Una Campaña Tecate anti-violencia de género: análisis semiológico formal: Análisis Semiológico Formal

Martha Judith Soto Flores; Jaime Miguel Jiménez Cuanalo; Fabiola Laurent Castañeda

doi:10.37636/recit.v7n2e334

Authors

Martha Judith Soto Flores Instituto Tecnológico de Tijuana, Blvd. Alberto Limón Padilla y Av. ITR Tijuana s/n. Mesa de Otay, C.P. 22500, Tijuana, Baja California, México. 2Escuela Superior de Artes Visuales, De Servicio 303-Local 210, Cd Industrial, 22435 Tijuana, Baja California, México. https://orcid.org/0000-0003-2615-879X
Jaime Miguel Jiménez Cuanalo Escuela Superior de Artes Visuales, De Servicio 303-Local 210, Cd Industrial, 22435 Tijuana, Baja California, México.
Fabiola Laurent Castañeda Instituto Tecnológico de Tijuana, Blvd. Alberto Limón Padilla y Av. ITR Tijuana s/n. Mesa de Otay, C.P. 22500, Tijuana, Baja California, México. https://orcid.org/0009-0002-4960-7906

DOI:

https://doi.org/10.37636/recit.v7n2e334

Keywords:

Analysis, Advertising campaign, Design, Semiotics

Abstract

This paper shows a practical example for the formal semiological analysis applying the method developed at the Escuela Superior de Artes Visuales in Tijuana, for the object of analysis consisting in an advertisement video for Tecate brand beer, that attempts to fight gender violence; our study problem was identifying the semiological factors that lead to the controversy between rejection and acceptance of said advertisement, given that the cause is just and the advertisement won several awards. Fundamental background for this work is the inception arsology as a science around 2001, its publication in 2008, the formalization of the Arsological Research Protocol for art and similar subjects, in 2016; as well as the development of a biological-evolutionary based formal semiology throughout the current century and its formalization with the publication of a manual (2017) and a treatise (2019). This study was conducted according to the methodology proposed at the Semiology for Artists and Designers (Jimenez, 2018) and the theory from where this method is derived (Jiménez, 2019); that in turn result from the seminal work of Rudolf Arnheim (1974) and others on the field of Gestalt, reinterpreted in light of the advances on neurophysiology of visual perception explained in works such as Vision and Art (Livingstone, 2002) or Sensory Perception (Schiffman, 2008); as well as a plethora of works in other fields such as Niko Tinbergen’s in biology –that got him the Nobel prize (1973) or in neurosciences and art perception (Ramachandran & Hirstein, 1999), as well as many others in the fields of neurocognition, neurophysiology of perception, evolutionary ethology and other correlated ones. The exercise starts with the identification of the meanings created by the distribution in the perceptual field’s structural skeleton taking as reference Rudolf Arheim’s theories (1974), it proceeds with those from the spatial organization of figures; then, with the tonal composition of space; the figural interpretation from the neurophysiological principles of chromatic vision and, finally, the symbolic interpretation according to the conventions shared by the given group of people. The results of the work give indication on the possibility that the advertisement in question codifies a message that is different –on a formal level– from the one the concepts intend to convey and that it is to that other implicit message the audience reacted to in an unfavorable way. We conclude that the independence between the formal and symbolic messages is increasingly more evident, as well as the importance of the first in relation to the audience’s response.

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Author Biographies

Martha Judith Soto Flores, Instituto Tecnológico de Tijuana, Blvd. Alberto Limón Padilla y Av. ITR Tijuana s/n. Mesa de Otay, C.P. 22500, Tijuana, Baja California, México. 2Escuela Superior de Artes Visuales, De Servicio 303-Local 210, Cd Industrial, 22435 Tijuana, Baja California, México.

