Culture is a complex concept, but, in very broad terms, the result of its deployment has been that social scientists are now very often interested in the ways in which social life is constructed through the ideas that people have about it and the practices that flow from those ideas.
Vision is what the human eye is physiologically capable of seeing, although it must be noted that ideas about that capability have changed historically and will most likely continue to change: see Gray, 1992).
Visuality, on the other hand, refers to the way in which vision is constructed in various ways:’how we see, how we are able, allowed, or made to see, and how we see this seeing and the using therein’ (Foster, 1988a: ix). Another phrase with very similar connotations to visuality is the scopic regime. Both terms refer to the ways in which both what is seen and how it is seen are culturally constructed.
This chapter reminded me of the book “Way of seeing”; even the camera can reproduce the painting, all these different sorts of technologies and images offer views of the world; they render the world in visual terms. But this rendering, even by photographs, is never innocent.
We are, of course, surrounded by different sorts of visual technologies photography, video, digital graphics, television, acrylics, for example and the images they show us tv programmes, advertisements, snap- shots, public sculpture, movies, surveillance video footage, newspaper pictures, paintings. All these different sorts of technologies and images offer views of the world; they render the world in visual terms. But this rendering, even by photographs, is never innocent. These images are never transparent windows on to the world. They interpret the world; they display it in very particular ways. Thus a distinction is sometimes made between vision and visuality. For example, claim that `depiction, picturing and seeing are ubiquitous features of the process by which most human beings come to know the world as it really is for them’, and John Berger (1972: 7) suggests that this is because `seeing comes before words. The child looks and recognizes before it can speak’.
Watching Episode 1 by John Berger, he mostly mentions the perspective of the painting and it has changed after the camera was invented. In the painting on the wall, like a human eye, can only be in one place. It can not easily recognize the detail of the painting at one time. But the camera can reproduce painting which can possible to see in the room, making it available in any size, anywhere, for any purpose. It can reproduce the detail of the painting.
The faces of paintings become messages. Pieces of information to be used, even used to persuade us to help purchase more originals which these very reproductions have in many ways replaced. But you may say, original paintings are still unique. They look different from how they look on the television screen or on postcards. Only what you are seeing is still not the original. Jogger said that many artworks surround us with reproduction by photography, but it can not replace what we see the original work giving you.
I read a book, “Ways of Seeing,” and was surprised that it was published a decade ago because I agree with John Berger’s thinking that some paintings may already be distorted before analyzing them. After all, we are not viewing the original piece. Indeed, the information from the silence of a painting is only truly experienced when looking at the original work rather than its reproduction.
In the first part of this book, Berger discusses how one must see things before describing what one has seen using words. As such, Berger says that we see things as affected by what we know or believe. In Ways of Seeing, Berger does introduce “seeing” as a fundamental mechanism in interpreting our world. He gave us examples of how it is different from what the Middle Ages men believe the sight of fire to mean today. We can explain the fire, and the meaning of fire may change according to the person who lives in the past and now. This chapter challenges me to think that we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constitution what is present to us as we are. It means everyone has their way of seeing things.
By taking the paintings out of their surface, replaces how the artist viewed the world. Paintings preserve things as they once were, just as the painter once viewed, thus understanding the world. Engaging in conversations with each work of art allowed me to dig deeper into the actual meaning, or what could be the actual meaning, of each work. Having a “conversation” with the painting can allow us to think of things we would not have thought of otherwise.
Fans Hals’ last two great Paintings portray the Governors, and the Governess of an Alms Howse for old paupers in the Dutch is a good example. Hals was the first portrait to paint the new characters and expressions created by capitalism. This difference can be illustrated in terms of what was thought of as perspective. “Hals’s unwavering commitment to his vision, which enriches our consciousness of our fellow men and heightens our awe for the ever-increasing power of the mighty impulses that enabled him to give us a close view of life’s vital forces.
