Universal Surveillance

Foucault uses illustrations of purification strategies, architectural significance, and institutional constructions to reveal the importance of the power of surveillance in society. For example, he introduces the piece with the strategic way a plague is contained through quarantine. This process of purification and fear of disease depicts the power of discipline from society. Also, this aspect of power highlights the fact that everyone is subject to observation and analysis. The architectural significance is the panopticon building. The panopticon allows for constant surveillance from a central tower, which observes the cells within the structure containing prisoners of visibility. The illustration of architecture shows the efficient operation of power. Lastly, societal institutions depict the process of disciplinary concepts in society through schools, factories and hospitals. Students, workers, and patients are conforming to acceptable roles in these institutions, rather than expressing independent liberties and rights because roles of citizens are influenced by an “omniscient eye” present in society.

Within Berger’s work the presence of capitalism in art effects society by the perpetuation of mystification. I feel Foucault would venture to discuss how the mystification of art is not only from capitalism, but also from excessive perspective considered within the omniscient eye. The abundance of perspectives to consider when having an opinion of art is limited to the knowledge one possesses. Fortunately, within a panopticon the aim is to strengthen social forces to develop the economy, spread education, and raise public morality. Therefore, Foucault’s importance of power in surveillance parallels Berger’s idea of power in capitalism.

Bordo presents body image as a result of constructed conventions being challenged, proving the power of perspective in society. Her example of Michael Jordan’s success as an athlete and his embrace of male decorativeness, supports her idea of the conditional acceptance of conventions. Foucault focuses on the power of institutions to bestow a conviction on individuals in certain circumstances. The institutional “eyes” involved allowed the ability for a man to be athletic and fashionable. Michael Jordan knows he is being watched and feels confident he isn’t conflicting with his acceptable role as a celebrity by liking nice clothing. Once again the omniscient eye reigns regarding the shifts in conventional views.

Lastly, Nochlin’s historical approach when evaluating body image parallels Foucault’s historical respect for the “technical program” of surveillance. They each try to target a constant factor that influences perspective. Their historical awareness is important to understanding the formation of the disciplinary society.

One is always influenced by the perspectives of other’s when trying to understand the world. Human nature programs an awareness of institutions affecting our decisions. When considering the mystification, conditional conventions, and historical progression of acceptable behaviors in society, the omniscient eye trumps all these influential factors. Foucault reveals that convictions are the result of feared judgment from universal surveillance.   

Body Image

Nochlin, a professor of modern art, and Bordo, a philosopher, both have an interesting way of presenting the body in relation to culture. Personally, I feel Bordo speaks more powerfully to my generation about body image. Bordo highlights the conventionalized reaction to our idea of "appropriate" body image. Through the use of examples in modern culture she emphasizes the constructed acceptance of certain views of the body. On the other hand, Nochlin focuses on a more historical construction of body image, revealing the foundation for our modern conventions of image. The work of Nochlin allows one to perceive the perpetuation of views regarding image in different time periods, with different cultural characteristics.

Bordo's work makes more sense to me because of not only her writing style, but her use of helpful examples to convey her points. In "Beauty Rediscovers the Male Body," she connects with specific aspects of culture that are present in my time period and my current culture. One example Bordo uses for the constructed view of body image was very enlightening, concerning the convention of a women's shame for curiosity. Bordo begins the piece discussing her surprise when being aroused by an advertisement, which featured a male model. Traditionally men are the starers and women are the subjects observed, when these roles are reversed it displays an unnatural occurrence. The presence of more male models in advertising was a shift that challenged the conventions of a woman's appropriate level of curiosity. This shift also challenged a male's appropriate display of body image in relation to gender roles. Bordo used the example of Michael Jordan, as a representative of both masculinity and fashion to question the present cultural convention of masculinity. "Male decorativeness" was acceptable for Jordan because he is an athlete, meaning our culture is circumstantial and manipulated by what the majority views as acceptable. Therefore, Bordo conveyed that the reversal of roles regarding starer and observer; and the circumstantial cultural views in society challenge body image.

