Lecture 1
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The document discusses the artwork "The Physical Impossibility of Death in the Mind of Someone Living" by Damien Hirst. It provides key facts about the artwork: it is a dead tiger shark preserved in a glass box filled with formaldehyde, created in 1990. It discusses analyzing artworks based on their visual/formal elements, subjective reactions, and objective analysis of the facts and artist's intent based on the title and subject matter. Students are instructed to interpret the meaning of the artwork using these concepts for an upcoming quiz without outside research.
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How do you research art
The document provides instructions for students on researching and writing biographies of Hong Kong artists on Wikipedia. Over the next two weeks, students will work in pairs to produce clear, fact-checked biographies of assigned artists. They are instructed to gather sources and take notes on artists from the Asia Art Archive and library databases. The goal is to teach students how to contextualize artists' works by researching their lives and careers. Students are given guidelines on the types of biographical details and references to include from books, articles, and websites. They will use this research to write Wikipedia entries on their assigned artists in the next class.
Review of Adolphe Appia
The pack provides an accurate but limited summary of Adolphe Appia's work and life, aesthetically presenting the mainstream view. It is missing references for quotations and diverse viewpoints. While informative on Appia's techniques, it lacks personal perspectives or discussion of problems with his work. References are not in Harvard style and finding sources would be difficult. The application of ideas is good but more references are needed.
Dissertation thoughts
The document outlines the author's ideas for a dissertation exploring how students compose in both musical and written forms. The author proposes interviewing and observing students in both disciplines to understand [1] what effects students aim to achieve in their compositions and [2] how students incorporate sources into their work. The knowledge gained could be used to improve pedagogy around composition. The author identifies key areas of research that would help frame the study, such as music composition, rhetoric and composition, and intellectual property studies.
460.01b order out of chaos aristotle
1) The document discusses Aristotle's concept of poiesis, or creative making, which refers to a poet or artist crafting stories and representations of human actions and characters.
2) For Aristotle, exemplars depict idealized versions of humans, animals, or objects that display essential traits while removing accidental features. Exemplars can portray virtues and elicit emotional responses.
3) The document also examines Aristotle's ideas of plot structure, with a rising action, climax, falling action, and often a reversal. Characters should be good, proper, true to life, and consistent.
460.03a subjectivity objectively
1. The document discusses the concepts of objectivity and subjectivity in aesthetics from several philosophical perspectives including rationalism, empiricism, and Kantian philosophy.
2. It examines David Hume's views on taste and the role of the critic in making judgments about beauty. For Hume, all knowledge comes from experience.
3. Immanuel Kant's theory of aesthetics holds that judgments of beauty are intuitive rather than conceptual, and concern "free play of the imagination" rather than objective qualities of the object. Beauty involves a sense of purposiveness or "finality" apart from any real purpose.
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The document discusses how perceptions of beauty have been distorted by unrealistic standards promoted by the fashion industry. It leads women to feel insecure about their appearance and engage in unhealthy dieting and cosmetic procedures. While the industry promotes thin, youthful models, true beauty is found in natural, healthy bodies and self-acceptance rather than obsessive pursuit of an unattainable ideal. Changing societal attitudes is needed to challenge harmful beauty standards.
The art of beauty
This document provides a brief overview of the history of art from prehistoric times through the modern era, focusing on depictions of the human form and beauty standards across different cultures and time periods. Key examples discussed include Venus figurines from prehistoric times, ancient Egyptian and Greek sculptures celebrating beauty ideals, Renaissance masterpieces by artists like Michelangelo and Botticelli, Rococo and Neoclassical works, and modern abstract sculptures. The document traces how representations of the human body, especially women, have evolved over millennia.
7 how do you interpret an artwork
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
Recommended
How do you research art
The document provides instructions for students on researching and writing biographies of Hong Kong artists on Wikipedia. Over the next two weeks, students will work in pairs to produce clear, fact-checked biographies of assigned artists. They are instructed to gather sources and take notes on artists from the Asia Art Archive and library databases. The goal is to teach students how to contextualize artists' works by researching their lives and careers. Students are given guidelines on the types of biographical details and references to include from books, articles, and websites. They will use this research to write Wikipedia entries on their assigned artists in the next class.
Review of Adolphe Appia
The pack provides an accurate but limited summary of Adolphe Appia's work and life, aesthetically presenting the mainstream view. It is missing references for quotations and diverse viewpoints. While informative on Appia's techniques, it lacks personal perspectives or discussion of problems with his work. References are not in Harvard style and finding sources would be difficult. The application of ideas is good but more references are needed.
Dissertation thoughts
The document outlines the author's ideas for a dissertation exploring how students compose in both musical and written forms. The author proposes interviewing and observing students in both disciplines to understand [1] what effects students aim to achieve in their compositions and [2] how students incorporate sources into their work. The knowledge gained could be used to improve pedagogy around composition. The author identifies key areas of research that would help frame the study, such as music composition, rhetoric and composition, and intellectual property studies.
460.01b order out of chaos aristotle
1) The document discusses Aristotle's concept of poiesis, or creative making, which refers to a poet or artist crafting stories and representations of human actions and characters.
2) For Aristotle, exemplars depict idealized versions of humans, animals, or objects that display essential traits while removing accidental features. Exemplars can portray virtues and elicit emotional responses.
3) The document also examines Aristotle's ideas of plot structure, with a rising action, climax, falling action, and often a reversal. Characters should be good, proper, true to life, and consistent.
460.03a subjectivity objectively
1. The document discusses the concepts of objectivity and subjectivity in aesthetics from several philosophical perspectives including rationalism, empiricism, and Kantian philosophy.
2. It examines David Hume's views on taste and the role of the critic in making judgments about beauty. For Hume, all knowledge comes from experience.