Berger has an unfamiliar perspective on photography, and he refutes the argument that photography is a mechanical process. Instead, he posits that the audience sees the image presented in the form of a photograph from the photographer’s perspective, which is influenced by an individual’s knowledge and beliefs. Also, he mentions reproduction isolates a detail of a painting from the whole. Original paintings are silent and still in a sense that information never is. He believes that paintings should not be recreated and moved so that they cannot be seen in multiple places simultaneously. Also, he thinks that moving the image changes the meaning of the original. So, by reproducing and moving the art, he states that this availably ruins the quality and uniqueness of art. However, I have a different opinion than Burger in some respects. When I went to the Louvre in France and saw the Mona Lisa, I was disappointed. The original was too
small, and there were so many people that I couldn’t see it properly, but I didn’t feel the sanctity of the Mona Lisa I was expecting. Just because they’re original artwork, I don’t think they all have more power than replicas. Today’s photography technology is different from the Burger days, and I think the photo resolution and printing technology have advanced as much as the original artwork.
In chapter 3, Berger depicts that means been overcome, the social presence of a woman is different in kind from that of a man. The social presence of women has developed because of their ingenuity in living under such tutelage within such a limited split space. Beger also explains the difference between naked and nude in this chapter. Even in universities, students often paint nudes. In some paintings, drew the main parts of male and female, and seeing such drawings brings frowns. It is sometimes difficult for us to determine by what criteria we should evaluate the picture. Berger explains what is difference between nakedness and nudity that to be naked is simply to be without clothes, whereas the nude is a form of art. According to him, a nude is not the starting pint of a painting, but a way of seeing which the painting achieves.
In the fifth chapter of this book, Berger makes a reference to oil painting. The term oil painting refers to more than a technique. It defines an art form. Yet the basis of its traditional way of seeing way of seeing was undermined by Impressionism and overthrown by Cubism At about the same time the photographer took the place of the oil painting as the principal source of visual imagery. Chapter 5 focuses on a specific tradition of oil painting, which reached its fullest embodiment roughly between 1500 and 1900. In this tradition, the emphasis is often on objects that are buyable, suggesting a relationship between oil painting and the desire to possess. Although the literal act of oil painting has existed for centuries–pigments have been mixed with oil to create paint since the ancient world—the tradition that Berger refers to here is characterized by its emergence at around the time that capitalism began to take hold in Europe. This tradition set the norms that continue to define pictorial representation, privileging a certain sort of formal verisimilitude that continues to inform our understanding of “artistic genius.”
Berger begins the chapter by posing the question: “What is a love of art?” Within this tradition of oil painting, “love of art” comes to stand in for “desire to possess.” This is illustrated with a painting of an art collector, depicted amongst his vast collection of paintings. In the logic of this picture—which represents the logic of oil painting in whole—paintings are, before all else, objects to be owned. The contents that these paintings depict, then, exist as images of that which the collector may possess. This logic is related to the elaboration of capitalism in Europe around the time that the oil painting tradition came into fashion: the implicit possibility of owning objects depicted in oil painting upholds the ruling classes’ desire to entrench the emerging power of capital.
After reading all the chapters you suggested, I got a new interest in perspective. I am looking forward to what kind of perspective I can express the world of the canvas I am creating, and also what kind of eyes the viewers looking at my paintings will see.
The professor gave us a piece of paper and a pencil during class. It was enough to arouse curiosity because I did not know the reason for giving this paper. The professor told me to write a map in Ames on that piece of paper. He gave me 5 minutes, and I had to draw only my imagination in my head without looking at any information. I slowly imagined Ames and first drew my house on the corner of a piece of paper. Most of the time, I was going to school and imagining the view over the bus I was riding on. It was the map of Ames that I thought of drawing the house as the main focus and along the bus route to the school.
The professor started asking various questions to the students who had finished drawing. Did you indicate the direction on the map picture? Did you write the title of the map? And does the picture on the map match the direction? It was enough time to rethink these questions about the map. When I drew the map, I drew the road going up by a bus with the main focus on the house I live in, and I drew the road going down, but in reality, the place I drew above was in the north direction. If someone looked at my map and found Ames, he was sure to get lost.
The professor then prepared a piece of paper and gave it to us. This time, he asked me to draw a map with the theme of Iowa State University. This time it came a little more difficult for me. It’s only been half a year since I’ve been to school, so the campus is still unfamiliar to me. Again, I started drawing maps based on the design department I attend the most. Then I drew the four buildings I knew, labeled them, and sketched out the rest of the buildings. After drawing this picture, it was an opportunity to think about how people draw a map and what it takes to draw a map.
Map of Iowa State University
I learned how much effort it takes to make a map through this class. Maps represent the real world on a much smaller scale. Maps help you travel from one location to another. It will help you organize your information. Maps help you figure out where you are and where you want to go. That’s why maps should always be able to convey accurate and objective information.
