Within the rich tapestry of human existence, emotions are the intricate threads that weave the fabric of our inner lives. They are an innate part of the essence of being human. When you are a baby, you cry, smile, fuss, and giggle all for the first time, and without knowing it, you are connecting actions to these inner feelings. You grow, and so does your capacity for knowledge. Social facts, the ideas and thoughts that exist in society independent of individuals, are imposed onto individuals from a young age, teaching them the “normalcies of society.”  Emile Durkheim introduces his readers to the notion that “...social constraint is not necessarily incompatible with the individual personality,” meaning that through individual experiences, your outlook on life will develop as well. We must acknowledge the independent influence of societal thought and ideas and their influence on individual thought, because although you are born new, the world you are born into isn’t. 

As humans learn and interact with the world, their perspective develops; a direct result of the evoked emotions. Perspective is shaped by feelings like curiosity, courage, fear, relief, or any other emotion you hold in your emotional toolbox. Still, it is through these feelings and actually letting yourself feel them that catalyzes the development of your perspective. These nuanced distinctions shape our human responses. So, by connecting to these emotions, we can lay the foundation to have a significant influence on someone's point of view. To understand this, we must first know how humans interpret societal influences. From there, we can relay that to the impact artistic mediums hold and, ultimately, to the accountability and role of an artist.

In Poetics, Aristotle addresses narrative components and how a conversation between the art and the viewer happens amidst the storyline. Like any other socialization, this conversation holds the potential for significant influence and, therefore has the opportunity to invite the viewer, reader, or listener to engage deeply. The question then becomes how to successfully engage an audience, despite the art medium.

The conversation between the work and the viewer doesn’t begin without the creator first dialoguing with the piece as it is being created. Jane Goodall said, “To persuade some to think differently, the best way is to tell stories that reach the heart.” Original creation gives voice to our emotions. Creators and artists are often inspired by being at the forefront of social progress, shaping characters and narratives that portray our most human emotions. This discourse is described in What is Sociology Of Art, a piece transcendent of its time, written in 1958. The relationship between society and artists is one of many tribulations. Historically society had, “...the state subsidizing art and artists… leaders maintained, promoted, and controlled the arts.” Times moved forward, and more to today’s society, the arts are “...caught in a conflict of changing meanings and functions…passing through a stage of significant transition from serving an elite and being under obligation to the general public.” (312). Throughout history, Creatives have given thoughtful critiques of our social systems. Through artistic mediums, creatives have expressed commentary on world economic and political landscapes, often pushing communities to engage. Artists also provide their communities with joy, interaction, and inspiration, reinforcing that there is a role for the artist to play. Artists feel the world so deeply and express it directly into their creations. Often it is the very same emotions, or thoughts, that many others leave unspoken. An artist's work is personal, but human emotions are universal, and there, of course, is the appeal. Art becomes a vehicle to connect on this deeper level. 

Throughout time, art has often earned recognition by appealing to aesthetics, “The majority of people, looking at the subject matter of art, judge a work beautiful if the subject matter is beautiful…their sensibility is underdeveloped,” This had set up artists to face a collective mind and subjective taste regarding their art, but as times change, “...the artist now does not look ‘from the inside to the outside’ but he expresses his inner reactions to the world.” It is this historical shift, where art stopped being held by the boundaries of societal outlook, and transformed into a powerful commentary reflecting the artist's outlook on the world they live in, thus advancing the crucial social-psychological conversation between art and viewer. 

So let's dissect the relationship between triggering emotions such as sympathy and empathy while overcoming apathy within artistic mediums as a tool to engage the viewer's mind and thus impact their way of life.

