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Homework answers / question archive / NOTES FOR REVISION FROM INSTRUCTOR FEEDBACK Your Name: Assignment: Date: List the major revision issues you discussed with your instructor today
NOTES FOR REVISION FROM INSTRUCTOR FEEDBACK Your Name: Assignment: Date: List the major revision issues you discussed with your instructor today. Which are the two most important of these issues? Why? What specifically do you plan to revise to address each of these issues? Issue #1: Issue #2: POST-CONFERENCE EVALUATION What was your goal for this conference? My goal for this conference was met: ? Not at all ? Partially ? Fully Explain your rating: In my opinion, this conference was . . . (check all that apply) ? Productive ? Helpful ? Timely ? Other: ? Overwhelming ? Confusing ? Unnecessary Analysis of The Martyrdom of St. Erasmus According to Berger’s ‘New Language of Images’ The power of seeing is far more significant than that of words. This is the reason behind the preference for artwork in expressing and understanding various past and present socioeconomic issues in society. As a result, individuals find more value reviewing arts of the past as opposed to literature. However, the significance attached to original art has depreciated due the invention of the camera. Consequently, multiple copies of the same art are made available in both print and soft copy form, enabling the audience to develop their unique interpretation. Berger establishes that this art reproducibility led to the new language of art. In particular, the audience develop their unique meanings from the photographs based on their personal experiences and ideals, rather than what the painter intends them to understand. Consequently, art reproduction has enabled viewers to construct unique meaning by facilitating the new language of Images. As Berger establishes, when art viewers correctly apply the concept of the new language of images in comprehending artworks, they gain an emergent power (33). Moreover, it is essential for individuals to become active agents of their thinking, ideologies, and perceptions, while relating them to their lived historical experiences and constructing meaning out of them. Berger strives to convince modern art lovers to take advantage of the power conferred upon them by the new language of images to independently comprehend art meanings in their historical context. In doing so, they should evade the constraints of mysticism. Mystification progresses through paradigms of economics, government, parenting, advertising, educational systems, and culture to shape and condition our perceptions, expectations, and lived experiences. In this regard, there exists significant external forces that strive to constrain the viewers’ intellect and emotions. Berger attributes that these mystical aspects inhibit the viewers from becoming active agents. In particular, Berger establishes in his essay that “the art of the past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role of the ruling classes” (11). Aspects such as art commentaries, expert explanations, social beliefs, and descriptive texts tend to mystify art rather than clarify it. Besides, Berger establishes that the fear of the present propagates mystification of the past. In essence, it convenient to attach current happenings to past convenient truths, rather than reason out the reality. Berger’s concept of properly viewing reproduced art has made it possible interpret arts of the past without relying on explanations from perceived predominant descriptions. Consequently, the new language of art confers power that enables the viewers to detach from the mainstream socioeconomic perceptions of what art means and instead establish their independent analysis of art of the past. I believe that people can view the same painting differently, attaching completely conflicting emotions and meaning to it. For instance, a victim of childhood molestation may view a painting of an adult affectionately holding a child differently from someone who has not experienced such. In this essay, I intend to exercise Berger’s ideology of properly viewing and analyzing art, by assessing The Martyrdom of St. Erasmus by Nicolas Poussin. To achieve this objective, I resort to evaluating critical aspects of the art, relating them to my personal experiences and finally putting them in the correct historical context. I believe that this will enable me to comprehensively understand the logical, emotional, ethical, and social meaning communicated by the art. The artwork is The Martyrdom of St. Erasmus by Nicolas Poussin Berger establishes that to properly view a painting and comprehend its meanings, it is essential to take a close view of and interact with its elements. In my view, the painting illustrates a person being killed as a punishment for not abiding to the predominant religious beliefs held by the majority in society. His execution is done by pulling out his intestines. Besides, the man clads in a white robe, preferably a religious leader seemingly tells the convict being assassinated to look at the statue he points at, insinuating that the victim’s death results from his failure to observe the mainstream religion. Moreover, two baby angels look on to the convict waving palm leaves as he get murdered, illustrating that they intend to offer salvation to his soul for resisting to worship a statue. Evidently, the painting’s portrayals strongly insinuate that the convict being killed as a martyr. I believe that my close analysis of the painting has given me the power to establish the historical context of martyrdom and how it guaranteed salvation to the victims. As a means of fulfilling the concept of the new language of images by Berger, I have investigated the subject matter of the painting. The main subject matter of the artwork is the consequence of religious intolerance—assassination of martyrs, and the fact that martyrs attain salvation after sacrificing their lives. In particular, the artwork reveals a dramatic painting of a person, seemingly a martyr or a convict who has been stripped naked and is undergoing execution on a bench that functions as an altar situated in the foreground. Besides, the artwork