Map is an important to get any unknown place, I’ve been using maps for a variety of purposes for a long time. I have never really thought about the process of making maps. I have good chance to read the book “sign in the service of the state’ and impressed the example of he North Carolina State Transportation Map. If you don’t know this map, you can well enough imagine it, a sheet of paper-nearly 2 feet by 4 feet capable of being folded into a handy pocket or glove compartment-sized 4-by-7 inches. In this article, looking at the legend of the North Carolina map as an example, I explain the words the author wants to say a little more.
A wide variety of information can be accessed on a single sheet of paper. For first-time travelers, information on malleable travel spots is given in the lower-left corner, while those for Ferrari are in the lower right. This article goes into depth, explaining the North Carolina transport map as the Legends of the Map.
Obviously, this legend bears a heavy burden of positively reflecting the use of this map, let alone the rest of the map. The reason the plural is emphasized is that in this case the first and primary “user” was North Carolina, a fact that is less overlooked than ignored, rejected, or suppressed. Promotional devices (due to other uses) as advertisements that many are more likely to take a closer look at and even carefully preserve; So one is offered at a welcome center just inside the state borders, another at visitor centers, at the booths of state fairs, and in response to requests from potential tourists, immigrants and industrial location experts. This is perfectly evident both in the “guide to places of interest” and in the choice of photos that adorn it (unless we go back, and the “guide” is, first of all, how to justify a photo, like the text of National Geographic), but It is less clear in the legend itself.
There is also no need due to the “obvious” nature of map symbols, as the author can use Robinson’s quote to assert that “a non-obvious symbol should not be used on a map unless it is explained in the legend”. They don’t recognize puzzles through context, skip them, or ask anyone for an explanation. Some texts are provided with glossaries but are easily distributed with little references, such as map legends. But his familiarity with the reader’s sign never becomes an attribute of the sign. Even the most transparent symbols are opaque to those unfamiliar with the code. It cannot be easy to clarify the purpose of a legend when you put a lot on one page on a map, but it’s not a good idea to write down everything you want to say when you’re writing. A map is like an essay. Just as it is not a good article to include everything you think about if you try to include everything you want to include on a single map, the purpose of its information delivery may be blurred. As we have seen, the most fundamental claims of the map is to be a system of facts, and the history of maps has most often been written as the story of their ability to present those facts with ever-increasing accuracy. That this system can be corrupted everyone acknowledges none are more vehement in their exposure of the “propaganda map” than mapmakers who, having denounced the usage, feel but the freer in passing off their own products and anything other than the semilogical systems they have no choice but to be.
Have you ever thought about code? It looks like a mathematical sign, but it is used as a language, and when our language is written as a sign, the sign acts as a descriptive language. Commands must be written in exactly the presented code, and even if you put a lot of this and that, it doesn’t work well, and it seems that you don’t understand the command.
For example, there is nothing unavoidable (necessary) in the relationship between the driver’s intention to turn left with his arm out the left window (actually mostly replaced by a flashing light on the left window of the car), the driver’s pointing at the sky and More than anything in between intentions to turn right (although there have been some historical coincidences that have undoubtedly helped make it customary). In other words, the sign is a creature of the code, and through its loss it is rendered fat as a component, and there is an embodied signified separate from the meaningless signifier. It is a codification with a symbol attached, nothing else.
In each of the symbolic, linguistic, structural and temporal codes, all the physical properties of concrete instances are embodied in symbols, arranged, arranged and organized by the display codes. Title, legend box, map image, text, illustration, insert map image, scale, instructions, chart, apple, diagram, photo, description, arrow, decoration, color scheme, typeface are all selected, layered and structured to achieve your speech : Consistency, clear discourse. It is a matter of the structure of the picture plane, the surrounding map. What’s in the center and what’s on the edges, what’s Williamsburg’s fluorescent pinks and blues, whether the paper becomes stiff or loose with (obvious) age Whether the map image predominates or takes its place, repeated folds are made of rubber sheets and It’s like.
Last year, I was tasked with drawing a map in one of the client’s work. I designed a map of North Korea I had never been to. The unfamiliar city names and locations I saw for the first time were confusing. I was able to complete it through feedback with people from North Korea many times. Although this map was not complicated or legendary because it was to convey city information about food, it was difficult because of the characteristic of the map that language should be visualized and symbolically represented. Fortunately, the client likes my designed map and I can applicate how to design a map many things from this article in the future work.