Aristotle’s concept of catharsis and transcendence through art and Megan Schmidt’s article, How Reading Fiction Increases Empathy and Encourages Understanding, both touch directly on the power of connection between the human soul and external knowledge influences. By being exposed to stories within art, people can experience a perspective they may not have viewed before, forcing introspection and unlocking a new personal point of view. Aristotle defines art, whether it is poetry, music, or even dancing, as a medium to express a reflection of reality. “Through fiction, you are able to experience the world as another gender, ethnicity, culture, sexuality, profession or age,” and it is “...a way to step out of oneself and transport to a different point of view.” This “imitation of realities” is not to recreate events in a historical sense but rather to provide a portrayal of a more universal, underlying truth that can be relayed through fiction and storytelling.

In Plato’s The Republic, we learn of the possible negative influence that falsehood has on the human brain and mind. “We seem, then, to be pretty well agreed that the artist knows nothing worth mentioning about the subjects he represents and that art is a form of play, not to be taken seriously.” Still, Schmidt’s opposing perception emphasizes the importance of both exploration and imagination within a story. Thus, with purpose, the story gains the ability to stray away from Plato’s need for censorship regarding falsehood and move towards Aristotle’s belief of separating underlying stories from fiction, where there are “...the three differences which distinguish artistic imitation- the medium, the objects, and the manner.” In having a clear purpose or reasoning behind the work, art produces this ‘story within the story,’ a dialogue between the work and the subconscious human mind. Historically, “...the visual arts…were justified as means of teaching the illiterates,”  but concerning today's society, these stories are told through an artistic medium because they are a digestible way for the common person to understand the world. Proof that art can have an immense impact on the transfer of knowledge and influence on the subconscious. 

Plato’s idea of falsehood is, for all intents and purposes, a pursuit of the truth. Does Plato’s The Republic recognize Art, Literature, and Media as a threat? Plato speaks of mimesis, or imitation, and uses analogies to make sense of his preachings. He speaks of the idea of a bed, an actual bed, and a painting of a bed, illustrating how each one relates to the realm of reality. In the Platonic Form, “The Form itself is, of course, not the work of any craftsman,” but is rather, the idea itself. From this, we can understand his perspective of these degrees away from reality. If reality itself is an imitation of the idea of life, then an imitation of reality, such as stories, is far from that Platonic Form or Idea. It is this semblance that strikes fear into Plato with regard to poets and art alike. In The Power Of Images, Jessica Rawson speaks on how art and imagery were used in Ancient Chinese cultures as instruments of power and ideological control. The Terracotta warriors buried with the passed Emperor were not just an imitation of an army, but to them, were as tangible and intimidating as a living, breathing army protecting the Emperor in the afterlife. To them, the visual narrative was equal to the actuality of the subject, contrasting Plato’s idea of degrees of separation, and they used this to display power and control in society with significant influence. This is increasingly evident in the use of generative AI which is being used to create content, songs, and videos on social media. Can we truly differentiate what is real or generated by technology advancements, and how will this new content be held accountable for its influence on our perspectives, especially if the content is fake? 

It is here where the concerns of the internalization of art and culture collide and it is here where imitation breaks beyond the boundaries of artistic works; transcending into reality and becoming a controversial topic. In Plato’s The Republic, we gain an understanding of the fear of losing control, foreseeing the power of original thought. Does our ability to believe illusions render us helpless to the possibility of compositions of knowledge being falsified? It is impossible to ignore the vast reach of social media. Should we fear or embrace this as an example of the apparent power over individual thoughts?

Plato holds reason and logic to the highest standards but knows that emotions threaten reason. “The appeal of dramatic poetry is not to the reason, but to a lower part, the emotions, which, like the senses, are subject to illusions.” Plato sees emotions as a looming impulse, a negative reaction, a crack in society that can be pried open with the presence of art. Instead of accepting the power that one can have by accessing one's emotions, he justifies banishing the arts altogether through the exploitation of their falsehood from reality. But within emotion, we find aspirations, inspiration, and hope. Purpose can fuel positive social change, a perfect counter to the risk of misinformation. 

An artist's ability to appeal to our emotions through narrative techniques can transcend periods in time, creating longevity generation over generation. I believe that artists can lean into empathy and Rhetoric through narrative techniques in artistic mediums, and in doing so, they can influence individual introspection and in turn, instigate social change. 

