Look Experience

By Edmar Camara

If you propose to understand an image is to volunteer to a "fight" where in this "terrain" you intend to focus your unconsciousness to kidnap a vanity that is winning. In this clash, the content of this book – proposes to the observer of the image, to unleash an achievement by presenting the many "paths and places" that this image "exists" to thus compromise it. There is a kind of agreement, a kind of melee so that it can distinguish itself and bring to your understanding what the author of this image seriously proposed. Therefore, there will be an exchange of blows, where - observer and image, openly expose themselves to perform with honors and with accuracy the courage without exhaustion in the correctness of this "reading" to "achieve".

• Language: English
• Publisher: Edmar Camara
• Release date: Jan 14, 2021
• ISBN: 9781005567231

Edmar Camara

Um ativista da arte - pintor, designer, romancista, poeta, contista e produtor de conteúdo digital radicado no Brasil com nascimento em Minas Gerais e vivências em outras territorialidades. Produz textos que se diferenciam por estarem carregados de uma intenção que se adequa ao leitor que o interpreta em sua subjetividade; o que resulta em narrativas que questionam e provocam uma verdade que é exposta, mas que não se apresenta como absoluta.

Book preview

SEDUCTION

The aesthetics of an image can occupy us by the accusation and the absence of a defense of what we lack, without requiring regret and pleading, by exposing us in front of a canvas whose traces and colors exalt the author's intention.

To the observer of this image there is no kind of censorship or gratitude. There is an assembly of admiration and courage, without the need for scrutiny and without the need for a trial. Can a screen tell you what beauty is? Have we found someone who might be immune to something that in principle we can say is good and true? Does the image ignore the subversive nature - if any, of the message constructed by colors and brushes? Is a person seduced by an image tempted to believe that there is an acceptance of a truth? A painting, an image, a canvas, almost always touch a profound difficulty that is the gift that the author of the work manifests his understanding of what he understands to be reality.

The message is more tacit than explicit; and the idea is that beauty belongs to lateral values that are identical to different non-rational modes, given the observer's emotion of this imagery.

ALTRUISM

Beauty is not only found in the one who defends it. The creator of the image thinks of building a beauty in different ways and presents - imagery, to a positive, unintentional reality. However, in it, she carries out the escape from ugliness, because although there is a dangerous beauty, she believes that she does not intend to be immoral or corrupt. Does this – the author, think wrong when developing the image? Is this thing of not existing phalluses impossible? Will there be an answer to these questions that illustrate this difficulty – from the author, to define beauty in his works? It is difficult to affirm that art in the form of painting possesses or dominates an answer that places the message contained in this canvas on the same plane as a useful truth and, for the sole purpose of planting in the heart and mind of the observer that the picture is unquestionable. And yet, that the intention of the image is a simple answer to note that the beauty contained therein does not speak of the author but adds the author's personality to a possible exploration of appearances, which can serve as a basis for investigating what he, the author, feels, but not what he is in the world of things.

APPROACH

A painting always presents itself as a lesson in reality. The author - in his work, makes renewed attempts to tell us something that for him is essential, profound and, that for the observer is not entirely convincing.

They both end up guessing, which they should prove in thesis. It is difficult for author and observer to assume a definition of intentions. Both are deeming able by a theory that is in accordance with their logic of the message that the work seems to them in the look and for it to be a test for any thesis they want to approach. If a frame is an image, then does it really exist, that image represents the frame? It would be sustainable to seek the truth when I say no: the image always tells us of an appearance, always allows us to seek a depth and at the same time refuses to be simple.

Talking about image is very similar to talking about beauty, and when we are caught doing these analyses we test ourselves in some way. The observer seeks beauty in the image in an involuntary way; compared to other forms and often for the same reason he pays attention to the truth. Which would be to say that the image can and should possess some sense, say, of taste.

The now critical evaluates the spirit of the object from its perspective, from a look at itself. And it always leaves a question to be answered: does the observer describe the image or himself? Could the observer be convinced by the judgment of this image, this beauty and this potential truth made by another, without having had contact for - himself, with this image?

Can the criticism of the image - made by an expert, influence an observer who does not know for himself turn into an unquestionable truth? Wouldn't this expert opinion be the same as that adopted by scientific beliefs about authorities of a given agenda or disputes determined by court decisions? Is the image conditioned to these premises? I would say no; it is absolutely not. Trusting the other about the requirement of the message of an image without the observer being able to evaluate for himself, is not reliable. I believe, however, that by the time the observer appreciates the image, his opinion will be carried by the influence of other criticisms that led him there.

