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A2 Personal Investigation, Analysis, AO1 Develop Ideas, AO2 Explore Ideas, Essay

Essay introduction and plan

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Essay Question:

My hypothesis and narrowed down six possible questions are:

.Examine how the sublime and reality work hand in hand to  visualise how they reflect a personal emotion. And how the artists… and ….. show this in different ways.

.How can politically movements of photography such as surrealism and the sublime effect the way which photographs see and demonstrate emotion in their work.

.How does the power of pain and beauty found within the sublime, have such s strong influence on the emotions of artists and photographers.

.Does objectivity and reality effect how we view and react to our emotions. How does the sublime have such an emotional response dependent on the persons current emotional status. And how do photographers capture such a unique set of emotions all at once.

.Merging the boundaries of the sublime and surrealism; How are emotions and personal identity represented conceptually throughout photography. Why do these photographers …..consider their work to be sublime.

.Examining the sublime: A photograph should not be able to have such strong emotional occupancy, so that it effects how someone perceives reality and views their own emotions.

I belive I am able to start writing this essay now as all of these titles link in a  successful manner and I should still be able to communicate the same ideas and themes through the beginning of the essay without knowing the specific title itself.

Essay Plan:

Make a plan that lists what you are going to write about in each paragraph – essay structure.

  • Essay question:
  • Opening quote:”the sublime is something which has power to compel and then destroy us. Pleasure is only pleasure if it is felt and the is to be said about pain. ” Edmund burke 
  • Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?

“The sublime is something which has power to compel and then destroy us. Pleasure is only pleasure if it is felt and the same is to be said about pain. ” E:burke .The area I have chosen to study is the Sublime. I have done so as I belive the sublime owns such power it is often metonymic. It allows the thinking eye to add more value of what it is sees, but it is sole proof of seeing emotion as a medium. To develop a photo is a chemical reaction but what is develops is undevelopable in the essence what has been taken and experienced by someone, can not ever be repeated. The sublime is an instance of instances, It causes an independent reaction to each persons’ emotions and what they believe to have seen. It is not only something to be shown through art and photography, but a philosophical question which I want to look further into. My area of study will be how can the sublime be shown through the representation of emotions through the human body. I have chosen to compare two artists and two philosophers within my own subject of work, as they both focus on the ideals of human form reflective through such powerful emotions. The hypothesis I propose to answer is ‘Merging the boundaries of the sublime and surrealism; How are emotions and personal identity represented conceptually throughout photography. Why do these photographers …..consider their work to be sublime.’ The argument I intend to prove and also challenge, is the argument derived  as a  defence of the deliberative value of immoderate speech from an unlikely source, the  account is ‘ I say the strongest emotion, because I am satisfied the ideas of pain are much more powerful than those which enter on the part of pleasure. Without all doubt, the torments which we may be made to suffer are much greater in their effect on the body and mind, than any pleasures which the most learned voluptuary could suggest, or than the liveliest imagination, and the most sound and exquisitely sensible body, could enjoy.’ Burke states here how a persons emotions are strongest when pain and terror are so closely used, yet not to the extend of deat. This certain pleasure has a breadth of imagination that people can use for enjoyment. To my mind, this is has some truth, so through my three artists and two philosophers I will develop and explore their hegemonic and oppositional ideas, responding  trough the work of Tim Walker and how his style has such a strong juxtaposition to that usually expected within the sublime. Walkers tablo worldly images that inspired a transgressions of out of place beauty combined with incoherent objectification of mythology form interesting compositions that could be addressed as ‘sublime’. However I will be comparing his work to Claude Cahun and Franceseca Woodman, These two women’s styles catapulted the understanding of social and political issues when it comes to dealing with emotions It is ironic how they were both raised and worked in a time before the period of post-modernism, as their work stemmed from the view to change and explore how authorship of work should be an expression of identity and not to follow a path paved by those gone before. Historically the sublime is a term in which refers to a greatness beyond all possibility of calculation, measurement, or imitation’  It was first written in the 1st century AD though its origin and authorship. However it is evident that the sublime did not become a common influence until the 16th century, having a strong contextual reference to that of the renaissance period and its association to ‘romanticism’. My official aim is mimicking how photography can access political and emotional dependancy of reality through landscapes and portraiture to express a non direct emotion. My images will form a narrative of emotion further expressed through the colouring and text developing the surrounding piece itself. My investigation to how strong emotions can be seen such as pain and beauty ( which makes up the sublime) links successfully from my practical work and both my analytical.  This ares of work has always fascinated me as it s so fabricated and philosophical that there is no direct answer but just a group of proposals and theories. This allows my artists never to be wrong while expressing their opinion but just subject to exploring in various ways without being deemed as wrong or incorrect. The relation to romanticism and emotions seen within a landscape still has a clear connection to the subject matter of political landscapes, and if anything forms more themes of cohesion throughout my project itself.

Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. Link to powerpoints about isms and movements M:\Departments\Photography\Students\Resources\Personal Study

  • Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
  • Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
  • Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
  • Bibliography: List all relevant sources used

Essay Introduction, to include: 

  • Begin to read, make notes, identity quotes and comment to construct an argument for/against.
  • Explain how you intend to respond creatively to your artists references and further experimentation and development of your photographic work as part of your POLITICAL LANDSCAPE project.
  • Complete a draft version of your introduction 250-500 words) and upload to the blog by Mon 26 Nov.
  • Establish coherent and sustainable links between your own practical work with that of historical and contemporary reference.

Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. You should include in your introduction an outline of your intention of your study e.g. what and who are you going to investigate. How does this area/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? Include 1 or 2 quotes for or against. What links are there with your previous studies? What have you explored so far in your Personal Investigation, or what are you going to photograph? How did or will your work develop. What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with? Show evidence for an on-going critical and analytical review of your investigation – both your written essay and own practical work in response to research and analysis.

Overall essay structure: 

The plan: ,My question,Post modernism,Barthes analysis of photos,The emotion ,Cahun living and working what movements and ism why (modernism and post hadn’t come about),Sublime,Edmund Burke ,Discuss what I want to capture,Discuss about those three words of reality and such,Tim walker ,Tablo and created the likelihood and false reality of the danger of the sublime itself,My official aim wanting to access political, emotional dependancy of reality,How this links to political landscape,Overall what I want to have in my images and shoots,How these artists and philosophers have changed what I think about my work,My overall aim,Closing and finial analysis of question

 

Analysis, AO1 Develop Ideas, AO2 Explore Ideas

Analysis of past student essay

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Notes and evaluation on another book:

Anna Houiellebecq: Inside Out

 Houiellebecq speaks much about the project being about capturing the physical representation of hidden emotions. Her body ‘inside out’ includes images of the subjects posing in a certain way that represent a specific emotion. Her images focus on particular areas of the body, this being hands and faces; small sections at a time. Her book also allows a creative way that allows shapes and movement to be seen throughout. It has a very contemporary feel because of the way the human body uses light and abstract visions. The variation of images spreading from the whole page to half of the page allows a portrait oriented angle of the book itself. There is no category to her images, which I enjoy as this is similar to the narrative aspect that I too am looking for in my images. To do so the images are linked in similar ways through either colour or perhaps subject.Her images have a variation of coloured and black and white as this allows a contrast within the flowing format already. She decided to choose the ‘bath images’ to go into black and white as this looked better this way as the contrast of tones work better in black and white. An aspect of her book I throughly enjoy is the use of poems about particular aspects of the body itself. And for these double pages she used a similar colour themes and aesthetic as much as possible.