By intertwining narrative techniques, we get the complex book of Don Quixote by Miguel De Cervantes, a story that has become curriculum for students across the world since its publication in 1605 due to its significant, mosaic composition. Throughout Don Quixote Part 1, we are constantly subject to deception and trickery. Despite having the wool pulled over our eyes, Miguel De Cervantes's intentions can be easily misinterpreted. It is not his intention to discourage you from reading or to make you think less of your personal intelligence, but rather to give you the opportunity to perceive Don Quixote’s stories as we would peel an onion, pulling back layer after layer. Stacking perspectives such as the omnipresent narrator, first-person point of view, and having Don Quixote’s story being in and of itself, an objectified recount of history, we get a multi-faceted narration. Through this, we, as readers take part in the story unfolding.

This engages the reader on a deeper level, using storytelling as a way to depict central themes, much like Marie France does in The Lais of Marie De France. By depicting different points of view, the connection and conversation between the works and the consumer is attainable. Intentional details and discourse occur between the creator and the work, thus giving the work the ability to speak for itself, transmitting underlying themes such as moderation, and restraint, while also addressing gender roles, class status, and education. So how do we find points of view and stories, with subjects that can intentionally influence introspection and result in upholding or challenging societal norms?

In The Cycle of Socialization by Bobbie Harro, we are first introduced to how individuals are socialized into society and culture and the effects of social dynamics. Then, we learn how individuals can recognize inherited personal biases and beliefs. Finally, we are exposed to how individuals consume these social cues, highlighting the power of education and self-awareness. “To understand what roles we have been socialized to play, how we are affected by issues of oppression in our lives, and how we participate in maintaining them, we must begin by making inventory of our own social identities with relationship to each issue of oppression.” The “cycle” of socialization occurs if an individual chooses to do nothing about their newly learned realizations, likely driven by fear/insecurity, patterns, or ignorance. To break the cycle, we must engage in conversation, develop our worldview and perspective, speak out on what we believe, and continue to be curious about how we can contribute to the world we live in.

The book Emergent Strategies by Adrienne Maree Brown explores how to develop a positive outlook, how to pursue purpose-driven work, and the role that adaptation plays when looking to change societal oppression. The main idea behind the book is that “Emergent strategy is how we intentionally change in ways that grow our capacity to embody the just and liberated worlds we long for.” This book is for people who want to change the world, which I do., and within everyone, there is a way that they can. Brown speaks of the power of authentic relationships and how to create the changes you want to see in the world highlighting the power of personal narratives that connect us to one another. “What can one person do to change the world?” Is often used to dismiss personal accountability. It is grounded in  hopelessness. A simple word change can turn perspective upside down. “What can I do to change the world?  It is very powerful to recognize and acknowledge that every member of a community has a role to play. That an individual’s skills and talents, whatever they might be, has value. This perspective requires introspection.  Brown reinforces this point, “How we are at the small scale is how we are at the large” and “‘Transform Yourself to transform the world.’” Brown challenges the reader to exercise their mind reinforcing the power of curiosity and knowledge to battle ignorance and neglect, or falsehoods as described earlier. Climate change, homelessness, gender roles, femininity, the male gaze, fake news, social media echo chambers and sustainability are just a few of the challenges my generation is inheriting. It is incumbent on us to understand these challenges in order to make the world we live in better for future generations.

Brown speaks of true individuality, highlighting that personal awareness is required to avoid succumbing to the cookie-cutter colonial mindset based on power, control, and regulation. It is through individual thought and pushing societal boundaries that we can advance our society and communities.  By means of reflective conversations between society and the artist, a discourse between the creator and their work can transcend conventional thought.

