Practices of Looking: Introduction and Chapter 1 (9-22)

Although I had a general grasp of what visual culture is, reading the introduction and first section of Practices of Learning helped define the idea. This book tells its audience that visual culture is the "shared practices of a group, community, or society through which meanings are made out of visual, aural, or textual world of representations and ways that looking practices are engaged in symbolic and communicative activities" (Sturken and Cartwright 3). The writing emphasizes that the exchange of meaning in anything related to visual culture is constantly changing, which gives it new meaning to every individual. Any visual object can become symbolic of a person, place, idea, or any other thing that may hold importance within the time and society in which it is created. 

I also had an understanding of critical theory and have applied it before (probably without knowing it) in my life. I am familiar with the differences between the denotation and connotation of something, both of which can affect how someone responds to a visual object in regards to his/her past experiences and related thoughts. I enjoy focusing more on something’s connotation because it tells me ample information about the culture, society and views on what is being studied. Some terms that are new to me include positivism, the philosophy holding that scientific knowledge is the only authentic, true knowledge in life; studium, which refers to the truth and distanced appreciation of a camera and photographs; and punctum, the effect some photos have that make viewers feel emotional.

It is interesting that at the beginning of the first chapter, the authors are quick to note that the practice of looking concerns power. One holds the power to look or not to look, yet the images have power as well. Sometimes, one can almost not help but look, no matter how devastating or life-changing the visual concept may be. Weegee's photograph titled The First Murder captures this concept vividly. The children in this photograph, who are witnessing a dead body for possibly the first time in their lives, seem almost possessed. They have to look. One kid in the corner is even smiling. A girl's eyes bug out in earnest so that she can witness all the details of this night. It seems absurd to think that these children are looking at the results of a murder. Only a few people look away from the gruesome sight, and only one is in clear distress. The sight of the murder holds too much power over these young children; its novelty practically forces them to watch.

The numerous representations, the images that help us create meaning within our world, shown in the first chapter help the audience understand how they (the images) reflect upon much more than simply upon the objects or people portrayed within them. While Henri-Horace Roland de la Porte's Still Life may show a viewer some fruit and containers, it also gives insight into the life of the owner of these things. It  looks like he or she just ate a meal in the country, where life is simple, rustic and hardworking. The foods may appeal to the viewer's gustatory senses, and the way the light seems to cascade over the objects and table appeals to the visual. In reality, there is no light reflecting off the glass container, but the painter's skill is so adept that onlookers believe the light must be coming in from a partially opened door or window. René Magritte plays with representations in the painting, The Treachery of Images (This is Not a Pipe). Magritte is correct in saying that his painting of a pipe is, in fact, not a pipe. Rather, it is an image of a pipe. It looks like a pipe, but one cannot hold it and smoke it. Sometimes it is difficult to remember the differences between a representation and the real thing.

I am interested in learning more about how visual culture varies amongst different societies and cultures. I enjoy discovering the meanings behind symbols and how one can have various interpretations depending upon who is observing it. Another aspect of visual culture that captures my interest concerns persuasive techniques. How do representations and symbols persuade their audiences to feel, think or act a certain way? How often do they affect me, and in what ways? I would like to become more aware of the thousands of media forms that create an impact upon my decisions, as well as how I can use them to affect others.



Sturken, Marita and Cartwright, Lisa. Practices of Looking: An Introduction to Visual Culture. New 
          York: Oxford University Press, 2009. Print.