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How technology can change us for better or worse
How technology can change us for better or worse
Technology affecting our lives
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Michael Posner once said,” Even now, after Debord’s death, in an age of mindless interactivity, we remain consumers, increasingly disconnected from reality and our own lives mesmerized by images.” This quote means that our reality has been transformed in a damaging and artificial ways, which has violated our inner ability to judgment. Under such circumstances, image culture has already became a social preference and we react emotionally rather rationally. And that is why we are still not able to connect with the reality. I agree with this quotation, as it holds true in life, and in modern culture. Both Image world by Michael Posner and The Wire by Brian Lowry teach audiences about the idea that people are highly influenced and adopted by fancy spectacles and illusions, they are preferred to see what they want to see rather than what is real and valuable. However, there are some significant differences in those two novels, which contradict with each other. The novel Image world demonstrates how people adopted spectacles then preferred spectacles in many prospective. Life has become a fancy presentation with manipulations and illusions, just in order to keep people interested and hypnotically responsive. One of the ways Image World proves this point is through theme, which is the central idea revealed through a literature work. In the novel Image world, Michael Posner describes popular places in the world like: Broadway, Cannes, Pairs, Milan, New York, London, Las Vegas, even theme parks in everyday life are all surround by spectacles and illusions. It’s all built and designed in a common ground of spectacle. Those places are sublime, but it is also part of fraudulence and people enjoin it. Michael Posner proves a fact ... ... middle of paper ... ... to be true, we are now living in a world with full of spectacles and clearly people are interested and responsive to it, there is somehow a mental paradigm shift of thinking which we depend more on our intuition rather intellect. However, The Wire brings up the argument that image culture does not necessarily deprive people’s ability to think, but somehow encourage people to think more actively. After examine both novels, I think Posner’s arguments can only be partially right, people are mesmerized by spectacles, but at least people’s inner ability to think still exist. Despite all the facts that The Wire is unpopular and infamous, it’s still one of the most demanding and thoughtful TV series of all time, which means most of the people are still think rationally. So far, there are some concerns about image culture, but I think overall those concerns can be fixed.
Not only educational shows accomplish these goals, but fictional television programs can often incorporate information that requires viewers to grapple with a topic using logical reasoning and a global consciousness. In addition, not to diminish the importance of reading, television reaches those who may never pick up a book or who might struggle with reading problems, enabling a broader spectrum of people to interact with cognitive topics. Veith has committed the error of making generalizations about two forms of media when, in truth, the situation varies depending on quality and content. However, what follows these statements is not just fallacious, but
Larson’s use of imagery causes the reader to picture the beautiful landscape of the fairgrounds before the fair becomes, which might make the reader wish they were apart of this scenery. Larson emphasizes people will see things they “have never seen before”. Like a “broad body of water extending into the horizon” (55) , making the reader feel as if
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
In “Wires and Lights in a Box,” the author, Edward R. Murrow, is delivering a speech on October 15, 1958, to attendees of the Radio-Television News Directors Association. In his speech, Murrow addresses how it is his desire and duty to tell his audience what is happening to radio and television. Murrow talks about how television insulates people from the realities in the world, how the television industry is focused on profits rather than delivering the news to the public, and how television and radio can teach, illuminate, and inspire.
People tend to views an image based on how society say it should be they tend to interpret the image on those assumption, but never their own assumptions. Susan Bordo and John Berger writes’ an argumentative essay in relation to how viewing images have an effect on the way we interpret images. Moreover, these arguments come into union to show what society plants into our minds acts itself out when viewing pictures. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. Learning assumption plays into our everyday lives and both authors bring them into reality.
May 04, 2012. This article talks about the fascination of reality vs. illusion. The article examined the media’s current fascination with manufactured reality. The article said “in our modern world where every channel seems to have its own version of a reality show, we are inundated with the media’s version of what is real. There is a reason why there are so many of these shows on the airwaves, and that is viewers can’t seem to get enough of them.”
In a world filled with false politicians, posed media pictures online, and media magazines filled with fake pictures taken out of context, it is easy to believe that the world has become artificial and fake. Chris Hedges’ Empire of Illusion presents an argument that fills the lines dictated by today's society by saying that the most essential skill for most people in political theatre or consumer cultures is in fact artificial. I believe this statement to be true as the need for honest and sincere politicians and advertisers have become irrelevant as the ability to become popular and succeed in a goal through artificial items has becomes more popular through the uses of posed media and the ability to put on the show of a different person.
...d that television holds on us, Postman give two ideas. The first idea that he gives, he describes it as ridiculous to create programming that demonstrates how “television should be viewed by the people” (161).
...central rather than peripheral in the forging of a more liberating and intelligent visual culture in the United States" (p. 37).
In the essay “Ways of Seeing” written by John Berger, Mr. Berger makes his attempt to inform an audience with an academic background that there is a subjective way that we see things all around us every day and based on our previous experiences, knowledge, and other things that occur in our lives, no two people may see or interpret something in the same way. In the essay Mr. Berger uses art as his platform to discuss that we should be careful about how people look at things. Mr. Berger uses rhetorical strategies such as ethos, pathos, and logos. These rhetorical strategies can really help an author of any novel, essay, or any literature to truly get the information they desire across to the audience in a clear and concise manner.
One of the most interesting features about today’s media is that it connects many individuals in perplexingly short amounts of time. Through constant streaming, society has become extremely vulnerable by allowing themselves to be engrossed by the presented reality. The outcome is unsuspecting citizens that are mentally deformed by the adverse lies told to them. Gary Shteyngart exploits this reality through his successful novel, Super Sad True Love Story (2010) in which he creates a fictional world focusing on consumerism and commercialism. This fictive work creates an environment of secrecy in which the government actively displays more cover-ups and less controversial activity. Similarly, but to a much larger extent, Peter Weir’s film The Truman Show (1998) presents a city consisting of theatrical illusions surrounded by
The images that infiltrate our lives appear to focus on maintaining the status quo or the norms of society. They are designed to show what is expected in life. Berger states, "Images were made to conjure up the appearance of something that was absent"(107). Berger argues "images" are "conjured up" or imagined to represent what is "absent" or what the individual wants to see as reality. There used to be a tendency to over exemplify the way in which women were thought to be, but "today, that opposition no longer seems to hold quite as rigidly as it once did (women are indeed objectified more than ever, but, in this image-dominated culture, men increasingly are too)" (156). Regardless of so...
Debord, Guy. "Society of the Spectacle." Society of the Spectacle. N.p., 1967. Web. 22 Apr. 2014.
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
...bout the “real” real world.” Psychology of Popular Media Culture, Vol 2(4). Oct 2013. 237-250. PsychARTICLES. 29 Nov 2013