Art and Human Perspectives of Visual Culture - Literature review Example

ART AND HUMAN PERSPECTIVES OF VISUAL CULTURE By (Name) The Name of the Course Professor (Tutor) The Name of the School (University) The City and State where it is Located The Date Art and Human Perspectives of Visual Culture Introduction In today’s world, human beings are facing a huge encounter with artificial images. The ever-changing time and technology has resulted in the increase of images, making the human race rich and affluent. Images have bombarded human beings to the extent of causing harm on them, as most people are not in position to perceive the significance of the physicality of images. This has been instrumental in influencing the social functions of the humans towards visual imagery. According to Ahmadi et al. (2012), the relationship between art and visual culture has an outstanding and long history that dates back as early as the 19th century. Photography mainly featured in newspapers to air advertisement that soon accelerated to films which have become a major form of art. During the 20th century, films have become source of visual imagery exploding to the omega point, giving rise to television, one of the most powerful image machines ever created. Ever since, art and visual culture is advancing at a rapid pace thanks to the multimedia sector that is making images to compete with words and sounds to incorporate the modern digital and interactive multimedia culture. The study dwells on art and visual culture and focusing on critical aspects such as humanism. Humanism Humanism has influenced the general culture of the present time, ever since the period of Reformed activity in Italy. Humanism is also known as renaissance humanism and at some instances, it is said to be an early renaissance. This due to the fact that the movement was associated with the provision of answers to scholars at a time when education was mainly emphasized in practical and scientific studies. Education was dominated by men. According to Carpenter and Tavin (2010 p. 274), human right activists reacted against the utilitarian approach. They sought to create a citizenry that frequently included women able to speak and write with eloquence. The women were then supposed to engage the civic life of their communities. Humanism has been instrumental in the developmental of human culture through classical antiquity that has revived individual visual civilization. Rogier van der Weyden, a portrait of a man holding a book in 1945 The evolution of humanism has its root from the classical Greek and Roman art forms that run a long way. The art lead to renaissance causing the ancient world to consider it to the human pinnacle as an achievement influencing many accomplishments serving as a model. Aloni (2011) explains that early Renaissance art originated from Italy, majorly focusing on a sculpture with the leading artists being Donatello, Brunelleschi, and Ghiberti. Donatello being a humanist made him became a renowned and greatest sculptor of the early era while the erotic statue of David as iconic of the Florentine republic. However, besides the good attributes of humanism, it also had negative influence such as affecting the artistic community and people perception about art. Renaissance artist were unique from the rest because they were trained intellectuals and their art reflected their art newfound perspective (Aloni, 2011). The use of Printing and Cartography in Unveiling Humanism Some years ago, the world knew nothing besides the text-based print that constituted the largely on the culture that dominating the communications sector. Johannes Gutenberg the man behind the intervention of the printing press that occurred after a period where the man had to copy books in the manuscript of forms using their hand (Ahmadi et al., p.113). Printing became popular because the latter procedure was costly, time-consuming as well as harboring plenty of human errors while the printing press incorporated movable types to transfer words to the printed page. Printing was vital in the transformation resulting in cartography, improving the map trade, allowing for much wider dissemination of maps and text especially during the pilgrimages of the Holy Bible. Renaissance, Michelongelo’s David 1504 Printing in some instances, may appear as a modest invention; although it has undergone a transformational phase, shaping the historical period that has influenced the flourishing print media, in term of humanism. Aloni (2010, 17) illustrates that besides renaissance occurring in a time when art was developing, humanists scholars studied ancient Greeks and Latin writer’s work. The played a great role in forcing them to travel across countries in search of manuscripts containing their work. The invention of the printing press was vital during an ancient period because it enabled availability of texts for dissemination without errors of native to scribal coping (Ahmadi et al., 2012). Picturesque in relating to representation Photography has its origin from the human race, influenced by factors such as culture, scientific and economical determinations. Human interpretation of a visual image is dependent on their interactions as a basic component. The current era is flooded with artificial visual and image-saturated cultures than ever recorded in the human history having an impact on the comprehension of the intricate construction as well as a number of social functions of