WHAT IS BEAUTY?
--
MEDIA
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--
REFERENCES
BIBLIOGRAPHY
CONCLUSION
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IMAGES
- 10
13
17 - 18
14 - 16
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11 - 12
7
3 - 6
INSPIRATION
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-- 1- 2
INTRODUCTION
c o n t e n t s
I
N
R
T ‘Facial
of
the
O
U
C
symmetry
is
one
best
observational
indicators of good genes and healthy development. These traits are what we
mean
when
we
say
someone
is
attractive’ (Little, A. C. & Jones, B. C, 2003). We as humans are hardwired to process symmetric stimuli more
easily
and
the
association
the
more
therefore in
our
symmetrical
create
minds
your
that
face
is
the more attractive you are (Hole, G
&
Bourne,
V,
2010).
This
then
challenges the question of ‘What is Beauty?’ Are we as humans only able to
process
Rhodes
symmetry
(1998),
as
found
beautiful?
symmetry
is
often confounded with averageness, because
average
symmetrical.
faces
This
are
then
fairly
confronts
whether can we as humans look beyond the
average
and
process
asymmetry
as beautiful? ‘A persons ability to detect symmetry- an attractive traitdoes not predict how much they prefer it’ (Little, A. C. & Jones, B. C,
1
T
I
O
N
2003). Considering both studies, we wanted to challenge these ideals and explore whether symmetrical faces are a surreal expectation and can natural asymmetry possibly prove to be what beauty is as it is what makes us all unique. Using our selves as models we gained inspiration from various artists, such as Sebastian Bieniek and Roman Saksvich, and played with the notion of our own identities to create a set of images. Throughout this
exploration
beauty
we
into
intended
to
defining
investigate
the things that make us distinctive, what is to be said of left and right brain
dominance
and
questioning
whether we consider ourselves more beautiful
FIG 1
2
with
symmetrical
faces.
I
I
N
S
P
I
R
A
attractiveness
O
N
should commend our asymmetric
The link between symmetry and
I
T
features.
derives
Hole
&
Bourne
from studies that show we as
(2010)
humans can process symmetrical
might simply have arisen as a
stimuli
and
natural consequence of having
with
paired sensory organs on the
more
therefor beauty V, to
easily
associate (Hole,
2010).
G
this &
When
facial
head.
Bourne,
it
it
there are reasons to believe
how
that
in
features
and
symmetry
Averageness
considered
comes
attractiveness,
specific
believed
might
could
attractive, be
faces memory.
a
Average
close
guide our assessment of beauty
in
multidimensional
(Landau, 2012). Faces that are
space.
more
encountered
based
symmetrical
looking
tend
to
and be
factors
average rated
non-average
as
G
more attractive in scientific studies,
consequently
resulting is
in
symmetry
us
questioning
just
another
word for dull? This triggered inspiration for us to explore whether
we
could
show
They
that
symmetry is an unnatural and surreal idea of beauty and we
3
&
to
the
are more
faces ‘norm’ face
therefore often
faces
Bourne,
of
represented
are
biologically
as
byproduct
are
be
V,
than
(Hole, 2010).
Progressing
the
manipulating
the
and
symmetrical
idea human
of face
theories
of
FIG 2
beauty, we were inspired by the
work
artist
of
Berlin-based
Sebastian
Bieniek.
The collection ‘doublefaced’ exposes faced
the
life
female
routine.
