195 Matching Annotations
  1. Apr 2019
    1. Limited edition t-shirt of William Schaff’s A Dream in the Dark cover design.

      I mean, this is alone worth the money you're shelling for this box of wisdom.

    1. the manuscripts that were discovered nine years ago, now in the University of Arkansas library with many of her other papers, are mostly complete and easily performed.

      I do recall this happening way more than it should. Not only just A.A but many other colored people. Thousands of art just now being discovered. As a woman of afo-latina descent it makes me proud to know more and more blacks of all ethnicities are becoming prominent in art today.

  2. Mar 2019
    1. “Imagery in public space is a reflection of who has the power to tell the story of what happened and what should be remembered,” Bleiberg said. “We are witnessing the empowerment of many groups of people with different opinions of what the proper narrative is.” Perhaps we can learn from the pharaohs; how we choose to rewrite our national stories might just take a few acts of iconoclasm.
    2. “Ancient temples were somewhat seen as quarries,” Bleiberg said, noting that “when you walk around medieval Cairo, you can see a much more ancient Egyptian object built into a wall.” Such a practice seems especially outrageous to modern viewers, considering our appreciation of Egyptian artifacts as masterful works of fine art, but Bleiberg is quick to point out that “ancient Egyptians didn’t have a word for ‘art.’ They would have referred to these objects as ‘equipment.’” When we talk about these artifacts as works of art, he said, we de-contextualize them.
    1. Magic is an art, as capable of beauty as music, painting or poetry. But the core of every trick is a cold, cognitive experiment in perception: Does the trick fool the audience?
    1. the most important secret in magic is that most people believe there’s a safe somewhere that contains all the magic secrets that’s heavily guarded and carefully locked. The biggest secret magicians have to keep is that that safe is empty.
    2. Anyone who claims they can watch a piece of magic without trying to figure out how it’s done is lying. One of the fundamental joys of magic is it’s an intellectual art form at one level, and as a viewer, you’re trying to reconcile what you see with what you know
    3. In Tim’s Vermeer, our friend Tim Jenison believes that he has discovered the method by which Vermeer got such photo-realistic effects. Knowing that does not in any way diminish my astonishment at looking at a Vermeer painting. Alexander Pope wrote, “A little learning is a dangerous thing/ drink deep, or not taste the Pierian spring.” He’s talking about exactly that. A little learning can spoil magic. A lot of learning enhances it.
    4. Magicians get into magic because they’re seduced by the feeling of amazement. The ironic thing is, the deeper they dive into magic, the less often they get fooled. That seems immeasurably cruel.The deeper you get into magic, the more profound your amazement becomes. There’s an intermediary stage where you go, “Oh, is that all there is? It was just a thread?” And then when you work with a thread for four years, and you work out what must exactly be done to make that thread into something that is profound and difficult to imagine could be the cause of whatever it is you’re doing to it, you veer right into a different kind of amazement. It’s the amazement of the knowledgeable person. It’s the amazement of the astronomer who has studied everything about the stars that is available, and who sees and understands the mechanisms that we know about, but is able to appreciate how mysterious it all is in the larger picture.
    1. Eun Heekyung cho biết hiện nay công chúng Hàn Quốc đang đắm chìm trong văn hóa đại chúng là các loại hình nghe nhìn. "Trong khi văn chương có tác dụng làm cho người ta nhận thức được giá trị cuộc sống, làm người ta hạnh phúc hơn khi đắm mình vào cuộc sống".
    1. Twin blowsPainting has been declared dead so many times over the past 150 years that it can be hard to keep track. But in her introduction, Hudson pinpoints two developments in the history of art that shook painting to its foundations, in both cases almost fatally. One was the invention of photography in the 1830s. Photographs did more than just depict the world better and faster than painting; they also made entire painterly languages defunct, from military painting to academic portraiture. (“From today, painting is dead,” the academic painter Paul Delaroche is purported to have said after seeing a daguerreotype for the first time.) Ever since, painting has in some ways functioned in dialogue with the camera. In some cases that dialogue takes the form of rejecting photographic realism, such as in the unnatural colour of Van Gogh. Or the dialogue is between equal partners. That can be via the use of silkscreened imagery, most famously by Andy Warhol; via a hyperrealism of Richard Estes or Franz Gertsch, whose paintings are ‘more photographic’ than photographs; or via more painterly effects that nevertheless advertise their photographic source, as in the art of Gerhard Richter and Chuck Close.After photography, the other body blow to the primacy of painting came in the 1910s, when Marcel Duchamp elevated a bicycle wheel, a bottle rack and an upturned urinal to the status of art. Even more than photography, the ready-made object struck at the heart of painting’s self-justification. Not only did Duchamp recalibrate the terms of artistic success, privileging ideas over visuals. He also eliminated the need for the artist’s hand in a way photography never entirely did. (Indeed, many photographers of the early 20th Century, from Ansel Adams to Edward Steichen, consciously imitated painting techniques.) Duchamp’s insurrection removed technical skill as a painterly virtue, and by the 1960s an artist like the minimalist sculptor Donald Judd could confidently say, “It seems painting is finished.”
  3. Feb 2019
    1. As Shulman (1986) noted, this knowledge would include knowledge of concepts, theories, ideas, organizational frameworks, knowledge of evidence and proof, as well as established practices and approaches toward developing such knowledge. Knowledge and the nature of inquiry differ greatly between fields, and teachers should understand the deeper knowledge fundamentals of the disciplines in which they teach