I think her title is very suiting and successful when thinking about the completion of this book ‘Inside out’ came from an expression of hidden emotions in a physical embodiment of human form. Another aspect I thought was successful was how the colour throughout looked professional and clear and precise to the overall Finish of the book itself. She was very clear with the amount of research she produced when speaking about body image and exploring how body expresses hidden emotions. She released though her research how bodies are usually intertwined and inspired by daily physical contact. she decided photographing political, social and emotional groups of a person was successful. I think this is interesting as this was similar to one of my first ideas about the exploration of human emotion reflected in a landscape. However I think when considering the sublime, I might consider the emotions behind the sublime itself, This would be considering how sublime emotions are within ourselves, and we do not know others emotions or inner feelings.Her essay question is quite substantial asking ‘how and why do photographers use the human body to physically express hidden emotions’

I believe her work is full marks, her work is conceptual and allows many bodies of work to inter-twin successful into one working concept. Her essay is clear and expands onto the following topics of politics, culture, sexuality and gender issues. Her images not only show political issues but they show emotion through the smallest of areas on the body, which I think is so hard to accomplish yet she achieved this so well. I find it fascinating how she talks about how the human body can be used as a tool to express what cant be said in photography.  or as a ‘physical visualisation of unheard emotions’. The way she so successfully analysis her images making sense of what is happening and what she is trying to connote, is easily understood yet also well in depth and creates an awareness to whats he is trying to achieve.

She talks about the physiology of her work, clearly expanding from just a photographers view on the subject. Her references to other artists that successfully join into her work. Her analysis is also divided into conceptual and surreal forms of looking at the body, I think this important because there are so many possible variations and ways in which you could view the art so doing a clear depiction divided in a way such as this is very clear and shows conceptual thinking. I think many of the conceptual themes of her book such as the colour scheme not only intertwine the written work to her visual but also creates a sense of mimicry within the colours symbolising the emotions she is trying to convey.she also successfully links her written work and the whole book itself to specific photographers and this essence of cohesion really helps to achieve her subject matter and her artists linked and wholly visible within her work.  The  Themes I would like to take out o this book are t pieces of text she uses in order to almost explain and deep then the thought of her work. I also believe how she used colour was so well thought out and received. I think her images themselves have such a strong overall theme yet and narrative yet without having to tell a chronological story which I would also like to show within my own work. Her subjectivity and images work well hand in hand and I think this piece as a whole was so well thought out ,presented and achieved and I will sue this as the basis of my own inspiration .

A2 Personal Investigation, AO1 Develop Ideas, AO2 Explore Ideas, Contextual Studies

reviewing and relfecting

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Lesson 1 – Reviewing and reflecting: Objective: Criteria from the Syllabus

  • Essential that students build on their prior knowledge and experience developed during the course.

