Response paper 1. Introduction to Visual Culture. (Essay Sample)
Introduction to Visual Culture Response Paper 1 (approximately 1,700 words). Assigned: Wednesday February 12, 2020, 12:00 am. Due: Friday February 21, 2020, 11:59 pm.
For Jonathan Crary, the nineteenth century spectator is formed out of certain qualities of consumption, attention, and perceptual competence. Consider these new qualities in relation to the following point that Crary makes about a necessary distinction between “reality,” and “the reality effect”:
“Of course it [the Raft of the Medusa] is not a work that looks real by virtue of its literal correspondence to a specific viewpoint of a specific moment… Its verisimilitude is based on its more profound embeddedness in new networks of the real, in which older models of visibility are excited” (14).
What is the reality effect? How is it different from the “reality” that Crary refers to on p.14? When answering this question, do so using both Crary’s essay, and the images that appear below. How do these representations of the “reality effect” both replicate and comment on new kinds of audiences emerging over the long nineteenth century?
Introduction to Visual Culture
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Introduction to Visual Culture
The ontological status of things, indicating their existence as to whether known or unknown, is a way to give an explicit distinction between two or more constraints. There exists a clear line of separation between reality and the effects of reality. There is still a pervasive sense that archaeology of our own rapidly changing perceptual world begins in the nineteenth century amid what Jean-Louis Comolli has now memorably described as “the frenzy of the visible.” This is his argument, has been used to give a clear distinction regarding the technological changes that have occurred over time. Giving the difference in the scientific differences in time following the current lurches into the twenty-first century. This is a decent case in giving the variations that could be pointed out to distinguish between reality and their effects (Crary, 2002 pg. 7-9).
In comparing the pictures, in which a representation of a painting that was done way back in the year 1818-19, the Raft of the Medusa a prominent icon by the French painter and lithographer versus a recent panorama viewing platform Copenhagen, 1880. A noticeable variance conspicuously occurs as regards the quality, general appearance and most importantly the events which have barely no similarity.
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