

The Hungarian bagpipe…was rescued from near distinction by classical composers Zoltán Kodály and Béla Bartók. Look for bagpipes, too, in just about any of the other lands the ancient Celts deflowered and defamed, from Poland to Macedonia to Sicily. The most multicultural pipes of all may be the Eryri pipes, made by Goat Industries in North Wales, that manage to combine Scottish, Irish, Hungarian and Bulgarian ideas.[1]

                           https://www.youtube.com/watch?v=dq3m_R3Lnu4 

                            (Irish Uilleann pipes) 

                            https://youtu.be/PITLPH-Yq3E?feature=shared 

                            (Hungarian duda)

The realism aspect of this example rests in the physical nature of the sound production. The sound waves of the bagpipe produce high frequencies similar to those interpreted by the human ear to emanate the human voice, singing in a specific tone. Not only do these sound waves vibrate at the same or similar frequency, but also the audience often associates the timbre of the sound source in the bagpipe with that of a strong, human voice; whereas sound waves associated with the flute symbolize either a frail human or a bird and provides the semiotic structures for realistic interpretation. 

Composers arrange musical configurations and assign instruments containing the pitch and timbre that the audience will associate with specific elements of its culture. In this way, the audience forms the association of sound to memory and interpretation ensues. This not only occurs with instrumentation, but appears in the retelling of oral stories passed down through generations of all cultures.

Therefore, to illustrate iconic realism within the musical compositions of Irish and Hungarian folksongs, we hear the same pentatonic scales, situated in similar formats, with similar meanings, yet from two cultures that many would not associate as having these elements in common.

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[1] Czulinski, Winnie. Drone On! The High History of Celtic Music. Sound and Vision, 2004.