1. Group 3
Jessica Messina
Erika Gregorio
Jon Yearwood
Petroulia Jackson
2. This chapter in Sight Sound Motion touches upon
the relation to particular things in life.
The relation to the letter “B” and “13” was a
gesture to exemplify that if seen in a different
light, one would notice that they are similar in
shape and look. Furthermore, it concludes that
we associate things of this life on impulse and
the simplicity of particular situations.
3. While messy handwriting seems okay for a small farmer, you
wouldn’t trust the same type of writing in a sign for aviation
lessons.
CONTEXT is sometimes the initial reaction to the world around us
constructed from experience, and is often times cultural.
4. Ourperceptual processes are not only
immediate but POWERFUL. Even when we
know we’re being manipulated we can’t help
but react predictably.
5. Tilted horizons also skew perspective, giving a
sense of instability to a scene (probably not the
photographer’s intention here, but it does seem
like kid is about to go flying)
Photo courtesy of Matt Bower
6. Certain lighting, colors, and
types of music can have a
big emotional impact and
play a big role in aesthetic
context.
Art tries to stop reinforcing
the preconceived “reality”
we all have by breaking the
circle with different points
of view (like The Diving
Bell and the Butterfly)
http://www.youtube.com/watch?featur
e=player_detailpage&v=ktKcnDfWs2c
(I take no credit here- video is courtesy of Katie Wardrobe)
7. http://www.youtube.com/watch?feature=pla
yer_detailpage&v=ohc9wPJ_TmU
This is a recut version of the film “Mrs.
Doubtfire”, and with some slight
modifications… it gives the “trailer” a
WHOLE new context.
(courtesy of TrailerMan77)
8. Before you can expect to help viewers
become more sensitive to their surroundings
and unlearn their habits and way of seeing
the world, you need to have aesthetic
literacy so you can see and understand the
complexities, subtleties, and paradoxes of
life.
Only then can you clarify, intensify, and
interpret them effectively for an
audience.