portrays an individual dressed in a red robe, who appears to be pulling off the convict’s intestines, with a bunch of onlookers staring at his actions in the immediate background. Evidently, the convict being executed in the painting has most possibly refused to abide by the predominant religious beliefs and worship the idol located in the background. Besides, I comprehend that the azure blue sky signifies that the execution is happening on a bright day. Also, the two baby angels staring at the martyr indicates that even though the convict is being executed and loses his physical body, he has attained salvation for strongly abiding to his religion instead of worshiping an idol. Moreover, my independent analysis has granted me the power to assess the emotional context of the painting. From Berger’s essay, I relate that the painting is expressionist, in that the artist intends to portray the subjective emotions entailing the assassination of the martyr, the pain experienced in pulling the intestines from his belly, the religious significance of the idol statue, and the spiritual link between the martyr and the angels. A close view of the painting elicits mixed emotions of both melancholy and happiness. On the one hand, as a viewer, the painting elicits a somber mood, despair, and anger due to the inhuman nature of how the alleged convict is murdered by ripping off his intestines while he is tied, just because he has refused to worship a false god. Besides, as an empathetic person, I feel angered at the fact that other onlookers helplessly watch the convict being grossly assassinated without striving to help him out. On the other hand, I exhibit happy emotions at the fact that despite the convict getting executed as a martyr, he is assured of salvation, evidenced by the brilliant light and the smiles exhibited by the baby angels. I believe that in religious practice, the highest and most important achievement of any religious affiliation is respecting the predominant doctrines and attaining salvation, even if it means losing one’s life. Additionally, I have gained the power to understand the social context of the painting. Evidently, the painting illustrates the social vices that affected people in the past, such as assassination of martyrs, forcing one’s religion on others, and lack of just forms of punishment in society. From the painting, I can gather that the convict was a Christian, while the assassins worshipped the idol portrayed in the painting. Against this backdrop, the painting illustrates the brutal social order that allowed the dominant and powerful religions to persecute and kill staunch believers of minority religions. I believe that by properly viewing the painting, I have gained the power to unearth religious intolerance and murder as major social vices. Moreover, I have reviewed the ethical dilemma in the painting. In doing so, I have contemplated on two aspects; whether murder was justified in the religion of those assassinating the martyr, and whether it was wrong to kill someone who disagreed with their religion. Evidently, the painting, in its stillness exhibits an element of mysticism, where social evils such as oppression of the poor and vulnerable by the powerful majority or elite is considered as right. From the review of Berger’s essay on the attempts of mysticism in attempting to constrain the thinking of the viewers to believe in particular social orders, I have gained the power to independently reason out the ethical perspective. In my view, it was incorrect, immoral, inhuman, and against the natural laws of nature to brutally murder an individual based on religious differences. In particular, religion, and to a larger extent ethics strive to promote the highest common good to the largest amount of people, hence murdering an individual does not conform to this objective. Furthermore, I have interrogated the logical perspective of the painting. The paint’s logic is that it is unjust to kill an individual based on conflicting religious affiliation. In particular, two wrongs cannot make a right, and it is both unethical and a depiction of a conflict of interest when a perceived religious leader spearheads the assassination of an innocent person just to appease his god. What’s more, I have comprehended that the topic of religious intolerance should not be debatable, as it facilitates more strife and injustice than common good. Moreover, I have gained the power understand the painting’s form. I have observed that the painting assumes a three-dimensional form. In this regard, the person being assassinated is situated in the foreground alongside the executor, the surrounding onlookers in the immediate background, while the pillar and statue, the blue sky, and the baby angels are situated in the distant background. Also, if viewed in a two-dimensional format, the surrounding crowd, executor, and the convict are situated in the lower part of the painting, while the baby angels, statue, pillar and sky are situated in the painting’s upper part. Additionally, I have gained the power to comprehend the visual element of the painting, I have assessed its composition. I feel that the painting is asymmetrical, since more objects are located on the foreground than the background. Besides, the painting uses applies various visual elements, for instance, shapes, values, light, forms, shadows, lines, and textures which foster a unity that is easily understandable by the viewers. What’s more, the painting gains rhythm, by illustrating the human portrayals as consistently facing the convict. From my independent analysis of the artwork while conforming to Berger’s principle of properly viewing paintings, I have gained the power to understand the artwork’s key elements, connect them to my personal life beliefs and experiences, and put the painting in its rightful historical context. Due to the reproducibility of artwork, they are readily available in print and softcopy form. As such, viewers are able to overcome the stillness and silence of original work, and instead establish their own meanings depending on their individual past and present experiences, as well as their socioeconomic knowledge in the historic context. However, I comprehended that