      It is important to not only understand what the content is that we are teaching but to understand what goes into the content that we are teaching. The article gives exampled of art and science; the importance is not only on the art or science it is the history and understanding of artists and their meaning and "knowledge of scientific facts and theories, the scientific method, and evidence-based reasoning"

    1. 一直使用加密技术现身本就给中本聪披上神秘的外衣;即设计出比特币系统又对其未来发展有着全面考虑,则让他被贴天才标签。难怪有人会认为中本聪是外星人、AI或神秘组织。但你若继续深挖,便会逐渐打消这些念头;慢慢发现中本聪并没有我们想得那么神,也没有所谓的科幻和阴谋色彩。

      <big>评:</big><br/><br/> 中本聪是「神」吗?<br/><br/> 在回答这个问题前,应当扪心自问:我们是「人」吗?在技术原教旨主义大行其道的年代,技术从业者的世界观亦逐渐被这一行行二进制符号定义、控制、编码。既然如此,精神领袖是否有必要在三次元世界存在对应的物质实体?中本聪真实身份的探寻者们忽视了比特币主网络上线运行那一刻的即时意义——在那一刻,Satoshi Nakamoto 的身份迷思就已倾然瓦解。这使人联想到艺术家丹尼尔 · 布伦(Daniel Buren)对于「在场」(on-site)概念的演绎——他的作品总是诞生在它所处的位置上,而不是如同绝大多数艺术家那样在工作室实现后再转移到展厅展示。布伦在艺术上是成功的,但这群探秘者却给自己设下了一道无解谜题。

    1. Costume designer Romy McCloskey recently used the skills the precision work of her hand embroidery and embellishments to help save the life of an injured Monarch butterfly

      I wouldn't even think this would be possible. Amazing!

    1. genius or observation

      Not, though, through book learning (unless that counts as observation?).

      Calls again to Cicero's discussion of art, where the 'rules' come from observed and practiced successes (not handbooks)

  4. Jan 2019
    1. Architect and graphic designer Mahmoud Tammam has translated his love of word manipulation into a delightful series celebrating language.

      Love these!

    1. recede the media concepts they generate

      This brings to mind Cicero's De Oratore, where Crassus discusses art (in the sense of a skill, systematic knowledge of a particular field) and eloquence. Instead of a theory of rhetoric/oratory leading to eloquence, "certain people have observed and collected the practices that eloquent men have followed of their own accord. Thus, eloquence is not the offspring of art, but art [is the offspring] of eloquence." The skill itself always precedes the systematization of the skill.

    1. as is often claimed, rhetoric truly wants to become apractical art?

      Is this true? This seems to be the project that people like Aristotle, Cicero, and Quintillian were concerned with (and its one that current writing textbooks advocate for), but the readings from last week seemed to push against any kind of prescriptive approach to rhetoric. Can you have "a practical art" without some kind of anchored definition? And who is it practical for?

    1. Finally, after 11 years of lukewarm comfort and mediocre job security, I decided to take a chance in trying out in art, which I had always loved. From one point of view, I’ve succeeded, because I am making a living doing this. But even if I didn’t, the bottom line is that at least I have tried. If we try really hard and things don’t work out the way we want them to, we can move on.  I moved with two suitcases to New York from Tokyo and started over with my life. I enrolled myself as a freshman in my 30s, among my 17 and 18-year-old classmates, at School of Visual Arts, started studying art for the first time. Four years later, I received an MFA in Illustration, then started slowly working as a freelance illustrator
  5. Dec 2018
    1. The actual fundamentals can be somewhat fluid because what one person considers a fundamental subject, another may consider ancillary to the fundamentals.
    1. SIGGRAPH: Share your top three technology tools. CC: I hate technology! But if you’re trying to make something pretty in this medium, there’s no avoiding it
    2. SIGGRAPH: What is the best advice you would give someone starting out in animation? CC: Draw. Carry a sketchbook (or a tablet) and draw (or paint!) every chance you get. Make observations from the world around you, from photo or video reference, from artists you admire. Most importantly, don’t just observe, but put those observations down on paper in visual form. Make a habit of it. The things you learn that way will stay with you forever. And that knowledge will be useful no matter what medium you end up working in.
    1. A: Anything else you’d like to say or tell the new comers and/or the community? L: Mmh, I know how it feels to be limited by your own lack of skills and today’s tools are taking away a little bit of that barrier. And the more the software helps you to get rid of the technical problems of representation, the more creative you can be. While the tool is the same, it’s very fun to see that everybody has its own take to how to use Quill. It wasn’t at first, but now I see more and more people having their own style. It’s so refreshing. I follow the group and what is going on with a lot of attention.
    2. L: It happened to us a couple of times to come up with these kinds of ideas where the audience really understands what we meant and feels as strongly as we did. We want to communicate feelings that we feel ourselves. Whatever the tool is, we wish to convey what we think is great. It sounds a little bit cliché but if you’re out just for the pretty picture, I think it’s a waste of time.
    3. A: Hello Lip, please tell us a bit more about you. What is your background? Did you study visual arts?   L: Not really [laughs]. My parents forced me to have a very classical education. I studied Latin and ancient Greek in high school. But when I was 18, I realized that I enjoy to visualize my ideas and thoughts. So I went to the University and studied advertising. I was heading toward more of a copywriting agency type of occupation until I felt the need to carry my ideas until completion. I was tired of giving them away too soon because I found my stories never really turned out the way they should be. Since the softwares got easier and more accessible, I managed to find the right moment to jump in and learn the technical skills to do it on my own.
    1. When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world

      I heard a fascinating story about her on NPR today.

