This document appears to be a fictional practice paper submitted by Gern Blansten to Mr. Matthews at the Escuela Internacional Puerto La Cruz on September 23, 2010. The paper focuses on several mid-20th century artworks including Carlo Matthews' painting Three Studies for Figures at the Base of a Crucifixion, Allan Kaprow's Happenings performance 18 Happenings in 6 Parts, and Samuel Beckett's play Endgame. It examines how these works represented different conceptions of space and movement in ways that puzzled and alienated audiences at the time.
This document provides a summary of Ronald Bogue's article analyzing Gilles Deleuze's interpretation of signs and their relationship to difference and repetition in Marcel Proust's novel In Search of Lost Time. Bogue explains that Deleuze sees signs as differences that unfold, with their unfolding being an ongoing repetition of their difference. Deleuze analyzes the interpretation and production of signs in Proust's work. In the interpretation of signs, differences are unfolded, while in their production signs are emitted from a "machine" that creates repeating differences. This machine establishes unity through "transversals" that connect signs activated only by the work of art.
This document provides a lengthy analysis and summary of Peter Weiss's play The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade (Marat/Sade). The author argues that the play remains relevant for university study due to its structure as an "irresolvable inquiry" through dialogues between the characters. The author also analyzes the philosophical debates between Marat and de Sade's characters and how the play comments on different historical periods through its framing. Differences in early productions of the play in Berlin, London, and East Germany that emphasized different political messages are also discussed.
The document provides a summary and analysis of themes, motifs, and symbols in Albert Camus' novel The Stranger. Some of the major themes discussed include the irrationality of the universe, the meaninglessness of human life, and the importance of the physical world. Key motifs examined are decay and death, and watching and observation. The courtroom and crucifix are identified as important symbols in the novel relating to society and the search for rational order and meaning.
This document provides a critical analysis of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock". It analyzes how the poem uses dramatic monologue to convey the inner anxieties and vulnerabilities of the narrator, Prufrock. Specifically, it examines how Eliot employs literary devices like metaphor, imagery and word choice to reveal Prufrock's shy, egoistic and paralyzed personality. The analysis also discusses how the poem portrays the thoughts of a traditional western man in the early 1900s who is full of loneliness and indecision, unable to act or seize opportunities in life.
This summary analyzes Albrecht Dürer's 1514 engraving Melencolia I. The engraving depicts an angel sitting pensively with geometrical tools. It is filled with symbolic objects that represent philosophical themes. The first theme is istoria, using narrative and allegory to tell a complex story. Symbols like an hourglass represent the passing of time. A second theme is psychomachia, depicting an inner struggle between perfection and self-doubt. A third theme is Neoplatonism, where beauty and proportion are manifestations of divine geometry. The engraving explores melancholy and its relationship to creativity through rich symbolism.
- Structuralism views the meaning of language as a system of rules and conventions rather than individual usage. It examines the unconscious "deep structure" that is common to all speakers.
- Semiology studies various cultural sign systems that enable human actions to signify meaning. Structural anthropology views language as allowing social relationships and environmental categorization.
- Postmodern theory argues that in a hyperreal society, the real is indistinguishable from models and media. Facts are born from the intersection of models, allowing for contradictory interpretations to all be true.
This document provides an analysis of how Jerome K. Jerome's short story "Silhouettes" employs modernist techniques through its use of stream of consciousness, symbolism, and challenging of gender roles. It compares these elements in "Silhouettes" to D.H. Lawrence's short stories "Odour of Chrysanthemums" and "Tickets, Please," noting their shared interests in internalized perspectives, greater freedom in discussing sexuality, and emphasis on psychological development over plot. Examples are given of how each text uses nature imagery, dreams, and coded symbols to represent characters' repressed thoughts and critique patriarchal society. The document concludes that both Jerome and Lawrence reduce the importance of narrative in favor of exploring the
This document provides a summary of Ronald Bogue's article analyzing Gilles Deleuze's interpretation of signs and their relationship to difference and repetition in Marcel Proust's novel In Search of Lost Time. Bogue explains that Deleuze sees signs as differences that unfold, with their unfolding being an ongoing repetition of their difference. Deleuze analyzes the interpretation and production of signs in Proust's work. In the interpretation of signs, differences are unfolded, while in their production signs are emitted from a "machine" that creates repeating differences. This machine establishes unity through "transversals" that connect signs activated only by the work of art.
This document provides a lengthy analysis and summary of Peter Weiss's play The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade (Marat/Sade). The author argues that the play remains relevant for university study due to its structure as an "irresolvable inquiry" through dialogues between the characters. The author also analyzes the philosophical debates between Marat and de Sade's characters and how the play comments on different historical periods through its framing. Differences in early productions of the play in Berlin, London, and East Germany that emphasized different political messages are also discussed.
The document provides a summary and analysis of themes, motifs, and symbols in Albert Camus' novel The Stranger. Some of the major themes discussed include the irrationality of the universe, the meaninglessness of human life, and the importance of the physical world. Key motifs examined are decay and death, and watching and observation. The courtroom and crucifix are identified as important symbols in the novel relating to society and the search for rational order and meaning.
This document provides a critical analysis of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock". It analyzes how the poem uses dramatic monologue to convey the inner anxieties and vulnerabilities of the narrator, Prufrock. Specifically, it examines how Eliot employs literary devices like metaphor, imagery and word choice to reveal Prufrock's shy, egoistic and paralyzed personality. The analysis also discusses how the poem portrays the thoughts of a traditional western man in the early 1900s who is full of loneliness and indecision, unable to act or seize opportunities in life.
This summary analyzes Albrecht Dürer's 1514 engraving Melencolia I. The engraving depicts an angel sitting pensively with geometrical tools. It is filled with symbolic objects that represent philosophical themes. The first theme is istoria, using narrative and allegory to tell a complex story. Symbols like an hourglass represent the passing of time. A second theme is psychomachia, depicting an inner struggle between perfection and self-doubt. A third theme is Neoplatonism, where beauty and proportion are manifestations of divine geometry. The engraving explores melancholy and its relationship to creativity through rich symbolism.
- Structuralism views the meaning of language as a system of rules and conventions rather than individual usage. It examines the unconscious "deep structure" that is common to all speakers.
- Semiology studies various cultural sign systems that enable human actions to signify meaning. Structural anthropology views language as allowing social relationships and environmental categorization.
- Postmodern theory argues that in a hyperreal society, the real is indistinguishable from models and media. Facts are born from the intersection of models, allowing for contradictory interpretations to all be true.
This document provides an analysis of how Jerome K. Jerome's short story "Silhouettes" employs modernist techniques through its use of stream of consciousness, symbolism, and challenging of gender roles. It compares these elements in "Silhouettes" to D.H. Lawrence's short stories "Odour of Chrysanthemums" and "Tickets, Please," noting their shared interests in internalized perspectives, greater freedom in discussing sexuality, and emphasis on psychological development over plot. Examples are given of how each text uses nature imagery, dreams, and coded symbols to represent characters' repressed thoughts and critique patriarchal society. The document concludes that both Jerome and Lawrence reduce the importance of narrative in favor of exploring the
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
The document discusses the nature of art and meaning through a series of quotes and thought experiments. It presents a fable in which a philosopher named Geo unveils an abstract painting to a crowd and insists that the painting is "not about anything" despite attempts to explain what it might be about. The document explores the relationship between artist and audience and how meaning is constructed in the artworld through context and interpretation.
The document discusses several paintings by artist Leonard Meiselman and analyzes them through various theoretical lenses. It summarizes Meiselman's statement that he paints about genocide and nuclear proliferation to express his despair. It then analyzes one of his paintings from a structuralist perspective, noting its emphasis on light/dark steps, sense of moment, and recession leading the viewer's eye. It also discusses Freud's concept of a death drive and how Meiselman's paintings may echo the political climate of society and elicit different reactions depending on the viewer's class or social position.
