Katz later began to attach a mental phenomenon to his paintings. He described it as “Looking around while caught in blank mental states, aware not of unhappy feelings, but of experiences which cannot be characterized as entirely positive - experiences which are not engaged with feeling, which do not contain memories, which are not concerned with emotion”(pg. 505).
In The Puzzle of Experience, J. J. Valberg argues that, concerning the content of our visual experience, there is contention between the answer derived from reasoning and that found when 'open to experience '. The former leads to the conviction that a physical object can never be “the object of experience,” while with the latter “all we find is the world” (18). After first clarifying what is meant by 'object of experience ', the 'problematic reasoning ' will then be detailed. Afterwards, it will be explained how being 'open to experience ' opposes the reasoning, as well as why the resulting “puzzle” cannot be easily resolved. Lastly, a defence of Valberg 's argument will be offered on the grounds that it relevantly captures how we understand our visual
Jim Campbell is a contemporary, multimedia artist graduated from MIT. He is based in San Francisco but his works are shown in several locations, including New York, Washington, DC and Shanghai. His works are not only recognized by art enthusiasts but also authority in the industry. He has been given the Rockefeller Foundation Fellowship Award in Multimedia, the Eureka Fellowship Award and many more. Jim Campbell’s low resolution, electronic sculptures embody the idea of “perception is contingent on distance.”
In this paper we will be analyzing John Jaspers painting, Flags and going over how it creates a visual impact to the viewer through the use of an optical illusion on the viewer of the painting. The subject of this work is the American Flag, but it is painted in a not so conventional way at a glance, but once you look at it for a while you will see it in a normal light. Jasper used this piece to help show that the viewer was the “painter” in this artwork. He does this by using an optical illusion of the American Flag.
Mark Ching Professor H.O. Alvarez ENG 1A 18 May 2018 Are we in the Matrix? John Berger’s essay “Ways of Seeing” (1972) speaks on the topic that the visual can be manipulated in order to make the observer see from the manipulator’s perspective. Berger states the meaning of art is being changed, and that art is occasionally being mystified due to the lack of understanding. Berger explains his topic on how the art historians alter the visual arts for their own whim in his writing and while not directly correlated, Wachowski in his film The Matrix (1999) represent the possibility that one’s perspective of reality can be distorted by what one sees. The minds of humans can be seen in the matrix to be just completely oblivious to the fact that
Claude Heath (b.1964) is an artist with a unique eye to art. While not blind himself, Heath has developed a skill of not seeing what he draws to allow for a mess of lines just barely forming the shape of an object, but still allowing the viewer to understand the form of the object. A contemporary artist, Heath originally started out drawing blindfolded, enjoying creating with the sense of touch instead of sight. This became his influence, to obtain a relationship with the object by just touching, and establish this relationship into his work For his art piece simply titled ‘Buddha’ Heath has uses 3 different coloured biro pens to produce layer to his art: Black, Green and red.
One Sentence Artist Statement: Because I often feel trap, constrained and watch, I want to able to depict it through my art studies of eyes and how different eyes can be portrayed through a variety of materials and I want it to attack my viewers to let others know how I feel. Two Paragraph Artist Statement: I am interested in the idea of being trap, the feelings of being constrained and being watched. In the beginning of my artwork, I was and still firmly interested in kois. Often, kois have the illusion that they are able to swim freely within a pond, lake or an aquarium.
Sight is one of human’s most essential senses because it helps contribute to the way that people perceive things around them. Sight is used to view other people’s appearances, and is used to pass judgements about what they see. It is also used to experience the surrounding world. Seeing something allows for true understanding and knowledge. Through the reading of both The Prince by Niccolo Machiavelli and Leonardo’s Notebooks by Leonardo Da Vinci, we are presented with the importance of sight.
The concepts and ideas of how we see, perceive and form an understanding of the world have been frequently explored, even before the inventions of the camera and photography. It’s therefore crucial to the question posed that this fundamental knowledge is attained to better support the more specialised presuppositions that revolve around the camera. Focusing on the likes of Descartes and Kant, and the philosophical theories that they explore, will help in supporting my explanation of the question that focuses around sight and perception. Rene Descartes’ ‘A Discourse on Method’ and ‘First Meditations of Philosophy’ separate the mind and soul from the body. ‘A Discourse on Method’ considers approaches to epistemology - which is the theory of
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
English poet and painter William Blake once asserted, “If the doors of perception were cleansed everything would appear to man as it is.” In this short, yet profound statement, Blake sheds light on the fact that people do not have a completely accurate view of the universe. Through his words, he essentially implies that each and every individual sees the world in a unique way that can vary from the truth and that each person’s perception may be similar to or different from that of others in some aspects. What Blake claims about people’s view of the world is true, but there are many factors that cause perceive the world in certain ways. The most significant elements that help shape people’s view of the world are the five senses they possess
With the dawn of postmodern social theory and philosophy, the concept of gaze became increasingly apparent. The main contributors who are credited with the earliest discussions of “the gaze”, include Michel Foucault and Jacques Lacan. Foucault is known for his description of the “medical gaze”, which describes the process of diagnosis, power relationships between doctors and patients, and the authority of medical knowledge in society. He is also known for his elaboration on the theory of the panopticon and surveillance. Lacan’s analysis of the gaze’s relation to the “mirror stage” became a crucial concept in visual culture, as it describes how we “gaze” upon ourselves in the mirror and the you in the mirror is the best you possible.
It has to do with creating new knowledge through the systematic collection and analysis of sensory evidence and other forms of real world data (Wagner, 2007). The name ‘visual anthropology’ was coined by Margaret Mead in the 1960s when, complaining that the references to ‘non-verbal’ anthropology that were bandied at the time were unfortunately negative, she proposed that a more positive title would be ‘visual’ anthropology (Pink, 2006). It has a history that impact on how we understand the visual, the question of vision, and the methods of research and representation we engage in, but it still needs to rethink and attend some issues in order to be redefined as not simply the anthropology of the visual and the use of visual methods in research and representation, but as the anthropology of the relationship between the visual and other elements of culture, society, practice and experience and the methodological practice of combining visual and other media in the production and representation of anthropological knowledge (Pink
Indirect perception implies that it is not actually of the environment itself but a cognitive representation of the environment that we percieve, assembeled by and existing in the brain. It is by the process of construction in which our seneses consult memories of prior experience before delivering a visual interpretation of the visual world. It argues that there is no direct way to examine objects that is independent of our conception; that perception is
As Addison believed that sight without imagination would be impossible due to the entwined nature of imagination and perception, he differentiated between the two types of pleasure possible to receive. The first is the most basic form, pleasure deriving from “such Objects as they are before our eyes”, i.e. primary sight and first impressions; whilst the secondary is far more enriched with pleasure flowing from the “Ideas of visible Object, when the Objects are not actually before the Eye, but are called up into our Memories, or formed into agreeable
