56 Matching Annotations
  1. Feb 2022
    1. o much to take (Aciman).Sugimoto, however, is unbothered. No matter what, his work ismuch too slippery to be tied down. I circle back to him during his Onthe Beach series in New Zealand: glasses pushed back, white hair rest-ing against a speckled forehead, he walks along rust, sand, and water,pausing to lean forward and inspect what could have been a door han-dle, what now appears to be nothing more than a rotting piece of rustymetal. But he sees something more.

      Beautiful ending. Reflective, personal, and great representation.

    2. altic Sea, Rügen, 1996, keepsthe same sea-air composition as the previous two, with an extremelylow exposure, so that I can’t pick out any textures or variations

      conversational

  2. Nov 2021
    1. For now, our understanding of and expectations for VR confineit to an “empathy machine”—but not for long.

      I thoroughly enjoy Peng's perspective and her evidence to support that! This essay provided me with a look into a world I don't pay much attention to.

    2. great thing about this artpiece is that I genuinely feel hopeless but then I remember I can sim-ply take off the VR headset and enjoy the basic necessities I take forgranted. . .

      This is an interesting and relatable perspective!

    3. Users remove their headsets, haunted by the image and experi-ences of their digital bodies—but for how long?

      I have only done VR once and from what I remember, it can be extremely realistic.

    4. You are placed in the body of a fictionalcharacter, Michael Sterling, from childhood to adulthood.

      Reminds me of Richard Linklater's "Boyhood." The idea of growing up can be so compelling.

    5. Some VR technologies even allow users toexperience walking in someone else’s shoes.

      I've always thought of VR as being a sort of futuristic, video game type of thing. However, Peng is making me realize that there is a deeper element I may have overlooked. VR has the ability to let us experience other people's experiences to an extent and "walk in their shoes."

    6. Filmmakers, journal-ists, researchers, and game developers alike have turned to the immer-sive arts, drawn to the promise that VR “has the potential to actuallychange the world

      I really like Pengs seamless quote integration and her comparison of filmmakers, journalists, and game developers.

    7. With the rising popularity of VR and promising results such asthese, Bailenson and many others have come to see the technology asan “empathy machine,” touting its greater capacity for instillingempathy in users as compared to other mediums

      I think it's interesting how Peng continuously provides broader context.

    8. he simulation ends there, but its effect on the user persists.Jeremy Bailenson, director of Stanford’s Virtual Human InteractionLab (VHIL), collaborated with one of his students, Joshua Bostick, tocreate the Stanford University cow pasture.

      She reeled us in, got us to care by placing us in this scene, and then in this following paragraph she takes a step back to give us context.

    9. nfrared markers are strapped around your wrist and stuck alongyour spine. On goes the nylon pinnie fitted with trackingdevices, then the clunky virtual reality headset. Once on allfours, you find yourself in a pasture of low-resolution grass, faceto face with a cartoonish cow. A voice booms overhead: “Welcome tothe Stanford University cow pasture

      The introduction places the reader in the scene. I find it interesting how Peng uses "you" when describing this moment. It feels personable.

  3. Sep 2021
    1. nd my beautiful fish, limited though they may be as parable, do help me; they are an image I return to in order to remember, in the face of individual erasures, the burgeoning, good, common life.

      I think the recurring theme of fish has really added to this essay. It is clear that Doty finds solace in the simplicity of the fish. While odd, I understand his point of view and it intrigues me. It makes me want to admire the seemingly mundane aspects of my life because maybe, those will bring me solace as well.

    2. everything I saw—was informed by that loss, by the overpowering emotional force of it

      I think a lot of artists use their art to cope with pain. I think it is very brave of Doty to admit that and be vulnerable with the reader.

    3.   prismatics: think abalone,     the wildly rainbowed     mirror of a soapbubble sphere,

      I love the freedom of poetry. Stanzas can fit together without transition words or full sentences. I think that allows the writer a lot of creative freedom.

