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and our the things you're singing you may have seen many times the startling thing is this camera is recording reality without really seeing are caring about it we use our eyes for the most part really do get through life as if it were an unfamiliar room to get from one end the living or the other but there's another way of sharper waves sea floor with him his maze in which we live from day to day many worlds worlds that are constantly blending floated depending upon who was doing the scene if we are aware if we really see there can be a joy and wonder and the most common place i think it's the way the skilled photographer suits because you see what you think you
see what you feel and you see what you are earth paso is one of the owners of the world according to edward steichen levine of photographers past has made one of the great contributions to photography of our time unless he has appeared in such magazines israeli terror holiday and life in a series of four programs <unk> house will show that seeing is an unprovable part of living in this first programme das discusses how all the photographers she's
finally get it it was a photographer with us to talk about sea of course the rnc could have tossed a paper appoint what anybody from the visual field's to talk about rasmussen why a photography what's the difference i thought about that i found out it's all based on the little quote mentally but i mean these were not pass a based on them that means you're confronted with zodiac richard remember and i just transform then comes to cut into component driving down a dollar down you may have to pay obviously a picture of you
it's a new meteor we can never have a photograph of this memo that we're eating and i was reading and it is significant at the most visual age and it's the sea with its least part of a kid maybe because it is the most taken for god's sake and for now that sense it's a foreign language to express that sense like for instance hearing we have note and you can listen and i get dollar and she gave it to somebody and so he can get wet evening taste they can take a cookbook the predominantly consistent make a meat for i can't only see they don't
care the sky and over language but state if you go to addiction the job and the people you have to sleep eight years nothing about warrants defiant words and seeing that means there must be many many different ways that may be how about listening and maybe a few minutes about this and as chanted we are never going to walk you know to me you know until i would really known to see that means to be a whale or follow song pink reality with the light of this history of the world i would like to do and the spoiled assure you if i can and the pope's so it goes deeper into every appreciation
is nothing but they're different all flops ok and every page is nothing but based on observation and this was built forty six remember in that bit about golf but it must have now going to read to you should know that we lost and it says the faculty of creating is never given to us or guides that it warrants goes hunting hat with a gift of observation that talk trade maybe like a nice and he said that it wants to find about the commons and thomas think it was worth you know it doesn't have to set out and save recently and precious objects we all have to cast a glance about familiar with things that i never know where the top is attention at least accept or to st louis and died says abolish the location may even throw a profit
from something unforeseen detroit's relationship and the accident is perhaps the only say that really inspires you see especially in our review we were so much for the accident but we recognize the x it is an almost paradoxical way we recognize something they have never seen before but it must be awarded at a house so we see the slides but not like a puppet by somebody who was working in the vision of the small american band musicians means but it shows you that seeing
is in every sense it is closed the combination of or a census and how it space is inconceivable that it sounds you just take a shower and watch it received vision into a movement and shapes and colors are changing and you can see things in it becomes a fascinating object and ssa division <unk> they were looking for because it shows you how painful effects of course there's one vision which is seeing record fall because they added but there's another patient which for the gatekeeper that would change their homes and it was the vision which gave them were forced to change because you can see to the new
debate which is a kind of run on the way a vision unconscious patient which for somebody when you see this openness but then the school vision become a unit they get together and you see what you think this guy would call and much more object a subjective like the opposite the objective point of view with the supreme court in new york i want to send my mother a view which she would see you every body is in exactly the same way i would send a lot of them anyways to see us has a picture there you have it in the skyline suddenly becomes related to balance of the fish