visual imagery more essential than ever. According to Whitney Davis (2011, 85), picturesque is a moment of iconic capture that may be accomplished by either a camera, rifle slopes or disclosure that is occasionally gendered and politically aligned. Determination of a good photograph is by the moveable power and the distance of the observer not forgetting the off-screen and out- of- screen voice (Ahmadi et al., 2012). The picture shows the interior of Paris To explain picturesque well, application of Madonna imagery is essential in clarifying the process. Madonna being among the celebrities of the music video distributes her through the use of well known music production, film as well as performance team which provide her with quality photography and videos a unique look that distinguishes her from the rest. The kind of imagery that is used in her music and video combined with her style of dancing gives her upper hand. The inclusion of visual art made Madonna to be a cultural icon mainly due to the nature of her look, stunning image and position as a conciliator of fashion, sexuality, as well as the style. (Schwichtenberg 2006 p.131). The emergence of Madonna as a celebrity facilitated by picturesque and visual culture because the public relations operations in charge of disseminating images through tabloid culture, press, film including the television influences the visual culture. Besides, the music videos and images of the Madonna show a replicate of traditional images of the female gender as sex objects as well as highly commoditized enriching artifact that displays a given look. This is used as an instrument to promote and sell that particular culture in the fashion industry (Keller, 2000 p.77). From such a perspective, Madonna may be fated as an envoy of commodity culture, narcissism, and capitalist-consumerist principles. It is for this reason that a critical hermeneutic of the polysemic nature of imagery depicts political beliefs of visual demonstration from a number of viewpoints that indicate complexities and disagreements in the principles of visual representation which in one way of the other, promote or dispute domination and subordination. Basically, a person needs to look at the options available about image production in photography, film or video. This will help in providing a genuinely emancipator of high quality images about a given culture. Images of media culture are fond of exhibiting a high level of prosperity as well as multiplicity of the underlying meaning which generally affects visual literacy. Multi-perspectives approach is essential in the exploration of picturesque that conceptualizes images and visual culture. Furthermore, developing a significant visual literacy is an essential component of reconstruction of both education and the general society that would incorporate literacy. The use of photography to verify Renaissance visions of the world whereas some nineteenth-century critics considered photography, not art Photography evolution has a long history, since the time of image discovery entailing black and white imagery that occurred due to the combination of several techniques. Obscura cameras were helpful in the provision of scene images in the ancient times because natural camera helps in the formation of the dark caves at the edge of the sunlit valley. Ahmadi et al. (2009, 122), suggest that the origin of photography was mainly interested in coming up with a way of fixing and maintaining the images being produced by the cameras. However, the introduction of Renaissance painters made it possible to accommodate and use the obscura camera that resulted in giving an optical rendering in color that later dominated the Western Art. Photography has become phenomenal because of the factor that it reviles the imprint of nature (Kellner, 1995). A portrait of a renaissance studio Art requirements influenced the design of the camera of the early 19th century for it developed all the way through the modern Western tradition, mainly from the time of the discovery of Renaissance single-point perspective. Schwichtenberg (2006 p.139) argues that photography is a material that depicts reality of the major differences which come from other forms of visual illustration. The coming up of image and visual culture has gone through cultural centrality that is said to have began with photography in the 19th century, and migrated into newspapers and advertising by the turn of the new century. Human skillfulness resulted in the intervention that later lead in designing of beautiful natural printing such as plates of the ordinary that runs in the history of photography (Keller, 1995 p.101). The camera obscura refers to "dark chamber" in Latin. In this case, the box which has a hole in it permits light to go through it, leading to the creation of image into a paper. It is clear that the knowledge behind the blueprint of the early 19th century camera obscura inclined with the expectations of the works of art as they increased towards modern Western tradition (Kellner, 1995 p.38). The Scopic Regimes and its impact The modern era is flooded with a great sense of sight to the extent of influencing people’s pre-modern thinking. It is difficult to ignore the influence of contemporary western culture on the visual because it portrayed in a couple of evidence. Visual discussions are not complete without the inclusion of the “scopic regimes” of the modern. As Aloni (2012 p.67) suggests that previous