By targeting the innate connection between humans and their emotions and catalyzing self-reflection, there is an opportunity to influence change. To do this, I believe in capturing and telling stories and allowing individuals to see the world through someone else's perspective. Through my ability to capture and respect oral history, I have the skill to share other personal narratives and give others platforms for their voices to be heard. In today’s world, these platforms could look like a podcast, a subject-based exhibition, or even through social media. Through my art, I can create stories, instigate conversations, and analyze and highlight societal pressures in an effort to contemplate solutions. Public Art becomes Social Practice. 

In What is Oral History by Linda Shopes, we see the possible criticisms of how historical oral evidence contains “emotional resonance.” “Their views can change over time, as perspectives broaden or narrow, as subsequent experiences force one to reconsider earlier views, as current context, shape one's understanding of past events.” Oral history is verbally depicted, so there is the possibility of distortion due to gaps or biases in human memory. On the other hand, by documenting and publishing personal points of view, we invite others to experience the world in a different way, catalyzing a shift of perspective. 

“The instinct of imitation is implanted in man from childhood…and through imitation learns his earliest lessons” (Aristotle, Part IV). This “imitation” and use of personal narrative within media in today’s society is where these possible influential stories are composed. Through imitation of actions, characters, thoughts, and diction in storytelling, according to Aristotle, people can experience “the liveliest pleasure,” learning. “The reason why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring.” Aristotle uses the idea of a character and the familiarity of a subject as a mode of interpretation for the audience. The viewer can identify the characters, follow their actions, and understand how their actions shape the story's plot. This, in turn, can evoke human emotions and contemplation. That connection and likeliness can appear in the creation of the art, depicting human emotions such as sympathy and empathy as a conductive tool to achieve engagement and success in the creator’s endeavors.

In “The Rape of the Sabine Women” by Peter Paul Rubens, Rubens depicts this “momentous moment” where these women are getting “raped” of their liberty by Roman men. The story behind this painting is tied to the founding of Rome. The Roman men had no wives, so the King decided to lure the Sabine women there and abduct them. This is the moment that Rubens painted. It is a chaotic scene, with the women in the midst of their own taking. Within this painting, viewers can look deeper into the movement depicted and focus on details that uncover more of the story. Their faces and stances depict emotions like agony, torment, and resistance, relaying to the viewer a feeling of uncertainty and distress. The drapery and clothing of the figures add to the sense of motion, billowing and flowing around the characters' bodies while in their struggle. The use of light and shadow is masterful, with strong contrasts adding depth and drama to the painting and justly composing the environment they are in. All of these elements of the painting create a story, an immensely and beautifully detailed portrayal of history, perceptible for the reader to analyze.

In Lady Lillith, a painting by Dante Gabriel Rossetti of the Pre-Raphaelite Brotherhood in the Victorian Era, he evolved the idea of the dangerous, sexualized ‘fatal woman’ or the ‘femme fatale’ that was often negatively contextualized. Still, Rossetti depicts the women in a way that responds to the Victorian anxieties of social change with power. Rossetti’s portrayal of the “Femme Fatale” challenged the traditional Victorian ideal of the "angel in the house" and the notion of women as pure and virtuous. The Victorian era was a time of strict social and moral codes, which placed women in a subordinate position to men and emphasized their domestic duties and virtues of modesty and piety. Still, Rossetti's portrayal of women challenged these norms by presenting them as complex, strong, sensual beings rather than merely as passive, decorative objects. Dante Gabriel Rossetti was said to relate the figure of Lilith to feminine power, that he connected her to the “New Women” of his time, who were campaigning for more equal rights. These narratives coincide in their opposition to the environment they are in.

Rossetti paints Lady Lilith, a figure from Jewish mythology, believed to be a demoness associated with the seduction of men and the need to rebel for equality. Rossetti depicts the rebel as a beautiful woman lounging on a couch/chair, surrounded by lush, green foliage, brushing her long, luscious locks. Unlike the conventional Victorian woman, she wears an ethereal white gown that falls off her shoulder, revealing her pale skin and displaying her decolletage, shoulders, and neck. A crown of white flowers sits on her lap and white fur covers the chair, but while the color white stands for purity, her red lip, red bracelet, and a red flower in the vase next to her signify her passion and sensuality, almost as blush flushes pale skin. Lady Lilith's vanity and her obsession with her own beauty are indicated through her pose and her handheld mirror. Her gaze is glossy and fixated on herself in the mirror, and with that beauty, she casts a spell on Man. It is here where Rossetti depicts animosity towards the male gaze and threatens it with Lillith’s resistance to comply. 

