There is a variety of useful methods for analyzing and discussing visual artifacts, but gender and type analysis alongside numerous instruments encompassed by semiotics seem the most interesting options. The first tool is beneficial for classifying objects according to their characteristics and, more specifically, complies with the principles of multidimensional consideration of existing phenomena in society. Thus, for example, its application to the initiative to reveal the link between cultural elements and political and economic spheres of human life can provide substantial results for further examination (McGuigan, 2011). From this perspective, any product of culture can be viewed as an outcome of other fields’ influence on people’s perceptions. Moreover, the specification of common themes as one of the goals of gender and type analysis can be helpful for reflecting on principal societal processes and, consequently, addressing emerging movements.
In turn, the second approach, semiotics and various methods of interpretation of signs, is advantageous for bringing structure to visual communication. It seems more philosophical than the first method and, therefore, can provide more comprehensive information regarding the connection between people’s interactions and the details of their manifestation in culture. In addition, it can be viewed as a beneficial framework for determining the so-called “cultural logic” behind phenomena (Vishmidt, 2008). For instance, the difference in signs located in public places in various countries can be revealed by applying this instrument for analysis. Consequently, the similarities between visual artifacts and their perceptions are presented. In this regard, gender and type consideration and semantics can be intertwined since they intend to draw a connection between the ideas and their realization at a global level. Thus, the possibility to use them for examining the same cultural components ensures the reception of more extensive data and interesting findings.
References
McGuigan, J. (2011). From cultural populism to cool capitalism. Art & The Public Sphere, 1(1), 7-18.
Vishmidt, M. (2008). The cultural logic of criticality. Journal of Visual Art Practice, 7(3), 253-269.