Her
distorted pencil
and
lips
a
her
face
using
and
of
twodaily
has
been
eyeliner stick
to
construct two faces (See fig 2 & 3). Visibly inspired by the style of Picasso, Beiniek draws on alternate faces on their heads using parts of the features, commonly their eyes, to create strange, mismatched portraits, image
resulting
that
is
in
an
undeniably
striking. The visual effects are
surprisingly
effective
given the basic use of drawing on
the
side
of
the
models
face. We were intrigued by the illustrative sensibility and
4
abnormality that shocks you as the viewer when looking at the images. Predominantly inspired by the way Bienieck plays
with
the
curves
construction
of
and
of
the
twist
idea
to
the
portrait,
we
the
and face
putting
a
With
traditional wanted
the
concept
of
symmetric versus asymmetric
to
in
our
concentrations,
we
develop these stimulations
discovered the photographer
further
Roman
into
our
own
Saksvich
and
his
photoshoot, playing on the
project
idea of mirrored beauty and
project was inspired by the
twisting
experiences
the
traditional
‘Half’. of
The
Saksvich’s
portrait to create surreal
own friends, which we felt
but
gave the project more depth
effective
images
that
reflect the notion of beauty.
and
pushes
the
viewer
to
have more empathy with the images.
In
the
photographs, on in
the
series
he
focused
dramatic
appearance
undergoes
change
that
while
of
person
addicted
to crystal meth. The before and after approach shows the Jekyll the
and
Hyde
psychoactive
nature drug
of has
on it’s users (Brookes. K, 2012).
Just
Saksvich approach
FIG 3 FIG 3
5
like
used and
Bieniek, hands
on
created
the
visual
effects
manually
through make-up and costume design, which we felt created an authenticity feel to the images (see Fig 4 & 5). From looking at Saksvich’s work, we the
wanted half
technique shoot
as
consider symmetry however
to and
incorporated half
into we the
mirrored
our
felt
we
idea
true
photocould
of
‘Is
beauty?’,
Saksvich
concept
of gaining inspiration from friends
stimulated
us
to
consider using ourselves as models so we could each take a personal journey to discover ‘what is beauty?’ as well as creating more personal depth.
FIG 4
FIG 5
6
F
I
N
M
I
L
A
G
A
FIG 6
FIG 7
Intrigued symmetrical as
S
E
more
by
those
with
on
are
seen
the
faces
attractive,
we
as
ourselves, images
people,
as
to
not
we
wanted
reflect
real
models,
with
features
that
a group set out to consider
interesting
the idea in a quadtych series
could
of photographs of ourselves,
of beauty. This also made the
manipulating
project
create Taking
the
our
faces
‘ideal
to
beauty’.
inspiration
highlight more
the
concept
personal
and
relevant to us, developing our
from
knowledge of beauty and self-
Wolkenstein’s (2012) project
esteem
of
Bieniek’s concept of twisting
‘Echoism’,
we
decided
to
further.
Inspired
by
carry out our de-construction
the
to
created four individual shots,
re-construction
shoot
7
traditional
portrait
we
FIG 8
FIG 9
but manually manipulated our
result
to
hair
to
as
outcomes
like
feeling.
reflect
a
We
surreal-
used
post-
the
portraits
editing to mirror our faces,
faces,
creating
personally
symmetry,
the
‘perfect’
showed
of
four
unfamiliar
proving
to
that
ourselves
symmetry
is
not beauty. We felt when our
twist of styling the hair in
faces were transformed into the
a
way
symmetrical edit, we preferred
suggests a feeling of freedom
the un-edited versions as it
and
the
represented our personalities
dream-
and were far more interesting.
like concept. When mirroring
However, in order to reflect
our
our
unreal,
viewer
and
the
disconcerting
added
dramatic
but
be
animated
implying
symmetry
portraits
is we
a
to
found
the
8
concept,
we
used
the
symmetrical images to show the viewer
that
symmetry
is
not
beauty. We decided to composite our
finalized
photographs
in
a quadtych as using a format of four photographs that are linked in some way helps tell a story and express our idea. Initially, as the viewer, you are drawn to the mise-en-scene that the images depict, with the
expressive
composition
and playful styling, with each model placed centrally giving eye contact to the viewer to draw
them
Trevor
in.
