“ Identity depends as much on others as on oneself” Our identity is simply what makes us unique and differentiates us from the rest of our society. We each possess individual qualities that define ourselves from the categories of race, culture, class and religion. Although to conserve these qualities is almost impossible as we are influenced by the people around us, this concept can be highlighted in the texts of Shakespeare's ‘Othello’ , ‘The Tattooist’ by Anne Vick and the movie ‘Stand By Me’ by Rob Reiner. Each of these texts exhibit the same motif of change and confirm that the people around us sway our individual identity. Shakespeare’s Othello is a perfect example of identity development.
This question has often been asked, and the boundaries between craft and art are often contested. Is it that art evokes meanings and emotions far beyond what the viewers observe, while craft remains the underlying basis of art? Or is it that a craftsperson is someone who practices their skilled craft, and an artist is someone who cares about their craft, cares how it looks, how it’s presented, if it will inspire and what is its intended purpose. Some believe craft is the use of materials for something practical that has some individuality but limited imagination. As soon as the creativity hits a higher level and the work assumes its own identity, whether it has a function or not, that is when it becomes art.
You need to have read each chapter at least once, and it’s a good idea to flip through each chapter as the test approaches and take another look at the images. 1: Art in the world. Beauty, location, religion, fantasy, emotion, memory, cultural context, social consciousness, popular culture. 2: Elements of art. The basic toolkit for making art, including line, shape, texture, volume, mass, light, contrast, color, perspective, and motion.
It is clear that Dix was not accurately depicting Dr. Heinrich Stadelmann as he would appear in life. This raises the question whether Stadelmann would have approved of the finished artwork, and what it was Dix was trying to say. As with any artwork, it is impossible to know where Dix’s interpretation ends and the viewer’s subjective inventiveness begins. Therein lies the effectiveness of art as a combined experience that transcends the intent of the artist. Dix may lay the groundwork through his strategic use of artistic elements, but it is ultimately the observer that builds the
Second, he argues that it is only by virtue of something being sentient that it can be said to have interests at all, so this places sentience in a different category than the other criteria: "The capacity for suffering and enjoying things is a prerequisite for having interests at all, a condition that must be satisfied before we can speak of interests in any meaningful way" (175). That is, Singer is trying to establish that if a being is not sentient, the idea of extending moral consideration to it makes no sense. This negative argument is important, because one common criticism of Singer is that his criterion ends up excluding humans who are no longer sentient (like those in an irreversible coma); Singer is content to accept that consequence, but it is important that he show why the exclusion of some humans by his criterion is not problematic, given that he has criticized other criteria
Opinion Paper on Chapter 4 Chapter four is all about style, form, and content. The chapter begins with a quote from Philip Johnson, which reads, “The duty of an artist is to strain against the bonds of the existing style.” This quote helps to set the stage for how the chapter is going to go. The chapter, Style, Form, and Content, lets readers in on the ideas of how art style is born, how art styles are different from one another, how art can be of the same style, yet completely different, how art can be appreciated, and so much more. Although the chapter is not very long, it is jam-packed with information for the ready, which is extremely important. The author fills readers in on what style is, along with what form and content are, all on the first page.
On the other hand, the school of freedom or free will believe that the behavior of humans is unpredictable on the basis of precedents but it is a choice of an individual. He can choose to behave and act the way he wants to do such action. Therefore, free will hold the individual responsible for his or her action and behavior. Now, the theory of free will is subjective in its nature and, thus, rejects the scientific explanation of the behavior. The history is full of philosophers who are advocates of determinism, but the freewill school of thought has also been a subject of argument in the history.
Documentary Theory essay The Art of Propaganda The question as to whether there is a distinction between art and propaganda in visual discourses, and whether it is always evident is not as easy to pin point as one might imagine, as to do so first we must differentiate between the terms propaganda and advocacy. Some filmmakers such as Moore create visual texts under the premise of art while achieving a forum to highlight a personal cause that will be displayed in the pursuit of actuality and this advocacy is hidden within the spectacle. While Moore may use techniques that are available within the propagandist’s arsenal, does his intention fall into the specific description of propaganda? “Propaganda is the more or less deliberately planned
Berkeley was troubled by the opening of the door to atheism and skepticism as a consequence arising from Locke’s argument. Locke’s view proposed that all knowledge rested on the existence of material objects independent of minds or ideas. Locke held that objects produce ideas in our minds, and that our ideas resemble objects in the material world, but some qualities that objects appear to have are not in the objects but depend on our minds. Meaning, material objects may in reality possess measurable qualities, such as size and weight, but their sense qualities such as color, odor, and taste, depend on human perception. Berkeley felt the distinguishing between material objects and the ideas through which we perceive them does not provide
When we view and appreciate art, we have a visual experience with the artwork because the viewers can distinguish what the artist is attempting to produce. Saito believes that this is inappropriate for “moral reason”. She cites another philosopher named John Dewey to fuel her argument on viewing art. Dewey states that the moral function of art is “to remove prejudice, do away with the scales that keep the eye from seeing, tear away the veils due to wont and custom, and perfect the power to perceive.” In other terms, when we appreciate art in its terms it helps us understand what the artist is trying to convey in his/her artwork to us. This technique of viewing art cannot be used with viewing nature unless one believes that there is a creator of nature.