Prince Hamlet is unmasked and shown to be a sun figure. This academic paper will be published in the March 2014 issue of the Area Studies Journal of Tsukuba University.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
This document summarizes Arthur Danto's perspective on the philosophy of art. It discusses how the field of aesthetics was once seen as irrelevant but became important again due to conceptual artworks like Andy Warhol's Brillo Boxes. These raised philosophical questions about what distinguishes art from non-art. Danto argues that art is representational and has meaning or content, unlike indiscernible real objects, making representation key to a theory of art. He also notes that the distinction between art and philosophy has become problematic as art becomes more self-conscious.
Shen Te as an ‘Alter Ego’ of Shui Ta in Brecht’s The Good Woman of Setzuan: A...AJHSSR Journal
ABSTRACT: The paper analyses the main character, Shen Te in the play The Good Woman of Setzuan on
dealing various works and businesses in the society. The study investigates the attitudes of men towards others
in different affaires of the society. It also discusses the understatement of being done on Shen Te. The special
emphasis of the paper goes with the performances and excellences of the protagonist performed in the play. The
executed services of Shen Te for the gods are not less valuable than that of other people of the society as Shui
Ta, the alter ego of herself. Her achievement and humankind should be valued like other members of the
society. She should no longer be distressed. Thus, the focal point of the researcher is to examine how the effort
and enthusiasm of an individual can be more valuable for having a smooth community to ensure peaceful lives
in the world.
KEYWORDS: Literary Style, Alter Ego, Complex Identity, Frustration, Social Change, Class Struggle
The document discusses various symbols in The Stranger by Albert Camus:
1) The sun is used to justify Meursault's emotions and actions, including the murder. It presses on his back and causes him to move toward the Arab on the beach.
2) An old, robotic woman symbolizes the mechanisms that define Meursault, as they both operate based on basic principles but with different outcomes.
3) The crucifix represents Christianity, the afterlife, and society's search for meaning, all things Meursault rejects.
4) The courtroom symbolizes society's attempt to rationalize events and reject Meursault's nonconforming ways.
Misreadings of Arthur Schopenhauer in Sin rumbo by Eugenio Cambaceres - Pedro...Pedro Lasarte
This document provides a summary and analysis of the 1885 Argentine novel Sin rumbo by Eugenio Cambaceres. It discusses how the novel has been interpreted as an example of Spanish American Naturalism due to its influences from Emile Zola. However, the document argues that the novel also engages heavily with ideas from the 19th century German philosopher Arthur Schopenhauer, whose work was a favorite of the protagonist. Through its use of multiple narrators and perspectives, the document suggests the novel subtly plays with readers' understanding of Schopenhauer's philosophy and does not present a single clear ideology.
Pity, fear, and catharsis in aristotles poetics, by charles b. daniels and sa...Mariane Farias
This document discusses Aristotle's concepts of pity, fear, and catharsis in his work Poetics. The authors argue against the common interpretation that Aristotle believed the production of pity, fear, and catharsis in audiences was essential for a work to be considered a tragedy. They put forward their own interpretation, which is that Aristotle was describing the types of events that typically produce pity and fear in real life, not claiming works need to actually induce those emotions in audiences. The authors analyze Aristotle's text to support their view that he was characterizing the actions and events in tragedies, not necessarily their effects on audiences.
Poems eliot, ts the love song of j alfred prufrock (1915) analysis by 15 criticsirbaz khan
This document provides an in-depth analysis of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock". It summarizes that the poem is a dramatic monologue about a timid, aging man named Prufrock who is too afraid to fully engage with life or address the "overwhelming question" of existence. Key motifs in the poem include the passing of time, Prufrock's fear of society's judgment, and his inability to forge a real connection with others. The analysis examines various symbols and allusions throughout the poem to better understand Prufrock's character and his resigned perspective on the world.
This summary provides the key points from the document in 3 sentences:
The document discusses Nietzsche's views on art and criticism, arguing that art cannot be separated from its historical and cultural context, and that attempts to establish objective criteria for art are misguided. It analyzes articles by critics Roger Kimball and Jerry Saltz dealing with political correctness in art and exposes how both conservatives and liberals constrain artistic expression through imposed moral frameworks. The document concludes by arguing against the idea of discovering eternal truths in art and instead sees art and criticism as reflective of the perspectives and values of their historical time period.
An academic paper about the sun, solar energy, heliocentrism and Giordano Bruno inscibed secretly in Shakespeare's "Much Ado About Nothing".
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
This document discusses key literary terms: the three unities, tragedy, and chorus. It provides details on each:
1) The three unities refer to Aristotle's concept of unity of action, place, and time. Later critics added the unities of place and time. While important in some traditions, English plays by Marlowe, Shakespeare, and Jonson did not strictly follow the unities.
2) Aristotle defined tragedy as imitating an action that is serious and complete, evoking pity and fear to bring catharsis. A tragic hero is neither thoroughly good nor bad, and makes an error leading to a change in fortune.
3) In Greek theater, the chorus commented on the action
This document summarizes Juan García Ponce's play Catálogo razonado. The play examines the construction of identity, particularly feminine identity, through the relationship between a fictional author and his model. The model struggles with her role as a creation of the author and her own agency. Like Pirandello's Six Characters in Search of an Author, Catálogo razonado explores the fluidity of characters and identity by beginning with the play still in the process of being conceived in the author's imagination. The document analyzes how the play questions whether the model has her own identity or is merely a reflection of what the author has created of her.
1. Aristotle analyzed tragedy and proposed its ideal form, which influenced later playwrights. He defined tragedy as imitating a serious action that arouses pity and fear and accomplishes catharsis of these emotions.
2. According to Aristotle, the six main elements of tragedy are plot, character, thought, diction, melody, and spectacle. The most important elements are plot and character. The plot should be a unified action that involves reversal of fortune and discovery.
3. Aristotle stated that the tragic hero should not be entirely good or bad, but have a flaw that leads to their downfall from happiness to misery. This arouses pity and fear in the audience.
French scenes in greek tragedy, by mark damenMariane Farias
This article examines how Greek tragedians like Aeschylus, Sophocles, and Euripides structured their plays into discrete sections called "scenes" through the movement of characters on and off stage. It argues that over the 5th century BCE, tragedy evolved to include more complex character movement and a higher number of scenes, mirroring society's demand for more intricate plots. The author believes the tragedians intentionally manipulated character entrances and exits both to increase dramatic tension and pace, and to utilize advancing stage technology.
The document discusses the history and symbolism of the "thinking cap" through various illustrations and quotes. It describes how the thinking cap was originally called the "considering cap" in a 1766 book and had phrases written on its three sides related to considering different perspectives. The thinking cap is compared to the wishing cap from the same book and suggested to represent ancient practices of skywalking or ether-going. Several images are presented that depict figures wearing thinking or illuminated caps, representing enlightened thought and long-established neural pathways. In conclusion, it is suggested that humans are powered by invisible electromagnetic wavelengths and particles of starry light that are represented by illuminated crowns and that putting on a thinking cap allows one to see and understand more
This exhibit features 13 works related to Dadaism and Surrealism that explore themes of self-immolation, identity negation, semiotics, chance, and the uncanny. Key works included are Kurt Schwitters' Merzbau and Hans Bellmer's La Poupée, shown side by side to contrast their formal and conceptual relationships. Also featured are Marcel Duchamp's readymades Bottle Rack, Bicycle Wheel, and In Advance of a Broken Arm, which question notions of fixed meaning and objecthood. Duchamp's unfinished work The Bride Stripped Bare by Her Bachelors, Even is centered among the readymades to depict perpetual desire and contingency.
The document discusses various concepts related to narrative theory, including binary oppositions, levels of narrative, and frames. It examines how some films by David Lynch seem to contradict common assumptions about causality, linearity, and character identity in narratives. The document also discusses the concepts of multiplicity, becoming, simulation, and rupturing narratives. It provides examples of artworks that demonstrate these concepts, challenging traditional understandings of narratives.