According
Millum’s
Gaze
to
theory,
the facial expressions within our
photographs
would
be
described as ‘Cool/level’. This expression in
the
looks
eye
the
with
a
viewer
confident
yet reserved state, with wide eyes and obtrusive hair. This invites the viewer in to gaze at
the
first, between
facial creating the
expressions a
image
connection and
the
viewer and making them drawn to FIG 10
symmetrical features. Majorie
9
Ferguson’s theory describes the image
as
‘Invitational’,
with
the emphasis on the eyes, mouth shut with a hint of a smile. We wanted the images to be inviting to the viewer, as the emphasis needed to be on the face and the expressions in order to echo our concept of symmetry. We wanted these
images
dreamlike
to
highlight
feeling
to
a
reflect
the ideal that symmetry in the face,
although
proven
to
be
scientifically more
attractive
to the eye, is unrealistic and we
should
asymmetry
embrace faces.
our
The
unique,
amplified
styling of the hair has been used to draw the viewer’s attention to
the
symmetry
created.
10
The
E
M
E
H
T
world
of
media
has
D
I
A
been
attempting to construct the ideal image of what a ‘perfect woman’ is
supposed
to
look
like.
The
media has injected into our minds that you can only be beautiful if you have long legs or great hair, when
realistically
don’t
(Atkinson,
most
K,
of
2013).
us
With
the advancements of technology in today’s society, it is now easier to manipulate images to create the ‘perfect’ nature
image.
of
The
accessible
technology,
with
the
variety of media platforms, means even we can download an app, edit a
photograph
of
ourselves,
and
upload it to social media (see fig 11). to
We
wanted
challenge
traditional
our
the use
photographs
media of
the
and
the
perfect
11
FIG 11
FIG 12
image. We wanted our images to be
a
just We
statement, another
felt
well
our
with
artistic
portrait.
images
coincided
a
political
nature
and
of
‘AnOther’
AnOther
magazine
communicates in
than
beauty
the
magazine.
rather
to
the
reader
thought-provoking
stimulating
mode,
with
and
them
their
engaging articles on a variety of
subjects
unusual felt the
and
editorials,
would
unite
message
images.
artistic
and
The
yet
which well
style
reader
of
interest
creative her
own
or
world, views
with
his
or
outlook
on
and
would
the
and
would be able to relate to the of
questioning
beauty
but would still appreciate the artistic
style.
We
wanted
effect
culture
on
society
interesting,
visual
with
the
reader
of
white space and minimal text
the world. This younger reader subject
its
beauty
about
AnOther magazine. The use of
the
in
and
connect
our
career
current
more
imagery, which we felt would
magazine is a young adult, with an
our
through
we
with
of
question
to
challenge our viewer and make
12
compliment amplify
the
our
images
concept.
C
O
N
N
O
I
S
U
L
C
Denis Pelli argues there is no way to know for sure what makes things and people beautiful,
as
scientists
try
to
figure
it
out. ‘It’s like asking whether your vision of
‘red’
is
the
same
as
someone
else’s,
there’s just no way to know for sure’ (Landau, 2012).
Through
is
beauty?’,
no
real
our
we
answer,
exploration
discovered whether
into
that
it’s
a
‘What
there
is
scientific
explanation or if beauty is in the eye of the beholder. We wanted to reflect to our viewer its
that
our
beauty.
beauty
unique Symmetry
isn’t
qualities and
perfection that
but
represent
averageness
could
be
considered attractive, as they are close to the ‘norm’ in multidimensional face space. They
are
therefore
than
non-average
encountered
faces
(Hole,
more G
&
often
Bourne,
V, 2010). However, through this process of distorting our own faces we as a group found it was our original faces we preferred as the symmetrical edits created a surreal and unrealistic appearance. I consider the final images to be successful as they create a sense of otherworldly with the unruly hair but the viewer
is
soon
drawn
in
to
the
symmetry,
suggesting facial symmetry is unrealistic and it’s the differences and unique qualities we hold that we should highlight as true beauty.
13
E
R
E
F
N
E
R
C
E
S
IMAGE REFERENCES Fig
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[Digital
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2.
[Digital
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girl
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on
bus
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http://www.designboom.com/art/
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[Digital
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app.
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http://www.anothermag.com
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18