Does confirmation bias pose a danger to ekphrastic writing? “Myside” or “confirmation” bias is “the strong tendency to accept information that supports our beliefs and values and to reject information that opposes them, as well as our tendency to think we know a whole lot more than we actually think we do” (Lunsford and Ruszkiewicz). Art inevitably contains many things that are unfamiliar. When describing the significance of artwork, are values revealed and the truth ignored?
To comprehensively describe a piece of artwork, it might be necessary to consider multiple perspectives. Writing about a personal outlook of an art piece and the facts and/or opposition to that way of thinking could make for more stimulating work. Writing about individual thoughts and feelings and filling in the blanks using other sources (books, interviews, journals, etc. ) can significantly reduce confirmation bias in writing. In The Ekphrastic Writer, it says, “while a majority of museum art has been created by males, it is the female gender that is depicted most often—which makes us wonder, through whose gaze are we seeing art?” (Baugher). I believe that the author's questioning of what lens art is seen through supports the importance of analyzing the various gazes when looking at artwork, such as the gaze of the person creating the art and perhaps the gaze of the art subject.
On the flip side, some confirmation bias might be a good thing. Writing with confirmation bias can perhaps create writing equally interesting as one without, notably when describing nature in the artwork. Writing about an interpretation of flowers and forestry, instead of the more literal plant science logistics, can create more personal and exciting imagery. The pros and cons of confirmation bias pose the question of whether confirmation bias should be a part of written ekphrasis. To conclude, I think that there needs to be a balance. For example, when viewing an artifact from an unfamiliar culture, I believe it is crucial to include the initial thoughts when viewing artwork and to pretend to know a “whole lot more than we actually think we do” in addition, include the history and facts in support of piece to avoid being offensive or misinforming people. (Lunsford and Ruszkiewicz). In my future ekphrasis writings, I want to let my confirmation bias run free while simultaneously informing others.
To comprehensively describe a piece of artwork, it might be necessary to consider multiple perspectives. Writing about a personal outlook of an art piece and the facts and/or opposition to that way of thinking could make for more stimulating work. Writing about individual thoughts and feelings and filling in the blanks using other sources (books, interviews, journals, etc. ) can significantly reduce confirmation bias in writing. In The Ekphrastic Writer, it says, “while a majority of museum art has been created by males, it is the female gender that is depicted most often—which makes us wonder, through whose gaze are we seeing art?” (Baugher). I believe that the author's questioning of what lens art is seen through supports the importance of analyzing the various gazes when looking at artwork, such as the gaze of the person creating the art and perhaps the gaze of the art subject.
On the flip side, some confirmation bias might be a good thing. Writing with confirmation bias can perhaps create writing equally interesting as one without, notably when describing nature in the artwork. Writing about an interpretation of flowers and forestry, instead of the more literal plant science logistics, can create more personal and exciting imagery. The pros and cons of confirmation bias pose the question of whether confirmation bias should be a part of written ekphrasis. To conclude, I think that there needs to be a balance. For example, when viewing an artifact from an unfamiliar culture, I believe it is crucial to include the initial thoughts when viewing artwork and to pretend to know a “whole lot more than we actually think we do” in addition, include the history and facts in support of piece to avoid being offensive or misinforming people. (Lunsford and Ruszkiewicz). In my future ekphrasis writings, I want to let my confirmation bias run free while simultaneously informing others.
Works Cited
Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.
Lunsford, Andre, and John Ruszkiewicz. Everything’s an Argument. Eight Edition, ebook, Bedford/St. Martin’s, 2019.
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