3. Immanuel Kant's theory of aesthetics holds that judgments of beauty are intuitive rather than conceptual, and concern "free play of the imagination" rather than objective qualities of the object. Beauty involves a sense of purposiveness or "finality" apart from any real purpose.
Size Zero Beauty Personified
The document discusses how perceptions of beauty have been distorted by unrealistic standards promoted by the fashion industry. It leads women to feel insecure about their appearance and engage in unhealthy dieting and cosmetic procedures. While the industry promotes thin, youthful models, true beauty is found in natural, healthy bodies and self-acceptance rather than obsessive pursuit of an unattainable ideal. Changing societal attitudes is needed to challenge harmful beauty standards.
The art of beauty
This document provides a brief overview of the history of art from prehistoric times through the modern era, focusing on depictions of the human form and beauty standards across different cultures and time periods. Key examples discussed include Venus figurines from prehistoric times, ancient Egyptian and Greek sculptures celebrating beauty ideals, Renaissance masterpieces by artists like Michelangelo and Botticelli, Rococo and Neoclassical works, and modern abstract sculptures. The document traces how representations of the human body, especially women, have evolved over millennia.
7 how do you interpret an artwork
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
Art critique
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
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The document discusses the discipline of art history and how it can help analyze and understand works of art. Art history answers questions about what is depicted, when and where the work was created, who the artist was, how it was made, and why certain stylistic or subject choices were made. Analyzing the formal, technical, sensory and expressive properties of a work can provide insight into its historical and cultural context. The goal of art history is to objectively understand works of art through close examination of their inherent visual qualities and consideration of the circumstances surrounding their creation.
Lesson 3.pptx
This document outlines the four-step process of art criticism: description, analysis, interpretation, and judgment. It provides examples of questions to consider for each step, such as describing the visual elements, analyzing the use of color and form, interpreting the artist's message, and making a personal evaluation. The goal is to teach students how to effectively critique art using correct terminology and by considering the formal qualities and potential meanings.
Artist statement
The artist statement provides guidelines for creating an effective statement to describe an artwork to viewers. It emphasizes including information about the medium, materials, process, and other key details to help viewers understand the work. An example statement is provided that clearly explains the artist's process of discovering a new language through using a typewriter that communicates their struggle. Viewers' questions about the work are answered concisely. The document then provides tips for crafting an initial draft, such as collecting relevant information and composing thesis, body, and conclusion paragraphs. It stresses getting feedback and multiple revisions to produce a statement that effectively informs viewers without being overly explanatory.
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This document provides an introduction to aesthetics and art appreciation. It discusses key concepts like beauty, taste, and how to analyze and interpret artworks. The document is presented as a slideshow and covers topics such as definitions of aesthetics and taste, quotes about beauty, how taste reveals personality, and tips for studying art including focusing on fundamentals and staying positive. It concludes with an assignment asking the viewer to create a colorwheel painting and share the photo.
Art Criticism Take a field trip to a museum, gallery.docx
The document outlines an art criticism assignment that requires students to:
1) Visit a museum or gallery to view artwork and select a piece to analyze.
2) Write a 6+ page art criticism analyzing the selected work addressing description, analysis, interpretation, and evaluation.
3) Cite at least two scholarly sources, one relating the artwork to a class topic/theory.
4) Follow specific formatting guidelines and include proof of visiting the art exhibition.
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This document provides an introduction to the philosophy of the human person. It includes 7 activities to help understand key concepts of philosophy. Activity 1 involves analyzing a picture. Activity 2 is a word puzzle about the Greek words for "love" and "wisdom". The document defines philosophy as the love of wisdom and discusses its characteristics such as wide generalizations and fundamentals. Later activities involve applying philosophical concepts to one's life experiences and the current education system.
1 Personality Theory From Everyday Observations to System
1
Personality Theory: From Everyday Observations to Systematic Theories
Questions to be Addressed in this Chapter
Defining Personality
Why Study Personality?
Three Goals for the Personality Theorist
Answering Questions about Persons Scientifically: Understanding Structures,
Processes, Development, and Therapeutic Change
Important Issues in Personality Theory
Evaluating Personality Theories
The Personality Theories: An Introduction
Major Concepts
Review
Chapter Focus
I can be selfish, but I believe it is because I try to be perfect. Perfect in the sense I
want to be an “A” student, a good mother, a loving wife, an excellent employee, a
nourishing friend. My significant other thinks I try too hard to be “Mother Teresa”
at times—not that that is a bad thing. But I can drive myself insane at times. I have
led a hard childhood and adulthood life; therefore I believe I am trying to make up
for all the bad times. I want to be productive, good—make a difference in my
world.
I'm a real jackass. I'm intelligent enough to do well in school and study genetics
but have no idea when to shut up. I often am very offensive and use quite abrasive
language, although I'm shy most of the time and talk to few people. I'm sarcastic,
cruel, and pompous at times. Yet I've been told that I'm kind and sweet; this may be
true, but only to those I deem worthy of speaking to with some frequency. I'm very
fond of arguing and pretty much argue for fun.
I have always been described by others as cynical and/or as having integrity. I
would describe myself as inquisitive, philosophical and justice‐oriented. I craze
organization, but my room is the messiest one I have seen thus far … like the room
of a toddler. I am introspective but I don't reach many conclusions about myself. I
seem very passive and mellow – but I am just too tired to get fired up.
This person is shy at times. They tend to open up to some people. You never know
when they're happy or sad. They never show their real feelings, and when they do
it's so hard for them. They did have a trauma experience that closed them up—
where they seem to be afraid to let their real self show. They are funny and do have
a lot of fun and are fun to be around, but at times it's hard to know if they're really
having a good time. The person is loved by a lot of people and is an extremely
giving person but doesn't like “seriousness.”
