Occam’s Razor – Bill Jay Threshold – The Disturbing Image
Bill Jay begins is essay with a descriptive paragraph of a cigarette being put out in a plate of food. He states that the most disturbing part of that was the smell of the burnt cabbage. He moves on to discuss how photographers do not willfully cause discomfort or mean to shock viewers. Then Jay defines disturbing into two parts: (1) how the image pushes the viewer to limit their emotion: eventually causing rejection. Then two sub groups; personally shocking and generally shocking. (2) The image “rocks the status quo and breaks the order of things.” Jay talks about how humans have the instinct to survive but with any threat will fill “humans” with panic. This will lead the humans’ stimuli into an extreme reaction, such as continuations. I am not exactly sure what that means but the next couple paragraphs were very interesting. For example, the evolutionary urge is to procreate, grow increasingly complex, adapt to the environment, and expand consciousness. I understand procreation is what we, humans, are “really” here on earth for but I was just taken back when I read it. I agree with Jay, especially when he begins to discuss that we are actively seeking violence and sex on television, movies, and books. Which in return, an anxious and disturbed viewer makes a good consumer, which makes sense because by disturbing the viewer you are making create emotions of only fear and shock them. Also, he states “photography allows us to approach the cliff-edge with out physical risk.” I can relate to this personally, this is the main reason why I love horror or severely disturbing films because it’s like being at the location and time without being there. And as for the second part of disturbing, I feel like it was about “how photographs that view unsettling to us, is signals that the medium is vigorous and energetic no matter how much we loathe them personally.” No matter what a photograph looks like, it’s not concerned with the photographer’s motives or lapse in good taste.
The Practice of Everyday Life – Micheal de Certeau Chapter V - The Arts of Theory
Michel de Certeau begins the article talking about theorist Faucalt and Bourideu, which he then discuses their articulations a discourse on non-discursive practices. Which I felt that he was trying to say that the theorist’s ideas were not acceptable to him. Then he starts to talk about how the process of theories can be a recipe in cooking. There are two alternative “ways of making” a theory. First, “cut it out”, which means take out the idea from the details, then “turn over”, which means to construct a new theory from the old. De Certeau moves on to talk about how the difference, between operations , no longer refers to a set of theories and practices but now, speculations and applications of distinction. The 'know how' is associated with having knowledge. It is composed of of many but wild operations. The distinctions between art and science are that science is the operational language, that uses grammar and syntax form constructed by systems and the arts are technique that waits for knowledge that they currently lack. But they now are no less helpful, because techniques which can even be automatic. De Certeau speaks about the key technique of art theory is to manage and find the understanding of the narrative. This led to the educated knowledge to understanding.
What is disturbing? I agree with Bill Jay that almost any photograph could be seen as disturbing to someone, at some time. What someone considers good taste is completely subjective due to that fact that we, as a people, are not the same. We were not all brought up with the same moral codes, nor do we share the same personal histories. Images dealing with sex and violence seem to be a constant source of disturbing images, but it would be ignorant to say that "everyone" is offended by them. In fact, if anything, the more we are bombarded with these images, the more we become desensitized to them. "The source of much disturbance is created by the words which accompany the image - with the image making words up-close, real and actual." (pg. 39). It's true that our interpretation of any image changes with text, not just disturbing images. Why is that? Why does our connotation of an image change with only the addition of a few words?
The Resistance to Theory - Paul de Man
Why do we feel the need to resist theory? "The resistance of theory is a resistance to the use of language about language." (pg. 13). Is this because more often than not we are unsure of what we are reading? When we are unsure, we develop our own connotations as to what something means and can find ourselves reading something that wasn't even there. In a sense I felt like that during this reading. Personally, I had a hard time understanding this reading. Perhaps this is due to my own misunderstanding of words, or lack of knowledge as to definitions. Either way, I did not fully understand this reading.
Photography: Theory & Criticism will examine historic and contemporary philosophical, aesthetic, and epistemological topics addressing the evolution of theories germane to contemporary photographic discourse. As a class, we will address structuralism, post-structuralism, deconstruction, semiotics, and the taxonomy of visual representation from simulacrum to social classification analysis. Conceptual understanding and the successful application of the topics addressed throughout this course are designed to further develop your photographic lexicon. The application of thoughtful, theory-based ideas can be employed to promote visual solutions to challenges in the design, execution, and creation of your work. Theories and topics discussed in the readings will be introduced with supporting imagery for discussion and debate. Active discussion and participation are core requirements of this course.