This document provides an overview and analysis of the anti-realist documentary film "Not Reconciled" by Marcelo Expósito. The film combines experimental and testimonial elements in an attempt to bridge opposing aesthetic approaches from the 20th century left. It uses archival footage in a way that forces estrangement rather than naturalism. The film is structured in five acts that present non-linear testimonies and documentation of political experiences and movements in Argentina, such as the Siluetazo protest and escraches, through a montage approach. The analysis discusses how the film challenges conventions while seeking to represent new forms of politicization through affect and estrangement rather than a clear "us vs
ART HISTORY 132SymbolismSymbolism (c. 1865-1.docxdavezstarr61655
ART HISTORY 132
Symbolism
Symbolism
(c. 1865-1915)
term: applied to both visual & literary arts (e.g., Rimbaud)
aim: not to see things, but to see through them to significance & reality far deeper
definition: subjective interpretation reject observation of optical world fantasy forms based on imaginationcolor, line, & shapes used as symbols of personal emotions, rather than to conform to optical image
function: artist as visionaryto achieve seer’s insight, artists must become derangedsystematically unhinge & confuse everyday faculties of sense and reason
themes: religion, mythology, sexual desire (vs. Baudelairian everyday life)
Odilon Redon
(1840-1916)biography: born to a prosperous family
training: failed entrance exams at École des Beaux-Artsbriefly studied under Gérôme (1864)career: interrupted by Franco-Prussian War remained relatively unknown until cult novel by Huysmans titled Against Nature (1884 )story featured decadent aristocrat who collected Redon's drawingsmedia:early work charcoal & lithographylater work oilsaim: “… [to bring] to life, in a human way, improbable beings and making them live according to the laws of probability, by putting – as far as possible – the logic of the visible at the service of the invisible”subject matter: “fantastic” influenced by writings of Edgar Allen Poe strange amoeboid creatures, insects, plants w/ human heads, etc.themes: “fantastic” creaturesmythological scenes
(Left) Redon’s Symbolist Eye Balloon (1878)
and
(right) Crying Spider (1881)
Redon’s Symbolist Eye Balloon (1878)
vs.
Daumier’s Nadar (c. 1860)
Redon
Cyclops (1898)subject: mythologicalPolyphemus & Galateanarrative loving moment vs. jealouslytheme: psychologicalconscious vs. unconsciouswaking vs. sleepingtone: hauntingbrushwork: painterly (Impressionist) composition: dynamiccolor: vibrantwhimsical harmoniousperspective: aerial
Redon’s Symbolist Cyclops (c. 1900)
vs.
Carracci’s Italian Baroque Polyphemus in the Farnese Gallery (c. 1600)
Henri Rousseau
(1844-1910)biography:served in French army bureaucrat in Paris Customs Office (1871-1893)took up painting as a hobby accepted early retirement in 1893 to devote himself to art
career: suffered ridicule & endured poverty
aesthetic: “naïve”
themes: jungle scenes
sources: claimed inspiration from his military experiences in Mexicoin fact, sources were illustrated books & visits to zoo/botanical gardens in Paris
Rousseau’s Sleeping Gypsy
(1897)
Rousseau’s The Dream
(1910)
James Ensor
(1860-1949)nationality: Belgian
personal crisis: family forbade him to marryplunged to depths of despair returned to painting religious subjects sold contents of his studio in 1890s
aesthetic: avant-garde Les XX (the Twenty)goal to promote new artistic developments throughout Europegroup’s leader/foundertreated harshly by art critics disbanded after a decade challenged rules of perspective free use of color and space and brus.
Visualizing the Unspeakable Illustrating the HolocaustMadilyn Pflueger
The document discusses how graphic novels portray the Holocaust through rhetorical and visual devices like omission and contrast. It provides examples of how graphic novels omit details and identities to convey indescribable trauma respectfully. They obscure scenes of violence and erase faces to avoid reducing real atrocities to cartoons. Blank spaces and pages also suggest erasure and hopelessness. Through these omissions, graphic novels engage with the genre of Holocaust literature in depicting rupture and fragmentation of memory where language fails.
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
The document discusses the nature of art and meaning through a series of quotes and thought experiments. It presents a fable in which a philosopher named Geo unveils an abstract painting to a crowd and insists that the painting is "not about anything" despite attempts to explain what it might be about. The document explores the relationship between artist and audience and how meaning is constructed in the artworld through context and interpretation.
The document discusses several paintings by artist Leonard Meiselman and analyzes them through various theoretical lenses. It summarizes Meiselman's statement that he paints about genocide and nuclear proliferation to express his despair. It then analyzes one of his paintings from a structuralist perspective, noting its emphasis on light/dark steps, sense of moment, and recession leading the viewer's eye. It also discusses Freud's concept of a death drive and how Meiselman's paintings may echo the political climate of society and elicit different reactions depending on the viewer's class or social position.
Prince Hamlet is unmasked and shown to be a sun figure. This academic paper will be published in the March 2014 issue of the Area Studies Journal of Tsukuba University.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
This document summarizes Arthur Danto's perspective on the philosophy of art. It discusses how the field of aesthetics was once seen as irrelevant but became important again due to conceptual artworks like Andy Warhol's Brillo Boxes. These raised philosophical questions about what distinguishes art from non-art. Danto argues that art is representational and has meaning or content, unlike indiscernible real objects, making representation key to a theory of art. He also notes that the distinction between art and philosophy has become problematic as art becomes more self-conscious.
Shen Te as an ‘Alter Ego’ of Shui Ta in Brecht’s The Good Woman of Setzuan: A...AJHSSR Journal
ABSTRACT: The paper analyses the main character, Shen Te in the play The Good Woman of Setzuan on
dealing various works and businesses in the society. The study investigates the attitudes of men towards others
in different affaires of the society. It also discusses the understatement of being done on Shen Te. The special
emphasis of the paper goes with the performances and excellences of the protagonist performed in the play. The
executed services of Shen Te for the gods are not less valuable than that of other people of the society as Shui
Ta, the alter ego of herself. Her achievement and humankind should be valued like other members of the
society. She should no longer be distressed. Thus, the focal point of the researcher is to examine how the effort
and enthusiasm of an individual can be more valuable for having a smooth community to ensure peaceful lives
in the world.
KEYWORDS: Literary Style, Alter Ego, Complex Identity, Frustration, Social Change, Class Struggle
The document discusses various symbols in The Stranger by Albert Camus:
1) The sun is used to justify Meursault's emotions and actions, including the murder. It presses on his back and causes him to move toward the Arab on the beach.
2) An old, robotic woman symbolizes the mechanisms that define Meursault, as they both operate based on basic principles but with different outcomes.
3) The crucifix represents Christianity, the afterlife, and society's search for meaning, all things Meursault rejects.
4) The courtroom symbolizes society's attempt to rationalize events and reject Meursault's nonconforming ways.
Misreadings of Arthur Schopenhauer in Sin rumbo by Eugenio Cambaceres - Pedro...Pedro Lasarte
This document provides a summary and analysis of the 1885 Argentine novel Sin rumbo by Eugenio Cambaceres. It discusses how the novel has been interpreted as an example of Spanish American Naturalism due to its influences from Emile Zola. However, the document argues that the novel also engages heavily with ideas from the 19th century German philosopher Arthur Schopenhauer, whose work was a favorite of the protagonist. Through its use of multiple narrators and perspectives, the document suggests the novel subtly plays with readers' understanding of Schopenhauer's philosophy and does not present a single clear ideology.
Pity, fear, and catharsis in aristotles poetics, by charles b. daniels and sa...Mariane Farias
This document discusses Aristotle's concepts of pity, fear, and catharsis in his work Poetics. The authors argue against the common interpretation that Aristotle believed the production of pity, fear, and catharsis in audiences was essential for a work to be considered a tragedy. They put forward their own interpretation, which is that Aristotle was describing the types of events that typically produce pity and fear in real life, not claiming works need to actually induce those emotions in audiences. The authors analyze Aristotle's text to support their view that he was characterizing the actions and events in tragedies, not necessarily their effects on audiences.
Poems eliot, ts the love song of j alfred prufrock (1915) analysis by 15 criticsirbaz khan
This document provides an in-depth analysis of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock". It summarizes that the poem is a dramatic monologue about a timid, aging man named Prufrock who is too afraid to fully engage with life or address the "overwhelming question" of existence. Key motifs in the poem include the passing of time, Prufrock's fear of society's judgment, and his inability to forge a real connection with others. The analysis examines various symbols and allusions throughout the poem to better understand Prufrock's character and his resigned perspective on the world.
