Thus, Barwell presents her own sentence schemata, arguing that sentence schema 1-4 are meant to be understood as the following:
“This artwork is well suited to be a product of an expression of E-ness” The recognition of expressive qualities within an art piece – whether it be features of a face in a painting, gestures of a thespian during a theatrical performance, or the timbre of a guitar at a concert – are able to be used by the audience member for their own purposes. Barwell argues that the audience seeks a particular emotion from within themselves while engaging in an esthetic experience. For example, she says, “If I want to express a feeling…which is somber, serene, and mystical, I might find that Mark Rothko’s huge abstracts in the
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Similar to the audience-centered theory, Barwell is concerned with the emotional expression of the audience. However, she is interested in how the audience can use the expressive qualities in the work, whereas the audience-centered theory is primarily interested in the pure emotional reactions of the audience members.
In this regard, it can be said that Barwell’s insight is unique. I would argue that this difference in her theory compared to the audience-centered do not render her argument to be superior. Instead, her theory is approaching the concept of audience interaction with emotionally expressive art from a different angle. She incorporates the properties of the art piece itself into her theory, while the audience-theory does not. With that being said, I would argue that her theory proves to be more nuanced than the audience-centered theory. Barwell incorporates two aspects – the properties of the piece and the audience – into her theory, whereas previously established theories focused upon only one aspect (the properties of the piece, the emotions of the audience, or the emotions of the artist).
Additionally, I would argue that her theory is more accessible than the previously established, aforementioned theories. While these other theories are interested in mere emotional reactions, Barwell augments her rhetoric by making it applicable, especially to the audience. Because Barwell is interested in how the audience can
When reading Anthony’s article, I believe that he was more convincing than Baum. Anthony broke down the article in a way that connected with people on a personal level that
This allows the them to see Dr. Ben Carson’s confidence and attentiveness during the speech. By doing so this gives him an advantage in his argument towards education in America. Observing his audience also shines a light on Carson’s confidence of his speech while presenting it to so many people. For example, during parts of his anecdote he scans the room quite a bit “ I was as a youngster placing myself in the same situation that a horrible institution did because I wasn’t taking advantage of the education. I was a horrible student” (Dr. Ben Carson’s). Carson looks around taking in the audience’s reactions to his behavior as a child. By doing so, he talks to the audience as if they were all a family, Carson proves that he is not here to raise himself above anyone else. This is significant to today because a lot of people feel as if they are lower than some of these politicians. Some politicians even brag about how successful and well known more than the common person, but Ben Carson does the exactly the opposite. He shows the audience he is just like them, no more or less, this gives the audience a “personal” connection with Carson, giving him the upper
Charles Demouth painted "I Saw the Figure Five in Gold" about this same topic, but expressed it in a much different way. He challenges the viewer to place himself inside the mind of a person watching that speeding truck, showing what image would be left imprinted in the viewer's mind. Similarly, a Modernist approach to art does not focus on large, over-used emotions, but rather reinvents ways to see the world. This shocks the viewer into reexamining how he sees the world. This shocks the viewer into reexamining the world.
Carr effectively gains ground with his audience, regardless of whether they are a literary type or one who has just happened across the article.
Art might not be viewed the same way as another individual could. Some people could “see” or “look” at a painting, distinguishing their perspective or interpretation of an artwork. When I “look” at Alma Thomas’ Gray Night Phenomenon, it’s with a goal to identify what the art depicts. I would probably glance at the painting, not taking my time to analyze its different features. At first glance, I register the painting as simply a piece of artwork with a blue background and yellow specks in a pattern, however I don’t take much thoughtful processes to take place and bring emotions into viewing the piece. When one “looks” at something, it is more routine-like and to figure its function, without much appreciation of the artwork. In contrast to “looking”
The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicité.
The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and
Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking
The innovative and passionate presence in both Jackson Pollock’s and Wassily Kandinsky avant-garde paintings exemplifies the redefinition of boundaries throughout their art making practices. Both artists challenged traditions both materially and conceptually using innovative and diverse approaches to materials and techniques when painting. Wassily Kandinsky goes against traditions and academies to create vivid, sensual and symbolic large-scale semi abstract expressionist oil paintings in a heightened state of mind. Many artworks of his convey bright and cheerful spontaneous colours that make the audience fully consumed within his works due to hypnotic and distorted semi realist shapes. Consequently, Jackson Pollock also goes against
In John Berger’s essay “Ways of Seeing,” he shares his view on how he feels art is seen. Mr. Berger explores how the views of people are original and how art is seen very differently. By comparing certain photographs, he goes on to let his Audience, which is represented as the academic, witness for themselves how art may come across as something specific and it can mean something completely different depending on who is studying the art. The author goes into details of why images were first used, how we used to analyze art vs how we do today, and the rarity of arts. He is able to effectively pass on his message by using the strategies of Rhetoric, which include Logos, Pathos, and Ethos.
Human emotions remain as one of the world’s biggest secrets. Like sleep, we know what happens to our body when we experience these emotions whether it be a release of hormones or a certain area on the body becomes more sensitive. But we don’t know why we have them, experience them, or what purpose they serve. All we know is everyone’s emotions behave differently. Different types of arts can elicit completely different emotional response from people. Some art may have the ability to appeal to dangerous emotions in certain people. Whether it be the corruption of a once faithful and beautiful young girl, plagued by the desire for romanticism and lofty ideas, or a handsome young nobleman who is obsessed with living life to fullest. Both are fueled by the emotion that a certain type of art elicits in them, leaving them in a never ending chase that ruins there life’s. In the Novels Madame Bovary and The Picture of Dorian Grey the protagonists in these stories perfectly exemplifies the danger of arts emotional appeal by showing the corruption and eventual downfall of two once young and beautiful souls by exposing them to art that pleases dangerous emotions such as desire, pleasure, entitlement and disappointment.
I believe that Brown’s ideas are moving and relatable. She explains to the audience about the connections and disconnections
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).
more on the emotion of the thing. E.g. there is a painting of a man
The most important trait in defining art is its beauty. As complex as the term “art” can be, the term “beauty” is nearly just as complicated. In order to understand art more clearly it is important to understand beauty. “We label an object beautiful because it promotes an internal harmony or ‘free play’ of our mental faculties; we call something ‘beautiful’ when it elicits this pleasure.” (Freeland 8). As defined above, beauty is not a direct message. It is something that subconsciously allows man to feel good and pleasurable. There is “an internal harmony” when we observe something beautiful that allows us to take away a deeper understanding of a work of art regardless of it being “nice looking” or “ugly”.