    1. As with all of the arts, literature was once upon a time entirely made possible through patrons. This goes at least as far back as Shakespeare and Ben Jonson. They were able to write because their patrons provided them financial support. And this was of course true of all of the other arts. Beginning in the middle of the nineteenth century, however, literature and commerce got mixed.

      In some sense, there is a link between these areas of art/writing and funding and what we see in social media influencers who in some sense are trying to create an "art" for which they get paid. Sadly, most are not making art and worse, most of them are being paid even worse.


      Moción de censura queda recogida en el Art 113 de la CE, y es un instrumento que tiene el congreso de los diputados para obligar al presidente del gobierno a dimitir, dicho con otras palabras, sirve para que el congreso de los diputados cambie el poder ejecutivo, (presidente del gobierno y resto del gobierno incluido ministros y vicepresidentes. La finalidad de la Moción de censura, es enjuiciar políticamente por parte del congreso de los diputados, la actuación del gobierno, exigiendo responsabilidad política al mismo y procediendo a una sustitución sin nueva convocatoria electoral. Se conoce como Moción de censura constructiva porque la retirada de la confianza lleva aparejada la investidura de un nuevo candidato. La moción de censura debe ser firmada al menos por 1/10 de los diputados, debe incluir los motivos que la sustentan y el candidato a presidir el gobierno que proponen (este no tiene que ser miembro de la cámara y debe haber aceptado previamente). En el procedimiento de la moción de censura, regulado en los Artículos 113.1, 113.2, 113.3 de la CE, expone que, la Moción de censura , deberá ser propuesta al menos por la décima parte de los diputados y hay que incluir un candidato a la presidencia del gobierno ( art 113.2 de CE) , además a la hora previamente anunciada, se vota la moción, y debe a ver transcurrido al menos 5 días desde su presentación en el registro de la cámara y en los dos primeros días de dicho plazo podrán presentarse mociones alternativas (Art 113.3 de CE). La votación es pública por llamamiento, es decir, se pronuncia el nombre de cada diputado y desde su escaño responde, si, no o abstención. Para prosperar necesita el apoyo de la mayoría absoluta de la cámara, al menos de 176 diputados, Si se aprueba una Moción de censura el congreso retira la confianza al presidente del gobierno actual y el candidato incluido en ella se considera investido presidente a los efectos previstos en el (Art 99 de CE), el primero presentará su dimisión y el segundo será nombrado por el rey (Art 114.2 de CE). Si el presidente del gobierno no prospera, mantiene la confianza de la cámara y los firmantes de la moción rechazada no podrán presentar otra moción en el mismo período de sesiones (Art 113.4 de CE).

  6. Nov 2018
    1. La moción de censura la podemos ver reflejada en el Título V "De las relaciones entre el Gobierno y las Cortes Generales", de la Constitución Española de 1978, concretamente en el artículo 113, donde podemos encontrar 4 apartados. Es un artículo donde se valora la actuación del Gobierno. Dependiendo de si triunfa o no dicha moción, habrá unas consecuencias u otras. Un ejemplo de moción de censura que podemos tomar, puede ser la ocurrida entre mayo y junio de 2018, donde Mariano Rajoy tuvo que dimitir, ya que triunfó la moción de censura que realizó Pedro Sánchez, siendo este último el actual presidente del Gobierno de España.

    2. Hace un tiempo, pudimos ver que se aplicó el( Art.113 de la CE), tras la moción de censura realizada al anterior Gobierno de España.Pedro Sanchez(actual presidente del Gobierno de España)ganó al anterior presidente(Mariano Rajoy) tras una moción de censura. El tomó posesión ante el Rey y procedió a nombrar el nuevo Gobierno.El secretario general del PSOE, firmó el decreto del nombramiento después de que Ana Pastor( la presidenta del Congreso de los Diputados) le comunicara su investidura. Pedro Sanchez , es el primer vencedor de una moción de censura en España, reunió los apoyos de diversos partidos políticos como: Unidos Podemos, ERC, PNV, PDeCAT, Compromís, Bildu ,Nueva Canarias y de los diputados de su grupo parlamentario.

    3. El (Art.113 de la CE), que a la vez lo conforman cuatro apartados. Es un articulo donde se recoge escrito el poder que se le ofrece al Congreso de los Diputados para exigir responsabilidad política al Gobierno tras mayoría absoluta la propia adopción de la moción de censura. Se recoge también los componente por los que debe ser propuesta("una décima parte de los Diputados, donde habrá que incluir un candidato").