This summary provides the key points from the document in 3 sentences:
The document discusses Nietzsche's views on art and criticism, arguing that art cannot be separated from its historical and cultural context, and that attempts to establish objective criteria for art are misguided. It analyzes articles by critics Roger Kimball and Jerry Saltz dealing with political correctness in art and exposes how both conservatives and liberals constrain artistic expression through imposed moral frameworks. The document concludes by arguing against the idea of discovering eternal truths in art and instead sees art and criticism as reflective of the perspectives and values of their historical time period.
An academic paper about the sun, solar energy, heliocentrism and Giordano Bruno inscibed secretly in Shakespeare's "Much Ado About Nothing".
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
This document discusses key literary terms: the three unities, tragedy, and chorus. It provides details on each:
1) The three unities refer to Aristotle's concept of unity of action, place, and time. Later critics added the unities of place and time. While important in some traditions, English plays by Marlowe, Shakespeare, and Jonson did not strictly follow the unities.
2) Aristotle defined tragedy as imitating an action that is serious and complete, evoking pity and fear to bring catharsis. A tragic hero is neither thoroughly good nor bad, and makes an error leading to a change in fortune.
3) In Greek theater, the chorus commented on the action
This document summarizes Juan García Ponce's play Catálogo razonado. The play examines the construction of identity, particularly feminine identity, through the relationship between a fictional author and his model. The model struggles with her role as a creation of the author and her own agency. Like Pirandello's Six Characters in Search of an Author, Catálogo razonado explores the fluidity of characters and identity by beginning with the play still in the process of being conceived in the author's imagination. The document analyzes how the play questions whether the model has her own identity or is merely a reflection of what the author has created of her.
1. Aristotle analyzed tragedy and proposed its ideal form, which influenced later playwrights. He defined tragedy as imitating a serious action that arouses pity and fear and accomplishes catharsis of these emotions.
2. According to Aristotle, the six main elements of tragedy are plot, character, thought, diction, melody, and spectacle. The most important elements are plot and character. The plot should be a unified action that involves reversal of fortune and discovery.
3. Aristotle stated that the tragic hero should not be entirely good or bad, but have a flaw that leads to their downfall from happiness to misery. This arouses pity and fear in the audience.
French scenes in greek tragedy, by mark damenMariane Farias
This article examines how Greek tragedians like Aeschylus, Sophocles, and Euripides structured their plays into discrete sections called "scenes" through the movement of characters on and off stage. It argues that over the 5th century BCE, tragedy evolved to include more complex character movement and a higher number of scenes, mirroring society's demand for more intricate plots. The author believes the tragedians intentionally manipulated character entrances and exits both to increase dramatic tension and pace, and to utilize advancing stage technology.
The document discusses the history and symbolism of the "thinking cap" through various illustrations and quotes. It describes how the thinking cap was originally called the "considering cap" in a 1766 book and had phrases written on its three sides related to considering different perspectives. The thinking cap is compared to the wishing cap from the same book and suggested to represent ancient practices of skywalking or ether-going. Several images are presented that depict figures wearing thinking or illuminated caps, representing enlightened thought and long-established neural pathways. In conclusion, it is suggested that humans are powered by invisible electromagnetic wavelengths and particles of starry light that are represented by illuminated crowns and that putting on a thinking cap allows one to see and understand more
This exhibit features 13 works related to Dadaism and Surrealism that explore themes of self-immolation, identity negation, semiotics, chance, and the uncanny. Key works included are Kurt Schwitters' Merzbau and Hans Bellmer's La Poupée, shown side by side to contrast their formal and conceptual relationships. Also featured are Marcel Duchamp's readymades Bottle Rack, Bicycle Wheel, and In Advance of a Broken Arm, which question notions of fixed meaning and objecthood. Duchamp's unfinished work The Bride Stripped Bare by Her Bachelors, Even is centered among the readymades to depict perpetual desire and contingency.
The document discusses various concepts related to narrative theory, including binary oppositions, levels of narrative, and frames. It examines how some films by David Lynch seem to contradict common assumptions about causality, linearity, and character identity in narratives. The document also discusses the concepts of multiplicity, becoming, simulation, and rupturing narratives. It provides examples of artworks that demonstrate these concepts, challenging traditional understandings of narratives.
This document provides an overview and analysis of the anti-realist documentary film "Not Reconciled" by Marcelo Expósito. The film combines experimental and testimonial elements in an attempt to bridge opposing aesthetic approaches from the 20th century left. It uses archival footage in a way that forces estrangement rather than naturalism. The film is structured in five acts that present non-linear testimonies and documentation of political experiences and movements in Argentina, such as the Siluetazo protest and escraches, through a montage approach. The analysis discusses how the film challenges conventions while seeking to represent new forms of politicization through affect and estrangement rather than a clear "us vs
ART HISTORY 132SymbolismSymbolism (c. 1865-1.docxdavezstarr61655
ART HISTORY 132
Symbolism
Symbolism
(c. 1865-1915)
term: applied to both visual & literary arts (e.g., Rimbaud)
aim: not to see things, but to see through them to significance & reality far deeper
definition: subjective interpretation reject observation of optical world fantasy forms based on imaginationcolor, line, & shapes used as symbols of personal emotions, rather than to conform to optical image
function: artist as visionaryto achieve seer’s insight, artists must become derangedsystematically unhinge & confuse everyday faculties of sense and reason
themes: religion, mythology, sexual desire (vs. Baudelairian everyday life)
Odilon Redon
(1840-1916)biography: born to a prosperous family
training: failed entrance exams at École des Beaux-Artsbriefly studied under Gérôme (1864)career: interrupted by Franco-Prussian War remained relatively unknown until cult novel by Huysmans titled Against Nature (1884 )story featured decadent aristocrat who collected Redon's drawingsmedia:early work charcoal & lithographylater work oilsaim: “… [to bring] to life, in a human way, improbable beings and making them live according to the laws of probability, by putting – as far as possible – the logic of the visible at the service of the invisible”subject matter: “fantastic” influenced by writings of Edgar Allen Poe strange amoeboid creatures, insects, plants w/ human heads, etc.themes: “fantastic” creaturesmythological scenes
(Left) Redon’s Symbolist Eye Balloon (1878)
and
(right) Crying Spider (1881)
Redon’s Symbolist Eye Balloon (1878)
vs.
Daumier’s Nadar (c. 1860)
Redon
Cyclops (1898)subject: mythologicalPolyphemus & Galateanarrative loving moment vs. jealouslytheme: psychologicalconscious vs. unconsciouswaking vs. sleepingtone: hauntingbrushwork: painterly (Impressionist) composition: dynamiccolor: vibrantwhimsical harmoniousperspective: aerial
Redon’s Symbolist Cyclops (c. 1900)
vs.
Carracci’s Italian Baroque Polyphemus in the Farnese Gallery (c. 1600)
Henri Rousseau
(1844-1910)biography:served in French army bureaucrat in Paris Customs Office (1871-1893)took up painting as a hobby accepted early retirement in 1893 to devote himself to art
career: suffered ridicule & endured poverty
aesthetic: “naïve”
themes: jungle scenes
sources: claimed inspiration from his military experiences in Mexicoin fact, sources were illustrated books & visits to zoo/botanical gardens in Paris
Rousseau’s Sleeping Gypsy
(1897)
Rousseau’s The Dream
(1910)
James Ensor
(1860-1949)nationality: Belgian
personal crisis: family forbade him to marryplunged to depths of despair returned to painting religious subjects sold contents of his studio in 1890s
aesthetic: avant-garde Les XX (the Twenty)goal to promote new artistic developments throughout Europegroup’s leader/foundertreated harshly by art critics disbanded after a decade challenged rules of perspective free use of color and space and brus.
Visualizing the Unspeakable Illustrating the HolocaustMadilyn Pflueger
The document discusses how graphic novels portray the Holocaust through rhetorical and visual devices like omission and contrast. It provides examples of how graphic novels omit details and identities to convey indescribable trauma respectfully. They obscure scenes of violence and erase faces to avoid reducing real atrocities to cartoons. Blank spaces and pages also suggest erasure and hopelessness. Through these omissions, graphic novels engage with the genre of Holocaust literature in depicting rupture and fragmentation of memory where language fails.