when considering what I should further investigate within my project I started to think about my prior knowledge of my personal investigation and my overview so far. So far within my work I have investigated three main themes, this started off within the demonstration of narrative photography demonstrating how a political landscape should and is able to re create a personal emotion if someone  has an experience within that space. My second idea was a development of what is reality and if I could capture a false reality within my images, this being seen within the reflection of time. Lastly and currently the theme I am working within, this being the sublime and what images can be considered as painful and yet also beautiful. I have learned about how to show emotion through a piece of work and how to tell a story through not a direct narrative but fragmented images being grouped together to express a theme. I intend to further develop a theme that both links, reality the sublime and most importantly emotion. I decided if I used emotion I could denote factors about my own feelings and also those of people I photograph. I believe I want my project to be very unique but most importantly to have very interesting and individual imagery.I belive if I develop emotion I could use factors of the sublime to divide emotions into being beautiful and painful, and how emotions are so subjective to each and every person so much so that it is not the same reality for someone else.  Due to no one knowing what someone else is feeling I belive I could develop a book that shows the ups and down of what people feel. I believe living in what happens between planning for their future. So creating a book based on all my past research and shoot so far will really benefit myself. I could use the sublime to create further imagery in order to create a metaphor for how people feel during these emotions. I still want to use both a picture of landscape and portraits as this genuine combination presents a whole picture of what someone is possibly going through. To my mind when describing what themes are in my work I would say themes which have a sufficient meaning to a person and would effect their emotion shown within a sublime way. So a theme of vulnerability and perhaps a certain amount of truth to the person themselves. I have done much research on an array of artists, But I belive the most influential are those which achieve a sense of beauty and  such a unique appearance to the image itself.I believe focusing on people such as Tim walker and Claude chaun creating an interesting and subjective juxtaposition of techniques and aims within their work. Tim walkers outgoing and almost surrealist manifestos of tablo photography would enable oneself to create the eye-catching unique and sublime imagery. Whereas Claude chaun has a combination of political and social views which would allow me to achieve an emotional representation of individuality of people. Her account for fighting for gender rights and such should be prelivant within my work as the vulnerability of people is such a huge aspect. I have already done a direct response to her work, but if continue to do so with the intent of using her narrative responses this should successful work as an artists inspiration. I believe the difficult aspect of my work I am trying to achieve will be that of what approach I take. I have so many ideas and vision and I need to find the correct approach to tie all the serpent narratives into one intertextual idea. However because I want to find emotion I the sublime this is Both a combination of narrative as a reflection of what people are going through, to trying to create breathtaking and table photography images to then further demonstrate their emotions in a metaphorical physical interpretation. The skills I need are both successful convening an emotion. Through my images and yet also having an interesting composition to the images themselves. Also I think editing will be a large part of successfully creating the images I want to show. I believe I need to take a lot more photos and developing them to create the atmosphere within colour and the angle of the image itself will be difficult but would really advance and help the overall effect of my images. Techniques that inspire me the most are those which I find fascinating and eye catching, this is experimenting its under water photography, night time and light traces, close of textured work, seeing a sublime beauty within nature and lastly using colour a directed narrative to show a sense of atmosphere and the surroundings of myself and the people I aim studying around myself. what techniques am I using to create an overall synced view? As said previously I want to experiment within using many photoshop techniques as well as photographic sutures of using an experiment of slow shutter speed synced with fast capture to show many different atmospheres and characters within my work. Why am I inspired by this? I Find these ideas interesting to me because, showing emotions in such a sublime and new way, possible allows people to be more vulnerable and expressive wihtin their emotions and what they are really feeling. So many people when talking about emotions derive only negative connotations from doing so and belive emotions can only be spoken about in a negative and ill mannered way. I believe emotions should be an expression of who we are, it shouldn’t be reflected as a mirror of oursleves but should be seen wihtin our environment and those around us. Emotion have the ability to show strength and happiness. Examples of current experiments I am thinking about achieving are the following; Overall I am inspired by this through my wanting such an abstract surreal book that express emotion in such a why that is so unexpected yet so obvious to threader about its contact and the feeling it is trying to convey altogether.Emotion and sublime to my mind work hand in hand and I believe this would really successful tie my work in together.

Analysis, AO1 Develop Ideas, AO2 Explore Ideas, Case Study

contextual study

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Invention of photography:

invented In 1839 developed but two people, developing different techniques. silver nitrate is sensitive to light, so enables an imprinted image. in the renaissance period the 15th century artists and painters used a device called the camera of obsscura, placing the images which is then projected onto another surface. although you are unable to move or change the image being copied. this vies is tons lated and flipped. In modern cameras a mirror is used to effect the shutter and flip the image once again, so when looking through the view finder it is correct in the way of you seeing it. Additionally our eyes are a form of optic, this cannot be replicated through cameras in the same way. the beginning of photoghohry was a scientific cendavour to record something more accurately, and how these experiments found a solution to capture light and shadows .

PICTORIALISM, and time period: 

Pictorialism was occurrent in the 1880s-1920’s this is when new cameras were developed in this time and jersey was part of a large revolution and hot bed for photography and experimentation. There was 18 phoqogorhic studios in jersey in the 1940’s many pioneers of photography. soon photography was the  heigh of impressionism and was developed less from science and more into art. This made photographs think their work has to resemble a drawing of pencil or charcoal going against the nature of photography. looking more blurred and out of focus. They oddly scratch developing negatives and smear Vaseline over the lenses. They  wanted to move photos into art galleries alongside impressionist drawings and such. Then they looked at paintings for ideas of subject matter. These allegory paintings, they are based off a short story and myths from more biblical tales and then further depicted into literal paintings. They are full of symbolic meaning to convey a message and provide a lesson fo how to live your life, as this was the only device to express a view. They have a romanticised and whimsical feel within the photography images, and they recognise the aspects of artist landscape and nude pieces.Key characteristics/ conventions : This was a Reaction against, and what hey did this was due to whenever something becomes a trend their will always be a reaction and a challenge against the normal. they used many charchatertics inspired by renaissance art, and also the new development of individual expression in an artists manner which had never been done before in photography. These allegorical and spiritual matter of religious scenes applied the principles composition and deign but the subjective spiritual motive.

rule breaking:This characterisation of work could lead onto past themes I have studied such as rule breaking and how the concept of breaking a rule in photography or challenging the normal is atypical and rebirth of a new ism and movement within photography. Without these pioneers Turning science into art we would never have surrealism, romanticism cubism or be missing vital angles within the development of photography.