These sketches were written by people just like you: students beginning a course on
the psychology of personality. When I teach the class, on Day 1, I ask people to
describe their personality and that of a friend. Two things happen. First, students
can answer the question; when asked to “describe your personality,” they rarely
say “I don't know how to do that; it's only the first day of personality class.”
Second, as you see here, their answers are often detailed, nuanced, and
insightful—so much so that one is tempted to ask: Is the class fil ...
1 Personality Theory From Everyday Observations to System
1
Personality Theory: From Everyday Observations to Systematic Theories
Questions to be Addressed in this Chapter
Defining Personality
Why Study Personality?
Three Goals for the Personality Theorist
Answering Questions about Persons Scientifically: Understanding Structures,
Processes, Development, and Therapeutic Change
Important Issues in Personality Theory
Evaluating Personality Theories
The Personality Theories: An Introduction
Major Concepts
Review
Chapter Focus
I can be selfish, but I believe it is because I try to be perfect. Perfect in the sense I
want to be an “A” student, a good mother, a loving wife, an excellent employee, a
nourishing friend. My significant other thinks I try too hard to be “Mother Teresa”
at times—not that that is a bad thing. But I can drive myself insane at times. I have
led a hard childhood and adulthood life; therefore I believe I am trying to make up
for all the bad times. I want to be productive, good—make a difference in my
world.
I'm a real jackass. I'm intelligent enough to do well in school and study genetics
but have no idea when to shut up. I often am very offensive and use quite abrasive
language, although I'm shy most of the time and talk to few people. I'm sarcastic,
cruel, and pompous at times. Yet I've been told that I'm kind and sweet; this may be
true, but only to those I deem worthy of speaking to with some frequency. I'm very
fond of arguing and pretty much argue for fun.
I have always been described by others as cynical and/or as having integrity. I
would describe myself as inquisitive, philosophical and justice‐oriented. I craze
organization, but my room is the messiest one I have seen thus far … like the room
of a toddler. I am introspective but I don't reach many conclusions about myself. I
seem very passive and mellow – but I am just too tired to get fired up.
This person is shy at times. They tend to open up to some people. You never know
when they're happy or sad. They never show their real feelings, and when they do
it's so hard for them. They did have a trauma experience that closed them up—
where they seem to be afraid to let their real self show. They are funny and do have
a lot of fun and are fun to be around, but at times it's hard to know if they're really
having a good time. The person is loved by a lot of people and is an extremely
giving person but doesn't like “seriousness.”
These sketches were written by people just like you: students beginning a course on
the psychology of personality. When I teach the class, on Day 1, I ask people to
describe their personality and that of a friend. Two things happen. First, students
can answer the question; when asked to “describe your personality,” they rarely
say “I don't know how to do that; it's only the first day of personality class.”
Second, as you see here, their answers are often detailed, nuanced, and
insightful—so much so that one is tempted to ask: Is the class fil ...
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have contributed: the people who submitted their
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and all participants during the ArtOfAgile Experience
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20 composition i
The document discusses the concepts of design, composition, and aesthetics. It defines composition as the conscious selection of visual elements in design to achieve a pleasing result. The principles of composition are the guiding rules for assembling a design. In design, composition deals with aesthetics, which is a branch of philosophy concerning beauty and taste. There are three main aesthetic views: subject, which prioritizes realism; content, which focuses on the message or feeling conveyed; and composition, which emphasizes how design elements are arranged.
1. Beyond merely summarizing the object(s) being portrayed, the mo.docx
1. Beyond merely summarizing the object(s) being portrayed, the most common (and in many ways, the easiest) ways to analyze a painting are
To talk about its affects on ME
To talk about the life and psychology of the artist
This course would not be doing its job if it did not give students the opportunity to analyze a painting in terms of composition. So (This is optional, but some will enjoy and benefit from it, I'm sure) -
Composition is about the actual techniques used and choices made by the artist in representing his/her subject: colors, lines, brush strokes, the way the subjects are situated in relation to each other, etc.
How might paintings of the same subject be different in composition/technique? Why might the differences matter in ways that impact our lives?
Here's a famous Rubens painting, The Garden of Love:
http://www.peterpaulrubens.org/The-Garden-Of-Love.jpg
Here is one possible comparison (same theme, similar title, but very different composition):
http://www.1st-art-gallery.com/thumbnail/187283/1/The-Garden-Of-Love,-C.1465-70.jpg
And how does this one compare?:
http://farm6.staticflickr.com/5067/5680795834_31cd66039c_z.jpg Possible approaches:
Do you prefer one of these over another? And if so, what role does cultural conditioning play in your preference?
Do see how distinct issues of composition can be from the matter of subject?
Do you see how composition affects meaning?
2. In this discussion, several of you have commented on the different kinds of thinking and learning that we see emerging during this era: rationalism, deduction vs. induction, science vs. religion, etc. Given the fact that we have noticed seemingly different ways of thinking about things, the question is worth asking...
What kind of learning or experience matters most? Here's how I'd like to invite further discussion (for anyone who might be interested):
If a person wants to really understand what human life is about, and what is most important, on what kind of knowledge should that person most concentrate, and why?
-Knowledge most people associate with careers and jobs
-Knowledge most people associate with religion and spirituality
Knowledge most people associate with science and technology
Knowledge most people associate with politics and economics
-Knowledge most people associate with psychology, family and human relationships
-Knowledge most people associate with the arts (including literature, theater, film and the media)
-Some other category of knowledge (please specify)
To what degree are these categories truly separate from each other?
Do you feel the above divisions are legitimate, or would you modify them?
