Ways Of Seeing
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Contains seven essays. Three of them use only pictures. Examines the relationship between what we see and what we know.
"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 the most 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. "Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" -Peter Fuller, Arts Review "The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" -Geoff Dyer in Ways of Telling
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.
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.
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.
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.
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.
The essays in this volume represent some of the best new thinking about the crucial relations between visual representation in film and human subjectivity. No amount of empirical research into the sociology of actual audiences will displace the desire to speculate about the effects of visual culture, and especially moving images, on viewing subjects. These notions of spectatorship, however hypothetical, become extremely compelling metaphors for the workings of vision within the institution of cinema. Viewing Positions examines the tradition of a centered, unitary, distanced, and objectifying spectator's gaze; investigates the period when film spectatorship as an idea began; and analyses gender- and sexuality-based challenges to the homogeneous classical theory of spectatorship. It makes available critical understandings of spectatorship that have, until now, largely eluded cinema studies.