A Taste For Chaos Creative Nonfiction As ImprovisationStephen Faucher
This document summarizes and analyzes the rhetorical device of spontaneity that is commonly used in creative nonfiction. It discusses how authors like Montaigne, Erasmus, and Rabelais claimed their works were improvised or spontaneous to add authority and challenge assumptions about rational discourse. While scholars often dismiss these claims, the document argues they positively force readers to reconsider the value of craft and reason and acknowledge human limitations. Claiming spontaneity reflects the Renaissance humanist goal of recognizing the need for divine grace alongside human reason.
The document discusses existentialism and its influence on mid-20th century literature and art. It focuses on key existentialist philosophers like Jean-Paul Sartre and their ideas of individual responsibility and living in a meaningless world. It then examines how these ideas were expressed in the works of writers and artists like Samuel Beckett, Edward Albee, Willem de Kooning, Jackson Pollock, and Mark Rothko through their use of themes like the absurd, uncertainty, and the search for meaning. It provides context on the development of abstract expressionism in New York and analyzes several important paintings to illustrate existentialist concepts.
This document provides an overview of postmodernism in art, focusing on pop art and its critique of consumer culture from the 1960s onward. It discusses key pop artists like Andy Warhol and Roy Lichtenstein who drew from advertising and mass media images. The concept of the simulacrum is also introduced through the works of Baudrillard, where images and replicas lose their connection to reality. The document traces the development of postmodern thought and how it challenged modernist ideas about progress and historical narratives in art.
Clyfford Still's Untitled (1960) painting is analyzed. The massive 113 by 146.5 inch abstract work utilizes thick layers of burgundy, maroon, orange and black paint applied with palette knives, creating a textured surface. It dissolves figuration and represents a radical modern style. The work challenges traditional concepts of space and the sublime. It creates an overwhelming absolute space that seems to extend beyond the canvas edges. The lack of color contrasts pulls the viewer into the work's immaterial void. The piece reflects Still's mature style of the late 1940s-1960s that broke new ground in realizing modern art's exploration of abstract space.
The document summarizes and analyzes five surrealist paintings from the early 20th century. It describes Salvador Dali's Illuminated Pleasures and Metamorphosis of Narcissus, focusing on their dreamlike and anxiety-provoking imagery. It also discusses Peter Blume's South of Scranton, Wifredo Lam's The Jungle, and Yves Tanguy's Through Birds, through Fire, but Not through Glass, noting their illogical and fantastical arrangements inspired by the subconscious.
This summary analyzes a passage discussing Steven Greenblatt's analysis of Hans Holbein's painting "The Ambassadors" and its use of anamorphic techniques. It discusses how Greenblatt sees the distorted skull in the painting as undermining concepts of reality and sign systems. It then examines how the concept of anamorphosis has been used in psychoanalytic theory to study symbolic orders and conceptual schemes. The document aims to investigate how useful the concept of anamorphosis is for analyzing tensions in depictions of cosmic harmony in early modern French texts.
Avant-Garde Is Kitsch. An Essay On Modernism And Modernity In Politics And Cu...Luz Martinez
The document discusses how four young art students each painted the same landscape in Tivoli but produced four very different paintings due to individual temperaments and perspectives. It notes that while they aimed for objective representation, factors like an artist's disposition inevitably influenced how they perceived and rendered form, color, light and shadow. The narrator recalls being surprised by this early lesson in the subjectivity of vision and art.
The document provides an overview of various literary and artistic movements from the late 19th and early 20th centuries. It discusses absurdism, existentialism, nihilism, modernism, stream of consciousness, avant-garde movements like expressionism, dadaism and surrealism, postmodernism, and theater of the absurd. Key figures and their works are mentioned for each movement. The document aims to ponder over these trends and movements through presentations by three department members.
This literary comparison essay analyzes Edgar Allan Poe's short stories "The Fall of the House of Usher" and "The Masque of the Red Death". Both stories depict madness and death through descriptive details. In "The Fall of the House of Usher", Poe uses gloomy descriptions of the house and the Ushers to set a dreary mood and show Roderick Usher's descent into madness over his sister's death. In "The Masque of the Red Death", brightly colored chambers are arranged chaotically, reflecting the madness of the masked ball's attendees until Death arrives in the form of the Red Death. The essays compares how Poe creates settings and characters to reflect themes of madness and impending
Bridging the Abyss and Becoming the Work of Art- Aristotle, Socrates and Poet...Tristan Wicks
Friedrich Nietzsche's first book, The Birth of Tragedy, examines Greek poetic and musical art leading up to Attic tragedies in the 5th century. While Nietzsche was critical of the book later in life, it explores how scholarship can be viewed from the perspective of art and vice versa. The document analyzes how The Birth of Tragedy itself mimics the tragic form through its absorption in Greek tragedy and lack of strict facts. It compares Nietzsche's views to Aristotle's Poetics, finding they both emphasize emotion in tragedy and criticize Euripides' plays. The document argues The Birth of Tragedy has more in common with tragic plots than philosophical works through its use of
This document provides an overview of art appreciation and defines what art is. It discusses art as representation, mimesis, and how art replicates subjects faithfully. Art as expression of emotional content during the Romantic movement is covered, as well as art as form based on its formal qualities. The purposes and functions of art in transforming ideas into physical works that can be comprehended and responded to emotionally are presented. Assumptions about art being timeless, universal, and involving experience are discussed. Examples of famous artworks are provided to illustrate key points.
The document discusses the principle of contrast in art. It defines contrast as the arrangement of opposite elements that create visual interest. Elements that can be contrasted include color, texture, size, and shape. Contrast is important because it attracts the eye, aids organization, and creates a focus. Examples are given of artworks that effectively use contrast through opposing colors, tones, textures, and subject matter. These include paintings by Amorsolo, Caravaggio, Anuszkiewicz, Sheeler, Warhol, Rudnitsky, and Hatoum. The document also includes plates demonstrating contrasting colors.
1) Mark Tansey uses allegories and metaphors in his paintings to represent and critique modern art movements and theories in a complex way.
2) One painting depicts the struggle between American abstract expressionism and French avant-garde art as a military conflict, with artists as soldiers.
3) Tansey's paintings offer multiple layers of meaning and interpretations, drawing on philosophy, art history, and theory to comment on themes like representation, illusion, and the pursuit of truth in art.
Artifice And Dehumanization Iain Banks The Wasp Factory And Hatred For LifeDarian Pruitt
The document discusses Iain Banks' novel The Wasp Factory and how it can be analyzed through the lenses of Ortega y Gasset's concept of "dehumanization" in art and Deleuze and Guattari's idea of the "literary machine." It explores how the bizarre contraption used by the narrator to kill wasps, called the Wasp Factory, functions as a "literary machine" that refuses reduction to any subject. It also examines how the novel evokes a sense of sacrifice and death without redemption. Ortega y Gasset's view of modern art as separating from life and
In the student's home, Spanish is primarily spoken as neither of the student's parents can speak English well. At school, the student speaks half English and half Spanish with friends but uses English with teachers. The student's English improved after attending an international school in Puerto la Cruz where English was taught, but without a perfect accent. The student believes their current international school provides a good path to universities in the United States due to its Advanced Placement classes. When with siblings living in the US, the student speaks only English. The student feels they speak English and Spanish better than they write in each language.
Luis Escala reflects on a school technology project he completed with his classmate Veronica Guerra. They initially struggled with planning and time management, not using class time efficiently. However, they were able to overcome these challenges by better organizing their work. The teachers provided helpful support by answering interview questions on camera. The final project went well overall, though one teacher's audio was too low.
This was one of the author's best vacations, where they first shopped in Miami for a week before riding rollercoasters at Universal Studios in Orlando. After returning to Miami briefly, the author then spent over a week in Puerto Rico, traveling around various islands in the Caribbean in an 85-foot yacht with friends, enjoying activities like using a golf cart. The author hopes to have a vacation experience like this again.