Nochlin's research on Renoir's painting, "The Great Bathers," posed as the central example of constructed views of body image. This work of art from the late 1800s poses little inquiry without Nochlin's view of the importance of perspective, while examining the piece. Renoir's work inspired a collection of art in a "Bathers" genre. The evaluation of this work challenges the foundation of conventions constructed through different time periods. For example, the Greeks featured men and boys in the nude, yet after the rise of Christianity only women were featured in the nude. This shift created a convention that objectifies women and allows men to be starers, without conviction. Nochlin doesn't present a clear view of her perspective, revealing the importance of respecting numerous opinions. By observing the broad spectrum of perspective, one can see the importance of a historical understanding of conventional changes in different time periods.    

Through the use of examples in modern culture Bordo emphasizes the constructed acceptance of certain views of the body. Nochlin focuses on a more historical construction of body image, revealing the foundation for our modern conventions of image. Both, Bordo and Nochlin's work, are necessary to have a complete idea and understanding of body image. They discuss present and historical information to develop a clear timeline of conventions, and the reason for conventional shifts.

           

Emotional Exercise

Bruce Springsteen’s version of “The Ghost of Tom Joad” appeals to the emotions of sensitivity through the use of the acoustic guitar and harmonica. The acoustic sound adds vulnerability to the piece because of its subtlety. The harmonica introduces a blues feel to the piece, which highlights the longing for a change to be seen in society’s respect for community. A tone of reflection is developed from the meter because it slows down the thoughts of the listener, enabling them to meditate on the lyrics. The audience associates Springsteen’s connection to Joad with sincerity, however he is very passive at the same time because this version doesn’t cause a “call to action”. Springsteen portrays an admiration and yearning for promoting Tom Joad’s ideas of community and morality.  

Rage Against the Machine, unlike Springsteen, depicts an active version of “The Ghost of Tom Joad.” The use of the electric guitar, drums, and aggressive vocals forcefully presents the conditions that should change in society. The meter generates a sense of anxiety, which stresses the need for society to be held accountable and exercise Tom Joad’s ideology. A tone of bitterness is established from the vocals, causing the audience to feel an appeal to the emotions of frustration. The artists seem determined and confident, making the listener focus on what they are passionately conveying.

The order I heard these versions in, made a difference as to how I measured the impact they gave the song’s message. Hearing Rage Against the Machine first, made me realize the desperation for people to recognize our place to take action the way Joad would. Springsteen’s version appealed more to my personal taste, however his timid depiction of the song’s message seemed like a weak portrayal of the urgency for change.

The contrasting styles depicted effective ways to convey the same message and allow the audience to feel more emotions than they anticipated. For example, the frustration in Rage Against the Machine gives off feelings of rage, yet appropriately highlights society’s need for sensitivity. Springsteen’s timid version portrayed a sense of sincerity, revealing society’s selfish ways. Both versions were affective ways to generate various emotions.

Consumerism

The discussion between Berger’s essay and Nehama’s article concerns capitalism and how we as individuals interact with this institution. Berger’s mystification is a way one can be manipulated to see what those in power, the upper class, want you to see. Plato’s censorship is an attempt to control the actions of an individual. Both the vision and participation of consumers are catered to play the game of capitalism.

The difference between these pieces is the time period, however the perpetuation of entertainment and art allows for the concepts to relate. The article “updates” Berger’s essay by using media examples, common language, and historical parallels to make the concepts of manipulated consumerism more relatable. For example, the idea of censuring video games, which is modern art, in order to eliminate aggression or increased violence in life, parallels Berger’s mystification seen in art. Mystification of art forced an idea on the viewer, while censorship forces the idea that one will always react to representations and have a determined behavior in life.  

The pattern of one era’s entertainment becoming the next era’s fine art was not a result of genuine popularity that kept the art alive, for it was the result of what was circulated in capitalism. The concept that “Twilight” may be the future literary work discussed in school as quality writing, should prove that an equal representation of an era’s art can not be defined by it’s commercial success. Being an active participant rather than a passive consumer should encourage diversity and increase the chances of quality being recognized versus quantity.