And one more possible question: What is the real meaning of the word faith? Is objective knowledge sufficient as the basis for being functional adults? Is "faith" only religious, or are there other kinds of faith (scientific, political, relational, etc.)?
...
Mooc handout 1
Philosophy can be summarized in 3 ways:
1. The practical strategy - To understand philosophy, one must engage in philosophical thinking and problems.
2. The definitional strategy - Philosophy is loosely defined as the love of knowledge, but we need more context on what kind of knowledge and how it is obtained.
3. The deferential strategy - Other philosophers define philosophy as using reasoning to promote human flourishing or thinking clearly about reality.
Philosophy aims to work out the right way of thinking about important topics through rigorous questioning and examination of assumptions. It addresses fundamental questions and challenges accepted beliefs, aiming to help humans understand themselves.
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Art critique
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
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The document discusses the discipline of art history and how it can help analyze and understand works of art. Art history answers questions about what is depicted, when and where the work was created, who the artist was, how it was made, and why certain stylistic or subject choices were made. Analyzing the formal, technical, sensory and expressive properties of a work can provide insight into its historical and cultural context. The goal of art history is to objectively understand works of art through close examination of their inherent visual qualities and consideration of the circumstances surrounding their creation.
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This document outlines the four-step process of art criticism: description, analysis, interpretation, and judgment. It provides examples of questions to consider for each step, such as describing the visual elements, analyzing the use of color and form, interpreting the artist's message, and making a personal evaluation. The goal is to teach students how to effectively critique art using correct terminology and by considering the formal qualities and potential meanings.
Artist statement
The artist statement provides guidelines for creating an effective statement to describe an artwork to viewers. It emphasizes including information about the medium, materials, process, and other key details to help viewers understand the work. An example statement is provided that clearly explains the artist's process of discovering a new language through using a typewriter that communicates their struggle. Viewers' questions about the work are answered concisely. The document then provides tips for crafting an initial draft, such as collecting relevant information and composing thesis, body, and conclusion paragraphs. It stresses getting feedback and multiple revisions to produce a statement that effectively informs viewers without being overly explanatory.
wk 1 -2 Aesthetics.pptx
This document provides an introduction to aesthetics and art appreciation. It discusses key concepts like beauty, taste, and how to analyze and interpret artworks. The document is presented as a slideshow and covers topics such as definitions of aesthetics and taste, quotes about beauty, how taste reveals personality, and tips for studying art including focusing on fundamentals and staying positive. It concludes with an assignment asking the viewer to create a colorwheel painting and share the photo.
Art Criticism Take a field trip to a museum, gallery.docx
The document outlines an art criticism assignment that requires students to:
1) Visit a museum or gallery to view artwork and select a piece to analyze.
2) Write a 6+ page art criticism analyzing the selected work addressing description, analysis, interpretation, and evaluation.
3) Cite at least two scholarly sources, one relating the artwork to a class topic/theory.
4) Follow specific formatting guidelines and include proof of visiting the art exhibition.
iphp presentation.pptx
This document provides an introduction to the philosophy of the human person. It includes 7 activities to help understand key concepts of philosophy. Activity 1 involves analyzing a picture. Activity 2 is a word puzzle about the Greek words for "love" and "wisdom". The document defines philosophy as the love of wisdom and discusses its characteristics such as wide generalizations and fundamentals. Later activities involve applying philosophical concepts to one's life experiences and the current education system.
1 Personality Theory From Everyday Observations to System
1
Personality Theory: From Everyday Observations to Systematic Theories
Questions to be Addressed in this Chapter
Defining Personality
Why Study Personality?
Three Goals for the Personality Theorist
Answering Questions about Persons Scientifically: Understanding Structures,
Processes, Development, and Therapeutic Change
Important Issues in Personality Theory
Evaluating Personality Theories
The Personality Theories: An Introduction
Major Concepts
Review
Chapter Focus
I can be selfish, but I believe it is because I try to be perfect. Perfect in the sense I
want to be an “A” student, a good mother, a loving wife, an excellent employee, a
nourishing friend. My significant other thinks I try too hard to be “Mother Teresa”
at times—not that that is a bad thing. But I can drive myself insane at times. I have
led a hard childhood and adulthood life; therefore I believe I am trying to make up
for all the bad times. I want to be productive, good—make a difference in my
world.
I'm a real jackass. I'm intelligent enough to do well in school and study genetics
but have no idea when to shut up. I often am very offensive and use quite abrasive
language, although I'm shy most of the time and talk to few people. I'm sarcastic,
cruel, and pompous at times. Yet I've been told that I'm kind and sweet; this may be
true, but only to those I deem worthy of speaking to with some frequency. I'm very
fond of arguing and pretty much argue for fun.
I have always been described by others as cynical and/or as having integrity. I
would describe myself as inquisitive, philosophical and justice‐oriented. I craze
organization, but my room is the messiest one I have seen thus far … like the room
of a toddler. I am introspective but I don't reach many conclusions about myself. I
seem very passive and mellow – but I am just too tired to get fired up.
This person is shy at times. They tend to open up to some people. You never know
when they're happy or sad. They never show their real feelings, and when they do
it's so hard for them. They did have a trauma experience that closed them up—
where they seem to be afraid to let their real self show. They are funny and do have
a lot of fun and are fun to be around, but at times it's hard to know if they're really
having a good time. The person is loved by a lot of people and is an extremely
giving person but doesn't like “seriousness.”
These sketches were written by people just like you: students beginning a course on
the psychology of personality. When I teach the class, on Day 1, I ask people to
describe their personality and that of a friend. Two things happen. First, students
can answer the question; when asked to “describe your personality,” they rarely
say “I don't know how to do that; it's only the first day of personality class.”
Second, as you see here, their answers are often detailed, nuanced, and
insightful—so much so that one is tempted to ask: Is the class fil ...
