Ways of Seeing
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|Author||: John Berger,Sven Blomberg,Chris Fox,Michael Dibb,Richard Hollis|
|Editor||: Penguin (Non-Classics)|
Examines the social implications and psychological impact of the images and conventions of modern and classical artists
|Author||: John Berger|
|Editor||: Penguin UK|
John Berger's Ways of Seeing changed the way people think about painting and art criticism. This watershed work shows, through word and image, how what we see is always influenced by a whole hose of assumptions concerning that nature of beauty, truth, civilization, form, taste, class and gender. Exploring the layers of meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just looking - we are reading the language of images.
|Author||: John Berger|
|Editor||: Penguin UK|
How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "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 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.
|Author||: Emmanouil Kalkanis|
|Editor||: CRC Press|
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.
|Author||: Peter Fuller|
|Editor||: Writers & Readers Publishing|
"In this incisive counter-polemic Peter Fuller underlines what is most valuable in Berger's criticism, while attacking the art ideologists who would negate the existence of any aesthetic experience. He succinctly agues the case for a materialistic understanding of art and its value which moves beyond ideology and permits one to confront the 'masterpiece', the work of art which breaks free from the norms of tradition and transcends its time."--back cover.
|Author||: Grant Scott|
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.
|Author||: Mark Tyrrell|
|Editor||: Uncommon Knowledge Limited|
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.
|Author||: Yi Gu|
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China?Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."
|Author||: Sandra Reeve|
|Editor||: Triarchy Press Limited|
This book presents nine lenses through which the body is conventionally viewed. The body as object, the body as subject, the phenomenological body, the contextual body, the interdependent body, the environmental body, the cultural body and, finally, the ecological body. Designed to be a guide and stimulus for teachers, students and practitioners of dance, performance, movement, somatics and the arts therapies - and for anyone troubled by the idea of a brain on legs.
|Author||: John Berger|
|Editor||: Bloomsbury Publishing|
As a novelist, essayist, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger alters the vision of anyone who reads his work.
|Author||: John Berger|
|Editor||: Penguin UK|
'Language is a body, a living creature ... and this creature's home is the inarticulate as well as the articulate'. John Berger's work has revolutionized the way we understand visual language. In this new book he writes about language itself, and how it relates to thought, art, song, storytelling and political discourse today. Also containing Berger's own drawings, notes, memories and reflections on everything from Albert Camus to global capitalism, Confabulations takes us to what is 'true, essential and urgent'.
|Author||: John Willats|
|Editor||: Princeton University Press|
In Art and Representation, John Willats presents a radically new theory of pictures. To do this, he has developed a precise vocabulary for describing the representational systems in pictures: the ways in which artists, engineers, photographers, mapmakers, and children represent objects. His approach is derived from recent research in visual perception and artificial intelligence, and Willats begins by clarifying the key distinction between the marks in a picture and the features of the scene that these marks represent. The methods he uses are thus closer to those of a modern structural linguist or psycholinguist than to those of an art historian. Using over 150 illustrations, Willats analyzes the representational systems in pictures by artists from a wide variety of periods and cultures. He then relates these systems to the mental processes of picture production, and, displaying an impressive grasp of more than one scholarly discipline, shows how the Greek vase painters, Chinese painters, Giotto, icon painters, Picasso, Paul Klee, and David Hockney have put these systems to work. But this book is not only about what systems artists use but also about why artists from different periods and cultures have used such different systems, and why drawings by young children look so different from those by adults. Willats argues that the representational systems can serve many different functions beyond that of merely providing a convincing illusion. These include the use of anomalous pictorial devices such as inverted perspective, which may be used for expressive reasons or to distance the viewer from the depicted scene by drawing attention to the picture as a painted surface. Willats concludes that art historical changes, and the developmental changes in children's drawings, are not merely arbitrary, nor are they driven by evolutionary forces. Rather, they are determined by the different functions that the representational systems in pictures can serve. Like readers of Ernst Gombrich's famous Art and Illusion (still available from Princeton University Press), on which Art and Representation makes important theoretical advances, or Rudolf Arnheim's Art and Visual Perception, Willats's readers will find that they will never again return to their old ways of looking at pictures.
|Author||: Damon Krukowski|
|Editor||: MIT Press|
A writer-musician examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. Our voices carry farther than ever before, thanks to digital media. But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing—modeled on Ways ofSeeing, John Berger's influential 1972 book on visual culture—Krukowski offers readers a set of tools for critical listening in the digital age. Just as Waysof Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds. Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid “ear contact” with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only?
|Author||: Nick Gleeson|
|Editor||: Simon and Schuster|
In desperation, I look up into mum’s face. A small face – a loving face — And the lights go out. Her face is the last image I will ever see in my lifetime. Blind since the age of seven, Nick Gleeson has spent his life learning to ‘see’ without seeing. Growing up in the working-class Melbourne suburb of Broadmeadows, Nick’s young life was defined by touch and smell: learning the shape of each shoe so he knew left from right. Holding the huge, rough hand of his father. Smelling the well-worn vinyl in the family car. Gently feeling the smooth top and soft underbelly of a mushroom he has picked. When Nick meets Peter Bishop, Creative Director of Varuna, the Writers’ House many years later, he has led an amazing life of physical adventuring. He’s scaled basecamp at Everest and the top of Kilimanjaro; he’s been a Paralympic athlete, a marathon runner, a skydiver. And, most recently, he’s been on an expedition to the Simpson Desert. In a unique blend of memoir, conversation and insights into the writing process, together Peter and Nick have collaborated to share Nick’s compelling life journey with its many challenges, loves and losses. The Many Ways of Seeing is an inspiring true story about determination in the face of hardship, the importance of trust and friendship and the wonderful relationship between a mentor and writer.