ATTRACTION

How many times when looking at an image do we prevent us from making any judgment, because we find it very similar to so many others; although we can repeat the opinion of another, when on the screen we do not appreciate. Is it common to find ourselves describing an image we do not like, even if she does not have any contact? An attractive and even pleasant image and, rightly so, do we show any interest from it? Would we thus be indicating a sincerity when talking about an image that apparently - to us, seems to be pleasant by the fact - or by virtue, others have also found? Can we give an opinion not on this image, but rather on the character of the author of this screen or on the theme it deals with? It is a fact that some images in them we focus our judgment; not with the quality of this image, but for the pleasure of having it together with others. So apparently it is we who invoke this idea of an image being beautiful and, by touching or possessing it, we become different people. Would you be in this case making a judgment about who you judge? In other words, do we distinguish in the image a true beauty because it is extravagant to judgment?

CRITICAL

By looking at an image we rely on our reasoning that focuses your criticism exclusively on the message of the work. When considering all the judgment we have identified in this image, strange as the outcome of this trial may seem, it threatens to undermine the entire critical center created by the author. The criticism of personal taste is true because it is supported by a deductive reason that builds the observer's argument. Can there then be an opinion that is in the background activating the truth of this image? Do each of the observers of this table necessarily follow rules for the result of a truth and this is applied in this image devoid of any personal aesthetic taste? Is it true to assume that the observer often praises an image for not being the real recipient of this message? Would it be - not only beauty, but truth, tied to the author and not to his work? An image seen today, and which is intended to reproduce a truth or a fact, may be further ahead to be surprised and appalled to be - in fact, devoid of any meritorious fact? The image - somehow, is a passion of the author who lends himself to this work as a testimony of truth from which he inspired him. An observer brings to the trial almost a clumsy taste that seeks in the frame to identify and thus deny the work. In any case, a certain ambiguity rules in the criticism of an image, which can and must be defended by argument; which will not always be accepted, because this judgment may be in contradiction itself. And in the end there is always the question to be solved: after all, do we like something because our judgment is based on the thesis of our own argumentation?

SCREEN

We are daily bombarded by images that we can mark on them, there is nothing real, but that at first glance does not depart from what we consider and discuss as of some interest. Images that we consider removing due to their lesser aesthetic importance surrounds us and imposes us for their apparent not importance. I call that storage. Very similar to what we do when we fix the room, place the dining table or even position ourselves when running or walking. Make no mistake; in each of these gestures there will be an introduction of imagery message that is being read by the other which we underestimate and delude ourselves of any action of judgment that is taking. They are what others consider imagery heroism. The image that is projected on these everyday mental screens does not commit us so hard, although they accompany us so that it is not a high point that survives an aesthetic eternity. It should be desired that these images - minimum of general importance, to which we attribute an appearance try to seduce us and make value significance either consciously or leveraged by impulse of relevance; or not.

SMOOTH RAPTURE

Notice the images that surround you. Understand and highlight those that are best crafted. Question whether they compete or decrease because of other aesthetic elements that are there serving, attracting or even refusing a more demanding, higher attention - in terms of visual language.

The construction - by its creator, of a canvas, does not want and does not want or, it is of less importance to snatch the observer with a something terrifying. In fact, the image seeks to create a soft context that does not destroy a narrative or, if possible, marry a harmony without interrupting the aesthetic narrative of the environment, but that seeks - always, to be used what prevails. In general, we have an absence of unpretentious information of images, which we wrap in our good taste - which you think belong to you.

That creates an order in which the value of our/your ignorance simply does not absorb. The cult of a work whose beauty there is a truth to be pleaded, and/or until it is minimal, always tries and pursues us to demand decisions to occupy to demand to occupy a place of greatness that can make - in our routine, a moment, a corner of beauty.

See the image to inform of your wish; that seeks to adjust to a confirmation of bringing to the observer where it is possible to find the truth - of whose context, be humble in providing this envelopment presence of shadows and genres that do not ruin the aspect of this world.

DEPOSED BEAUTY

It seems something banal, of someone importance when we decorate some environment inserting in it an image - however modest it may be. In this environment, the screen should not compete or smaller, because it serves as a highlight element or backdrop for another object. The strength of an image is not in its refusal, nor in its demanding attraction, but - but rather in a condition of art. When we talk about aesthetics, one does not seek a stunning beauty, but a sign of balance, of a sweeping but harmonious smoothly, and that in the image there is a narrative that is not interrupted, whatever dialogue it seeks: private or collective; it prevails the common sense of those who observe it. The word to be said about the imagery and beauty that is deposited in