In the new nature of maps book, the author explores the discourse of maps in the context of political power, and the approach is broadly iconological. Maps will be regarded as part of the broader family of value-laden images. Maps cease to be understood primarily as inert records of morphological landscapes or passive reflections of the world of objects but are regarded as refracted images contributing to dialogue in a socially constructed world.
The notion of language more easily translates into historical practice. It not only helps us to see maps as reciprocal images used to mediate different views of the world but it also prompts a search for evidence about aspects such as the codes and context of cartography as well as its content in a traditional sense. A language-or perhaps more aptly a “literature” of maps-similarly urges us to pursue questions about changing readerships for maps, about levels of carto-literacy, conditions of authorship, aspects of secrecy, and censorship, and also about the nature of the political statements which are made by map.
Example 1) Pictured below is a world map of Ptolemy. The original, presumed to have been drawn around the 2nd century, has not yet survived, and the map we see today is said to have been copied around the 15th century. Would you believe this map of the world was drawn around the 2nd century? What is even more surprising is that it is a painting based on the words of merchants and officials who returned from round the world at the time.
He was the first map to draw the world by setting latitude and longitude, showing that the earth is round by expressing both latitude and longitude as curves. Nevertheless, it is quite surprising that it is so accurate that it is almost indistinguishable from the current hypocrisy and primary. Is it because of this? It is said that Ptolemy’s world map had a great influence on al-Idrisi’s world map and Cantino’s world map. Al-Idrisi’s world map has been looked at before, so let’s take a look at the Cantino world map below.
Political Contexts for maps
Maps of the World showing the Extent of the British Empire in 1886 was first published as a supplement to the Graphic newspaper.
The Arnolfini Portrait by Jan van Eyck, created in 1434, leading masterpiece among Early Netherlandish Renaissance paintings. which shows the whealth and opulence of Giovanni Arnolfini and his wife Costanza Trenta (or Giovanna Cenami). National Gallery of Art in London has it in permanent collection.
The Arnolfini Portrait by Jan van Eryck, created in 1434, leading masterpiece among Early Netherlandish Renaissance painting which is currently in the collection of the National Gallery in London, is famous for its strikingly realistic and precise details, gorgeous colors, and the expression of spatial depth through experience rather than mathematical perspective.
In the brlincton magazine by Erwin Panfsky said on a small panel two portraits in oils, of a man and woman taking each other by the right hand, [note that, in reality, the man grasps the woman’s right hand with his left:] as if they were contracting a marriage; and they were married by Fides who joined them to each other.
In the mirror hanging on the wall in the background, in addition to the back of the Arnolfini’s, two men appear as witnesses of the wedding. In particular, one of them is Jan van Eyck, who appears to have painted to document and testify to the establishment of this marriage. The most important reason for interpreting this painting as a wedding scene is the act of a man and a woman holding hands, one of the important ceremonies in the wedding. The other is to take an oath before God to fulfill the promise, and Arnolfini’s solemn expression and raised right hand indicate that he is performing this ceremonial oath.
Another important factor in understanding relates to the various objects in the background. Each object that looks like ordinary furniture or objects inside a home has a symbolic meaning.
For example, a single candle lit over Arnolfini’s head symbolizes divine insight and wisdom, or an oath to marriage, and a wooden sculpture at the top of a furniture column to the right of the mirror is Saint Margaret, patron saint of women wishing to conceive. The dog symbolizes the faithfulness of the wife to her husband, and the shoes on the floor symbolize the sacredness of the space where the wedding ceremony is held.
In fact, to find an analogous composition in northern painting, we must go forward to Holbein’s Ambassadors. However, taking into consideration the fact that the London picture is both a portrait of two individual persons and a representation of a sacramental rite, we can explain its compositional scheme by comparing it not only with specimens of portrait-painting, but also zwith representations of marriage ceremonies to be found, for example, in the Bibles Moralisees or, even more a propos, in a French Psalter of about 1323. In it, the marriage of David and Michal, the daughter of Saul, is represented in a very similar way as that of Fiovanni Arnofini and Jeanned de Cename, only the bride does not act of her own accord, but is given away by her father who is accompained by a courtier and carries a glove as a symbol of his tutelary authority.
ART & DESiGN JOURNAL 