mysticism always inhibits art lovers from correctly interpreting artworks since it clouds their judgment and makes them to construct meanings from predominant ideologies rather than their own. I have discovered that in line with Berger’s analysis, properly paying attention to the art details and independently interrogating the artist’s use of elements equips the viewer with the power to construct independent meanings. Analysis of The Martyrdom of St. Erasmus According to Berger’s ‘New Language of Images’ The power of seeing is far more significant than that of words. This is the reason behind the preference for artwork in expressing and understanding various past and present socioeconomic issues in society. As a result, individuals find more value reviewing arts of the past as opposed to literature. However, the significance attached to original art has depreciated due the invention of the camera. Consequently, multiple copies of the same art are made available in both print and soft copy form, enabling the audience to develop their unique interpretation. Berger establishes that this art reproducibility led to the new language of art. In particular, the audience develop their unique meanings from the photographs based on their personal experiences and ideals, rather than what the painter intends them to understand. Consequently, art reproduction has enabled viewers to construct unique meaning by facilitating the new language of Images. As Berger establishes, when art viewers correctly apply the concept of the new language of images in comprehending artworks, they gain an emergent power (33). Moreover, it is essential for individuals to become active agents of their thinking, ideologies, and perceptions, while relating them to their lived historical experiences and constructing meaning out of them. Berger strives to convince modern art lovers to take advantage of the power conferred upon them by the new language of images to independently comprehend art meanings in their historical context. In doing so, they should evade the constraints of mysticism. Mystification progresses through paradigms of economics, government, parenting, advertising, educational systems, and culture to shape and condition our perceptions, expectations, and lived experiences. In this regard, there exists significant external forces that strive to constrain the viewers’ intellect and emotions. Berger attributes that these mystical aspects inhibit the viewers from becoming active agents. In particular, Berger establishes in his essay that “the art of the past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role of the ruling classes” (11). Aspects such as art commentaries, expert explanations, social beliefs, and descriptive texts tend to mystify art rather than clarify it. Besides, Berger establishes that the fear of the present propagates mystification of the past. In essence, it convenient to attach current happenings to past convenient truths, rather than reason out the reality. Berger’s concept of properly viewing reproduced art has made it possible interpret arts of the past without relying on explanations from perceived predominant descriptions. Consequently, the new language of art confers power that enables the viewers to detach from the mainstream socioeconomic perceptions of what art means and instead establish their independent analysis of art of the past. I believe that people can view the same painting differently, attaching completely conflicting emotions and meaning to it. For instance, a victim of childhood molestation may view a painting of an adult affectionately holding a child differently from someone who has not experienced such. In this essay, I intend to exercise Berger’s ideology of properly viewing and analyzing art, by assessing The Martyrdom of St. Erasmus by Nicolas Poussin. To achieve this objective, I resort to evaluating critical aspects of the art, relating them to my personal experiences and finally putting them in the correct historical context. I believe that this will enable me to comprehensively understand the logical, emotional, ethical, and social meaning communicated by the art. The artwork is The Martyrdom of St. Erasmus by Nicolas Poussin Berger establishes that to properly view a painting and comprehend its meanings, it is essential to take a close view of and interact with its elements. In my view, the painting illustrates a person being killed as a punishment for not abiding to the predominant religious beliefs held by the majority in society. His execution is done by pulling out his intestines. Besides, the man clads in a white robe, preferably a religious leader seemingly tells the convict being assassinated to look at the statue he points at, insinuating that the victim’s death results from his failure to observe the mainstream religion. Moreover, two baby angels look on to the convict waving palm leaves as he get murdered, illustrating that they intend to offer salvation to his soul for resisting to worship a statue. Evidently, the painting’s portrayals strongly insinuate that the convict being killed as a martyr. I believe that my close analysis of the painting has given me the power to establish the historical context of martyrdom and how it guaranteed salvation to the victims. As a means of fulfilling the concept of the new language of images by Berger, I have investigated the subject matter of the painting. The main subject matter of the artwork is the consequence of religious intolerance—assassination of martyrs, and the fact that martyrs attain salvation after sacrificing their lives. In particular, the artwork reveals a dramatic painting of a person, seemingly a martyr or a convict who has been stripped naked and is undergoing execution on a bench that functions as an altar situated in the foreground. Besides, the artwork portrays an individual dressed in a red robe, who appears to be pulling off the convict’s intestines, with a bunch of onlookers staring at his actions in the immediate background. Evidently, the convict being executed in the painting has most possibly refused to abide by the predominant religious beliefs and worship the idol located in the background. Besides, I comprehend that the azure blue sky signifies that