history, events are not a mere block of a single visual space because it is seen to contain its moment of unease. This image dramatically illustrates of a particular scopic regime of modernity The consideration of the scopic regime of modernity is as a terrain rather than a harmoniously integrated complex of visual theories and practices. The visual model of the current era identified with Renaissance notions of perspective in the visual art. Moreover, Cartesian ideas also related to the modern visual age that can view as Cartesian perspectivalism. Although this does not mean that, the two are similar for the modern scopic regime it modernity is usually based on visual model. For instance a male photographer displays and introduces a woman as a perceive gender dimension that leads in the realization of the integral role of certain cultural aspect in the society (Whitney, 2011 p.212). In some communities, this factor increases violent indices as women are viewed as weaker vessels, fixed for most pictures indicates them as pictorial, framed and sculptured while men are rigid informing their female counter parts that they are influenced by the social, cultural and political environment. It is important to embrace the plurality rather than spend time trying to change because hierarchy is available in the scopic regime for the fiction of a true vision made possible by the scopic administration that is already existing and is difficult to limit, as it is doubtless visual. A photographic image that the viewing mind conceives of as being in the frame: I think therefore I am (Cartesian perspectivalism). The identification of plurality was vivid during the colonial and postcolonial societies. This led in the discovery some of the visual images akin to tourist and ethnological depiction, in addition to the mathematical imagery of the colonial census that took the multiplication and division of tables ethnic, caste and tribal counts. Aloni (2011 p.41) recognizes the impact of the multiplicity of visual that includes a map of a genealogy of the visual culture that is historically rooted in the diverse of social-cultural elements. For example, during the milieu of the complex industrial, in the 19th century the England social relation were opaque and diffused, making it difficult for interaction that were essential in enriching the human culture. In addition, a third model of vision also referred to as the second moment of unease in a dominant model. The possibility of identifying the third model is influenced by the baroque. Together with Renaissance, artists can postulate a perennial oscillation between two styles that consists both the printing and architecture (Schwichtenberg, 2006 p.251-2). As years went by, the third model was called the renaissance or the classical style that leads in a painterly, recessional, soft-focused with a multiple and open frame. It was influential as evident during the 17th century as it was incorporated in the Catholic Counter Reformation by the newly ascendant absolutist state. According to Spanish historian, Jose Antonio Marvali (Ahmadi et al., 2012 p.21), classical baroque may be seen as a permanent visual but in real sense it is repression in the entire modern world. It is for this reason that baroque vision is the most suitable substituent of the hegemonic visual style, previously called the Cartesian perspectivalism. Conclusion In conclusion, ideologies, and its different forms have clouded the human environment causing an influence on their daily perspectives of visual culture. The increase has been instrumental in the establishment of social functions among the human community because of both the visual imagery and representation. Since the emergence of photography in the 19th century, imagery has undergone a couple of transformation as civilization affected its ant tricks on the human generation creating a rich history from the ancient Greeks and Latin. Aspects such as humanism emerged, thanks to the early scholars that sought answers from art that lead to renaissance causing the ancient world to consider it to the human pinnacle as an achievement influencing many accomplishments. Finally, modern visual imagery is multiple realms of image incorporating integrated complex of visual theories and practices. List of References Ahmadi, A. A., Ahmadi, F. & Abbaspalangi, J., 2012, "Talent management and visual ideologies”, Interdisciplinary Journal of Contemporary art and humanism research In art, vol. 4, no. 1, pp. 213-224. Aloni, N., 2011, Humanistic education: From theory to practice. In W. Veugelers (Ed.), Education and humanism: Linking autonomy and humanity (pp. 35-46). Rotterdam, The Netherlands: Sense Publishers. Carpenter, B. S., & Tavin, K. M 2010, Drawing (past, present, and future) together: (graphic) look at the re-conceptualization of art education. Studies in Art Education, 51(4), 327-352. Huitt, W., 2009, Humanism and open education. Educational Psychology Interactive, Retrieved on June 7, 2015 from . Kellner, D., 1995, Media Culture and the "Multiple Literacies and Critical Pedagogy in a Multicultural Society." Educational Theory, London and New York: Routledge. Vol. 48, Nr. 1: 103-122. Schwichtenberg, C., 2006, "New Technologies/New Literacy: Reconstructing Education for the New Millennium," Teaching Education. Vol. 11, No. 3: 245-265 print. Whitney D., 2011, A general theory of visual culture. Princeton: Princeton library press, 234 pages, 121- 128. Read More