Doctora en Artes por la Universidad de Guanajuato con la tesis "Identidad artística del arte hecho por mujeres en Tijuana 2000-2014". Estudios de Maestría en Cultura Escrito por el "Centro de Posgrado y Estudios Sor Juana de Tijuana". Miembro del Sistema Nacional de Investigadores (SNI). Entre sus principales líneas de investigación se encuentran los estudios de género, arte y poder sobre los estudios de la mujer, fronterizos y relacionados con el montaje de obra artística, "Expografía". Actualmente trabaja en Innovación Tecnología, Universidad Iberoamericana Tijuana.

Jaime Miguel Jiménez Cuanalo, Escuela Superior de Artes Visuales, De Servicio 303-Local 210, Cd Industrial, 22435 Tijuana, Baja California, México.

Jaime Miguel Jiménez Cuanalo es doctor en Artes por la Universidad de Guanajuato, obtuvo el grado en 2016 con la mención honorífica de tesis Laureada por su trabajo en metodología de investigación científica del arte. En 2011 se graduó como maestro en Docencia de la Universidad Autónoma de Baja California (UABC). Sus estudios profesionales de Artes Visuales y Derecho los realizó en la Universidad Autónoma de México (UNAM), donde se graduó como licenciado en 1995. Catedrático e investigador de teoría del arte y semiología del arte, en la Escuela Superior de Artes Visuales (ESAV); de Fotografía en las maestrías de Fotografía (ESAV) y Gestión de la Fotografía (Ibero-Tijuana). Profesor visitante en la maestría en Artes de la Universidad de Guanajuato. Ha colaborado en el diseño de programas de estudios (RVOE) para las licenciaturas en Artes Visuales (2001), Arquitectura de Interiores (2013) y maestrías en Fotografía, Producción Escénica, Arquitectura de Interiores y en Educación Artística (2015-2016) en la Escuela Superior de Artes Visuales (Tijuana). Creador de la Arsología, ciencia que estudia el Arte; y de la Teoría General del Arte, explicación científica sobre: ¿Qué es, cómo funciona y para qué sirve, el arte? Promueve desde hace casi dos décadas una orientación más científica, aplicando biología evolutiva, antropología, física, etc., a la investigación sobre arte, educación y semiótica. Ha publicado libros como ‘Arsología, Una Ciencia del Arte’, (Zona Límite, 2008), ‘Curso de Semiología para Artistas y Diseñadores’ (Zona Límite, 2017), publicado en inglés en 2018 como ‘Semiology for Artists and Designers’ y es coautor de “Taller de Artes Visuales 1, 2, 3” (Editorial Paraíso, 2014-2015) y “Cuaderno de Trabajo de la Imaginación a la creatividad” (Editorial Paraíso, 2008). Ha publicado artículos académicos en revistas indexadas y de divulgación artística. Es uno de los fundadores de la Escuela Superior de Artes Visuales (Tijuana, 2001), de la revista Arte Para Salvar a México (Tijuana, 2010) y la revista arbitrada Zona Límite (Tijuana, 2017).

Fabiola Laurent Castañeda, Instituto Tecnológico de Tijuana, Blvd. Alberto Limón Padilla y Av. ITR Tijuana s/n. Mesa de Otay, C.P. 22500, Tijuana, Baja California, México.

Mexicana, nacida en la ciudad de Tijuana, Baja California en 1981. Arquitecta por el Instituto Tecnológico de Tijuana (ITT), maestría en Ciencias de la Educación con especialidad en desarrollo de las organizaciones por Cetys Universidad en Tijuana, maestría en Arquitectura de Interiores por la Escuela Superior de Artes Visuales (ESAV) en Tijuana. Cuenta con la Certificación en Administración de Seguridad y Salud Ocupacional (OSHA) y es miembro del Colegio de Arquitectos de Tijuana (CATAC). Con 12 años de experiencia docente en el Instituto Tecnológico de Tijuana (ITT) y actualmente desemeñando el cargo de Jefe de Proyectos de Docencia (ITT). https://orcid.org/0009-0002-4960-7906

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