Whether the images are camera generated or painted by use of bare hands is not a basis to judge the actual object. Though the photos are more appealing to the eyes, the character of the real object remains the same. If a photographer takes a photo on a painted image, then the paint will appear superior because it is the original object.
The way we see images should be shaped by the prior knowledge our minds holds about the object in question. Barriers of vision like academics, social status and religion are very prone to poor and wrong interpretation of images in this modern world. In the modern society, a nude image would be made to stimulate men towards sex.
Men would think they can get sexual satisfaction if they view nude images. Then what is the difference between the image and the spectator if it can satisfy his sexual desires? In this sense, spectators reduce themselves into mere objects as well. Images when frequently pass through the eyes of spectators, they get used and thus they end up taking them for granted, and hence the actual object as well.
In conclusion, images whether a painting or a photography representing a historic moment should not be manipulated to either invent history or predict future to allow spectators a chance to interpret the information contained in the impressions without a biased visual analysis. Spectators should view images with a neutral mindset and avoid judge the artist or the object on image. Prior knowledge should only guide spectators to interpret the image immediately before resulting to biased judgment of the characters presented.
Social status, gender and academics should not be a determinant in the way people see images. According to Berger there is no specific images which should be used to abuse certain gender. Custom Ways of seeing Essay Writing Service Ways of seeing Essay samples, help One would explore the aspect of seeing in many different dimensions.
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Can I submit custom essays or term papers done by your company as my own? Do you offer refunds? Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words.
It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled. Capitalism survives by forcing the majority, whom it exploits, to define their own interests as narrowly as possible. This was once achieved by extensive deprivation.
Today in the developed countries it is being achieved by imposing a false standard of what is and what is not desirable. Oct 21, Jimmy rated it really liked it Shelves: A book about basic visual literacy, with 7 essays, 3 of them containing only images.
It's not that he's original The chapter about oil painting was especially illuminating for me, as I had never understood how to tell a "great" oil painting from a mediocre one, having no context in which to see them. But Berger here really dissects the historical origins of the f A book about basic visual literacy, with 7 essays, 3 of them containing only images.
But Berger here really dissects the historical origins of the form, and what oil really allowed artists to do that they weren't able to do before. I have no idea why this decision was made, but the book is worth reading, despite this huge flaw. Mar 25, cypt rated it really liked it Shelves: Bet visgi apskritai gera. Tokius bazini Mixed feelings. Bet juk mes kapitalistiniam pasauly. Jun 03, Umut rated it really liked it. Oct 05, Dorotea rated it it was amazing. The book contains a series of essays, all related to art.
I read this collection right after having come back from London — having spent days surrounded by art works. I had a million thoughts about art itself and museums, and art works in museums. I wrote out some of my thoughts and then came across some of the same ideas in this insightful beautiful booklet.
Perhaps this is why I feel so strongly towards the first of the essays. Nevertheless, I try here to capture the essence of it, in some quo The book contains a series of essays, all related to art.
Nevertheless, I try here to capture the essence of it, in some quotes that I deem crucial: The reciprocal nature of vision is more fundamental than that of spoken dialogue. It is an appearance, or a set of appearances, which has been detached from the place and time in which it first made its appearance and preserved — for a few moments or a few centuries. Every image embodies a way of seeing. And so, inevitably, it mystifies. We actually perceive it in a different way.
Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose III: Hair is associated with sexual power, with passion.
And if, in these traditions, the theme of a work is sexual attraction, it is likely to show active sexual love as between two people, the woman as active as the man, the actions of each absorbing the other. It defines the real as that which you can put your hands on. Although its painted images are two-dimensional, its potential of illusionism is far greater than that of sculpture, for it can suggest objects possessing colour, texture and temperature, filling a space and, by implication, filling the entire world.