Artist: Julia Margaret Cameron is an artists who was a photographer in the victorian era. The bulk of her work from the categories, this being illustrative allegories based off religious and literary works. In the allegorical work in particular her work had a clear influence from that of pre rapaetlite. her work has delicate limp poses with soft lighting. Her work was unconventional through the intimacy created through he long exposure, her subject moved and by leading the lens intentionally out of focus. This leads me also into looking at how unique it was to have a own who has. algae influential photogoher at the time. Her work is very different to anything that a man would producjuce. Women are looked at as pure and seen to have. loving relationship with fmilay and sister in a clearly taboo and posed setting, almost table like. The has a strong juxtaposition to that of the male sense of photography at the time.The mans eye and the photographical gaze, Women historically are being looked at different through the representation is often eroticised and objectified.these naked figures seen as art for only the pleasure of men. However a female would show herself being empowered as a mother and ally clothed showing the sexism wihtin the period and soon this leads onto larger post modernism topics such as feminism and the fight for women rights and want for less sexualisation of their bodies.

Groups of artists: A group of artists that I think it would be beneficial to look at  a small group of artists called, photo-secession.The Photo-Secession was an early 20th century movement that promoted photography as a fine art in general and photographic pictorialism in particular.A group of photographers, led by Alfred Stieglitz and F. Holland Day in the early 20th century, held the then controversial viewpoint that what was significant about a photograph was not what was in front of the camera but the manipulation of the image by the artist/photographer to achieve his or her subjective vision. The movement helped to raise standards and awareness of art photography.The group is the American counterpart to the linked ring an invitation-only British group which seceded from which was the underlying value of the Photo-Secession, argued that photography needed to emulate the painting of the time. Pictorialists believed that, just as a painting is distinctive because of the artist’s manipulation of the materials to achieve an effect, so too should the photographer alter or manipulate the photographic image. Among the methods used were soft focus; special filters and lens coatings; burning, dodging and/or cropping in the darkroom to edit the content of the image; and alternative printing processes such as special toning, carbon printing , platinum printing or gum bichromate processing.

The theory of naturalists photography: Soon contemporary artists decided that pictorials wasn’t what they wanted to continue due to the lack of detail to their minds this is not what photography is about. this leads onto that of:this is the mind of he outlined a system of  aesthetics. He decreed that a photograph should be direct and simple and show real people in their own environment, not costumed models posed before fake backdrops or other such predetermined formulas.

REALISM / STRAIGHT PHOTOGRAPHY

The theory of straight photography ; Is this that could also be viewed as realism within photoghrohay, reaction against pictorials and started the narrative documentary approach, often with a social concern related to it, and the athletic of people within their environments. They argued that photography should not be blurry and out of focus as this is not why is was invented and wrongly captured the formal elements.Time period: straight photographers were in the intricate qualities of the photographic medium with the ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures the were ‘photographic’ rather than ‘painterly’.  Straight photography’s time period started towards the end of the pictorial era. ‘straight photography’ is the cameras ability to record objectively then an actual world as it appears in from.aight photography emphasizes and engages with the camera’s own technical capability to produce images sharp in focus and rich in detail. The term generally refers to photographs that are not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it These straight or pure approaches to photography continue to define contemporary photographs, while being the foundation for many related movements, such as Documentary, Street photography, Photojournalism, and even later Abstract photography.The camera’s distinctive vocabulary includes form, sharp focus, rich detail, high contrast, and rich tonalities. Straight photography is also synonymous with pure photography, since both terms describe the camera’s ability to faithfully reproduce an image of reality.