Being a victim to consumerism is a constant battle because we can only control our individual decisions. Berger and Nehamas are asking us to question the stereotypes and fads of our time to become a real society that isn’t subject to the privileged minority.  

Need for an Attainable Norm

Mystification and cultural construction of images are correlating projects from Berger and Bordo. Money and power are tools that can control the perspective of society, regarding image. Berger discussed the manipulation of an individual’s thoughts through mystification. This allowed the wealthy, upper class to manipulate an illustrator’s imperfect truth depicted in an image. Bordo’s ideas of cultural construction determine one’s personal views of body image, as well as societies acceptable idea of attraction.

The commonality between Berger and Bordo’s ideas lies in their realization that images powerfully influence perception. Through historic paintings and modern advertising the standards of society have been established and everyone must assimilate accordingly. This study is necessary because of the ongoing battle between an individual’s views and society’s views. The lower class, middle class, and minorities must combat those with money and power, in order to establish the truthful, cultural norm; rather than, an unattainable, superficial norm. Therefore, inequity is the main factor that is generated from mystification and cultural construction.

An example of Berger’s work regarding beauty is his formula that “men act and women appear.” Bordo discusses this formula and disagrees. Women look in mirrors and focus on beauty to ensure that they are pleasing the standards of societal beauty. Men are responsible for providing and taking action, however they must also be seen and judged based on superficial standards. Though it is portrayed that men have no concern for their image, they do. These projects correlate, but they don’t completely agree on what is considered truth. Therefore, the need for this research to continue is necessary in order to maintain a thorough search for the truth.

Berger and Bordo share a common technique of evaluating images, but they posses different views. Our commonality is that we are human, meaning if we are to agree on an acceptable standard of anything, we must agree to disagree. The way a mosaic of images can create a bigger picture, a plethora of ideas is needed to achieve a societal standard, which is based on equity rather than inequity.

Optimal Seeing

William A. V. Cecil Family by Stone Roberts, 1990-91

[a complete view of the photo is on the bottom right of this link] http://www.biltmore.com/our_story/our_history/vanderbilt.asp 

In the 1800s the Vanderbilt family was known for their wealth. George Vanderbilt loved traveling, which led him to the mountains of Asheville, North Carolina, to discover the location of his future home, and America’s largest home today. Stone Roberts created the William A.V. Cecil Family Portrait in 1990-91. The Cecils now run the business of allowing tours in their ancestor’s mansion. Robert’s use of light and his sitter placement, generate a curious façade of family focus.

When entering the Biltmore Estates and seeing this family portrait hung high, the question of lighting would arise. When the family is positioned in front of two, rather large, windows during the daylight, and an additional bright light is hung over the Vanderbilt family portrait from the 1800s, why is this necessary? Is this an attempt to reveal the parallel in family communion? Possibly emphasizing on the family success? Accentuating the importance of the “privileged minority” that can “justify the role of the ruling classes” by inviting all people into their home?  

Social issues are the focal dialogue of this painting in relation to the past and present. Mystification tries in a bold fashion to cloud the intent of Robert’s work. Though the room is not endowed with more than a rug, painting, table, and chairs, the Cecil’s personas portray sophistication. For example, the sitters are exemplifying the enjoyment of riding, reading, an elite pet, drinking wine during the day, and wearing fashionable clothing in a casual environment. The Vanderbilt and Cecil family portrait, both being displayed in one painting, centered on family bonding, was a well-planned attempt to convey irony. However, the picture doesn’t have me convinced that love is the common ground with this family, I feel the commonality is in a name: Vanderbilt, also known as wealth.

Taking a second glance to find more than the obvious things in a painting can powerfully impact your perspective. I learned that it is disrespectful to the artist and myself, to simply overlook their details and be deprived of the message that yearns to be shared with me.

My dialogue with Robert’s work has confirmed Berger’s expectations of optimal seeing. Everyone can achieve the task of exercising artistry.  As a result of history’s perpetuation, understanding and appreciating art has been perceived as a privileged practice. However, “seeing” is the only aid needed for appreciating and developing an opinion regarding a painter’s work. An individual’s divine right is the entitlement to perspective.