In today's society, Rossetti's works featuring women can still be seen as provocative and challenging as they continue to challenge traditional ideas about femininity and the role of women in society. With this, Rossetti's works can serve as a valuable starting point for discussions about gender, sexuality, and representation in art and society.

In a more modern context, Kourtney Roy’s photo exhibition “The Ideal Woman” captures the continuing proliferation of female stereotypes. A commentary with a long lineage of expression, Roy is still able to capture this in a new light. This exhibition was inspired by influences from film, pornography, and advertising industries of the 50’s and 60’s. They are trapped in the past and confined by shallow cliches, but each identity consists of many parts, creating their own stories. These women, unwillingly suppressed by the reigning patriarchy, give a subtle reference to the act of unconsciously representing women as sexual objects solely for the pleasure of the male view. These women, dressed in familiar uniforms, are recognizable, but instead of the images invoking feelings of comfort, they feel empty and cold. Roy is directly addressing the disgusting established stereotypes of women and their longevity in society. 

Roy accomplishes the challenge of taking on the hardships of the male gaze in a way that is comprehensive. Just like Cindy Sherman, she is the object, as well as the objectifier. A poignant reminder of the fact that the more things change, the more they stay the same. Issues that pushed women down decades ago are still plaguing women today (Try being a woman on the street of NYC and NOT getting catcalled). Roy commits to living the parallel lives in each photograph in the exhibition, displaying herself as “The Ideal Woman.” 

Throughout history, artists have illuminated and shed light on society's flaws. The artists I have discussed are no exception. Inviting viewers, readers, and consumers to explore the worlds within storytelling. Society will in many ways reflect or react to the messages they consume. James Baldwin talks about the precise role of the artist, “to illuminate the darkness, blaze roads through the vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.” With that, I believe that art and media can have an immense impact on the human psyche, and my education at NYU Gallatin has given me the skills to interpret, represent, and gain an outreach worthy of society’s radar. My four years here at NYU Gallatin have given me the confidence to make my art personal, vulnerable, authentic, and deeply connected with others; irrespective of how my art is interpreted by society, and I will stand tall in my role as an artist.

Bibliography

Aristotle. “Poetics.” Oxford World’s Classics: Aristotle: Poetics, 2013. https://doi.org/10.1093/oseo/instance.00258601. 

Brown, Adrienne M. Emergent Strategy: Shaping Change, Changing Worlds. AK Press, 2021.

Durkheim, Emile. “What is a social fact?” Emile Durkheim, 1895, pp. 1–13, https://doi.org/10.1007/978-1-137-36855-3_2. 

Harro, Bobbie. The Cycle Of Socialization. Harro 1986, Griffin 1997. 

Morris, Rudolph E. What Is Sociology of Art?, 1958. The American Catholic Sociological Review, vol. 19, no. 4, pp. 310–321.

Plato, et al. Plato: The Republic. Harvard University Press, 1964.

Rosetti, Dante Gabriel. Lady Lillith. 1866. 

Roy, Kourtney., The Ideal Woman. 2012.

Rubens, Peter Paul. The Rape Of The Sabine Women. 1635.

Schmidt, Megan. “How Reading Fiction Increases Empathy and Encourages Understanding.” Discover Magazine, Discover Magazine, 2 Sept. 2020, www.discovermagazine.com/mind/how-reading-fiction-increases-empathy-and-encourages-understanding. 

Shopes, Linda. "Making Sense of Oral History," History Matters: The U.S. Survey Course on the Web, http://historymatters.gmu.edu/mse/oral/, February 2002.