Artists associated:Dody Weston Thompson was a 20th-century American photographer and chronicler of the history and craft of photography. She learned the art in 1947 and developed her own expression of “straight” or realistic photography, the style that emerged in Northern California in the 1930s. Her camera work is represented in dozens of museums and private collections as well as in many photographic books and magazines. She also participated in multiple solo and group exhibitions from 1948 through 2006 in the United States and Japan.In her work it is evident the inspiration se has both seemed from the new straight movement yet till themes reminiscent of that of pictorialsm.

 

 

AO1 Develop Ideas, AO2 Explore Ideas, Contextual Studies, Essay

Academic sources: bibliography

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A list of sources I have read as part of my essay and text I will submit:

Hills,P and Cooper, T(1998), dialogue with photography.New York: Dewi Lewis publishing

…which is the point that Paul Hill makes when she says ‘verbs expression of this is most difficult and awkward, and that is annoying.’ (Robert 1998:81)

(Cacioppo et al. 2001 p. 173)

-The authors investigated whether people can feel happy and sad at the same time. J. A. Russell and J. M. Carroll’s (1999) circumplex model holds that happiness and sadness are polar opposites and, thus, mutually exclusive. In contrast, the evaluative space model (J. T. Cacioppo & G. G. Berntson, 1994) proposes that positive and negative affect are separable and that mixed feelings of happiness and sadness can co-occur.

k.Anish(2002) Tate Modern: Contemporary

– Kapoor as most powerfully expressed in the monumental void works of recent years.

E.Burke’s(1757) Philosophical Enquiry – Oxford worlds classics 

-It was the first complete philosophical exposition for separating the beautiful and the sublime into their own respective rational categories.

R.Barthes(1980) Camera lucida

-. It is simultaneously an inquiry into the nature and essence of photography and a eulogy to Barthes’ late mother. The book investigates the effects of photography on the spectator.

Contemporary arts

J.bell (2013) ‘contemporary art and the sublime’ 

-In the first section of this essay, I shall offer a directly personal take on the theme that will open out on to various aspects of current art-world thinking and practice. Many of the tactics and visual effects discussed here can easily be related to the tradition of artistic production stimulated by the writings of Burke

B.newmans(1948) ‘the sublime is now’

-The invention of beauty b the greek, that is , their postulate of beauty as an ideal. Mans natural desire I the arts to express his relation to the absolute became identified and confused with the absolutisms of perfect creations. 

AO1 Develop Ideas, AO2 Explore Ideas, AO3 Record Ideas

Academic sources: quotation and referencing:

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book reference of themes :I have read the following books

Contemporary arts: is a book written by: 

I started reading contemporary arts wi the intention to fin out more about the bass of how art and photocopy developed throughout time politically and economically and how this had an influence on the images produced and also the effects emotionally on the images themselves. These are the following notes I made when reading gah following book: Contemporary arts was founded upon the soviet war and the decision between the eat and the west,if the art of the east had to conform and to represent a specific ideology and have a definite social use,then the art of the west must be apparently free of any such direction and attain perfect uselessness. East had a celebratory achievements of humanity socialist West limits failures and cruelties Many ethnicity cultures and art influences joined the west in the way they were no longer ignored and were born to critical and commercial success.The end of the cold war broke the white genius and white monopoly of the country.The greatest effect on art has not been on its economy but its rhetoric. The demonisation of barriers

Camera lucida:Is a book written by Roland Barthes 

this is a book questioning the philosophy of why photography is important and how every aspect to an image has a different precise point of interest within it, It additionally develops the idea of what is reality and emotions being reflected and held within the person in the photo. The following are quotes and reference of interest I think will benefit my work. “I am interested in them as I am interested in the world but I do not love them” often punctum is the detail dependent on a size, However lighting like, it may be the punctum has, more or less potentially a power of expansion .This power is often metonymic.‘Thinking eye’ . This is Sole proof of art to annihilate as medium .What a stubbornly see. We say to develop a photograph but what the chemical reaction develops is undevlopable , the essence of a wound, what cannot be repeated but only transformed but only repeated under the instances of insistence. We must speak of intense immobility linked to detail to a detonator Not to inherit anything other than my own eye. Within movie you are not allowed to shut your eyes, otherwise you would not discover the image.  