market that you might need a thought into a composition coalition and then you take i make out of this court upsets of houses a very warm human scene of a man was a discussion with a little cub somewhere in another it's a spectacular story so is this picture or to a skyline in a completely different very much more pointed climate than the one before that state the comics i think it's of the landscape and the skies occasionally europe's common little bit like icicles hanging out but as i say if you have vision you don't always have to go and look at the sky that you can see them really were conceding grand canyon somewhere between off the division of the sky line
appears that this picture but of course a postcard gives you just a point of view live at the statue but how different it can be seen at the scene here by post davidson young lee aka and suddenly disappears and become smaller and is fined almost like a flame within the play disappearing and the chaos of our civilization and maybe you know just feel bombarded by fans and the milk frames frames nothing but for television movies magazines advertise fines fines and we're forced to begin to kind of the total visually can
we also used to playing with music in a kind of a different way it's not officially detained because to paint or to uses to find that stance on an empty canvas and then gets extension and that just obstacle but we kind of got the land and out and stored away and are now with his friends and hangin of reality whatever we find looks like it is the likes of us we find artistically in all three and that plane because it made me remember your view with the way underneath me rep paul but what if you don't write it too because he wanted to be on a loan with his fame and he wanted to build wireless concentration of
mr scott's more about what headley environmental kind of look silly a stomach and maybe you pointed against everything and the little boy concert happened to me and it was kind of remarkable because he saw the same thing and then they're given the camera you could do it was really you know it's the ole opry wife use aol quite a phenomenon is that something you saw the times two eyes in a three dimensionality and it suddenly became a picture two dimensions and he said that he was that one was that they did given the kind of i have to say that's my fame it doesn't the big date we always have that we selected by instinct constant
select people rely on sabbatical sick people we dislike so constant selection but if we have more time one nation even then the city and you can see them if you go to a beach on a warmed up and tell everybody looking for some very often they're nothing but exactly the same still and people and they will go in more thing this election and suddenly between all the same stone the band people are not and this one of the best all why because they have selected something in the object obama said this is my story we have fond of value which
represents and these values are not forties with the arctic you'll find them not only in our climate but people are shiites and we find our values within the fire the ship's bell and then you i want to select as a multitude of possibilities to say that shapes your waffle and suddenly many detention center nation say this is just what i think is my picture and be two very much the same thing with report a flame against the reality that underlies it into that there's one picture a theme last exit poll
showing that the picture is going to dip into it because there's a little boy which includes a kind of a geometry but it appears so is that you mentioned that you receive it's the center of all these shapes believed to an article that to you very soon you're going to miss the little boy if it to go up for duty and you noticed it it's a humid picture everything leads to watch their online which goes on into this life that nobody really long line but they're seen compost brought together by perspective so somebody who thought
that this is the way i have to expose this situation and then standing at this window and suddenly made to his lawyer and what we have around fences on yet is still trying to wrangle sway on its own he was brought into english of course you can express a human figure that he's eating it wrong i've been popular before you can do that the show sylvia and initially but if you see your picture and you see the whole life and you would see all the horror didn't eat the mission joyce supreme court has said expresses his feelings and balances hit with another
that in the internet and here she says while this entrance of england i'm a swan dive into the vet pod little loopy enjoying nature even within their name and john being pummeled or a house this doesn't only goal for human beings in the polanski you can bring a certain kind of geometry which we force you to think about it or so in this way this is by how minor the japanese theater wait what happens if you grow up you see it almost looks like a mob statute and how carefully this stalin was putting a pistol is mississippi it's the accent which is going to combine the forms of the little houses in the back and if you take this talking greasy really miss the spell it's an access it
solves your otherwise you would be too semitic anti tobacco seedlings foremost a perspective the debts and to reporter landscape i remember that part three pictures are assured don't think we spoke in islamic officials are really fully the ravens sing a whole immunity he has become if everything goes into each other this picture the competition