1 Personality Theory From Everyday Observations to System
1
Personality Theory: From Everyday Observations to Systematic Theories
Questions to be Addressed in this Chapter
Defining Personality
Why Study Personality?
Three Goals for the Personality Theorist
Answering Questions about Persons Scientifically: Understanding Structures,
Processes, Development, and Therapeutic Change
Important Issues in Personality Theory
Evaluating Personality Theories
The Personality Theories: An Introduction
Major Concepts
Review
Chapter Focus
I can be selfish, but I believe it is because I try to be perfect. Perfect in the sense I
want to be an “A” student, a good mother, a loving wife, an excellent employee, a
nourishing friend. My significant other thinks I try too hard to be “Mother Teresa”
at times—not that that is a bad thing. But I can drive myself insane at times. I have
led a hard childhood and adulthood life; therefore I believe I am trying to make up
for all the bad times. I want to be productive, good—make a difference in my
world.
I'm a real jackass. I'm intelligent enough to do well in school and study genetics
but have no idea when to shut up. I often am very offensive and use quite abrasive
language, although I'm shy most of the time and talk to few people. I'm sarcastic,
cruel, and pompous at times. Yet I've been told that I'm kind and sweet; this may be
true, but only to those I deem worthy of speaking to with some frequency. I'm very
fond of arguing and pretty much argue for fun.
I have always been described by others as cynical and/or as having integrity. I
would describe myself as inquisitive, philosophical and justice‐oriented. I craze
organization, but my room is the messiest one I have seen thus far … like the room
of a toddler. I am introspective but I don't reach many conclusions about myself. I
seem very passive and mellow – but I am just too tired to get fired up.
This person is shy at times. They tend to open up to some people. You never know
when they're happy or sad. They never show their real feelings, and when they do
it's so hard for them. They did have a trauma experience that closed them up—
where they seem to be afraid to let their real self show. They are funny and do have
a lot of fun and are fun to be around, but at times it's hard to know if they're really
having a good time. The person is loved by a lot of people and is an extremely
giving person but doesn't like “seriousness.”
These sketches were written by people just like you: students beginning a course on
the psychology of personality. When I teach the class, on Day 1, I ask people to
describe their personality and that of a friend. Two things happen. First, students
can answer the question; when asked to “describe your personality,” they rarely
say “I don't know how to do that; it's only the first day of personality class.”
Second, as you see here, their answers are often detailed, nuanced, and
insightful—so much so that one is tempted to ask: Is the class fil ...
Globalization Essay.pdf
(DOC) Effects of Globalization essay | Estelle Gras - Academia.edu. Essay on impact of Globalisation: - The-Historic. How to Write the Best Globalization Essay: A Step by Step Guide. Globalisation Essay | Economics - Year 12 HSC | Thinkswap. Essay effects of globalization.
THE eARTh OF AGILE - a story notebook
Using this story notebook, you sontinue the story making process about the Future of Work.
This storytelling process about The Future of Work is
a participatory activation process to which many
have contributed: the people who submitted their
videos for the short movie Computer of the Future
and all participants during the ArtOfAgile Experience
Event on December 3, 2019. You will find all the (links) to the information to make up your mind: who do I choose to be in my work for the future?
Essay On Customer Satisfaction.pdf
Customer satisfaction Argumentative Essay - PHDessay.com. Thesis Customer Satisfaction - PHDessay.com. Custom Academic Paper Writing Services - essay on customer satisfaction .... There are different varieties of how customer satisfaction can be .... Expository essay: Thesis of customer satisfaction in banks. 0601006 study on customer satisfaction. customer satisfaction. Example for Customer Satisfaction - RosemarygroWells. Customer Satisfaction on Service Provided by Tim Hortons Analytical .... College essay: Thesis on customer satisfaction and loyalty. Free Essay on Customer Satisfaction – Blog. Descriptive essay: Review literature customer satisfaction project.
Art and its physical growth
The document discusses the physical development of art skills from infancy through early childhood. It describes how providing daily art activities allows children to grow in self-expression and aesthetic appreciation while developing motor skills. Specific examples are given for appropriate art activities at different age levels, from tummy time for infants to encourage movement, to preschool activities involving crayons, glue and dress-up to develop fine motor skills. The goal is to challenge and build upon gross and fine motor skills through art.
Visual Rhetoric, September 4th, 2013
This document provides an overview and discussion of key concepts from course readings on visual rhetoric. It begins with an icebreaker activity and introduces several optical illusions. The instructor then summarizes key ideas from five course readings by Barthes, Kress, Benjamin, and Wysocki regarding how meaning is constructed and conveyed visually. Students are divided into groups to analyze and discuss concepts from one of the readings in more depth. They are asked to further develop their group's definition of visual rhetoric based on these discussions. The document concludes by assigning homework on additional readings and design tasks.
Sweat the Details: Analyzing Artifacts
The document discusses analyzing rhetorical artifacts by examining how they address rhetorical situations. It explains that a rhetorical artifact is a human-made discourse that responds appropriately to a rhetorical situation by defining an exigence, having an intended audience capable of facilitating change, and considering any constraints that could hinder persuading the audience to incite change. The document provides an example of analyzing a woman's poetic cultural artifact that uses songs to communicate her love life experiences and argues this was a strategic choice to humorously frame potentially hurtful situations.
Ch. 1 Mystory (Career)
This document discusses various concepts related to career exploration and defining terms. It provides examples of how childhood experiences and influences can shape future career interests, like Einstein's fascination with a compass leading to his work in physics. It also discusses defining terms through comparing and contrasting subjects, and how definitions can change over time with new experiences and perspectives. Alternative approaches to definition called "antidefinition" are mentioned, which focus on performance and experience over written text.
