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There are always two people in every picture: the photographer and the viewer.
In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.
Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.
'I Spy' represents the absence of the tension of the black man or black woman or anyone of that color walking in, so that the white racist person can become entertaining to a viewer.
I think the notion of traditional anchor is fading away - the all-knowing, all-seeing person who speaks from on high. I don't think the audience really buys that anymore. As a viewer, I know I don't buy it.
The art of photography is all about directing the attention of the viewer.
On television and in the movies, crimes are always solved. Nothing is left uncertain. By the end, the viewer knows whodunit. In real life, on the other hand, many murders remain unsolved, and even some that are 'solved' to the satisfaction of the police and prosecutors lack sufficient evidence to result in a conviction.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
It's what you don't see that keeps you on the edge of your seat in any kind of film - leave it to the imagination of the viewer.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
If I'm feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.
I love Vines. You make this 6.4-second drama, and you can reach 6 million viewer, and make people laugh. I find it so fabulous.
As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.
J. G. Ballard
Every viewer who ever turned on 'Doctor Who' has taken him into his heart. He belongs to all of us.
Many billboards and magazine ads have resorted to showing isolated body parts rather than full-body portraits of models using or wearing products. This style of photography, known in the industry as abstract representation, allows the viewer to see himself in the advertisement, rather than the model.
Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.
The big reason that 'Doctor Who' is still with us is that every single viewer who ever turned in to watch this show, at any age, at any time in its history, took it into their heart - because 'Doctor Who' belongs to all of us. Everyone made 'Doctor Who.'
The still must tease with the promise of a story the viewer of it itches to be told.
I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Sometimes when I hear commentating, it's sickening. People who never played the game, people who never played in the league have an opinion, and that's all it is. You are here to educate the watcher or the viewer. Sometimes it comes off as personal.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art.
Martin Luther King, Jr.
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