    4. DISOLUCIÓN ANTICIPADA DE LAS CÁMARAS Cuya finalidad es reforzar la mayoría parlamentaria del gobierno a base de una nueva elección electoral. La iniciativa es que el Presidente tenga deliberación con el Consejo de Ministros. Sus aspectos son : 1 Que el decreto este firmado por el Rey y refrendado por el Presidente. art 64 2 Debe de haber una convocatoria electoral. art 68 3 Puede afectar a una o las dos Cámaras. Título III. Sus límites son: -No puede haber una disolución anticipada mediante una moción de censura. art 113. -No puede haber una nueva disolución sin haber pasado un año del anterior. art 115 y art 99 -No puede haber disolución en los supuestos del art.116.


      Es un mecanismo jurídico que representa la contrapartida de la moción de censura: la posibilidad de disolver anticipadamente el parlamento y convocar nuevas elecciones. Para ello, el Presidente del Gobierno podrá proponer, bajo su exclusiva responsabilidad, la disolución del Congreso, del Senado o de las Cortes generales. Dicha disolución será decretada por el Rey y en ella se fijará la fecha de las elecciones. El protagonista de la disolución es el Presidente del Gobierno, no pudiéndose negar el Rey a firmar el decreto. El texto constitucional establece que no podrá presentarse propuesta de disolución anticipada del parlamento cuando esté en trámite una moción de censura. Disuelto el parlamento, desaparece el mandato parlamentario de sus miembros, salvo el de los que formen parte de las Diputaciones permanentes de las cámaras. La disolución anticipada de las cámaras aparece en la Constitución Española en el artículo 115, en el que muestra lo siguiente: El Presidente del Gobierno, previa deliberación del Consejo de Ministros, y bajo su exclusiva responsabilidad, podrá proponer la disolución del Congreso, del Senado o de las Cortes Generales, que será decretada por el Rey. El decreto de disolución fijará la fecha de las elecciones. La propuesta de disolución no podrá presentarse cuando esté en trámite una moción de censura. No procederá nueva disolución antes de que transcurra un año desde la anterior, salvo lo dispuesto en el artículo 99, apartado 5.

    6. Iniciativa: el Presidentedel Gobierno previadeliberación del Consejo deMinistros

      Como se expone en el artículo 115 de la CE, la iniciativa de dicho proceso la tomará el Presidente del Gobierno, previa deliberación del consejo de Ministros, con la finalidad, claramente, de proponer la disolución de las cámaras o alguna de ellas.

    1. This was a time when I was starting to think about what my career was going to be. I’d failed to make it as a musician. I’d had lots of appointments with A&R people. After two seconds, they’d say, It’s not going to happen, man. So I thought I’d have a go at a radio play.  Then, almost by accident, I came across a little advertisement for a creative-writing M.A. taught by Malcolm Bradbury at the University of East Anglia. Today it’s a famous course, but in those days it was a laughable idea, alarmingly American. I discovered subsequently that it hadn’t run the previous year because not enough people had applied. Somebody told me Ian McEwan had done it a decade before. I thought he was the most exciting young writer around at that point. But the primary attraction was that I could go back to university for a year, fully funded by the government, and at the end I would only have to submit a thirty-page work of fiction. I sent the radio play to Malcolm Bradbury along with my application.  I was slightly taken aback when I was accepted, because it suddenly became real. I thought, these writers are going to scrutinize my work and it’s going to be humiliating. Somebody told me about a cottage for rent in the middle of nowhere in Cornwall that had previously been used as a rehabilitation place for drug addicts. I called up and said, I need a place for one month because I’ve got to teach myself to write. And that’s what I did that summer of 1979. It was the first time I really thought about the structure of a short story. I spent ages figuring out things like viewpoint, how you tell the story, and so on. At the end I had two stories to show, so I felt more secure.
    1. As a student, you have to be very good at the craft
    2. Mitchell said, “You have to do what you want to do. Don’t make a film so you can get into Pixar or DreamWorks.”
    3. Pete Doctor, the director of Up, said that he went into school thinking that he needed to learn how to draw and left school believing that acting and storytelling were more important.
  7. Sep 2018
    1. A bit of a personal connection here, but I participate in activities such as these! I recently started my own fanart blog and the feedback I've received boosted my confidence in my art! It also pushed me to improve my technique and learn new styles!

      There's a huge difference between drawing art for a blog and for education. When you're drawing for your blog, it's up to you to push yourself to learn and whatnot. In a way, it's easier to do because you get to choose what you learn, but it's also a nonlinear type of learning. While a professor will typically push you on a linear path on what skills to learn.

  8. Aug 2018
  9. Jul 2018
    1. Use his or her own ideas in creatingworks of visual art

      Grade 3- Standard VA3-1.1 Drawing and object representations for digestive and respiratory systems activity

    1. art—defi ned as “the way,” “the manner”—locating art not at the level of the fi nished object but in its trajectory (s

      this assumes an especially spatial account of art, which might be fitting for ecocritical projects

    2. This will mean opening thought beyond its articulation in language towards “the movement of thought,” 4engaging it at the immanent limit where it is still fully in the act.

      Reminds me of recent work in biosemiotics.