COURSE OBJECTIVES:
This course is designed to introduce critical theory and foster the understanding of multiple expectations/interpretations and potential message(s) contained within the photographic image. By deconstructing the conceptual design, formal elements, and the ever-evolving cultural architecture requisite to a contemporary visual language, we will develop the required skill sets to actively seek qualified meaning beyond an image’s superficial mimetic qualities. The ideas, theories, philosophies, and positions expressed by the assigned authors are subject to sensitive trends within ethnographical movements. Through multiple writing exercises, interviewing artists and critics, and attending gallery/museum exhibitions, we will define and articulate points of long-term personal aesthetic/conceptual interest.
TEACHING ASISTANT:
FRANCES JAKUBEK
The teaching assistant will provide structural support for all class discussion topics, assist with logistical preparation, and participate in the on-going critical analysis of readings, written reviews, and presentations. Ms. Jakubek’s position is to be informative and knowledgeable on all subject matter addressed in class, accessible for project-related conceptual development, and to respectfully challenge the integrity of your work in all of its manifestations.
This semester, Ms. Jakubek will be leading select critical discussions, as well as supporting lecture(s) on critical/theoretical essays in conjunction with on-going class curriculum.
If you have any questions for or regarding your teaching assistant, please feel free to contact me or Ms. Jakubek.
COURSE CONTENT:
Readings, presentations, papers, reviews, and class participation are the primary curriculum-based assignments. Additional research to qualify independent papers and projects will be contingent upon the identified subject matter, and at your discretion. Assignments:
Readings: This course will focus on the academic discourse of photography as a medium, ethnographic measure, and emotional outlet, and will address the power structure within political and social confines. The majority of our classes will be dedicated to response, support, and/or deconstruction of essays provided in class. It is critical that all assigned readings are completed prior to class to promote qualified discussions on identified subjects.
Research Paper & Presentation: One self-defined presentation will be required. This presentation must be forty-five minutes in length and accompanied by supporting media (PowerPoint, video, web, or alternative sources to support your thesis). Relevant reading(s) must be distributed one-week prior to your presentation to establish general interest/context. The presentation will enable you to explore a genre, aesthetic philosophy, artistic movement (visual/conceptual/other), introduce multiple perspectives on your selected text, and establish a dialogue on the topic introduced.
Class Participation: Due to the nature of this course, participation, discussion, and debate on all subject matter will be critical to the development of ideas. Interdisciplinary approaches are employed to encourage individualized understanding and unique interpretations of the philosophies addressed in/outside of class and will not be exclusively object-based.
It is expected that all reading, notes, points of debate, written responses, as well as personal evaluation(s), are completed prior to class without exception.
Paper(s): All papers and blog entries will be evaluated on the comprehension of subject matter, qualification of personal perspective, and the creative and thoughtful approaches to the presentation of your ideas.
Oh-yeah… Exhibitions, openings, and events are to be attended regularly independent from scheduled class trips and identified NEiA visiting lectures. View work critically and seek additional information from galleries, museums, and events whenever possible. Supporting material contributes to the advancement of ones understanding and experience of the work. You are encouraged to bring to class discoveries of new images, artists, or ideas. These topics will always be addressed in class or independently with the instructor.
Class Policies:
Any student who has special needs that may affect his or her performance in this class is asked to identify his/her needs to the instructor in private by the end of the first day of class.
Instructor Availability Outside of Class:
Messages may be left for the instructor on voice mail or via email. Office hours will be announced. All appointments may be scheduled at instructor/student convenience.
Other Class Policies:
You are expected to conduct yourselves in a professional manner demonstrating great respect for self, peers, and faculty. The classroom is an open environment for the sharing of thoughts, beliefs, and ideas as well as the acceptance/tolerance of perspectives that may conflict with your own. Intolerance, disrespect, or belligerent behavior will not be tolerated and faculty reserves the right to intervene at any point.
Attitude and presentation (of self and ideas) are critical aspects of what we do as professionals. Conduct yourself in a manner that reflects these principals.
