In the beginning of the article, the writer states that the ways of how we see is an act of choice, is affected by our belief and knowledge. We are always looking at the relation between things and ourselves, and what was relative to your position in time and space.
When an image is seen as a work of art, beholders may consider about its myth, authenticity, market value and also the assumptions of art, i.e. beauty, truth, genius, civilization, form, status, taste. However, these assumptions change their meanings time by time. That may cause the primal and first relation losing between the image and experience of beholders and lead to culture mystification of the past.
In the early Renaissance, the convention of perspective was established. This convention puts the eyes of the spectator in the centre of the visible world. In addition, it seems that the whole visible world is arranged for the spectator.
After the camera was invented, this concept was challenged, this invention proves and demonstrates the centre of the visible world is not exist. The meaning of seeing is changed, and that conversion was reflected in painting. Different views were depicted in the one piece of artwork.
The invention of camera also destroyed the uniqueness of work of art, and the paintings can be reproduced. Moreover, these reproductions are been given new meanings through the their different and new purposes and sequence of viewing.
Reproduction also be seen as kind of information, it travels and its meaning is also diversified.
The meaning of original work is no longer depended on what it says, but on what it is. Therefore, the original artwork maintains its own authority.
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