Things which in reality are buyable. To have a thing painted and put on a canvas is not unlike buying it and putting it in your house. If you buy a painting you buy also the look of the thing it represents. But wealth was then a symbol of a fixed social or divine order. Oil painting celebrated a new kind of wealth — which was dynamic and which found its only sanction in the supreme buying power of money. Thus painting itself had to be able to demonstrate the desirability of what money could buy.
And the visual desirability of what can be bought lies in its tangibility, in how it will reward the touch, the hand, of the owner.
Dec 19, Michael Dipietro rated it did not like it Shelves: It's been a while since I read 'Ways of Seeing' for school, but I hated it. In the most simple way, because Berger talks again and again about demystification, yet I found his book to be thinly veiled Socialist propaganda.
His Marxist interpretations of paintings can be extremely simplistic and one-sided - making you feel dumb for wanting to appreciate an artwork for its beauty or value as a cultural artifact. All in all, it reads like a text by a highschooler whose critical thinking isn't It's been a while since I read 'Ways of Seeing' for school, but I hated it. All in all, it reads like a text by a highschooler whose critical thinking isn't all that nuanced. Sep 17, Diz rated it it was amazing Shelves: This book really made me think about how to view art.
In particular, the connection between the oil paintings of the last few hundred years and advertising images was something I had never thought about. This book also presents some insightful criticisms of the use of nudes in traditional art. Apr 11, Jeremy rated it did not like it Shelves: Berger obviously has the best of intentions, but his analysis is amateurish at best, pathetically reactionary almost to the point of seeming to whine at worst, and largely cribbed from thinkers of far greater intellectual originality and power than himself.
For starters, he seems either ignorant of or unwilling to admit that what we broadly call 'mainstream visual art' is, was, and quite likely almost always has been directly tied up with wealth; with commissions Almost laughably disappointing. For starters, he seems either ignorant of or unwilling to admit that what we broadly call 'mainstream visual art' is, was, and quite likely almost always has been directly tied up with wealth; with commissions, patronage, really with human commerce itself.
Visual art isn't some pure, 'virginal' endeavor sullied by capitalism. Visual art is a creative activity which is intimately tied into and dependent on capitalism really, on wealth in the first place If such 'pure' art even exists in the first place, Berger provides literally no evidence for it: As if his shallow reading of these issues wasn't bad enough, he then goes on to make the utterly ludicrous claim that portraits of women, nudes, etc, show us that all women everywhere and only ever women are essentially shaped really, he means warped by the erotic gaze of male longing and domination.
That's a powerful idea. It's also utterly indemonstrable and reeks of cheap psycho-analysis. What could be more bigoted, what could be more misogynistic, than dismissively generalizing all members of the female sex as simply 'damaged' by the male gaze, as if a single tiny statement was enough to claim to understand the full totality of the female experience and female suffering through out history?
And of course, his visual examples of this are, again, cheaply cherry picked Berger manages the odd feat of trying to empathize with the female subject in art and somehow making himself come across as an arrogant misogynist in the process. The problem with this book is that underneath it's crummy pseudo-analysis is a person who already knows how the world is to such a level of satisfaction that he has nothing left to discover or even really demonstrate about it.
Oh it's ruined art. Never mind telling us about what art from a non-capitalist culture is like Women? Oh the poor things, they're so warped by male expectations its a miracle they can even stand up Never mind that you don't relate any actual woman's experience at any point.
Oh that's ruined art too by making images ubiquitous never mind really examining photography fairly to see the myriad ways it has changed modern culture and modern art This book proves one thing above all: Look, the relationship between the commercial world and the ever-changing world of visual artistic endeavor is a hugely diverse and complicated subject, as is the relationship between art and advertising.
As is, especially, the relationship between gender roles and visual art through out history. John Berger's "Ways of Seeing" tries to stand on the shoulders of such thinkers and falls off on nearly every page.
Largely because the only thing Berger seems to 'see' is his own self-satisfaction. Sep 15, Lucinda rated it it was amazing Shelves: Personal perspective and context of writing or image. There is a divergence between looking and seeing art and literature.
