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Surrealism movement essay
Reality as a social construction
Surrealism movement essay
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Rene Magritte a Belgian surrealist artist created a painting of a pipe with the words “Ceci n’est pas une pipe” at the bottom. The phrase translates to “This is not a pipe.” The painting challenges the idea that a visual representation of something and a physical object are the same thing. The image is not a pipe, but a picture of a pipe. This paper will discuss three ideas on why people tend to believe the painting is in fact the same thing as a pipe. First, that reality is a social construct, then the idea of master vs. slave and finally the idea of bounded ethicality. According to Daniel Graeber, a Media Literacy Professor at Grand Valley State University, reality is a social construct (Class notes). Our perspective is based off our experience.
If one chooses to accept the phrase that then they accept the idea that a person’s reality is formed through experiences, up brining and environment. Therefore, it’s easy to understand why someone would latch on to the notion that the painting is in fact, a pipe. Consider Aristotle, who was a Greek philosopher and scientist, he developed the concept of the “Golden Mean” (Class notes). If you were to think of virtue or truth as being on a scale, according to Aristotle, virtue or truth would be somewhere in the middle, it’s “somewhere” because it’s subjective for everyone. We can never know for certain what the ultimate truth is, therefore if someone were to disagree that the painting of a pipe is in fact a pipe, and not a representation of a pipe, that would be because that is their truth, or their virtue. Furthermore, Friedrich Nietzsche a German philosopher and scholar suggested that “By morality the individual is taught to become a function of the herd, and to ascribe to himself the value only as a function.”(Nietzche 577). Nietzsche also suggests that each person contains a “Tablet of virtue” or a moral code that is carried unconsciously (Class notes). The “Tablet of Virtue” is relavent to this discussion because of another idea Nietzche presented, the idea of a master/slave relationship. In the contexts of this discussion consider the observer of the painting the slave and whomever holds the an elite position in their life, the master. Now let’s say the master declares that a painting is the same as a physical object, their truth would then be the picture is in fact a pipe. They have accepted this truth because they want to reflect the truth of their master because they aspire to be their master. They have also unconsciously accepted a “Tablet of Virtue” which reflects that of their master. The final explaniation to why someone would hold fast to the idea the paintng is in fact a pipe is centered around Philosopher Dolly Chugh. Chugh presents an idea called bounded ethicality, she says “We argue that individuals view themselves as moral, competent, and deserving and this view obstructs their ability to see and recognize conflicts of interest when they occur.” (Chugh 75). Meaning we go through life on autopilot. We subconsciously accept what is placed in front of us because of biases embedded deep within us. Relating this back to the painting of the pipe. Those who reject the idea that the painting is not a pipe may be doing so because unconsciously we are confined to our own reality.
What we see is not the truth, but rather our interpretation and distortion of the things we struggle to perceive, as our imagination fuses with our conception of reality. We conceptualize these omnipotent forces through our uses of symbols – to create an understandable world through abstractions – in order to explain what these forces are. [INTRODUCE CAPRA]
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
In this paper, I will explain how the media exemplified mediated reality and agreement reality
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
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.”
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
people reading or learning about this sort of topic. Reality is what is real or
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
Berger, Peter, and Thomas Luckmann. The Social Construction of Reality: A Treatise in the Sociology of Knowledge. 1st ed. Garden City: Anchor Books, 1966. Print.
In a time when artistic freedom was severely limited, the French Impressionists tirelessly explored new artistic frontiers despite hostile encounters with the public, ultimately redefining the world’s perspective on art.
...epth perception, and clear lines make Sebastians Still Life with Glasses seem real. Brushstrokes, unclear lines on the table, and distance not visible to the viewer but symbolic, make Jeans’ Still Life with Kitchen Utensils more of a work of art, than a depiction of what is real.Jean portrays a table in a house of a commoner and Sebastian, a table in the house of the wealthy. The viewer of both of these paintings, is himself of nobility. On the one hand he sees this lush kitchen table of Sebastians’ and relishes in his own wealth, but on the other, he seems separated from the poverty of Jeans table. The wealthy man has the grapes, but not the onions, not the wisdom of the poor that leads them to seek virtuous things rather than material objects.He is inevitably separated from both the pain of poverty, and the wisdom of the righteous not self seeking but humble man.
"Art is dead," says Sontag; however, according to Parry[2] , it is not so much art that is dead, but rather the fatal flaw, and some would say the failure, of art. Therefore, Marx uses the term 'the subcapitalist paradigm of reality' to denote the role of the reader as participant. Any number of deappropriations concerning postmodern materialism may be discovered.
Pontius, Erika S. “the Impact of Reality Television on Viewer’s Perception of Reality.” http://clearinghouse.missouriwestern.edu. Department of Psychology, Missouri Western State University, 22 Apr. 2003. 29 Nov. 2013.