Printing became popular because the latter procedure was costly, time-consuming as well as harboring plenty of human errors while the printing press incorporated movable types to transfer words to the printed page. Printing was vital in the transformation resulting in cartography, improving the map trade, allowing for much wider dissemination of maps and text especially during the pilgrimages of the Holy Bible. Renaissance, Michelongelo’s David 1504 Printing in some instances, may appear as a modest invention; although it has undergone a transformational phase, shaping the historical period that has influenced the flourishing print media, in term of humanism.

Aloni (2010, 17) illustrates that besides renaissance occurring in a time when art was developing, humanists scholars studied ancient Greeks and Latin writer’s work. The played a great role in forcing them to travel across countries in search of manuscripts containing their work. The invention of the printing press was vital during an ancient period because it enabled availability of texts for dissemination without errors of native to scribal coping (Ahmadi et al., 2012). Picturesque in relating to representation Photography has its origin from the human race, influenced by factors such as culture, scientific and economical determinations.

Human interpretation of a visual image is dependent on their interactions as a basic component. The current era is flooded with artificial visual and image-saturated cultures than ever recorded in the human history having an impact on the comprehension of the intricate construction as well as a number of social functions of visual imagery more essential than ever. According to Whitney Davis (2011, 85), picturesque is a moment of iconic capture that may be accomplished by either a camera, rifle slopes or disclosure that is occasionally gendered and politically aligned.

Determination of a good photograph is by the moveable power and the distance of the observer not forgetting the off-screen and out- of- screen voice (Ahmadi et al., 2012). The picture shows the interior of Paris To explain picturesque well, application of Madonna imagery is essential in clarifying the process. Madonna being among the celebrities of the music video distributes her through the use of well known music production, film as well as performance team which provide her with quality photography and videos a unique look that distinguishes her from the rest.

The kind of imagery that is used in her music and video combined with her style of dancing gives her upper hand. The inclusion of visual art made Madonna to be a cultural icon mainly due to the nature of her look, stunning image and position as a conciliator of fashion, sexuality, as well as the style. (Schwichtenberg 2006 p.131). The emergence of Madonna as a celebrity facilitated by picturesque and visual culture because the public relations operations in charge of disseminating images through tabloid culture, press, film including the television influences the visual culture.

Besides, the music videos and images of the Madonna show a replicate of traditional images of the female gender as sex objects as well as highly commoditized enriching artifact that displays a given look. This is used as an instrument to promote and sell that particular culture in the fashion industry (Keller, 2000 p.77). From such a perspective, Madonna may be fated as an envoy of commodity culture, narcissism, and capitalist-consumerist principles. It is for this reason that a critical hermeneutic of the polysemic nature of imagery depicts political beliefs of visual demonstration from a number of viewpoints that indicate complexities and disagreements in the principles of visual representation which in one way of the other, promote or dispute domination and subordination.

Basically, a person needs to look at the options available about image production in photography, film or video. This will help in providing a genuinely emancipator of high quality images about a given culture.

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