20 composition i
The document discusses the concepts of design, composition, and aesthetics. It defines composition as the conscious selection of visual elements in design to achieve a pleasing result. The principles of composition are the guiding rules for assembling a design. In design, composition deals with aesthetics, which is a branch of philosophy concerning beauty and taste. There are three main aesthetic views: subject, which prioritizes realism; content, which focuses on the message or feeling conveyed; and composition, which emphasizes how design elements are arranged.
1. Beyond merely summarizing the object(s) being portrayed, the mo.docx
1. Beyond merely summarizing the object(s) being portrayed, the most common (and in many ways, the easiest) ways to analyze a painting are
To talk about its affects on ME
To talk about the life and psychology of the artist
This course would not be doing its job if it did not give students the opportunity to analyze a painting in terms of composition. So (This is optional, but some will enjoy and benefit from it, I'm sure) -
Composition is about the actual techniques used and choices made by the artist in representing his/her subject: colors, lines, brush strokes, the way the subjects are situated in relation to each other, etc.
How might paintings of the same subject be different in composition/technique? Why might the differences matter in ways that impact our lives?
Here's a famous Rubens painting, The Garden of Love:
http://www.peterpaulrubens.org/The-Garden-Of-Love.jpg
Here is one possible comparison (same theme, similar title, but very different composition):
http://www.1st-art-gallery.com/thumbnail/187283/1/The-Garden-Of-Love,-C.1465-70.jpg
And how does this one compare?:
http://farm6.staticflickr.com/5067/5680795834_31cd66039c_z.jpg Possible approaches:
Do you prefer one of these over another? And if so, what role does cultural conditioning play in your preference?
Do see how distinct issues of composition can be from the matter of subject?
Do you see how composition affects meaning?
2. In this discussion, several of you have commented on the different kinds of thinking and learning that we see emerging during this era: rationalism, deduction vs. induction, science vs. religion, etc. Given the fact that we have noticed seemingly different ways of thinking about things, the question is worth asking...
What kind of learning or experience matters most? Here's how I'd like to invite further discussion (for anyone who might be interested):
If a person wants to really understand what human life is about, and what is most important, on what kind of knowledge should that person most concentrate, and why?
-Knowledge most people associate with careers and jobs
-Knowledge most people associate with religion and spirituality
Knowledge most people associate with science and technology
Knowledge most people associate with politics and economics
-Knowledge most people associate with psychology, family and human relationships
-Knowledge most people associate with the arts (including literature, theater, film and the media)
-Some other category of knowledge (please specify)
To what degree are these categories truly separate from each other?
Do you feel the above divisions are legitimate, or would you modify them?
And one more possible question: What is the real meaning of the word faith? Is objective knowledge sufficient as the basis for being functional adults? Is "faith" only religious, or are there other kinds of faith (scientific, political, relational, etc.)?
...
Mooc handout 1
Philosophy can be summarized in 3 ways:
1. The practical strategy - To understand philosophy, one must engage in philosophical thinking and problems.
2. The definitional strategy - Philosophy is loosely defined as the love of knowledge, but we need more context on what kind of knowledge and how it is obtained.
3. The deferential strategy - Other philosophers define philosophy as using reasoning to promote human flourishing or thinking clearly about reality.
Philosophy aims to work out the right way of thinking about important topics through rigorous questioning and examination of assumptions. It addresses fundamental questions and challenges accepted beliefs, aiming to help humans understand themselves.
Similar to Lecture 1 (20)
Art Criticism Take a field trip to a museum, gallery.docx
Art Criticism Take a field trip to a museum, gallery.docx
1 Personality Theory From Everyday Observations to System
1 Personality Theory From Everyday Observations to System
1 Personality Theory From Everyday Observations to System
1 Personality Theory From Everyday Observations to System
1. Beyond merely summarizing the object(s) being portrayed, the mo.docx
1. Beyond merely summarizing the object(s) being portrayed, the mo.docx
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Is Lucid Dreaming Dangerous? Risks and Benefits!
Lucid Dreaming: Understanding the Risks and Benefits
The ability to control one's dreams or for the dreamer to be aware that he or she is dreaming. This process, called lucid dreaming, has some potential risks as well as many fascinating benefits. However, many people are hesitant to try it initially for fear of the potential dangers. This article aims to clarify these concerns by exploring both the risks and benefits of lucid dreaming.
The Benefits of Lucid Dreaming
Lucid dreaming allows a person to take control of their dream world, helping them overcome their fears and eliminate nightmares. This technique is particularly useful for mental health. By taking control of their dreams, individuals can face challenging scenarios in a controlled environment, which can help reduce anxiety and increase self-confidence.
Addressing Common Concerns
Physical Harm in Dreams Lucid dreaming is fundamentally safe. In a lucid dream, everything is a creation of your mind. Therefore, nothing in the dream can physically harm you. Despite the vividness and realness of the dream experience, it remains entirely within your mental landscape, posing no physical danger.
Mental Health Risks Concerns about developing PTSD or other mental illnesses from lucid dreaming are unfounded. As soon as you wake up, it's clear that the events experienced in the dream were not real. On the contrary, lucid dreaming is often seen as a therapeutic tool for conditions like PTSD, as it allows individuals to reframe and manage their thoughts.
Potential Risks of Lucid Dreaming
While generally safe, lucid dreaming does come with a few risks as well:
Mixing Dream Memories with Reality Long-term lucid dreamers might occasionally confuse dream memories with real ones, creating false memories. This issue is rare and preventable by maintaining a dream journal and avoiding lucid dreaming about real-life people or places too frequently.
Escapism Using lucid dreaming to escape reality can be problematic if it interferes with your daily life. While it is sometimes beneficial to escape and relieve the stress of reality, relying on lucid dreaming for happiness can hinder personal growth and productivity.