  10. May 2018
    1. Most of the lessons and techniques you need will be picked up as you practice. Try to draw something from life every day. If you’re new it’ll be pretty bad. But take time to study your work and examine why it’s bad. Great artists eventually learn to teach themselves through self-analysis.
    2. Realism is about seeing accurately and copying without judgement. This involves a lot of looking and measuring to triple and quadruple check your work for mistakes. It can be tedious, especially if you don’t want to create realist art. But the more you practice rendering the better you’ll get. Try not to concern yourself too much with either method at first. The best thing for a beginner is to just draw. As you improve you’ll run into more specific roadblocks and should deal with them as they arise.
    3. How does someone practice both of these techniques? Well the constructionist route is taught well by Proko and Vilppu. The realist route is primarily the domain of ateliers and classical schools, but you can teach yourself with a lot of life drawing and patience.
  11. Apr 2018
    1. Writers choose modes of communication for every text they create.

      Even works of art can convey a message (i.e. soft/thin lines can convey a more peaceful image than hard/thick lines on an image)

    1. A red hand stencil. A series of lines that look like a ladder. A collection of red dots.

      All these are forms of art that prove some sophistication because these marks were not left randomly and there surely was a purpose and/or meaning behind them.

    1. music and art were important in helping those early modern humans forge a sense of group identity and mutual trust that enabled them to become so successful.

      Forging those group identities helped set up a strong base for creating different cultures.and also set up future pathways for ideas and theories among these groups.

    1. Votación: mayoríaabsoluta en primeravotación o simple ensegunda votación tras48 h

      "La votación se llevará a efecto a la hora fijada por la Presidencia.." A la hora fijada el candidato debe de obtener el voto de la mayoría absoluta de los Diputados. Si no se obtiene la mayoría se procede a una nueva votación a las 48 horas y necesita la votación simple. El/la candidato puede intervenir por 10 min máximo y los representantes de los Grupos Parlamentarios por cinco min.

  12. Mar 2018
  13. Feb 2018
    1. This minimal, yet poignant presence is reflected in the brick work—Kafka’s novel showcasing how a small idea can have a monumental presence.

      love it!

  14. Jan 2018
    1. Chiang: There’s a passage in Annie Dillard’s The Writing Life where she’s telling her neighbor that she hates writing and would rather do anything else, and her neighbor says, “That’s like a guy who works in a factory all day, and hates it.” Writing is so difficult for me that I have often wondered whether I’m actually suited for it, and I’ve had experiences with the publishing industry that made me quit writing for years. But I keep coming back to it because, I suppose, writing is an essential part of who I am. As for advice to slow writers, I’d say that writing is not a race. This isn’t a situation where only the most prolific writers get an audience; publish your story when you’re ready, and it will find readers.
    1. After winning the Forward prize, Vuong told the Guardian that he suspected dyslexia runs in his family, but felt it had positively affected his writing: “I think perhaps the disability helped me a bit, because I write very slowly and see words as objects. I’m always trying to look for words inside words. It’s so beautiful to me that the word laughter is inside slaughter.”
    2. Vuong, who now lives in Massachusetts and works as an assistant professor in the MFA Program for Poets and Writers at the University of Massachusetts, Amherst, only gained a taste for poetry in his 20s
    3. Born in Saigon, Vuong spent a year in a refugee camp as a baby and migrated to America when he was two years old, where he was raised by his mother, grandmother and aunt. Two aspects of Vuong’s life – his sexuality and the absence of his father – recur in his work
    1. I am the vision. There are no limits to painting; that's why I am involved i

      She does take it to another level and her projects are extraordinary on a larger scale.

    2. It feels like being on another planet and I want to explore immediat

      While this comes from the interviewer, it pulls in what we were talking about in class with Grosse's paintings seeming to immerse viewers into the world of the painting. Which traditional paintings could only accomplish on a 2D/imaginative level.

  15. Dec 2017
    1. The history of painting is full of graphic violence and narratives that don’t necessarily belong to the artists own life

      she means it doesnt matter ab race it matters ab what is being conveyed through the art

    1. These innocent arts furnish amusement & happiness to those who, having time on their hands, might less inoffensively employ it; needing, at the same time, no regular incorporation with the institution

      It is interesting to contrast the views that the Founders of the University had on the Arts as subjects of study compared to the importance they are given at UVA in the present day. By referring to art as a tool to merely "furnish amusement & happiness" represents the attitudes towards fields of study that perhaps weren't seen as practical as the Military or Medicine at the time. This goes against the the aim of providing an 'all-encompassing' education as laid out by the founders and is rather ironic considering the attention paid to the aesthetic layout and construction of the University. Furthermore, it is interesting to note how the massive Art Buildings remains further off from Central Grounds at UVA, an intriguing link to how the Arts weren't a part of the initial plans of the Founders, as well as demonstrating the strong influence that they do possess today. Indeed, through the multiple museums, art installations, and shows on campus, UVA has demonstrated itself as a center for celebration of the arts, a testament to how far it has progressed from its founding visions.