The third book I have looked at is Oxfords worlds classics,, Edmund burke a philosophical enquiry: This book is a clear questioning of what the sublime is and of how it has come about and what successful it achieves. Many of my notes here are Ideas burke has bought up that I think could benefit my research question that I will continue to ask myself. These are quotes and theoretical questions. 

Burke had the thought that the beautiful us that which is well-formed and aesthetically pleasing. This is differently how the sublime is something which has power to compel and then destroy us. He stated the difference was that of the tranition from neoclassical to the romantic era. Burkes thinkning was based off the understanding he had from the casual structures, this consisting of Aritotelians belief that ‘physics and metaphysics, causation can be divided into formal, material, efficient and final causes’  he belived the fromal cause of beauty if the passion of love, the material cause concerns would be the materials of the object itself, smallness,smoothness,delicacy. These ese intern cause the calming of our berves . The final cause is God and his providence. Beauty before burkes view was based oin the three deifning factors of fitness perfection and porportion. however the sublime also had a casuals tructure before urkes theory and this consisted of, the passion of fear(death), The material was the infinity, vastness and magnificence of the object. The efficient cause is the tension of our nerves, and gos role in the final cause is having created and battled satan. Pleasure is ongly pleasure if it is felt and the said to be said about pain. Three states of indifference, of pleasure, and of pain. He will feel greater pain stretch caused upon the rack, but does this pain of the rack arise from the removal of any pleasure. DIFFERENCE OF REMOVAL OF PAIN AND POSITIVE PLEASURE. Pupose, that pain and pleasure are not only, not necessarily dependent for their existence on their mutual diminution or removal, but that, in reality, the diminution or ceasinf of pleasure does not operate like positive pain. And that the removal or dimunition of pain, in its effect has very little resembelance to positive pleasure.

internet reference of themes :I have two themes to which I want to research this being emotions within photography and the other being sublime.

The sublime: I decided to dive into the Tate modern for this research and discover what the contemporary sublime is k.Anish(2002) Tate Modern: Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the vastness of nature as represented in modern science but also the awe-inspiring complexity and scale of the capitalist-industrial system and in technology.Julian Bell surveys the contemporary sublime with personal reflections on its continued relevance to artistic practice. Other essays reflect on the complex relationships between concepts of the sublime and capitalism and technology today. ,, The content of the sublime: global Fear of what? What is that ‘something which one immediately has to recognise is bigger’? Does the contemporary art of the sublime have some substantive content in mind? Or do its meanings reside in its very nihilism, its hankerings after the sheer effect of power? Or is that taking matters too seriously? Why should we not simply celebrate showmanship, in this our age of spectacle?

Emotions within photography:Here I wanted to measure how you can measure emotion within a piece of art such as photography. And how differently art and emotions can be.

(Cacioppo et al. 2001 p. 173)–Our emotions play an important role throughout the span of our lives because they enrich virtually all of our waking moments with either a pleasant or an unpleasant quality. Cacioppo and his colleagues wrote that “emotions guide, enrich an ennoble life; they provide meaning to everyday existence; they render the valuation placed on life and property”This person will experience all kinds of emotions, such as fear, amusement, anger, relief, disappointment, hope, etcetera. Instead of one isolated emotion, it is the combination of those emotions that contributes to the experience of fun. It is not implausible that the same applies to other instances of fun, whether it is sharing a joke, using a product, or interacting with a computer.–P.M.A. Desmet (in press) Measuring Emotions 1Delft University of Technology; Department of Industrial Design

artists references online and in books :

j.bell (2013) sublime and the contemporary arts – But here in the foreground, as of the 2010s, we seem to stand amidst a delta. Channels of discourse about the sublime meander all around us, but which is the main flow, which the subsidiary, which the navigation canal or ditch for irrigation has become almost impossible to tell. Ideally, I should like to draw a map of this muddle; pragmatically, I hope at least to offer a ground-level topographical sketch.