"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 word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled." John Berger's Ways of Seeing is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has. "Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" -Peter Fuller, Arts Review "The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" -Geoff Dyer in Ways of Telling
ways of seeing
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Examines the social implications and psychological impact of the images and conventions of modern and classical artists
What can Sociology add to our understanding of art? This volume brings together a range of respected scholars in the field who demonstrate the many ways in which sociology can add to our understanding of artistic issues. Covering all the major schools of thought, and dealing with many different art forms, the book offers the reader a comprehensive and accessible guide to an often complex area. It will be an invaluable resource for students seeking to understand sociology's contributions to the study of artistic and aesthetic issues.
Mario Betti strives to make sense of the world through different lenses framed as 12 archetypes; Phenomonalism, Sensualism, Materialism, Mathematism, Rationalism, Idealism, Psychism, Pneumatism, Monadism, Dynamism, Realism and Humanus.Betti draws on the research of Rudolph Steiner and his twelvefold typology of human and cosmic thought to explore and validate each world view from its own unique perspective. In this way he means to transform dogmatism and enable a deeper dialogue. The book includes a study guide, World View by World View, which comprises of templates for lesson structures and questions for discussion put together by the author Mario Betti and Kathelijne Drenth of the Cloverleaf Foundation, The Netherlands.
Meaning is at the heart of what it means to be human. The meaning we give something can terrify or elevate us, and in psychotherapy it's often the meaning our clients have given a life event that is as the root of their problems. Hence why the art of reframing - changing meaning - is central to effective therapy. In New Ways of Seeing, therapist of 20 years Mark Tyrrell gives transcripts of real cases where reframes have been used to release clients from restrictive perspectives. Clients with abusive childhoods who now feel they are damaged goods. Smokers who can't resist 'one more cigarette'. People with self esteem so low they believe they have failed at life. By reading the case studies and absorbing the theoretical framework around reframing, you can experience the shifts in meaning for yourself, enhancing your own ability to deliver carefully crafted reframes that will set your clients free.
The essays in this volume represent some of the best new thinking about the crucial relations between visual representation in film and human subjectivity. No amount of empirical research into the sociology of actual audiences will displace the desire to speculate about the effects of visual culture, and especially moving images, on viewing subjects. These notions of spectatorship, however hypothetical, become extremely compelling metaphors for the workings of vision within the institution of cinema. Viewing Positions examines the tradition of a centered, unitary, distanced, and objectifying spectator's gaze; investigates the period when film spectatorship as an idea began; and analyses gender- and sexuality-based challenges to the homogeneous classical theory of spectatorship. It makes available critical understandings of spectatorship that have, until now, largely eluded cinema studies.
Those born since the digital revolution, seem to have the hardest time re-imagining the role of photography in the world today. Thinking of photography as a visual language is the approach this book adopts to addresses this challenge.Considering photography in this way develops the metaphor of 'learning a language' when attempting to explain what photography can be, and what it can give a student in transferable creative and life skills. This begins with challenging the pre-conception that successful photography is defined by the successful single image or 'the good photograph'.The book emphasises the central role of narrative and visual storytelling through a technique of 'photosketching' to develop the building blocks of visual creativity and ultimately to craft successful bodies of photographic work.New Ways of Seeing explains how to both learn and teach photography as a visual language, appropriate for both professionals and students working today.
Covering such topics as human inequality, inequalities between north and south, demographic differences, migration and refugees, and armed forces, this visual text acts as a teaching guide. Each topic has a two-page spread that includes diagrams, charts and short text.
Ways of Seeing is a key art-historical work that continues to provoke widespread debate. It is comprised of seven different essays, three of which are pictorial and the other containing texts and images. Berger first examines the relationship between seeing and knowing, discussing how our assumptions affect how we see a painting. He moves on to consider the role of women in artwork, particularly regarding the female nude. The third essay deals with oil painting looking at the relationship between subjects and ownership. Finally, Berger addresses the idea of ownership in a consumerist society, discussing the power of imagery in advertising, with particular regards to photography.