Feeling Tired After Lucid Dreaming Some people report feeling tired after lucid dreaming. This tiredness is not due to the dreams themselves but often results from not getting enough sleep or using techniques that disrupt sleep patterns. Taking breaks and ensuring adequate sleep can prevent this.
Mental Exhaustion Lucid dreaming can be mentally taxing if practiced excessively without breaks. It’s important to balance lucid dreaming with regular sleep to avoid mental fatigue.
Lucid dreaming is safe and beneficial if done with caution. It has many benefits, such as overcoming fear and improving mental health, and minimal risks. There are many resources and tutorials available for those interested in trying it.
Lição 12: João 15 a 17 – O Espírito Santo e a Oração Sacerdotal | 2° Trimestr...
Esta lição é uma oportunidade para discutirmos um assunto multo mal interpretado no contexto cristão, que é o fato de algumas pessoas pensarem que o conhecer Jesus é ter a nossa vida mudada em todas as áreas, como se Deus tivesse o dever de transportar-nos deste mundo para um outro mundo onde muitas coisas maravilhosas que desejamos seriam reais. No entanto, a nossa fé não nos tira do mundo após nos convertermos; ao invés disso, permanecemos vivendo sob as mesmas circunstâncias. O propósito de Deus não é nos tirar do mundo, mas nos livrar das ações do maligno (Jo 17.15), Sendo assim, a vida eterna não significa estar fora da realidade deste mundo, mas conhecer o único Deus verdadeiro (Jo 17.3).
OM Meditation - ultimate meditation technique
PHASE-IV
The very deep experience of silence helps to expand from the 3 - dimensional awareness of the body to all pervasive awareness. The bed of silence becomes deeper and more expansive - an ocean of silence with waves on it merge into complete silence called Ajapa state of the mind. This silence is the source of Creativity, Power, Knowledge and Bliss.
PHASE V
From this deep ocean of silence in the heart region, let one OM emerge as an audible sound which diffuses into the entire body and the space all around. Enjoy the beautiful vibrations.
Blink the eyes slowly, gently open the eyes and come out of meditation.
Heartfulness Magazine - June 2024 (Volume 9, Issue 6)
Dear readers,
This month we continue with more inspiring talks from the Global Spirituality Mahotsav that was held from March 14 to 17, 2024, at Kanha Shanti Vanam.
We hear from Daaji on lifestyle and yoga in honor of International Day of Yoga, June 21, 2024. We also hear from Professor Bhavani Rao, Dean at Amrita Vishwa Vidyapeetham University, on spirituality in action, the Venerable BhikkuSanghasena on how to be an ambassador for compassion, Dr. Tony Nader on the Maharishi Effect, Swami Mukundananda on the crossroads of modernization, Tejinder Kaur Basra on the purpose of work, the Venerable GesheDorjiDamdul on the psychology of peace, the Rt. Hon. Patricia Scotland, KC, Secretary-General of the Commonwealth, on how we are all related, and world-renowned violinist KumareshRajagopalan on the uplifting mysteries of music.
Dr. Prasad Veluthanar shares an Ayurvedic perspective on treating autism, Dr. IchakAdizes helps us navigate disagreements at work, Sravan Banda celebrates World Environment Day by sharing some tips on land restoration, and Sara Bubber tells our children another inspiring story and challenges them with some fun facts and riddles.
Happy reading,
The editors
Monthly Khazina-e-Ruhaniyaat Jun’2024 (Vol.15, Issue 2)
2nd issue of Volume 15. A magazine in urdu language mainly based on spiritual treatment and learning. Many topics on ISLAM, SUFISM, SOCIAL PROBLEMS, SELF HELP, PSYCHOLOGY, HEALTH, SPIRITUAL TREATMENT, Ruqya etc.A very useful magazine for everyone.
He Dies Slowly Slideshow by: Kal-el Marcus
Don't let yourself die slowly!
Don't keep yourself from being happy!
-- Pablo Neruda
(Translated from Spanish)
sanskrit yoga mantras chanting for yoga class
Introduction
Mantra Yoga is an exact science. "Mananat trayate iti mantrah- by the Manana (constant thinking or recollection) of which one is protected or is released from the round of births and deaths, is Mantra." That is called Mantra by the meditation (Manana) on which the Jiva or the individual soul attains freedom from sin, enjoyment in heaven and final liberation, and by the aid of which it attains in full the fourfold fruit (Chaturvarga), i.e., Dharma, Artha, Kama and Moksha. A Mantra is so called because it is achieved by the mental process.
Tales of This and Another Life - Chapters.pdf
This book is one of the best of the translated ones, for it has a warning character for all those who find themselves in the experience of material life. Irmão X provides a shrewd way of describing the subtleties and weaknesses that can jeopardize our intentions, making us more attentive and vigilant by providing us with his wise pages, reminding us between the lines of the Master's words: "Pray and watch."
THE IMPORTANCE OF AWARENESS AND CONSCIOUSNESS
The subject of spiritualism fundamentally relates to two specific tenets, independent yet closely associated as one—awareness and consciousness.
Tracking "The Blessing" - Christianity · Spiritual Growth · Success
Unleash your spiritual growth journey as a truth-seeker!
Learn More:
👉https://tkg.tf/4D
Tracking "The Blessing" - Christianity · Spiritual Growth · Success
Do you ever feel like your Bible highlighting isn't quite enough to ignite lasting spiritual growth? Have you struggled to retain key takeaways from your Bible study sessions?
Discover how living in 4D can transform your highlighting into a strategic tool for spiritual development.
Learn More:
👉https://tkg.tf/4D
In this video, you'll gain insights on:
How highlighting key verses and themes can enhance memory and retention of Scripture (we see a few key ones, here!)
