John Berger's first episode of his 1972 documentary 'Ways of Seeing,' is rather enlightening, as it allows one to notice the contemporary persons' "ways of seeing," which we otherwise take for granted. The preliminary video- before our continuation on from our introduction to what 'exploring media arts' entails- Berger "questions some of the assumptions usually made about the tradition of European painting" and "the way that we now see them in present day" (Berger, 1972) by providing us with visual and audio examples to demonstrate his contention. In the end credits, it is acknowledge that many of the ideas that were elaborated in this half hour program were first outlined in an essay by Walter Benjamin (German literary critic) in 1936.
An overview of the points in which Berger wished to convey were that: due to the technology of the modern day- with camera's and the ability to replicate original European artwork- changes the way in which a viewer perceives the work. This means that, before this advancement in technology, one would only be able to see a particular painting in one place, and that one place would house the original. Whereas today, we are able to witness a replica, whether it be a photograph of the original, a printed copy of the original, or even watching a program like John Berger's and seeing the original through the camera, which means that we aren't seeing the painting like it would look if it were right before our eyes without having a lens obscuring and manipulating it. And since we are now able to view a painting anytime and any place, the context of the painting changes too, as it no longer is in it's intended spot. For example, many masterpieces during the Renaissance were commissioned to be placed in churches or in grand buildings, but now it is possible for that same masterpiece to be found in one's own home, thus, manipulating it from it's original context.
Berger then continues to discuss how other medias have the ability to manipulate how the audience perceives an image. For example, if one were to hear a piece of music while looking at a work of art, it subtly changes your subconscious into seeing it in a unique way, different to how you would have seen it if you were to listen to another piece of music, or if there was just silence. And this silence is what Berger then highlights, saying "the most important thing about paintings themselves is that their images are silent, still" and that "occasionally this uninterrupted silence and the stillness can be very striking." (Berger, 1972)
He explains that the most obvious ways of manipulating a painting would be via the mediums of sound- like explained previously- but also through the use of movement and focus. This links back to the idea of making replicas of an original piece. By zooming up on one area of a painting, a viewer's concentration is immediately drawn to what is right in front of them, losing the content of the piece as a whole, and losing 'the bigger picture.' This ease of manipulation of an image also demonstrates the ease in which one can manipulate a viewer.
Towards the end of the program, Berger then demonstrates that "when painting are reproduced it becomes a form of information," implying that the "meaning of an image can be changed according to what yo see beside it or what comes after it."(Berger, 1972) Throughout the entire episode, John Berger is speaking in a discussion-like tone, addressing the viewer, which engages them and allows them to interact with the examples that Berger chooses to display, which is extremely beneficial for the viewer to understand the impact of a painting when it has been modified, and the different "ways of seeing."
References:
Berger, J (1972), John Berger/ Ways of Seeing, Episode 1 (1972), (online video), 8th October 2012, https://www.youtube.com/watch?v=0pDE4VX_9Kk
Image found at http://www.artchive.com/artchive/B/botticelli/venus.jpg.html
An overview of the points in which Berger wished to convey were that: due to the technology of the modern day- with camera's and the ability to replicate original European artwork- changes the way in which a viewer perceives the work. This means that, before this advancement in technology, one would only be able to see a particular painting in one place, and that one place would house the original. Whereas today, we are able to witness a replica, whether it be a photograph of the original, a printed copy of the original, or even watching a program like John Berger's and seeing the original through the camera, which means that we aren't seeing the painting like it would look if it were right before our eyes without having a lens obscuring and manipulating it. And since we are now able to view a painting anytime and any place, the context of the painting changes too, as it no longer is in it's intended spot. For example, many masterpieces during the Renaissance were commissioned to be placed in churches or in grand buildings, but now it is possible for that same masterpiece to be found in one's own home, thus, manipulating it from it's original context.
Berger then continues to discuss how other medias have the ability to manipulate how the audience perceives an image. For example, if one were to hear a piece of music while looking at a work of art, it subtly changes your subconscious into seeing it in a unique way, different to how you would have seen it if you were to listen to another piece of music, or if there was just silence. And this silence is what Berger then highlights, saying "the most important thing about paintings themselves is that their images are silent, still" and that "occasionally this uninterrupted silence and the stillness can be very striking." (Berger, 1972)
He explains that the most obvious ways of manipulating a painting would be via the mediums of sound- like explained previously- but also through the use of movement and focus. This links back to the idea of making replicas of an original piece. By zooming up on one area of a painting, a viewer's concentration is immediately drawn to what is right in front of them, losing the content of the piece as a whole, and losing 'the bigger picture.' This ease of manipulation of an image also demonstrates the ease in which one can manipulate a viewer.
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| We see a woman's portrait |
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| Which comes from Botticelli's 'Birth of Venus' |
Towards the end of the program, Berger then demonstrates that "when painting are reproduced it becomes a form of information," implying that the "meaning of an image can be changed according to what yo see beside it or what comes after it."(Berger, 1972) Throughout the entire episode, John Berger is speaking in a discussion-like tone, addressing the viewer, which engages them and allows them to interact with the examples that Berger chooses to display, which is extremely beneficial for the viewer to understand the impact of a painting when it has been modified, and the different "ways of seeing."
References:
Berger, J (1972), John Berger/ Ways of Seeing, Episode 1 (1972), (online video), 8th October 2012, https://www.youtube.com/watch?v=0pDE4VX_9Kk
Image found at http://www.artchive.com/artchive/B/botticelli/venus.jpg.html
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