Such as, if one were to apply Marxist literary criticism Ideology when examining a work of art. Yet, what it represents, in terms of societal power and denotation is fundamental to its double optic. If you remain subjective and open your mind to all the potential possibilities, then the mystification of an artwork is unravelled.
One indeed uses the past to justify the present, for history is always changing and evolving. You cannot help but be magnetized by the hypocrisy of such a hypocritical undertone to a reproduced work of art!
There is a continuum of thought during the process or act of looking and seeing an image, for instance regarding being and seeming. For, being pushes through what is seen, like showing something rather than telling something in words. If text accompanies an artwork, then it may enhance or exemplify what is implied. This deeply thought-provoking, philosophical piece of literature is a fascinating exploration into what we think we know… Dec 06, Holly McIntyre rated it really liked it.
I finally pulled this "oldie but goodie" off my shelf and read it. I wish I had years ago. Although the examples from its s origin are dated, its thesis is perhaps even more valid today than then: Oil painting emerged just as the Western world entered the era of capitalism and imperialism. The technique of perspective makes the viewer the center of all he yes, Virginia, "he" sees, just as "Western man" viewed the resources of the world.
Oil paintings, therefore, became a vehicle by which We I finally pulled this "oldie but goodie" off my shelf and read it. Oil paintings, therefore, became a vehicle by which Western man could enjoy, in rich realistic detail, what he owned. Since the beginning of the 20th century, art has lost this patron-satisfying confidence, but its bastard child, advertising, has perverted the view even more by presenting, not what is already owned, but what we should desire to own, thus serving the needs of capitalism even further.
Yes, a few cobwebs of Marxism hang about the theory, but it provides a thought-provoking analysis of the convergence of artistic technique and social context. Mar 05, Jule rated it liked it. Some of the essays are pictures only, pictures of paintings. The book is a little older, to me it portrays the spirit of its time, I enjoyed quite a few surprising moments.
It definitely brightened my train ride through the night. All this Marxist vocab As the title suggests, "Ways of Seeing" is about the ways we see. How our mind is formed through society and how this conditioning impacts on our perception and, well, what we see in the end. I became curious about this book, because, one, the cover is the picture of one of my favourite artists - Magritte.
In this paragraph, I believe that Berger is trying to say that the combination of emotions portrayed by the facial expressions, posture and positions of the subjects give the painting its value. In other words, the terms expose the paintings as art instead of reality. Their facial expressions alone show a somber mood, but the paintings themselves show camaraderie and contentment.
The terms peak of breadth and strength signify that the characters are powerful, noble, and accomplished people, which Berger purports to be the result of them supplying him with the necessities he needs to live his life. His descriptive language requires extra thought in order to develop an understanding of his explanations and avoid being misconceived by future points. Sorry, but copying text is forbidden on this website. If you need this or any other sample, we can send it to you via email.
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Analysis of John Berger’s ways of seeing Essay Sample. In John Berger’s “Ways of Seeing,” his use of artist jargon makes it difficult for the casual reader to comprehend a lot of the points he makes. A section that demonstrates this can be found in the first full paragraph on page
Ways of Seeing Homework Help Questions According to John Berger in Ways of Seeing, what does it mean for a work of art to embody a "way First, some background territorios-luchas.tk BBC produced Ways of Seeing as a four-part series in
Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. Chapter 3 Summary, Ways of Seeing Essay Words May 20th, 3 Pages In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators.
Ways of Seeing is a very thin book, with few words, yet it is an extremely influential book, and confronts several important aspects of art, unlike any other author. John Berger takes a general approach of Marxism and New Art History relating to social history in . Hollis starts the text of the first essay on the cover: “Seeing comes before words. The child looks and recognizes before it can speak.” This simple typographic trick gives the book both a certain modesty (saves on pages) and an urgency (no time to waste).