Crossing the textual frame and its transmedial effects

The year 2022 marks the 100th anniversary of Juri Lotman’s birth. On this occasion, I propose to return to one of Lotman’s concepts, namely that of frame. The term was proposed in The structure of the artistic text (1970/1977), in the traditional understanding of a limit that separates a text produced in any kind of medium from extra-textual structures (other texts) or non-text (real-life contexts). This notion of frame comes close to its understanding in literary studies, as well as the theory and philosophy of art and should not be confused with a well-known concept of frame propagated in AI Studies (Minsky 1975; Petöfi 1976) and which refers to a global cognitive pattern of storing common-sense knowledge about particular concepts and situations in memory. Lotman returned to the discussion of the textual frame in Universe of the mind (1990), mainly in application to the fine arts. He also elaborated there a more inclusive concept of boundary (proposed in Lotman 1984/2005) as a demarcation of the semiosphere and of its internal subsystems, which necessitates constant translations between particular codes and languages. Lotman dubbed transgressions of textual borders transcoding, which in contemporary parlance is a clear manifestation of transmediality. Therefore, I propose to analyse the concept of frame in relation to Intermedial Studies (cf. Elleström, 2014). Such crossings of boundaries between different media/modes/modalities are simultaneously creative and potentially confusing, in that they display a semiotic collision of artistic codes and require a heightened processing effort on the part of the addressee. My vantage point is basically semiotic, with the focus of interest going less to verbal texts and more to the issues of frame in the visual arts. Semiotic considerations on the problem of boundaries are complemented with brief phenomenologically-oriented ponderings on aesthetic and cognitive import of framing devices (Crowther, 2009) that emphasize their antithetical function as: a) devices with their own artistic value, even complementing the text vs. b) “defences against the exterior” and hindrances to creative liberty. First, I turn to two areas of interest of Lotman himself: 1) the extension of artistic media in Baroque art and 2) collages, which I treat as transmediality through surface. Lotman perceived collages as a collision of the fictitious with the real, referring to their doubly figurative nature (metonymical and metaphorical). Next, I complement this discussion with examples taken from 20th-century painting and sculpture, e.g. Spatialism, Minimalism, and Hyperrealism. Of particular interest is the situation in which the frame becomes a text commenting on its content or plays a metatextual function. Another game worthy of attention is embedding of frames. The discussion closes with the case of transmedial effects between painting and theatre, illustrated by Polish painter and stage-director Tadeusz Kantor’s theatrical experiments in Cracovian Cricot 2 Theatre: a) Velázquez’s Infanta Margarita entering Kantor’s self-portraits and a photo-portrait frame in the performance Today is my birthday (1990); b) Kantor stepping out of the frame of his own self-portrait on the illusory boundary between real life, painting and theatre. The article posits to treat frame and multiple ways of transgressing it as an integrational phenomenon that opens a path for further interdisciplinary studies across the borders of artistic semiotics, Intermedial Studies, literary theorizing and the theory and philosophy of art.