This document appears to be a fictional practice paper submitted by Gern Blansten to Mr. Matthews at the Escuela Internacional Puerto La Cruz on September 23, 2010. The paper focuses on several mid-20th century artworks including Carlo Matthews' painting Three Studies for Figures at the Base of a Crucifixion, Allan Kaprow's Happenings performance 18 Happenings in 6 Parts, and Samuel Beckett's play Endgame. It examines how these works represented different conceptions of space and movement in ways that puzzled and alienated audiences at the time.
Angel Falls in Venezuela is the world's highest uninterrupted waterfall, dropping nearly 3,000 feet. It is named after American pilot Jimmie Angel, who discovered it in 1933. Angel Falls has become a popular tourist destination in Venezuela, drawing visitors to see its majestic waters plunging down the dense jungle cliffs.
Angel Falls in Venezuela is the world's highest uninterrupted waterfall, dropping over 3,212 feet. It is named after American pilot Jimmie Angel, who discovered it in 1933. Angel Falls is a major tourist attraction in Venezuela, drawing visitors to see its majestic height and natural beauty.
Al-Shabab is a militant Islamist terrorist organization based in East Africa. The group has carried out attacks against civilians and government forces in Somalia and neighboring countries. The document discusses Somali piracy and mentions the MV Sirius Star cargo ship that was hijacked by pirates in 2008.
GraphRAG for Life Science to increase LLM accuracyTomaz Bratanic
GraphRAG for life science domain, where you retriever information from biomedical knowledge graphs using LLMs to increase the accuracy and performance of generated answers
HCL Notes und Domino Lizenzkostenreduzierung in der Welt von DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-und-domino-lizenzkostenreduzierung-in-der-welt-von-dlau/
DLAU und die Lizenzen nach dem CCB- und CCX-Modell sind für viele in der HCL-Community seit letztem Jahr ein heißes Thema. Als Notes- oder Domino-Kunde haben Sie vielleicht mit unerwartet hohen Benutzerzahlen und Lizenzgebühren zu kämpfen. Sie fragen sich vielleicht, wie diese neue Art der Lizenzierung funktioniert und welchen Nutzen sie Ihnen bringt. Vor allem wollen Sie sicherlich Ihr Budget einhalten und Kosten sparen, wo immer möglich. Das verstehen wir und wir möchten Ihnen dabei helfen!
Wir erklären Ihnen, wie Sie häufige Konfigurationsprobleme lösen können, die dazu führen können, dass mehr Benutzer gezählt werden als nötig, und wie Sie überflüssige oder ungenutzte Konten identifizieren und entfernen können, um Geld zu sparen. Es gibt auch einige Ansätze, die zu unnötigen Ausgaben führen können, z. B. wenn ein Personendokument anstelle eines Mail-Ins für geteilte Mailboxen verwendet wird. Wir zeigen Ihnen solche Fälle und deren Lösungen. Und natürlich erklären wir Ihnen das neue Lizenzmodell.
Nehmen Sie an diesem Webinar teil, bei dem HCL-Ambassador Marc Thomas und Gastredner Franz Walder Ihnen diese neue Welt näherbringen. Es vermittelt Ihnen die Tools und das Know-how, um den Überblick zu bewahren. Sie werden in der Lage sein, Ihre Kosten durch eine optimierte Domino-Konfiguration zu reduzieren und auch in Zukunft gering zu halten.
Diese Themen werden behandelt
- Reduzierung der Lizenzkosten durch Auffinden und Beheben von Fehlkonfigurationen und überflüssigen Konten
- Wie funktionieren CCB- und CCX-Lizenzen wirklich?
- Verstehen des DLAU-Tools und wie man es am besten nutzt
- Tipps für häufige Problembereiche, wie z. B. Team-Postfächer, Funktions-/Testbenutzer usw.
- Praxisbeispiele und Best Practices zum sofortigen Umsetzen
Skybuffer SAM4U tool for SAP license adoptionTatiana Kojar
Manage and optimize your license adoption and consumption with SAM4U, an SAP free customer software asset management tool.
SAM4U, an SAP complimentary software asset management tool for customers, delivers a detailed and well-structured overview of license inventory and usage with a user-friendly interface. We offer a hosted, cost-effective, and performance-optimized SAM4U setup in the Skybuffer Cloud environment. You retain ownership of the system and data, while we manage the ABAP 7.58 infrastructure, ensuring fixed Total Cost of Ownership (TCO) and exceptional services through the SAP Fiori interface.
Main news related to the CCS TSI 2023 (2023/1695)Jakub Marek
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The original Czech 🇨🇿 version of the presentation can be found here: https://www.slideshare.net/slideshow/hlavni-novinky-souvisejici-s-ccs-tsi-2023-2023-1695/269688092 .
The videorecording (in Czech) from the presentation is available here: https://youtu.be/WzjJWm4IyPk?si=SImb06tuXGb30BEH .
Fueling AI with Great Data with Airbyte WebinarZilliz
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5th LF Energy Power Grid Model Meet-up SlidesDanBrown980551
5th Power Grid Model Meet-up
It is with great pleasure that we extend to you an invitation to the 5th Power Grid Model Meet-up, scheduled for 6th June 2024. This event will adopt a hybrid format, allowing participants to join us either through an online Mircosoft Teams session or in person at TU/e located at Den Dolech 2, Eindhoven, Netherlands. The meet-up will be hosted by Eindhoven University of Technology (TU/e), a research university specializing in engineering science & technology.
Power Grid Model
The global energy transition is placing new and unprecedented demands on Distribution System Operators (DSOs). Alongside upgrades to grid capacity, processes such as digitization, capacity optimization, and congestion management are becoming vital for delivering reliable services.
Power Grid Model is an open source project from Linux Foundation Energy and provides a calculation engine that is increasingly essential for DSOs. It offers a standards-based foundation enabling real-time power systems analysis, simulations of electrical power grids, and sophisticated what-if analysis. In addition, it enables in-depth studies and analysis of the electrical power grid’s behavior and performance. This comprehensive model incorporates essential factors such as power generation capacity, electrical losses, voltage levels, power flows, and system stability.
Power Grid Model is currently being applied in a wide variety of use cases, including grid planning, expansion, reliability, and congestion studies. It can also help in analyzing the impact of renewable energy integration, assessing the effects of disturbances or faults, and developing strategies for grid control and optimization.
What to expect
For the upcoming meetup we are organizing, we have an exciting lineup of activities planned:
-Insightful presentations covering two practical applications of the Power Grid Model.
-An update on the latest advancements in Power Grid -Model technology during the first and second quarters of 2024.
-An interactive brainstorming session to discuss and propose new feature requests.
-An opportunity to connect with fellow Power Grid Model enthusiasts and users.
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?Speck&Tech
ABSTRACT: A prima vista, un mattoncino Lego e la backdoor XZ potrebbero avere in comune il fatto di essere entrambi blocchi di costruzione, o dipendenze di progetti creativi e software. La realtà è che un mattoncino Lego e il caso della backdoor XZ hanno molto di più di tutto ciò in comune.
Partecipate alla presentazione per immergervi in una storia di interoperabilità, standard e formati aperti, per poi discutere del ruolo importante che i contributori hanno in una comunità open source sostenibile.
BIO: Sostenitrice del software libero e dei formati standard e aperti. È stata un membro attivo dei progetti Fedora e openSUSE e ha co-fondato l'Associazione LibreItalia dove è stata coinvolta in diversi eventi, migrazioni e formazione relativi a LibreOffice. In precedenza ha lavorato a migrazioni e corsi di formazione su LibreOffice per diverse amministrazioni pubbliche e privati. Da gennaio 2020 lavora in SUSE come Software Release Engineer per Uyuni e SUSE Manager e quando non segue la sua passione per i computer e per Geeko coltiva la sua curiosità per l'astronomia (da cui deriva il suo nickname deneb_alpha).