    2. they are of opinion that it should consist of distinct houses or pavilions, arranged at proper distances on each side of a lawn of a proper breadth, & of indefinite extent in one direction at least

      Being a part of an Aesthetic Engagement this semester I am fascinated by the ideas of "proper distances", "proper breadth", and "indefinite extent". These dimensions display a strong sense of uniformity and symmetry that align with the Founder's aims of creating an surrounding intellectual oasis, where one can nurture both the body and the mind. By creating encapsulating buildings around the central lawn, one can feel almost 'enclosed' within a communal space of learning and improvement. Furthermore, these design plans lay testament to Jefferson's focus on architectural beauty and his aim of creating a space that is 'worthy' of being associated with learning and higher education. It is also interesting to see how this focus on aesthetic and architecture has been carried on through the post-Jefferson eras, through the beautiful sculptures, artwork, and murals on UVA's campus today (Eg. Berlin Wall Installation).

    1. the desponding view that the condition of man cannot be ameliorated, that what has been, must ever be,

      This view that the condition of man, be it race, ethnicity, or social class, cannot be changed for the better (or maybe even seen as better) basically resulted in possibly the worst days history has ever seen.

  16. Nov 2017
    1. the erection, preservation & repair of the buildings, the care of the grounds & appurtenances and of the interests of the university generally

      It is fascinating to me that they were so concerned with the buildings themselves. I would have thought that taking care of the buildings and the grounds would have been a given, but it was important enough to include in this document. Caroline Peterson

    2. they are of opinion that it should consist of distinct houses or pavilions, arranged at proper distances on each side of a lawn of a proper breadth, & of indefinite extent in one direction at least

      This description of the proposal for the lawn is very specific. Since I am in an aesthetic engagement currently, I noticed how the idea wanted it to be symmetrical. The lawn today is very symmetrical; sometimes if I'm standing in the middle by the lawn rooms and I can't see the Rotunda, I'm not sure which direction it is because both sides look the same. At most college campuses, some individual buildings are symmetrical, but in contrast, the entire plan for the layout of the university was symmetrical.

    1. mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

      Interesting, that this sentence presents the notion that studying math and science is harnessed to establish and advance what is considered to be "the comfort zone" of human life.

    2. Rhetoric

      Knowing that American principles shared commonalities with those of the ancient Greeks makes the choice of "Rhetoric" as one of UVA's classes no surprise to the reader. It would have been interesting to see what this rhetoric class was like; could it have been a neo-Thinkery, similar to that seen in Aristophanes' The Clouds?

    3. Anglo-Saxon

      Interesting that the writers of this document - who spoke English - referred to their own language as belonging to its primitive ancestor. Beowulf was written in Old English, which (if you don't know) looks absolutely nothing like the English in this document, let alone the English we speak today. Now think about how far a cry Anglo-Saxon is from modern English. To claim that "Anglo-Saxon" and modern English are one and the same would be to make an abominable oversimplification of the similarities between these two languages.

  17. Oct 2017
    1. It will form the first link in the Chain of an historical review of our language through all its successive changes to the present day, will constitute the foundation of that critical instruction in it, which ought to be found in a Seminary of general learning

      It is particularly noteworthy that the authors thought to use Anglo Saxon to teach about the development of language over time. Since this was the language spoken by most of the prospective students, tracking its changing history would provide an engaging demonstration of the dynamic nature of language. In other words, by using Anglo Saxon, students would be able to identity their own contemporary role in the timeline of an always developing language. Having this knowledge, students would (perhaps unconsciously) attain an understanding of how all art, not just language, can change meaning over time. This could help students in time grasp the developments occurring to their university which is, in many ways, a work of art in itself.

      -Joe S.

    2. To enlighten them with mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

      I believe this sentence very accurately characterizes the intentions and the foundations of the New College Curriculum; The New College seeks to provide students with a core knowledge of the arts (especially how they are applied in our society) that can be further strengthened and complemented in studies of math and science should students so choose in the future. This sort of foundation, outlined in both the document and the mission of the New Curriculum, is important because it can allow students to examine a wide range of academic fields before studying concrete methods of applying those fields practically. Since I am taking the Art: Inside/Out Engagement, I also sought to interpret this sentence in taking "arts" literally to mean art in its various expressive forms. In this way, this sentence helps develop the important concept that art and maths/sciences in no way exist in conflict with each other; while many believe these two subjects to be on opposite sides of an academic spectrum, this section of the Rockfish Gap Report helps to remind that art and science can freely interact and engage with each other to work for the benefit of both.

    3. 4. The best mode of government for youth in large collections, is certainly a desideratum not yet attained with us. It may well be questioned whether fear, after a certain age, is the motive to which we should have ordinary recourse. The human character is susceptible of other incitements to correct conduct, more worthy of employ, and of better effect. Pride of character, laudable ambition, & moral dispositions are innate correctives of the indiscretions of that lively age; and when strengthened by habitual appeal & exercise, have a happier effect on future character, than the degrading motive of fear; hardening them to disgrace, to corporal punishments, and servile humiliations, cannot be the best process for producing erect character. The affectionate deportment between father & son offers, in truth, the best example for that of tutor & pupil;


      In executing their duties to organize and govern the University of Virginia, the Commissioners created 5 provisions for the education of the youth. Of interest is #4, in which the Commissioners discuss in length how best to govern the students. Wisely, they deduce that "fear" does not create men of "erect character." Instead, they believed the act of appealing to one's "pride of character" and "moral dispositions" when governing young men would better produce the desired effect. The Commission further supports their position by saying that ideally the tutor/pupil relationship should emulate the father/son relationship as the best means to motivate and govern the student body. "Fear" and "corporal punishment" are merely degrading methods of governing and should be avoided in all situations. I believe in the US education system fear is used to much for motivation and I think it is completely unproductive!