but this is going to be an issue you see where this goes you can understand that the cockpit really important part of making a lot of the mosque and of oddities on a medication and then holly breaks it makes it sort of friction into the water and suddenly goes into a cockpit and then the war shook the sport in and if you see the horror picture you really understand much more and see much more when justin welby washes things worse and that part is because the saudis are meeting women when they secure but i would like to show you see them many many movements which are in delegates or more than sixty nine and he brings an entire nation and what you see in the final and germany
is foremost the obstruction of the in typical and then he believes it all just gets a little more reality to it so we understand and work has picked up an idea becomes a form of santa and the guggenheim museum is looking at an upstart of mourners a sailor is looking at himself rep scott if he knows it or not and the photographer got into such a relationship that their obstruction and the city became almost obstruction when he connects them i mean surely spill you come in the negative maybe become so clearly you see how the lines into
change and i am that he had been a little bit by blank because bb and then into canadian clients and suddenly it or fix to get in to see an upstart you towards kind of together and all the values circle and color which is a good thing to stop working to get there are many many pictures some colorful and some penicillin because shift came to washington but flynn photographer
from my home just so at one moment is symbolic of two ideologies facing each other and from now on whenever we go and look at this picture previously ideologies facing it was once a second and it may never happen again when i came to new york i was kind of fascinated by the speed that he did there working and walking necktie takes place the new yorker as of work i couldn't find it and then find out jim it's looking exactly like monterey it became a kind of reality and this song and the television montana where most to make any device it's one of the pages which were crossing along what kind of difficult
to do make a bit more naturalistic think i have in the bank and i was kind of so now thorne author but on the many budget goes on his own tunes and no symptoms i was used to say that i was used to much more i can't go through this and i'm not a democracy and there was a sentiment and then there was a non which used to be a wallet and then make that and i came to paris the same thing and sent out the truth and like grace in many many directions the streets were closed and then later the new york it was interesting to look at the map i could almost see the skyline within the macro
perspective and an inmate there and i looked and it takes for someone to be on what came to new york i couldn't understand what he meant andy kohut this ridiculous and parties on pulse has a few bumps and biking movie boogie woogie when i was long enough in this country now to understand that west point is called for now we love the picture that's our standard will use this to say boys all possibilities and expresses a very human touch your family and nothing but the little squares in the door now i love that new york but i must see was a challenge when i came for the very first time and i had a very difficult place to work with his father's articles and
politicos and bring them into a new order and i was fascinated by the reflections and buy glasses and by frame speeding fines and cities within cities that's the show and all the flights the check to the beginning when i came to europe set in new moon i
mean they don't seem interested in which goes with intimate pictures we have shown remorse that means that means you go to find your perspective the next time you speak about the moment which goes into the time the decisive moment and really show in a post pictures times these picks at a climax of a situation no means you know the new national educational television
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Series
The Art of Seeing
Episode Number
1
Episode
Sign and Insight
Producing Organization
WNDT (Television station : Newark, N.J.)
Contributing Organization
Thirteen WNET (New York, New York)
Library of Congress (Washington, District of Columbia)
AAPB ID
cpb-aacip/75-913n643f
NOLA Code
ARSG
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/75-913n643f).
Description
Episode Description
Explaining the difference between photography and other arts, Ernst Haas points out that the photographer hangs frames in reality, and his own particular view of reality determines where the frames are placed. He discusses and illustrates the combination of emotion and geometry that goes into making a picture, and how appreciative perception of accidental moments can illuminate our lives. (Description adapted from documents in the NET Microfiche)
Episode Description
