"The study of perspective "teaches that our ways of understanding are constituted less by an objective reality or subjective impression than by a communicative interplay of phenomena. In this communicative interplay, the ways one perceives the world are manifest as acts of expression, and, in turn, these acts of expression become the ways that the world is perceived." (Williams, K. p. 199 Why I [Still] Want My MTV)
As Williams is noting here, perception becomes displaced as cenas a key to representing reality. Hence, there is an act of deciphering whether to always measure things in a linear model. The very ways in which one perceives the world are represented through expressive acts. These expressions are then evolved into the that the world is "looked at." Venturing through the aspects of the unknown, one might often escape to their imaginative state of questioning what is real and existing and what could be real and exist. It all depends on how one defines "the real."As Lacan has it, the real can be defined as a state that can only be understood in connection with the categories of the symbolic and the imaginary. In this sense, "that which never ceases to write itself" brings across the idea that reality is related to the impossible, cannot be spoken or written, and cannot be reduced to a single meaning or means of expresssion. How we express ourselves and how we perceive the world , one finds themselves capable of deciphering between concepts about what is real. Perhaps this questioning is a sense of escaping back to a dimension of the imaginary states we experience in childhood or a return to an innocent state.
Ideologies among the various portray logic (logos) as being the sole term of rational thought and being. An audience may become oscillated by the symbolism which tells it to conform to the rationale. Concepts of logos are brought about through the what Williams names the fourth dimension-music visuality. In this sense, echos draws forth logos' (logic's) state of expressing an art through this (fourth) dimension of musical visuality.One thing that Dr. Williams is trying to prove is that although there is nothing wrong with understanding a text through a state of meaning already given; However, it is important to remember having an open mind. Even when it's the most difficult thing to do, opening a state of mind and being can be quite comforting. We are set into this world full of phenomena through symbolism. Some believe in a divine being while others base their reality on plain science. It is significant to remember that there may be more to the world than is portrayed by the naked eye itself. If one looks deeper into the art (whether it be a video, audio track, book, painting, etc.), they may connect in a sense that there is no sole story. Within a text lies various ideas, symbols, and meanings derived from it. As Williams states:
"I suggest echos as a metaphor and way to understand the mutual interpenetration of sights and sounds- and indeed of the presence of multiple logics- and as well of the multiple ways in which such a work may be read, interpreted, and become meaningful in one's life." (Williams p. 211)
As Williams suggests, logos is itself the dimension of musical visuality.As humans we are in flux not only physically, but mentally. How we express ourselves artistically is key to deciphering between echos and logos. They are like Freud and Lacan as Lacan sort of weaves off of Freud's ideas.Knowing that certainty is never given, but constituted gives one the benefit of making sure that music television (MTV) was in fact music television, and that knowing this relates to combinations involving a land of expression and perception. In essence, the act of phenomena is indefinite.
Williams notes the point that awareness does not only constitute a background through which ideas are made clear, but that an awareness is presupposed by all fields of research without even investigating itself. A play of synthesis weaves all of this together. Music video offers a way toward interpreting the importance of sound and and music in a capitalistic society and culture that leans toward the its dominant ideology of the visual. What Williams notes as "videoscape," references that which MTV was and still is capable of bringing to the table. In this sense, MTV sets forth the principles of organization, atmospheric dimensions, and environment. Thus, videoscape expresses a way of interpreting and expressing the world we live in.
In this musical visuality (logos), we succeed in aspiring to find an echoes, a reverberation which amplifies further than the material world of television and into pop-culture. What we call pop-culture is discovered within the echos of MTV. Williams points out that we also find that conceiving an influence on Music Television's viewers is an act that is indeed futile. The things viewed on Music television show up in the background of its style depicted by a musical-visual presentation.
The effects of MTV upon culture have yet to be discovered as Music Television is as Williams suggests "a cultural expression and an expression of culture." Hence, MTV is borrowing from the culture, condensing what already exists, and extending it into the realms of television. A great example is portrayed through PJ Harvey's "This is Love" video where Polly Jean is featured using pastiche and sexualizing an image formerly used by the wonderful Elvis Presley. Her rock star stances and rough, edgy guitar riff is overlayed by her voice mirroring the guitar's edgy audio. It is a great example of the rock star portrayed throughout the dimensions of pop-culture visuality.
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