The Notions of Originality, and "Can Re-Contextualised Ideas Be Contemporary?"

The concept of 'Originality' is derived from the idea that "an original work of art is one not received from others", which is a definition often used as a measure in terms of artistic creativity as well as of artistic integrity in any given body of work or work of art. As a logical corollary, 'homage' is often thought of or associated with plagiarism, and thus is cast in the same negative light. Whilst the anti-thesis of creativity, viewing homage in such a way arguably does not accommodate to any extent the theory behind it, or the re-contextual nature of its' implementation. Homage itself is often said to be 'dissimilar to praise' in terms of its' relationship with the 'original' work, in particular the use of new themes, subject and purpose to create a new context in which the work sits contemporarily. In this manner it is possible to suggest that homage can be seen as the evolution of original works, in order to create social and cultural exposure more relevant to today than the historical work - For example, compare the original work "Gabrielle d'Estrées" (c.1594) to the more contemporary Yves Saint-Laurent campaign by Mario Sorrenti (c.1998) - It provides a compelling example of how, in this case, homage has inspired the aforementioned relevant social and cultural exposure through the inclusion of a male element. This could be seen possibly as a way of introducing male submission, or as a means to explore the sexuality and diversity in relationships which mirror the (what would have been) shock value of the original. It is contextual reference such as this which adds depth and provides a counter-argument to the proposition that homage is, at its' root, plagiarism; The substantial differentiation in terms of intent and message proclude argument claiming such, as the two works, once placed side by side, reveal the level of personal creativity merged with an otherwise borrowed (and subsequently re-invented) base concept.

Dick Hebdige discusses the origins of such works and compares them to Bricolage, which is often considered interchangeable or synonymous with homage; He defines both broadly as where an artist has "appropriated another range of commodities by placing them in a symbolic ensemble which serves to erase or subvert their original 'straight' meanings." The malleability of original works through such a process is also commented upon by Daniel Chandler in his document "Semiotics for Beginners", who uses the term in a Linguistic sense - Which only shows further the breadth of creative practices subject to this practice. Chandler says that this process "draws upon a dialogue with the materials and the means of execution". This involvement and the acceptance thereof of homage (and bricolage) is vital to a fundamental understanding of Visual Communication, as well as any other creative practise. Although it can be debated that no work is truly original - the new works, with their new purpose and context set them apart from the original creatively - and it is through this new creativity that their true contemporary originality is found.