    4. Because it isn't just beauty; the world is full of lovely things and that in itself wouldn't compel me to write.

      I really relate to this. As a filmmaker I'm intrigued by many beautiful things but it is more rare to find something that truly inspires you enough to become the subject of your imagination.

    5. Driving home from the grocery, I found myself thinking again about the fish, and even scribbled some phrases on an envelope in the car, something about stained glass, soapbubbles, while I was driving

      I like how Doty circled back to that scene from the introduction. Now, as they described the fish, I can picture them too.

    6. Mimicking a sequence of perceptions and meditation, it tries to make us think that this feeling and thinking and knowing is taking place even as the poem is being written. Which, in a way, it is—just not this neatly or seamlessly!

      This really spoke to me because unknowingly, I do feel that as I read poems I imagine the words to be happening at that very moment. That is impactful.

    7. investigative process

      I think it's interesting how she describes writing the poem as an investigative process. In many ways writing and creating is an investigative process. Not only are you investigating your storyline, but also yourself.

    8. Sometimes it seems to me as if metaphor were the advance guard of the mind; something in us reaches out, into the landscape in front of us, looking for the right vessel, the right vehicle, for whatever will serve.

      I think metaphor can reveal to us emotions we have struggled to pinpoint.

    9. They were rowed and stacked, brilliant against the white of the crushed ice; I loved how black and glistening the bands of dark scales were, and the prismed sheen of the patches between, and their shining flat eyes.

      Immediately the reader is transported to the Orlean's Stop & Shop. I really appreciate this because it grounds me and helps me to understand the tone of this piece.

    1. For a moment, it becomes Weschler’s gaze as well. Itreflects a gaze I aspire to

      An artist pours themselves into their work, and in many ways they articulate their own emotions. However, what Novak clearly states is that the unknown must be discovered as well. The character has their own thoughts and feelings and it is up to the artist and the interpreter to decide what those are.

    2. Vermeer’s canvases teem with darker sym-bols—roaring lions carved into chair posts, maps on walls, soldiers visitingyoung girls—that exhibit a rapport with their time.

      hidden themes within art are so fascinating because they can speak volumes about not only the tone of the piece, but the artist as well

    3. he girl’s gaze is Vermeer’s as much as it is hers.

      I think this point is so interesting because I've never really considered how a painting truly does mirror the artists personality and inner-thoughts. Even if they're painting a subject that on the surface level doesn't resemble them, there still may be a piece of the artist imbedded into the subject.

    4. n writing Black and White, I aspired to a truthful homage to my father. Itook lines of dialogue verbatim from arguments I witnessed between him andmy grandmother.

      I think using real life events and emotions in your art is so impactful. I do this with almost every artistic endeavor of mine.

    5. he is transformed into both the woman and the woman’s most empa-thetic onlooker.

      I find this to be very insightful. As the artist, de Kooning puts a piece of himself into his work but still, he is an onlooker.

    6. impishness, eroticism, motherhood, and auton-omy.

      I really like this detail because it articulates the idea that a woman doesn't have to choose between motherhood and eroticism

    7. and was “subsequently lambasted as vilely macho by feminists” (123).Schjedahl, however, claims the subject “gains power from every swipe deKooning takes at her, until she is a goddess and he is effectively nothing”

      I really admire Novak's seamless use of quotations in her work.

    8. mages of sultry Victoria’s Secret models, whileher voluptuous figure conjures maternal associations.

      This description is fascinating because Novak provides the reader with two physical characteristics that are both distinct and juxtapose each other

    9. herroguish grin

      Novak provides great emphasis on the subject's grin. As a reader I appreciate this detail because without being able to see this painting, I am able to create one in my head.

    10. palette of pinks, blues and yellows

      This description reveals the abstract nature of this painting. The colors Novak describes are both warm and cool, which when paired together look quite eye-catching and bold.

    11. With a wide-eyedstare and tooth-bearing grin, a woman coaxes the viewer to look at her; hermischievous air invites us into her world

      I like how Novak personified the subject of the painting. This makes her description much more intimate and personable.

