Introduction
Seeing and acknowledgment precede words, with seeing creating our place in this world and terms clarifying it. According to Berger, there is a contrast between what we view and what we know, and we understand how the latter affects the former, resulting in what is known as a dynamic relationship (7). Furthermore, he explains that the art of seeing is an active and deliberate act in which we notice what we are looking at and become conscious that we can be seen.
Discussion
An image is a representation of a sight that has been replicated. It is an appearance preserved independent of the place and time it first emerged (Berger 9). Drawings involve the creator’s way of seeing, and our comprehension of another person’s picture depends on our way of seeing. Photographs were created to portray something that did not exist and later gained additional meaning by lasting longer than the actual topic (Berger 10). Since photographs record history so well, they are more accurate and prosperous than literature. The greater the artistic work, the better it allows us to share the artist’s perspectives of the noticeable.
When a photo is displayed as a piece of art, its interpretation is influenced by learned presumptions like glamour. Ultimately preventing us from seeing the picture for what it is and thus depriving us of our history (Berger 11). After the discovery of cameras, the solitary spectator, who could only be in one place at a time, shifted the view of art. Cameras altered how artists perceived things and destroyed the individuality of photos by replicating them, breaking the definition (Berger 19). Essence is no longer found in the image’s objective but its actual one-of-a-kind existence.
Conclusion
Reproduction removes the description from a painting, where the intention shifts to varying degrees. A filmmaker, for example, forms an argument by picking parts of the film and conveying them in a specific sequence. On the other hand, the viewer will take in the entire image in a moment (Berger 26). Moreover, juxtaposing pictures and texts alters the interpretation based on the photograph’s context. On the other hand, Berger sees value in the actual picture because it is silent and contains traces of the painter’s deeds, creating a connectedness between the artist and the viewer (Berger 31). Berger concludes that a comprehensive approach is required to connect art to everyone’s experience.
Work Cited
Berger, John. Ways of Seeing. British Broadcasting Corporation and Penguin Books, 1972.