    4. Education, in like manner engrafts a new man on the native stock, & improves what in his nature was vicious & perverse, into qualities of virtue and social worth; and it cannot be but that each generation succeeding to the knowledge acquired by all those who preceded it, adding to it their own acquisitions & discoveries, and handing the mass down for successive & constant accumulation, must advance the knowledge & well-being of mankind

      Amazing Idea!

      In this paragraph, the commissioners are having an intellectual conversation of the virtues of formal education. I found this quotation particularly intriguing because it explains how education improves mankind and ideally improves each individual’s natural born qualities. The idea that education can improve “virtue and social worth” is unique and seems like one of the cornerstones of the engagement series. The line “constant accumulation, must advance the knowledge & well-being of mankind” shows how we learn and improve from one generation to another as humans. This relates to other parts of the article when it states that the hope of education is that we can use the knowledge of our forefathers and expand on it. It is good to know that this idea of knowledge is engrained in the roots of the University of Virginia and is still valued today!

  18. Sep 2017
    1. Lausanne, une ville de culture qui avec l’ouverture prochaine de Plateforme 10, qui réunira trois musées, dont celui de l’Elysée, va devenir un véritable pôle
    2. le cinéma, c’est une expérience collective.
    3. Les Rencontres seront donc essentiellement consacrées aux films du patrimoine
    4. «Qu’est-ce que le 7e art, quand est-ce qu’un film devient de l’art?»
    5. L’idée maîtresse des Rencontres du 7e Art Lausanne, c’est d’enlever les barrières et le tapis rouge qui séparent les invités des spectateurs.
    6. Je souhaite un festival ouvert, où les gens se rencontrent, avec des débats, des ateliers et des masterclass.
    7. Lausanne, où je suis né, est le siège de la Cinémathèque suisse
    8. En 1929, le canton de Vaud accueillait le 1er Congrès international du cinéma indépendant, considéré aujourd’hui comme le premier festival de cinéma de l’histoire.
    1. To develope the reasoning faculties of our youth, enlarge their minds cultivate their morals, & instil into them the precepts of virtue & order

      I find it interesting that the University made it a goal to cultivate the morals of the students attending their school. They also stress how they want to instill the precepts of virtue and order. They want to achieve this, yet they based the location of their school to be around the centrality of the white population. I do not believe this is cultivating the morals of their students. This is narrowing their viewpoints, and not expanding on the multitude of cultures that lie within the United States.

    2. The tender age at which this part of education commences, generaly about the tenth year, would weigh heavily with parents in sending their sons to a school so distant as the Central establishment would be from most of them

      The University set out a goal for the parents of young boys to begin their studies of the ancient languages at the year of age ten. This is an extremely young age, considering that the boys would be going to college eight years later. The minds of the young boys seem to be too young to be able to grasp this form of art. This correlates to my Engagement, Art Inside/Out, by focusing on the art aspect. Latin, Greek, and Hebrew are forms of art in the language aspect. This piece of art is powerful and intriguing; however, it may be too complex for the minds of ten year olds who are still trying to develop.

  19. www.youthvoices.live www.youthvoices.live
    1. When I am out of school I like to go take pictures

      I also took photo class with you and your photography was amazing!

  20. Jul 2017
    1. And above all I find it a very worrying matter that you believe you have to study in order to write. No, my dear little sister, learn to dance or fall in love with one or more notary’s clerks, officers, in short whoever’s within your reach; rather, much rather commit any number of follies than study in Holland, it serves absolutely no purpose other than to make someone dull, and so I won’t hear of it. For my part, I still continually have the most impossible and highly unsuitable love affairs from which, as a rule, I emerge only with shame and disgrace.13 And in this I’m absolutely right, in my own view, because I tell myself that in earlier years, when I should have been in love, I immersed myself in religious and socialist affairs and considered art more sacred, more than now. Why are religion or law or art so sacred? People who do nothing other than be in love are perhaps more serious and holier than those who sacrifice their love and their heart to an idea. Be this as it may, to write a book, to perform a deed, to make a painting with life in it, one must be a living person oneself. And so for you, unless you never want to progress, studying is very much a side issue. Enjoy yourself as much as you can and have as many distractions as you can, and be aware that what people want in art nowadays has to be very lively, with strong colour, very intense. So intensify your own health and strength and life a little, that’s the best study.
    1. Researchers say creativity should be taken out of the art room and put into homeroom. The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process. Scholars argue that current curriculum standards can still be met, if taught in a different way.
  21. May 2017
    1. Sara Berman’s Closet opened in the American wing at the Metropolitan Museum of Art. Installed in a niche next to the gallery’s period rooms, the closet was recreated by Sara’s daughter, Maira Kalman, and her grandson, Alex Kalman, based on the actual closet in Sara Berman’s studio apartment on Horatio Street, where she lived between 1982 and 2004.