    12. In a show at the Museum of Modern Art titled Abstract Expressionist NewYo r k, a painting stands apart from works of the monolithic artists of twentiethcentury America.

      Hannah Novak's introduction style is distinct. She sets the scene in order to give the reader eyes into a significant scene. I think it's very effective.

    1. For a striking few seconds, it seems all too real.

      Every point Novak made, and each sentence was filled with substance. Her specific descriptions, opinions, and facts merged to provide the reader with themes to ponder.

    2. merging of overt sexuality and horror has the potential to repulse ratherthan attract

      Again, sexuality and horror, two concepts that juxtapose each other yet are used side by side in this film. Novaks repetition of these has really provided me, the reader, with context about the tone and themes in this film.

    3. throaty gasps imply both a struggle for air and an outcryof passion.

      "Struggle for air," and "outcry of passion." What Novak does so wonderfully is she highlights the parallels the Antichrist continuously represents.

    4. Her whitebody glows against the dark backdrop of the forest, gyrating violently on theground. Though she is more skeleton than woman, the figure’s thrusts makevisible sharp ribs that protrude under small, emaciated breasts and a flowinghead of hair scattering over the bark.

      I think this sentence introduces the relevant correlation between the humans and the trees.

    5. Does the authenticity of the first half of the scene fromAntichristget lost once the motion controlled camera takes the place of thehandheld?

      I think this is an interesting rhetorical question to include. Novak has intertwined a theme of questioning authenticity in this essay and this question forces the reader to also consider what defines authenticity within a documentary.

    6. They too bring beauty and destructiontogether.

      Just like sex and death, beauty and destruction are polar, however when used together, the two can be greatly successful at leaving a lasting imprint.

    7. combines both“journalistic and fictional narrative”

      I think this combination is really effective when presenting such a tragic event such as the bombing of Hiroshima. The fictional narrative aspects make the work more easily comprehended by the viewer.

    8. The cameranearly convulses, jumping across the screen, as a character runs in fear

      The camera becomes a character. This is a technique I greatly appreciate in films because like I stated earlier, it feels more personal.

    9. Mantle shoots with a handhelddigital camera.

      Handheld camera work is both my favorite to watch and to film. I think it really brings the reader into the world of the film. Rather than structured shots they get a personal view into the scene.

    10. Nonetheless, onlywhen we consider how such a scene was constructed, in the technical andartistic senses, can we overcome such knee-jerk reactions. But only if we dareto look.

      The other day in my Performance Strategies class my professor mentioned how when you're a part of the production process, you view the storyline in a different way. Opposite from the viewer, you're so invested in the production process, you don't experience the same "knee jerk" reactions that the audience does. I really like how Novak made a point of that perspective.

    11. His muscular body contrasts with the limp, sickly hands thatsprout from the tree like malignant growths.

      I think this is another example of the correlation between the humans in this scene and the tree. The two beings mirror each others' movements.

    12. twisting roots.Though the couple has relaxed into their action, bodies synching with oneanother, the macabre and fantastical mingle with pleasure.

      "Twisting roots," and "mingle with pleasure,"creates a relationship between the tree and the humans. The phrases seem to have a correlation; almost as if they mirror each other in a distant way.

    13. Anaked figure masturbates amid the gnarled roots of a tree

      The hook provides both minor shock value and an immediate scene that the reader can envision. It reminds me of a journalistic approach to an introduction. Generally articles begin with a "lede." A lede is intended to draw in the reader by providing a description of a relevant moment that relates to the piece.

    14. child falls to his death as his motherclimaxes in orgasm, a woman smashes her husband’s genitals with a woodenplank before making him come, a couple have sex with the hands of corpseslooming over them.

      Sex and death greatly juxtapose each other. However, Novak's thoughtful descriptions feel seamless. She gracefully describes such polar emotions without overwhelming the reader.

    15. themes of sex and death in a single frame

      The theme of Novak's essay greatly emulates the theme of the Antichrist. She encapsulates sex and death with her tone and her explicit descriptions. I think this both keeps the reader engaged and adds to the overall tone and goal of this essay.