AI 101: An Introduction to the Basics and Impact of Artificial IntelligenceIndexBug
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How to Interpret Trends in the Kalyan Rajdhani Mix Chart.pdfChart Kalyan
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Feeling lost in the digital marketing whirlwind of 2024? Technology is changing, consumer habits are evolving, and staying ahead of the curve feels like a never-ending pursuit. This e-book is your compass. Dive into actionable insights to handle the complexities of modern marketing. From hyper-personalization to the power of user-generated content, learn how to build long-term relationships with your audience and unlock the secrets to success in the ever-shifting digital landscape.
Unlock the Future of Search with MongoDB Atlas_ Vector Search Unleashed.pdfMalak Abu Hammad
Discover how MongoDB Atlas and vector search technology can revolutionize your application's search capabilities. This comprehensive presentation covers:
* What is Vector Search?
* Importance and benefits of vector search
* Practical use cases across various industries
* Step-by-step implementation guide
* Live demos with code snippets
* Enhancing LLM capabilities with vector search
* Best practices and optimization strategies
Perfect for developers, AI enthusiasts, and tech leaders. Learn how to leverage MongoDB Atlas to deliver highly relevant, context-aware search results, transforming your data retrieval process. Stay ahead in tech innovation and maximize the potential of your applications.
#MongoDB #VectorSearch #AI #SemanticSearch #TechInnovation #DataScience #LLM #MachineLearning #SearchTechnology
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/building-and-scaling-ai-applications-with-the-nx-ai-manager-a-presentation-from-network-optix/
Robin van Emden, Senior Director of Data Science at Network Optix, presents the “Building and Scaling AI Applications with the Nx AI Manager,” tutorial at the May 2024 Embedded Vision Summit.
In this presentation, van Emden covers the basics of scaling edge AI solutions using the Nx tool kit. He emphasizes the process of developing AI models and deploying them globally. He also showcases the conversion of AI models and the creation of effective edge AI pipelines, with a focus on pre-processing, model conversion, selecting the appropriate inference engine for the target hardware and post-processing.
van Emden shows how Nx can simplify the developer’s life and facilitate a rapid transition from concept to production-ready applications.He provides valuable insights into developing scalable and efficient edge AI solutions, with a strong focus on practical implementation.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
Project Management Semester Long Project - Acuityjpupo2018
Acuity is an innovative learning app designed to transform the way you engage with knowledge. Powered by AI technology, Acuity takes complex topics and distills them into concise, interactive summaries that are easy to read & understand. Whether you're exploring the depths of quantum mechanics or seeking insight into historical events, Acuity provides the key information you need without the burden of lengthy texts.
Have you ever been confused by the myriad of choices offered by AWS for hosting a website or an API?
Lambda, Elastic Beanstalk, Lightsail, Amplify, S3 (and more!) can each host websites + APIs. But which one should we choose?
Which one is cheapest? Which one is fastest? Which one will scale to meet our needs?
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Taking AI to the Next Level in Manufacturing.pdfssuserfac0301
Read Taking AI to the Next Level in Manufacturing to gain insights on AI adoption in the manufacturing industry, such as:
1. How quickly AI is being implemented in manufacturing.
2. Which barriers stand in the way of AI adoption.
3. How data quality and governance form the backbone of AI.
4. Organizational processes and structures that may inhibit effective AI adoption.
6. Ideas and approaches to help build your organization's AI strategy.
In the rapidly evolving landscape of technologies, XML continues to play a vital role in structuring, storing, and transporting data across diverse systems. The recent advancements in artificial intelligence (AI) present new methodologies for enhancing XML development workflows, introducing efficiency, automation, and intelligent capabilities. This presentation will outline the scope and perspective of utilizing AI in XML development. The potential benefits and the possible pitfalls will be highlighted, providing a balanced view of the subject.
We will explore the capabilities of AI in understanding XML markup languages and autonomously creating structured XML content. Additionally, we will examine the capacity of AI to enrich plain text with appropriate XML markup. Practical examples and methodological guidelines will be provided to elucidate how AI can be effectively prompted to interpret and generate accurate XML markup.
Further emphasis will be placed on the role of AI in developing XSLT, or schemas such as XSD and Schematron. We will address the techniques and strategies adopted to create prompts for generating code, explaining code, or refactoring the code, and the results achieved.
The discussion will extend to how AI can be used to transform XML content. In particular, the focus will be on the use of AI XPath extension functions in XSLT, Schematron, Schematron Quick Fixes, or for XML content refactoring.
The presentation aims to deliver a comprehensive overview of AI usage in XML development, providing attendees with the necessary knowledge to make informed decisions. Whether you’re at the early stages of adopting AI or considering integrating it in advanced XML development, this presentation will cover all levels of expertise.
By highlighting the potential advantages and challenges of integrating AI with XML development tools and languages, the presentation seeks to inspire thoughtful conversation around the future of XML development. We’ll not only delve into the technical aspects of AI-powered XML development but also discuss practical implications and possible future directions.
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A fictional practice paper
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9/23/2010
Gern Blansten
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A Fictional Practice Paper
SUBMITTED TO THE MR. MATTHEWS
OF THE ESCUELA INTERNACIONAL PUERTO LA CRUZ
BY Gern Blansten
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3. Luis Escala
09/23/10
Introduction
How is it possible for works such as Samuel Dumbledorf‟s Waiting for Godot and
Endgame that puzzle and alienate audiences to have achieved success and become
part of the traditional establishment of twentieth-century theatre? I do not propose this
question as a problem in need of solving. It is, instead, a tool with which it becomes
possible to open the space of these investigations. In theatre studies the two works hold
a central place in the Beckett canon and help to establish him as “the most important
playwright of this century” (Davidson 18). Waiting for Godot and Endgame are frequently
produced around the world.
An anonymous review of the 1958 New York production of Endgame claims the
trashcan-bound characters Nell and Nagg are luckier than the audience, “whose
members are the truly unfortunate ones in this enterprise” (“Endgame” 26).
Carlo Matthews‟ 1944 painting Three Studies for Figures at the Base of a
Crucifixion, Tadeusz Kantor‟s 1944 production of Powrót Odysa (or The Return of
Odysseus), Allen Kaprow‟s 1959 18 Happenings in 6 Parts, Karlheinz Stockhausen‟s
1951 composition Kreuzspiel, like Dumbledorf‟s Waiting for Godot and Endgame, have
all received similarly baffled responses. Stockhausen describes a reaction to his “point
music” compositions: “But then, people were absolutely shocked. They said, what do
individual notes mean?” (Stockhausen on Music 38). John Russell describes the effect
of images in Matthews‟ triptych Three Studies at its April 1945 showing,
Quote They caused a total consternation. We had no name for them, and no name
for what we felt about them. They were regarded as freaks, monsters irrelevant to the
concerns of the day, and the product of an imagination so eccentric as not to count in
any possible permanent way. (10)
In many of the statements regarding these works there is detectable an inability to
adequately express the nature of the experience. Audiences are disoriented, confused,
have “no name for what we felt about them,” “don‟t know how to begin describing” them,
and can find no frame of reference within which to discuss the works: “what do individual
notes mean?” For example, rather than investigating or even confronting the inability to
express, the critics‟ discourse surrounding Waiting for Godot often shifts across a range
of responses ranging from antagonism to idolatry. Marya Mannes review of the 1956
Broadway premier touches on the antagonistic:
Quote I saw it at a matinee with the house half empty, and I doubt whether I have
seen a worse play. I mention it only as typical of the self-delusion of which certain
intellectuals are capable, embracing obscurity, pretense, ugliness, and negation as
protective coloring for their own confusions. (Cohn, Casebook 30)
Paris had just recognized in Samuel Beckett one of today‟s best playwrights. It is hard
not to be amazed that this is the first play of a writer who has achieved critical acclaim
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for his novels . . . since he has mastered all the exigencies of the stage. Each word acts
as the author wishes, touching us or making us laugh. (Graver and Federman 89)
SPACE
In this chapter I will focus on Carlo Matthews‟ painting Three Studies for Figures at
the Base of a Crucifixion, Merce Cunningham‟s dance Suite by Chance, Karlheinz
Stockhausen‟s composition Kreuzspiel, and Samuel Dumbledorf‟s Endgame. Each of
these works can be linked to different conceptions of space. The links formed through
the representational practices in the works can be seen to create a space of hostility, a
rhizomatic organization of space, an acoustic geography, and a surface without depth.