Studies have shown that highlighting can significantly improve information recall. Highlighting key points visually reinforces them in your mind, leading to better long-term memory.
How to personalize your Bible study through strategic highlighting. Don't just highlight everything!
This video will teach you how to strategically highlight based on what resonates with you, focusing on central themes, recurring ideas, or connections between different passages.
Watch More:
👉https://tkg.tf/4D
How connecting highlighted passages can reveal deeper biblical truths. By highlighting these connections, you can see the bigger picture and uncover the underlying messages within Scripture.
By the end of this video, you'll be equipped to unlock the hidden potential within your highlighted Bible and embark on a transformative spiritual growth journey! Don't forget to like and subscribe for more inspiring content on deepening your faith.
Note: For Christians seeking to enrich their Bible study and deepen their faith, as well as any other spiritual seeker of truth and growth.
Learn More:
👉https://tkg.tf/4D
Barriers of worship.ppt Break the Barriers to Worship
God calls us to a journey of worshiping Him. In this journey you will encounter different obstacles and derailments that will want to sway you from worshiping God. You got to be intentional in breaking the barriers staged on your way of worship in order to offer God acceptable worship.
"Lift off" by Pastor Mark Behr at North Athens Baptist Church
23 June 2024
Morning Service at North Athens Baptist Church Athens, Michigan
“Lift Off” by Pastor Mark Behr
Scriptures: Luke 24:50-53; Acts 1:6-11.
We are a small country Church in Athens Michigan who loves to reach out to others with the love of God. We worship an Awesome God who loves the whole world and wants everyone to see and understand what He has done for us. (1 Corinthians 15:1-4) We hope you are encouraging by our Sunday Morning sermon videos. If you are ever in the area, please feel free to attend our Sunday Morning Services at North Athens Baptist Church 2020 M Drive South, Athens, Michigan. If you have any question and would like to talk to Pastor Mark, or have prayer request please call the church at (269) 729-553
Sunday School: 9:30 a.m.
Morning Service: 10:45 a.m.
Full Morning Service on Facebook Live at: https://www.facebook.com/groups/nabc2020athensmichigan
Sermon Only Live on YouTube at: https://www.youtube.com/@NABC2020AthensMI
Sermon Only Audio of Morning Sermon at: https://soundcloud.com/user-591083416
The Significance of the Locust Army in Revelation 9
The Book of Revelation, filled with symbolic and apocalyptic imagery, presents one of its most striking visions in Revelation 9:3-12—the locust army. Understanding the significance of this locust army provides insight into the broader themes of divine judgment, protection, and the ultimate triumph of God’s will as depicted in Revelation.
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This lecture created by Brandon Taylorian (aka Cometan) specially for the CESNUR Conference held Bordeaux in June 2024 provides a brief introduction to the legacy of religious and philosophical thought that Astronism emerges from, namely the discourse on transcension started assuredly by the Cosmists in Russia in the mid-to-late nineteenth century and then carried on and developed by Mordecai Nessyahu in Cosmodeism in the twentieth century. Cometan also then provides some detail on his story in founding Astronism in the early twenty-first century from 2013 along with details on the central Astronist doctrine of transcension. Finally, the lecture concludes with some contributions made by space religions and space philosophy and their influences on various cultural facets in art, literature and film.
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Lecture 1
- 1. Question: What is Aesthetics? Answer: The study/philosophy of beauty.
- 2. But what exactly is beauty? Beauty is subjective. It changes from culture to culture, era to era, person to person, so how can we really say what beauty truly is?
- 3. But what exactly is beauty? In general, when we refer to what is beautiful, or “aesthetically pleasing” we are referring to something that is visually appealing. So, would you say the artwork you see above is “aesthetically pleasing?
- 4. What are we looking at? Here are the facts and a few different views of the artwork. . .
- 5. What are we looking at? Artist name: Damien Hirst Date of creation: 1990 Title: The Physical Impossibility of Death in the Mind of Someone Living Medium: Dead tiger shark, glass box filled with formaldehyde
- 6. What is its form? Form or formalism will be an important component in our course. Formalism is the visual design or composition of the artwork. Here the form/formalism can be described as a large glass case filled with green tinted liquid. The shark is life-sized, floating in the center of the case, his jaws are open and his body is both rounded and pointed. ***We will be working with formalism all semester – it is basically visual description.****
- 7. What is your subjective reaction to the artwork? For the most part, we initially judge an artwork on its form, whether it is visually pleasing to us. Subjectively, you will ask yourself: is this aesthetically pleasing to me?
- 8. How do you analyze this artwork? To analyze an artwork we also use its form, but we do so from an objective standpoint – basing our analysis on the facts, not on our personal, subjective, reaction. The facts that we have about this artwork are: 1. Its form 2. Its subject: what is depicted 3. Its title: The Physical Impossibility of Death in the Mind of Someone Living
- 9. How do you analyze this artwork? Inference: based on what you have in terms of facts, how can you interpret the meaning of this artwork? Synthesize the facts and try to decipher meaning. Ask yourself: Why did the artist choose this form? Why did he title this artwork in such a way? How does the title make me think about the form differently? What was my subjective reaction to the artwork? Did the artist try to trigger that subjective reaction on purpose? What if the artist had used something else as his subject, but he had used the same title, would the artwork have a different meaning?
- 10. You will now analyze this artwork in your first quiz DO NOT DO RESEARCH!!!! I want you to do your best to use the concepts we have addressed in our creativity readings and in this PowerPoint to interpret. There are no wrong answers in your interpretation, if you are using the steps and thinking deeply about this artwork as we have outlined in this presentation. It takes time to think critically – so think and study the work before you take your first quiz. You may only take the quiz one time.