      What an interesting idea for an exhibit!

  22. Apr 2017
    1. Each pixel you see was placed by hand. Each icon, each flag, each meme created painstakingly by millions of people who had nothing in common except an Internet connection.

      This is absolutely amazing!

  23. Mar 2017
    1. " I want there to be a continuum, a narrative, that tracks the history of people disseminating, collecting, sharing data.

      A "static" image / mural that reflects a continuum and a continuum. Paradoxically beautiful.

    1. I have a consistent impression that the broad resource of analogy, metaphor, and figuration is favored by those of a poetic and imaginative cast of mind.

      Relating back to the original forms of rhetoric, before the "modern-classic" subgenre that is mentioned in Modern and Post Modern Rhetoric

    1. '10 ........... ~ k-w ~r..J (!)00 a,,-..&,w1 +-l;lw ... 1111 OV\.b~ eo~u( ~ saying clearly what one wishes to say when there is an abundance of material; and conversation will seldom attain even the level of an intellectual pas-time if adequate methods of Interpretation are not also available.

      It is a clear skill to know exactly what someone wants to hear out of anything that could be said, but this will not amount to anything productive unless both parties recognize the merit in the discussion and not just in hearing what they desire

    1. Law and custom were of course largely re-sponsible for these strange intermissions of si-lence and speech. When a woman was liable, as she was in the fifteenth century, to be beaten and flung about the room if she did not marry the man of her parents' choice, the spiritual atmos-phere was not favourable to the production of works of art

      Unfortunately, these stifling customs are still present in many areas around the world, making me wonder what sorts of works of art have the capability to be produced if not for certain cultures and laws

  24. Feb 2017
    1. Part V. Connexion of Place

      This section is jumping out at me this time around. Keep it mind later on when we turn to discuss the elements of the rhetorical situation. Campbell opens up for discussing the material dimensions of rhetoric: not simply rhetoric as the discursive activity of humans, but as an emergent aspect of human and nonhuman relations. Also, recall here Rickert on the role of the caves themselves in the making of cave art.

    1. Some or the new instruments or science arc, ./ """\ \ themselves, sciences; others arc arts; still others, c\v,W{' . producL'i of either art or nature

      How is his usage of "sciences" and "arts" here different (or not) from "technology"? In other words, to what extent is he saying that instrumental developments in science and art are the result of new technology?

      He explicitly describes technological advances like the microscope, telescope, and mariner's needle, but can the other developments be attributed to technology in more implicit (but nonetheless important) ways?

  25. Jan 2017
    1. doze

      My partner and I interpreted this word differently--she as a daydream state, me as that state between waking and sleeping, where dreams occur. The question might be, how much control over the shifting sequence of images is implied by the term "doze"? To what degree is this conscious? More importantly, why does this particular state of emotion bring up these particular images?

    1. if we were to introduce into educational processes the activities which appeal to those whose dominant interest is to do and to make, we should find the hold of the school upon its members to be more vital, more prolonged, containing more of culture.

      and yet, what are the first programs to be cut when funding is an issue? The Arts!

    1. Drained late last century by declining tax revenue and selective civic neglect, Oakland boasts a constellation of seemingly derelict warehouses, storefronts, and churches. Within many of their shabby exteriors, however, are places of creative invention and possibility. These homes and venues—known by cryptic names rarely recorded in the press—cradle scenes that slip between categories; they’re where as-yet-unnamed subcultures gestate. For non-conforming bodies harassed and abused at other clubs, they’re sanctuaries.
    1. Beauty and the Beast, for example contains a man who has been magically transformed into a hideous creature, but it also tells a simple story about family, romance, and not judging people based on appearance. The fantasy makes these tales stand out, but the ordinary elements make them easy to understand and remember. This combination of strange, but not too strange, Tehrani says, may be the key to their persistence across millennia.

  26. Oct 2016
  27. Sep 2016
    1. Mexico's renowned Oaxacan painter, Rufino Tamayo (1899–1991), became internationally recognized for his abstract, expressive, and personal paintings, using a vibrant palette of colors

      Painter, Rufino Tamayo painted in very bright colors showing abstract and expressive art.

  28. online.salempress.com.lacademy.idm.oclc.org online.salempress.com.lacademy.idm.oclc.org
    1. Colombian arts were heavily influenced by the Roman Catholic Church

      RC influenced art

    1. I stopped being precious with everything, and I’m applying that to my life and the music that I make and the comics that I make. I don’t believe anymore in the hype machine or the strategy. I believe that you make something and then you share it. There’s no reason to wait.
  29. Aug 2016
    1. There was a culture then, almost a requirement, that one needed to build platforms and contexts (social or political) to support one’s thesis, and then material practice would follow. These issues were pressing, because by this time I had begun to teach at Cooper Union. I was negotiating between promoting a rigorous painting model and a new context—conversations with students and colleagues about contemporary art issues and institutional critique. So it was a very complicated time for me as an educator, to figure out how to insist on a conversation about painting rigor in relation to contemporary art. I continued to go the way that I needed to with my own work, both protecting it from the institutional framework and furthering my ideas about painting in school and in the studio—it was a tough, amazing time.