|Author||: Heidi Grant Halvorson, Ph.D.,E. Tory Higgins Ph.D.|
We all want to experience pleasure and avoid pain. But there are really two kinds of pleasure and pain that motivate everything we do. If you are promotion-focused, you want to advance and avoid missed opportunities. If you are prevention-focused, you want to minimize losses and keep things working. And as Tory Higgins has found in his groundbreaking research, if you understand how people focus, you have the power to motivate yourself and everyone around you. Showing how promotion/prevention focus applies across a wide range of situations from selling products to managing employees to raising children to getting a second date, Halvorson and Higgins show us how to identify focus, how to change focus, and how to use focus exactly the right way to get results. Short, punchy, and prescriptive, Focus will help you see not just what’s going on around you— but what’s underneath. Visit the author's website at www.heidigranthalvorson.com for a special pre-order giveaway.
|Author||: Pierre Jacob,Marc Jeannerod|
|Editor||: Oxford University Press, USA|
Cognitive neuroscience is a young field that has been incredibly successful in furthering our understanding of the human brain. Long before the emergence of this field, many of the same questions being posed within this field were asked by philosophers. So how much of this earlier work informs current theories of cognition? In many cases--too little. Yet how can we ignore thousands of years of philosophical thinking on the human mind? There are some questions about the human brain that are surely impossible to answer without considering what it "feels" like to see, what it "feels" like to think. Ways of Seeing is a unique collaboration between an eminent philosopher and a world famous neuroscientist. It focuses on one of the most basic human functions--vision. What does it mean to 'see'? It brings together electrophysiological studies, neuropsychology, psychophysics, cognitive psychology, and philosophy of mind. The first truly interdisciplinary book devoted to the topic of vision, this is a book will make a valuable contribution to the field of cognitive science.
|Author||: Marcus du Sautoy|
|Editor||: Fourth Estate|
'Brilliant and fascinating. No one is better at making the recondite accessible and exciting' Bill Bryson Britain's most famous mathematician takes us to the edge of knowledge to show us what we cannot know. Is the universe infinite? Do we know what happened before the Big Bang? Where is human consciousness located in the brain? And are there more undiscovered particles out there, beyond the Higgs boson? In the modern world, science is king: weekly headlines proclaim the latest scientific breakthroughs and numerous mathematical problems, once indecipherable, have now been solved. But are there limits to what we can discover about our physical universe? In this very personal journey to the edges of knowledge, Marcus du Sautoy investigates how leading experts in fields from quantum physics and cosmology, to sensory perception and neuroscience, have articulated the current lie of the land. In doing so, he travels to the very boundaries of understanding, questioning contradictory stories and consulting cutting edge data. Is it possible that we will one day know everything? Or are there fields of research that will always lie beyond the bounds of human comprehension? And if so, how do we cope with living in a universe where there are things that will forever transcend our understanding? In What We Cannot Know, Marcus du Sautoy leads us on a thought-provoking expedition to the furthest reaches of modern science. Prepare to be taken to the edge of knowledge to find out if there's anything we truly cannot know.
|Author||: Chris Bissell,Chris Dillon|
|Editor||: Springer Science & Business Media|
This fascinating book examines some of the characteristics of technological/engineering models that are likely to be unfamiliar to those who are interested primarily in the history and philosophy of science and mathematics, and which differentiate technological models from scientific and mathematical ones. Themes that are highlighted include: • the role of language: the models developed for engineering design have resulted in new ways of talking about technological systems • communities of practice: related to the previous point, particular engineering communities have particular ways of sharing and developing knowledge • graphical (re)presentation: engineers have developed many ways of reducing quite complex mathematical models to more simple representations • reification: highly abstract mathematical models are turned into ‘objects’ that can be manipulated almost like components of a physical system • machines: not only the currently ubiquitous digital computer, but also older analogue devices – slide rules, physical models, wind tunnels and other small-scale simulators, as well as mechanical, electrical and electronic analogue computers • mathematics and modelling as a bridging tool between disciplines This book studies primarily modelling in technological practice. It is worth noting that models of the type considered in the book are not always highly valued in formal engineering education at university level, which often takes an “applied science” approach close to that of the natural sciences (something that can result in disaffection on the part of students). Yet in an informal context, such as laboratories, industrial placements, and so on, a very different situation obtains. A number of chapters considers such epistemological aspects, as well as the status of different types of models within the engineering education community. The book will be of interest to practising engineers and technologists; sociologists of science and technology; and historians and philosophers of science and mathematics. It will also be written in a way that will be accessible to non-specialists.
|Author||: John Berger|
The writing career of Booker Prize winner John Berger–poet, storyteller, playwright, and essayist–has yielded some of the most original and compelling examinations of art and life of the past half century. In this essential volume, Geoff Dyer has brought together a rich selection of many of Berger’s seminal essays. Berger’s insights make it impossible to look at a painting, watch a film, or even visit a zoo in quite the same way again. The vast range of subjects he addresses, the lean beauty of his prose, and the keenness of his anger against injustice move us to view the world with a new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s Guernica, the parallel violence and alienation in the art of Francis Bacon and Walt Disney, or the enigmatic silence of his own mother, what binds these pieces throughout is the depth and fury of Berger’s passion, challenging us to participate, to protest, and above all, to see.