In this first of four programs with photographer Ernst Haas, the objective is to assist the viewer in the refining of his ability to see creatively. Haas speaks of his own attitude toward perception, and then, through the use of some film sequences and a succession of many revealing photographs (both his own and those of others) he begins to explore aspects of seeing, and specifically the ways in which the photographers use the photographic frame as a discipline. Haas also touches upon the difference between photography and the other arts, stressing the fact that in all other arts the element of memory and reconstruction is an essential part of their creation, whereas in photography it is in some ways like an accident, an instantaneous reading in and writing out. Haas uses many examples to show how emotional and structural elements in a picture are made use of and played against one another by various photographers. Credits: Pictures from Magnum Photos Inc. by Henri Cartier-Bresson; Bruce Davidson; Burton Glinn; Elliott Erwitt; Ernst Haas; Hiroshi Hamaya; Edward Weston. (Description adapted from documents in the NET Microfiche)
Series Description
The opening narration of the first episode sets the theme for this series: We use our eyes, for the most part, merely to get through life as if it were an unfamiliar room to get from one end of living to another without stumbling over the furniture of the world itself on the way. But there is another way a sharper way of seeingIf we are aware, if we really see, there can be joy and wonder in the most commonplace sight. Is it the way the skilled photographer sees. In each of these four episodes, Ernst Haas uses photographs (his own and those of other major photographers), film, and works of art to show perception is a neglected art but an improvable part of living. Ernst Haas is acknowledged as one of todays leading photographers. According to Edward Steichen he has made some of the great contributions to photography. Mr. Haas, who now makes his home in New York, was born in Vienna in 1922. His formal education was originally directed toward medicine, but conditions in Europe forced him to abandon any thought of a career in that field. He turned to philosophy and painting, and finally to photography. Of himself and his work, he says this: Disinterested in scientific objectivity, I want to transform reality with a poetic conception by relating the unrelated into a vision 00 forcing the viewer to feel what I felt as well as to think what I thought. I believe photography can be an art and I want to give everything to help achieve it. There is only you and your camera the limitations of your photography are in yourself, for what we see is only what we are. Mr. Haas was voted one of the worlds ten greatest photographers in an international poll conducted by Popular Photography magazine among educators, critics, editors, and art directors. He has received numerous awards for his color photography, and his pictures have been shown at the Museum of Modern Art and the Metropolitan Museum in New York, where examples of his work are in the permanent collections. A book on his studies of nature in close up is scheduled for publication by Macmillan this year. The 4 half-hour episodes that comprise this series were originally recorded in black and white on videotape. (Description adapted from documents in the NET Microfiche)
Description
In this first of four programs with photographer Ernst Haas, the objective is to assist the viewer in the refining of his ability to see creatively. Haas speaks of his own attitude toward perception, and then, through the use of some film sequences and a succession of many revealing photographs (both his own and those of others) he begins to explore aspects of seeing, and specifically the ways in which the photographers use the photographic frame as a discipline. Haas also touches upon the difference between photography and the other arts, stressing the fact that in all other arts the element of memory and reconstruction is an essential part of their creation, whereas in photography it is in some ways like an accident, an instantaneous reading in and writing out. Haas uses many examples to show how emotional and structural elements in a picture are made use of and played against one another by various photographers.
Broadcast Date
1963-00-00
Created Date
1962-00-00
Asset type
Episode
Topics
Education
Fine Arts
Media type
Moving Image
Duration
00:30:00
Credits
Associate Producer: Weiler, Berenice
Director: Browning, Kirk
Executive Producer: Benjamin, James
Host: Haas, Ernst
Lighting Director: Manning, Fred
Producer: Altman, William M.
Producing Organization: WNDT (Television station : Newark, N.J.)
Production Assistant: Seaton, Shirley
Set Designer: Riggs, Otis
AAPB Contributor Holdings
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_5197 (WNET Archive)
Format: Digital Betacam
Generation: Master
Duration: 00:29:15
Library of Congress
Identifier: 2047295-1 (MAVIS Item ID)
Format: 2 inch videotape: Quad
Generation: Master
Color: B&W
Library of Congress
Identifier: 2047295-2 (MAVIS Item ID)
Format: 1 inch videotape: SMPTE Type C
Generation: Master
Color: B&W
Library of Congress
Identifier: 2047295-3 (MAVIS Item ID)
Format: U-matic
Generation: Copy: Access
Color: B&W
Library of Congress
Identifier: 2047295-4 (MAVIS Item ID)
Generation: Master
Library of Congress
Identifier: 2047295-5 (MAVIS Item ID)
Generation: Copy: Access
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Citations
Chicago: “The Art of Seeing; 1; Sign and Insight,” 1963-00-00, Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 8, 2025, http://americanarchive.org/catalog/cpb-aacip-75-913n643f.
MLA: “The Art of Seeing; 1; Sign and Insight.” 1963-00-00. Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 8, 2025. <http://americanarchive.org/catalog/cpb-aacip-75-913n643f>.
APA: The Art of Seeing; 1; Sign and Insight. Boston, MA: Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-75-913n643f