For photographs are not, as is often assumed, a mechanical record. It is an appearance, or a set of appearances, which has been detached from the place and time in which it first made its appearance and preserved - for a few moments or a few centuries. In the sense in which we use the word in this book, all images are man-made.Īn image is a sight which has been recreated or reproduced. And often dialogue is an attempt to verbalize this - an attempt to explain how, either metaphorically or literally, 'you see things', and an attempt to discover how 'he sees things'. The reciprocal nature of vision is more fundamental than that of spoken dialogue. If we accept that we can see that hill over there, we propose that from that hill we can be seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visible world. Soon after we can see, we are aware that we can also be seen. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are. (Close your eyes, move round the room and notice how the faculty of touch is like a static, limited form of sight.) We never look at just one thing we are always looking at the relation between things and ourselves. To touch something is to situate oneself in relation to it. As a result of this act, what we see is brought within our reach - though not necessarily within arm's reach. (It can only be thought of in this way if one isolates the small part of the process which concerns the eye's retina.) We only see what we look at. Yet this seeing which comes before words, and can never be quite covered by them, is not a question of mechanically reacting to stimuli. When in love, the sight of the beloved has a completeness which no words and no embrace can match : a completeness which only the act of making love can temporarily accommodate. Nevertheless their idea of Hell owed a lot to the sight of fire consuming and the ashes remaining - as well as to their experience of the pain of burns. In the Middle Ages when men believed in the physical existence of Hell the sight of fire must have meant something different from what it means today. Incorporating these into his essay, he informs the academic audience that, as a modern society that the real worth of the art pieces that were created through the eye of the painter are being dispraised by the use of cameras to make it easier to come in contact with art.The way we see things is affected by what we know or what we believe. In conclusion the audience can see that John Berger builds his rhetoric strategies in his essay “Ways of Seeing,” by using ethos, pathos, and logos. This is where John Berger connects his audience to the message that he is delivering, which is that the worth of past art has decreased in worth due to modern day culture. The author writes that the camera has drastically changed the meaning of art by not seeing it in person and having it become a common image that is present in many occasions. Its amazing image that it has when they stand in front of it and bask in its glory. He lets them know that as cameras have been involved, it is reducing the uniqueness of the original artwork. Berger’s credibility is built by the way that the academic audience can see that the world is using famous art in many different forms, because of how cameras can easily transport an image of a picture to another location, to other people and get a different interpretation of what the artist was striving to actually create. In a part of John Berger’s writing he says, “When we ‘see’ a landscape, we situate …show more content… As a result its meaning changes,” (128) by doing this, he creates the credibility that shows that modern day culture with cameras are changing the actual worth of art. Through the duration of his essay, John Berger demonstrates to us that he is attentively developing rhetoric strategies of ethos, pathos, and logos. The purpose of his writing is to inform the academic audience, that in modern day culture, the worth of an art piece created through the eyes of the painter is being underpraised. From the past where the originality of the painting and the way the painter wants to portray it so that the spectator could see the meaning of what was trying to be presented, to the now modern day view of the art. Show More Rhetorical Analysis Essay “Ways of Seeing” In John Berger’s essay, “Ways of Seeing” he discusses how art is being examined.