the execution is happening on a bright day. Also, the two baby angels staring at the martyr indicates that even though the convict is being executed and loses his physical body, he has attained salvation for strongly abiding to his religion instead of worshiping an idol. Moreover, my independent analysis has granted me the power to assess the emotional context of the painting. From Berger’s essay, I relate that the painting is expressionist, in that the artist intends to portray the subjective emotions entailing the assassination of the martyr, the pain experienced in pulling the intestines from his belly, the religious significance of the idol statue, and the spiritual link between the martyr and the angels. A close view of the painting elicits mixed emotions of both melancholy and happiness. On the one hand, as a viewer, the painting elicits a somber mood, despair, and anger due to the inhuman nature of how the alleged convict is murdered by ripping off his intestines while he is tied, just because he has refused to worship a false god. Besides, as an empathetic person, I feel angered at the fact that other onlookers helplessly watch the convict being grossly assassinated without striving to help him out. On the other hand, I exhibit happy emotions at the fact that despite the convict getting executed as a martyr, he is assured of salvation, evidenced by the brilliant light and the smiles exhibited by the baby angels. I believe that in religious practice, the highest and most important achievement of any religious affiliation is respecting the predominant doctrines and attaining salvation, even if it means losing one’s life. Additionally, I have gained the power to understand the social context of the painting. Evidently, the painting illustrates the social vices that affected people in the past, such as assassination of martyrs, forcing one’s religion on others, and lack of just forms of punishment in society. From the painting, I can gather that the convict was a Christian, while the assassins worshipped the idol portrayed in the painting. Against this backdrop, the painting illustrates the brutal social order that allowed the dominant and powerful religions to persecute and kill staunch believers of minority religions. I believe that by properly viewing the painting, I have gained the power to unearth religious intolerance and murder as major social vices. Moreover, I have reviewed the ethical dilemma in the painting. In doing so, I have contemplated on two aspects; whether murder was justified in the religion of those assassinating the martyr, and whether it was wrong to kill someone who disagreed with their religion. Evidently, the painting, in its stillness exhibits an element of mysticism, where social evils such as oppression of the poor and vulnerable by the powerful majority or elite is considered as right. From the review of Berger’s essay on the attempts of mysticism in attempting to constrain the thinking of the viewers to believe in particular social orders, I have gained the power to independently reason out the ethical perspective. In my view, it was incorrect, immoral, inhuman, and against the natural laws of nature to brutally murder an individual based on religious differences. In particular, religion, and to a larger extent ethics strive to promote the highest common good to the largest amount of people, hence murdering an individual does not conform to this objective. Furthermore, I have interrogated the logical perspective of the painting. The paint’s logic is that it is unjust to kill an individual based on conflicting religious affiliation. In particular, two wrongs cannot make a right, and it is both unethical and a depiction of a conflict of interest when a perceived religious leader spearheads the assassination of an innocent person just to appease his god. What’s more, I have comprehended that the topic of religious intolerance should not be debatable, as it facilitates more strife and injustice than common good. Moreover, I have gained the power understand the painting’s form. I have observed that the painting assumes a three-dimensional form. In this regard, the person being assassinated is situated in the foreground alongside the executor, the surrounding onlookers in the immediate background, while the pillar and statue, the blue sky, and the baby angels are situated in the distant background. Also, if viewed in a two-dimensional format, the surrounding crowd, executor, and the convict are situated in the lower part of the painting, while the baby angels, statue, pillar and sky are situated in the painting’s upper part. Additionally, I have gained the power to comprehend the visual element of the painting, I have assessed its composition. I feel that the painting is asymmetrical, since more objects are located on the foreground than the background. Besides, the painting uses applies various visual elements, for instance, shapes, values, light, forms, shadows, lines, and textures which foster a unity that is easily understandable by the viewers. What’s more, the painting gains rhythm, by illustrating the human portrayals as consistently facing the convict. From my independent analysis of the artwork while conforming to Berger’s principle of properly viewing paintings, I have gained the power to understand the artwork’s key elements, connect them to my personal life beliefs and experiences, and put the painting in its rightful historical context. Due to the reproducibility of artwork, they are readily available in print and softcopy form. As such, viewers are able to overcome the stillness and silence of original work, and instead establish their own meanings depending on their individual past and present experiences, as well as their socioeconomic knowledge in the historic context. However, I comprehended that mysticism always inhibits art lovers from correctly interpreting artworks since it clouds their judgment and makes them to construct meanings from predominant ideologies rather than their own. I have discovered that in line with Berger’s analysis, properly paying attention to the art details and independently interrogating the artist’s use of elements equips the viewer with the power to construct independent meanings.