Academic Support/Learning Disabilities:
Students with known disabilities should contact their instructors as well as the Student Services Office. Academic Support (tutoring) is provided to any student in need of tutoring. Students who feel they are able to assist with tutoring this course should also contact their instructor and/or the Academic Support Center.
2 comments:
Caitlyn Doolin
Week Five
Occam’s Razor – Bill Jay
Threshold – The Disturbing Image
Bill Jay begins is essay with a descriptive paragraph of a cigarette being put out in a plate of food. He states that the most disturbing part of that was the smell of the burnt cabbage. He moves on to discuss how photographers do not willfully cause discomfort or mean to shock viewers. Then Jay defines disturbing into two parts: (1) how the image pushes the viewer to limit their emotion: eventually causing rejection. Then two sub groups; personally shocking and generally shocking. (2) The image “rocks the status quo and breaks the order of things.”
Jay talks about how humans have the instinct to survive but with any threat will fill “humans” with panic. This will lead the humans’ stimuli into an extreme reaction, such as continuations. I am not exactly sure what that means but the next couple paragraphs were very interesting. For example, the evolutionary urge is to procreate, grow increasingly complex, adapt to the environment, and expand consciousness. I understand procreation is what we, humans, are “really” here on earth for but I was just taken back when I read it. I agree with Jay, especially when he begins to discuss that we are actively seeking violence and sex on television, movies, and books. Which in return, an anxious and disturbed viewer makes a good consumer, which makes sense because by disturbing the viewer you are making create emotions of only fear and shock them. Also, he states “photography allows us to approach the cliff-edge with out physical risk.” I can relate to this personally, this is the main reason why I love horror or severely disturbing films because it’s like being at the location and time without being there. And as for the second part of disturbing, I feel like it was about “how photographs that view unsettling to us, is signals that the medium is vigorous and energetic no matter how much we loathe them personally.” No matter what a photograph looks like, it’s not concerned with the photographer’s motives or lapse in good taste.
The Practice of Everyday Life – Micheal de Certeau
Chapter V - The Arts of Theory
Michel de Certeau begins the article talking about theorist Faucalt and Bourideu, which he then discuses their articulations a discourse on non-discursive practices. Which I felt that he was trying to say that the theorist’s ideas were not acceptable to him. Then he starts to talk about how the process of theories can be a recipe in cooking. There are two alternative “ways of making” a theory. First, “cut it out”, which means take out the idea from the details, then “turn over”, which means to construct a new theory from the old. De Certeau moves on to talk about how the difference, between operations , no longer refers to a set of theories and practices but now, speculations and applications of distinction.
The 'know how' is associated with having knowledge. It is composed of of many but wild operations. The distinctions between art and science are that science is the operational language, that uses grammar and syntax form constructed by systems and the arts are technique that waits for knowledge that they currently lack. But they now are no less helpful, because techniques which can even be automatic. De Certeau speaks about the key technique of art theory is to manage and find the understanding of the narrative. This led to the educated knowledge to understanding.
The Resistance to Theory – Paul de Man
Occam's Razor - Bill Jay
What is disturbing? I agree with Bill Jay that almost any photograph could be seen as disturbing to someone, at some time. What someone considers good taste is completely subjective due to that fact that we, as a people, are not the same. We were not all brought up with the same moral codes, nor do we share the same personal histories. Images dealing with sex and violence seem to be a constant source of disturbing images, but it would be ignorant to say that "everyone" is offended by them. In fact, if anything, the more we are bombarded with these images, the more we become desensitized to them. "The source of much disturbance is created by the words which accompany the image - with the image making words up-close, real and actual." (pg. 39). It's true that our interpretation of any image changes with text, not just disturbing images. Why is that? Why does our connotation of an image change with only the addition of a few words?
The Resistance to Theory - Paul de Man
Why do we feel the need to resist theory? "The resistance of theory is a resistance to the use of language about language." (pg. 13). Is this because more often than not we are unsure of what we are reading? When we are unsure, we develop our own connotations as to what something means and can find ourselves reading something that wasn't even there. In a sense I felt like that during this reading. Personally, I had a hard time understanding this reading. Perhaps this is due to my own misunderstanding of words, or lack of knowledge as to definitions. Either way, I did not fully understand this reading.
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