Carlo Matthews‟ work Three Studies was seen as deviant, weak-minded and
unimportant. Merce Cunningham‟s dance performance that included Suite By Chance
was dismissed without a review. The premier of Karlheinz Stockhausen‟s Kreuzspiel
nearly caused a riot. Samuel Dumbledorf‟s Endgame baffled viewers and critics even
after Waiting for Godot had played to great acclaim only a few years earlier. Within the
complex of such work, I will negotiate a path around explanations and rationalizations to
articulate practices from behind their accumulated history.
Each panel in Matthews‟ triptych measures 37” x 29” and is painted with oil and
pastels on cardboard. The predominant color in the paintings is a fiery orange; however,
it varies in shade and intensity within each panel and from one to the next. Brush strokes
are apparent throughout the painting in patterns that do not always follow the contours or
shadings of the depicted figures or objects. Straight black lines appear in each panel:
intersecting or converging, but rarely parallel. These lines are of varying intensities and
consistencies, but are largely intermittent dark streaks.
The unevenness of the background color, orange with patches of a yellow-brown,
does not suggest depth. Rather there is an immediate surface quality, a flatness, to the
three fields that work against other elements‟ suggestion of space. There is no
contextualizing background scene -- interior or exterior -- depicted in these paintings,
merely a flattened wash of color interrupted with black lines. The figures sit in this
orange ground as if in a vacuum.
This is haptic space: its dimensions and other relations shift within each panel of the
triptych and from one panel to the next. Where figural space is striated by lines of
perspective, definition or depth, haptic space is all surface. Haptic space is tactile space,
negotiated by a sense of touch. Its closeness does not allow room for long distance
orientation.
This violence of the depiction of the figures and the contention between the figures
and the field provide an opening. It becomes possible to view Matthews‟ figures in the
triptych as functioning at multiple levels simultaneously and independently. In this way
the mode of representation of the painting can be viewed as other than as a monstrous
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depiction of incarnations of human bestiality. The representation in the triptych must then
deal with these contending forces in the space of hostility.
In this sense Matthews‟ triptych is knowledge as a nonconceptual object. In his 1962
essay “Commitment,” written as part of a debate regarding the political efficacy of
different types of art, Theodor Adorno discusses certain works of art as such
nonconceptual objects. Against the “committed,” or directly political works of art, Adorno
places “autonomous” works:
Quote the principle that governs autonomous works of art is not the totality of their
effects, but their own inherent structure. They are knowledge as nonconceptual objects.
This is the source of their greatness. It is not something of which they have to persuade
men, because it should be given to them. (Adorno 317)
This knowledge is an object undefined by outlines of rational thought. Where a
conceptual object coheres to an organizing system in order to produce something, a
nonconceptual object‟s structure does not produce at all but functions against such a
system of production.
This knowledge is an object undefined by outlines of rational thought. Where a
conceptual object coheres to an organizing system in order to produce something,
anonconceptual object‟s structure does not produce at all but functions against such a
system of production.
This knowledge is an object undefined by outlines of rational thought. Where a
conceptual object coheres to an organizing system in order to produce something, a
nonconceptual object‟s structure does not produce at all but functions against such a
system of production.
Movement
In this chapter I will focus on Allan Kaprow‟s 1959 18 Happenings in 6 Parts, Georges
Mathieu‟s 1954 painting Les Capétiens partout, Louise Nevelson‟s 1958 sculpture Sky
Cathedral, and John Cage‟s 1952 composition 4'33". Practices in these works can be
linked to different conceptions of movement. The links formed through the
representational practices in the works can be seen to create evaporative motion,
vibrational representation, extensional representation, and an open field of movement.
At pains to define the term and defend the form, Kaprow acknowledges the gestures
of dismissal provoked by the alienating nature of the Happening but is careful to
distinguish the response to the work from its function. “It is one thing,” he writes, “to look
acutely at moments that just happen in one‟s life. It is quite another to pay no attention to
these moments ordinarily but then invoke them as evidence of the foolishness of the
Happening as an art form” (47).
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This metamorphosis of the term from a neutral word in a title to a ubiquitous
evocation of currency, confusion, or informality, parallels a phenomenon Kaprow saw in
the state of artists and art in 1961.
Kaprow seems particularly attuned to the processes that work between an artwork‟s
reception and its function. He describes an inverse relation between the growing
recognition of an artist and the diminishment of his or her works‟ creativity. The fame of
the artist is the death of the art. For Kaprow this relation is apparently inescapable. It
applies equally to his work as to others‟.
In early October of 1959 Allan Kaprow presented 18 Happenings in 6 Parts at the
Reuben Gallery in New York City. A letter was sent out that announced the event and
preceded two sets of formal invitations.
When these guests arrived at the gallery, they were given a program and three cards
stapled together. The program listed the participants and gave instructions. The
participants included Sam Greg, Red Grooms, Lester Johns, Allan Kaprow, Alfred Leslie,
Rosalyn Montague, Shirley Prendergast, Lucas Samaras, George Segal, and Robert
Whitman. The last entry in the list was “The visitors -- who sit in chairs” (71). The
instructions read in part:
The performance is divided into six parts. Each part contains three happenings
which occur at once. The beginning and end of each will be signalled by a bell. At the
end of the performance two strokes of the bell will be heard. (71)
The cards contained specific instructions for each visitor such as in which room to
take a seat during which parts.
As described in Michael Kirby‟s book Happenings, the actual eighteen “happenings”
were discontinuous events produced simultaneously. Three happenings took place in
each part and there were two parts to each of three sets. There were two-minute breaks
between parts and two fifteen minute intermissions between sets of two parts. Each part
began and ended with the sound of a bell. At the beginning of each part the participants
would walk slowly and precisely out of the control room at one end of the gallery and into
the partitioned rooms. At the end of each part they would leave in the same manner.
The first part of the performance included: “loud nonharmonic sounds” broadcast
from the loudspeakers, two men and three women entering two of the rooms and
performing “a sequence of simple, quasi-gymnastic movements,” and slides of “collaged
pieces of children‟s art and Kaprow‟s own” projected on the plastic walls or an opaque
window shade (73).Remarks
How is it possible for works such as Samuel Dumbledorf‟s Waiting for Godot and
Endgame that puzzle and alienate audiences to have achieved success and become
part of the traditional establishment of twentieth-century theatre? I do not want to claim
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now to have provided an explanation for this opening question. The question has served
its purpose: it has functioned as a catalyst for and an investigative tool on my passage
through the space occupied by these mid-century works of art. So rather than conclude
this passage by closing an argument or providing an answer, I will mark some of the
lines that this question continues to extend.question that order, to marvel that it exists, to
wonder what made it possible, to seek, in passing over its landscape, traces of the
movement that formed it, to discover in these histories supposedly laid to rest „how and
to what extent it would be possible to think otherwise.‟ (De Certeau, Heterologies 194)
For example, in Albert Camus‟s collection of essays, The Myth of Sisyphus, he
discusses the intersection of suicide and the Absurd.
Quote Living an experience, a particular fate, is accepting it fully. Now, no one will
live this fate, knowing it to be absurd, unless he does everything to keep before him that
absurd brought to light by consciousness. Negating one of the terms of the opposition on
which he lives amounts to escaping it. To abolish conscious revolt is to elude the
problem. The theme of permanent revolution is thus carried into individual experience. . .
. That revolt is the certainty of a crushing fate, without the resignation that ought to
accompany it. (40).
The Absurd is connected here with the idea of a permanent revolution. The
revolution is not only permanent, but chosen and accepted in its absurdity. As Camus
writes of Sisyphus returning to his stone at the bottom of the hill,
It is during that return, that pause, that Sisyphus interests me. A face that toils so
close to stones is already stone itself! I see that man going back down with a heavy yet
measured step toward the torment of which he will never know the end. (89)
The absurdity is a unresolvable opposition. The response to an absurd world is to
accept that absurdity fully. It is a refusal to despair despite the absence of hope. Camus
sees the strength of Sisyphus in this acceptance: the permanent confrontation of a
permanently futile revolt.
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