Terministic works of art

Rhetorical efficacy can be measured and analyzed in both the manner in which they select, reflect and deflect realities in order to paint a picture using truth. One might paint several different pictures drawn form the same set of truths with varying results, which further progress down a line that deviated from the original truth, if there ever was one. More than this, the matter of the ends delivering and receiving are inherent to the nature of the matter itself deem the large part of its significance. The entire matter is only resolved in its significance once something has been textually portrayed, and then that portrayal has been perceived, adding to a degree of its removed nature. Despite this, Burke asserts that the quality of observation of behaviours through a terministic screens actually keeps with its nature. (Burke, 49) Burke says that our “reality” is completely dependent on the symbol systems created, thus sucking the gravity from reality, reducing it towards whatever has been constructed by man. In Benjamin’s world of artistic criticism and reproduction, the terministic screen might apply to the questions that are drawn that direct our perception of art itself. To deflect certain qualities in art by asking questions and answering questions that create a new framework of understanding is the difference between placing a work of art in a school of thought where it simply disintegrates, and a school of thought where schools of thought are limiting and thus the framework is a framework insofar as it caters towards that creator’s use, and allows the nature of the art to be more than what it is and aspired towards by the artist, but by what desires and whims are drawn from it and reflected from it by the various audiences that wish to make what they want from what they want.