Appropriating a Doppelganger
There is no such thing as a Tabula Rasa (clean slate). Human beings had possessed, since the archaic age, both an oblivious taste and a thirst to possess and re-possess endlessly. Where one specific item differs entirely in meaning and function, through the process of acquisition and discovery by a new owner, its purpose will most likely end up shifting[1]. Discovery has been and always will be a vortex to pull us into an endless cycle of palimpsest; where previous meaning has to be partially erased to make way for a newer ones: birthing the concept of appropriation.
Appropriation remains an important method of survival for ideas, genes, memes, and culture likening them to a concept of parasitic existence whose survival depends solely on being appropriated – moral judgment notwithstanding. Appropriation takes form in many different examples: The aboriginal stolen generation of Australia and their land, the white appropriation of jazz and blues music genre, content adjustments in various Disney’s animation tale fitting to younger viewers and Pablo Picasso’s les demoiselles d’avignon which form borrows from that of African tribal masks. These occurrences witnessed the breathing in of new life and purpose into what was previously set and defined. Appropriation become, in laymen’s term, the process of taking a particular thing (object, visual design style, or various cultural products) and reproduces it in a new light so as to add purpose, properties, and labels to the newly appropriated.
Within the field of visual design, the designers are in-charge of passing on a particular concept, idea, and style in purpose of prolonging the life of the appropriated. It is the educator’s responsibility to grow this awareness in apprentices, knowing that what they design may contribute to shaping the course of life of what is being appropriated. A mere plagiarism in the form of direct copying brings the course of life to a specific design / idea into stagnancy. More importantly and with dangerous results, a steady course of copying (without appropriation or added meaning) dulls the industry and subjugates the consumer to an uncritical mass acceptance of narrow minded definition. Various Indonesian mass TV show and popular culture opted to copy rather than to go through the appropriation process taking directly from top selling Hollywood ideas down into adoption. To name a few, Panji Manusia Milenium (1999 TV Show) plagiarized the costume of Robin from Batman and Robin (1997 movie), Ganteng – ganteng Serigala (2014 TV show) plagiarized the Twilight saga story concept (Hollywood movie, 2008 – 2012). These two are examples of visual and design plagiarism and a plagiarism of idea respectively. Instead of gaining attention that they deserve, both the works further strengthened viewers’ desire for the original rather than being talked about as memorable piece of work.
To early learners, appropriation is harder and much more difficult to do due to their inadequate knowledge of historical trajectory, but most critically, the inability to recognize and establish a link to the visual references. Synthesizing new idea from that knowledge becomes a hindrance. Through the first in-class assignment in Western Art Review I took the chance to shed light on the matter of appropriation. By studying both The Flintstones and The Croods students were invited to harvest visual imageries available in order to attempt for their version of appropriation.
[1] Young, James O. 2008. Cultural Appropriation and the Arts. Australia: Blackwell Publishing. Pp4.
Appropriation of a Paleolithic Scenery
Although appropriating from popular culture seems like a less fruitful or a futile attempt, for learners, the familiarity with the said materials tremendously informed what visual code and style could be involved in the process. Despite inconsistent results and less believable atmosphere still anchored to the original model. Students tried their best to come up with an interpretation of their own adding one or two features specifically unique to their appropriative capability. In the picture above a stone caravan, a bone musical instruments, and strangely scenic background translate to their appropriative understanding of a Paleolithic scene.
Interpretation of a Paleolithic Scene
In the above specimen, the overall level of theme becomes so much better and believable. Possessing likeness more towards the Flintstones series, the overall presence of this scenery is still thick with copying style rather than coming up with an interpretation of their own. Some food processing utensils appear out of place and out of time due to their modern shape.
Interpretation of a Mesolithic Age
The above scenery appears much more believable and seemingly independent from any particular styling of the case studies. Despite not reaching the best of appropriation capacity hoped for, the above work deserving a mention of the best attempt of appropriation due to unique character presence, a re-imagination of stone chair, and the cave – like building and lifestyle of the prehistoric dwellers fitting to the characteristic of that particular stone age.
Of all the capability to appropriate, the hardest of all to conduct will be appropriation of idea. In that, the entire structure, functionality, and even outward visuals changed entirely from the ground up. This kind of appropriation takes a lot more than merely studying the physicality of the model it is appropriated after. In the age of post modernism, appropriation are often done so on purpose with peak consciousness to take reference from, parody, or even provide perspective from an entirely different angle; requiring a complex analytical senses to deconstruct everything the former had into another thing entirely with a different purpose.
Written by:
Andreas J. Pratama
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