Nov 11, 2017
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Ways of Seeing
Modernism of Julius Shulman: The perception of Southern California landscape through architectural photography, Slav Zatoka
continued
John Berger argues that the process of seeing a painting and consequently seeing everything else, a photograph or architecture is less spontaneous that we may think. It is largely influenced by the conventions of the European art in which the perspective centers everything on the eye of the beholder. (Berger, John. Ways of Seeing) It seems natural to place the viewer in the center of this experience. It also appears, as Berger puts it, we are like a lighthouse, only instead of emitting the light, the appearances travel inside that lighthouse like a beam. Respectively, if art is a representation of reality then the human eye is the center of the world and it can only be in one place at a time. It travels with the world. We also make decisions about what we look at and relate to it. The way we relate to what we see also changes over time. For instance we may see fire differently form the people of Middle Ages who believed in the physical reality of hell. With the invention of the camera the human eye did not have to be in the center of the appearances and the images cameras created could travel around the world:
I am an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. That is, I, the machine, maneuvering in the chaotic movements, recording one movement after another in the most complex combinations.
Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you. (Berger 17; Dziga Vertov, 1923)
Furthermore, Berger argues that the invention of the camera changed the way we see things and even changed the paintings painted long before the camera was invented. Originally paintings could only be seen in one place. With the camera they could be reproduced in millions of copies. What also seems very important, it allowed only details of paintings to be reproduced, giving them a totally new meaning they did not have before. Originally paintings were an integral part of buildings and were either intended for a particular space, like a church or a chapel, or were telling a history of that building. Photographic reproductions deprived paintings of their original context, surroundings, meaning and value. The reproduction could be used a illustration of another meaning. It could change its meaning when juxtaposed with another image in a magazine spread. With the invention of the camera paintings did not have their silence any more. They could be filmed by a filmmaker and edited to show only sections of it. They could also be edited to music which could completely change its meaning as well. Another argument presented in the first chapter of Ways of Seeing is that the false religiosity, which surrounds the original works of art, is ultimately derived from its cash market value. It appears that value is a substitute for what these works of art lost after they had been photographed and reproduced (Berger 23). The stillness of paintings can often be powerful. This so called reversed beam of information coming back to the viewer changes forever. It becomes distorted. To proves this Berger gives an example of a painting by Vincent Van Gogh. We can contemplate the landscape and its scenery but the meaning of it changes dramatically once we add words to it. If we learn from these words that this is the last painting by Van Gogh before he committed suicide, somehow the words change the painting and now become an illustration to these words.
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Via stillabunchofmisfits, sometimes known as the magnificent misfit but more commonly called Mallory. Swell blog, give her a follow if you dare. Post 5 facts or something that you like about yourself publicly and tag 10 fave followers or something or other but I don't think I have ten and can't include le tagger so... I'll think of something or something.
1. I'm creative, or at least I'm creative in my mind. I could be better at implementing said ideas but nonetheless.
2. I like to think I'm fairly empathetic with people, fictional or "real." Always have been, always will be probably.
3. Obvi my marvelous legs, I mean come on, who doesn't love a sexy pair of legs?! lol #soccerlife
4. I like that I am who I am. No one can take that away from me. I find I can be one of a kind and I wouldn't have it any other way.
5. Hmm. Idk. I guess I'm a gentle giant, figuratively speaking. Why fight, why worry? Goos fraba, hakuna matata, so it goes, la vita e' bella, c'est la vie. Let's just get along y'all.
Uh, I guess I'll just choose people I've talked to before, thus, people I know. In semi-alphabetical order:
beckachoo
sunsociety
mechanicaleye
teenageeangst
accio-sonicscrewdrivers
yourmovesarewhite
There's more somewhere but c'est la vie. Cheers.