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Homework answers / question archive / The aims of this Short Writing Assignment are (1) to take stock of your writing and (2) to find an idea to develop further, in a longer essay
The aims of this Short Writing Assignment are (1) to take stock of your writing and (2) to find an idea to develop further, in a longer essay.
Read through your Short Writing Assignments, midtermessays, and other writings--everything you've written for this course so far (or as much as you can!). Pull out a few passages, phrases, or keywords that spark your interest. The aim here is to locate ideas that you actually want to think about more. Your mental energy and effort wants to go in that direction and you do not have to force it.
Then choose one of these passages, phrases, or keywords and insert it into a new document or page in your notebook. Set a timer for 10 minutes and write what comes to mind about this particular passage, phrase, or keyword, without editing yourself or judging what comes out.
Assignment for Thurs 4/1: Set a timer for 10 minutes and freewrite in response to Oliver Sachs, "To See and Not See" - YOU CAN STILL HAND THIS IN :-) Oliver Sacks narrates the story of a blind man who had not been able to see for more than five decades. When the doctors finally perform surgery to make him see, the man cannot make sense of the things he sees and find it challenging to cope with his new status. Indeed, most sighted people do not always think that they learned to see and everything they can identify is because they can link the images to what they learn from society. At birth, humans are empty slates. However, we come to understand the world around us and the things aroid us by linking what we see and what society teaches us about what we. We know what a chair is because society teaches us that the four-legged object we see is a chair. The experience is different for someone who has been blind for a long time, especially if they were born blind and never had the slightest opportunity to learn about society's images of things. Although these individuals may have an idea about objects around them, they do not have practical images of what they know. Although someone born blind may understand that there is always something called a chair, they might not know how it looks. When these people gain their sight for the first time, they find it challenging to cope because they have learned and register the images of things they have always heard about to understand. Sometimes they are shocked to realize that they have had wrong imaginations about things. For instance, they might be surprised to learn that a dog they have imagined being as big as a cow is smaller in size. It, therefore, takes time for a person who sees for the first time to understand the world around them. Assignment for Thurs 4/8 About Ways of Seeing John Berger's book on ways of seeing is a stimulating and influential book about art. The author talks about the relationship between what we know and what we see. It is a revolutionary text that explains how people should look at art. The text was published in 1972. Since then, it is viewed as an eye-opener in various ways, including concentrating on how people look at paintings and changing the way individuals look at pictures. In the book, the author revolutionary analyses the representation of men and women in society. The results of the representations affect their self, conduct, and mutual perception. Merger states that men and women representations in the visual culture bring about various gazes. Men have the legitimacy to examine women. Women can also inspect women. In the books' introduction, Berger claims that the presence of a woman in society is different from that of a man. The presence of a man in society is about potency. It is also related to their ability, the power they possess, and what they can accomplish. He also argues that women’s presence in society is unrelated to the world. They do not represent any potential. It is related to what should or should not be done to her. According to Berger, before relating to a woman, men will always first survey them. The appearance and actions of the woman are, therefore, an indication of how she should be treated. This is different from men's actions which are considered just actions. This notion concludes that men act while women appear. When women observe other women, they objectify themselves as subjects of gaze. Nakedness and Nudity in Art In chapter 3 of the text, Berger distinguishes nudity from nakedness in European society. Nakedness is a state of having no clothes. Nudity is a style of artistic representation. This form of art is related to lived sexuality. When a person is naked, they are themselves. However, when they are nude in an artistic sense, they have no clothes to be observed. A naked body is referred to as a nude representation when it is an object of the gaze. Photographs and paintings provide appeal to the male viewer's sexuality. It does not have anything to do with showing female sexuality. Women are objects of the gaze, looked at by men. The nudity representations of women are, therefore, for men's sexuality and not for women. Men figures in the nude painting represent true love to a woman viewer. In the chapter, Berger discusses the meaning of nakedness outside artistic representations. He states that nakedness prophecies relief of finding out that an individual is a woman or a man.When naked, a banality element comes into play. The banality dissolves the mystery that existed before removing the clothes. The reality of whether the individual is a man or woman becomes simpler. In reality, nakedness is a process, while in representation it is a state. At the end of the chapter, Berger states that European painting’s humanist tradition has a contradiction On one side, there is the individualism of the painter, viewer, and the owner. On the other side, there is the object, who is a woman being treated as an abstraction. The unequal relations between the two genders are assimilated into the culture. How Culture Affects How We See Art In the first chapter, the book sets the tone of the text. The author explains that seeing comes before words. A child has to first look and recognize before speaking. The chapter is about the social, historical, and mystification of art. Seeing is fundamental. It is not just about looking at something. It is also about relating to what a person sees physically and metaphorically. Seeing is a way of seeing. People do not look at one thing. They look at how things relate to them. The relationship between people and images is critical. People see the world through art. The world also represents us through images. When people see, they establish their place in that world. What they see and how they see affects their identity in the world. Another point in chapter one is that what individuals see and how they see it is affected by culture. In various cases, culture plays an essential role that can obfuscate and obstruct the meaning of the images. It is meant to ensure people see objects in a different way other than what is meant. The author uses various examples in the chapter to explain this concept. One example is Hals, Regents of the Old Men’s Almshouse by Slive. In art, Slive framed the picture in an artistic technique, vision, and skill. Hals was eighty years and poor. In the painting, one man looks drunk with a hat skewed to the side. The eyes are unfocused, and the face is blotchy. Slaves explain that wearing a hat on the side was a fashion at the time. He also cites facial paralysis to Regents expressions. If the painting did not have a drunk person, it would not be accepted by Regents. The process of explaining what is evident is referred to as mystification. Culture abstracts the meaning of the art. Art and Society Representations The two chapters explain the relationship between art and society. They explain how people see art and women's images. Art, society, and the representation of men and women are related. In the world, men and women have different representations. Men have agency, while women constantly monitor their self-presentations. The relationship is perceptible in the European oil painting traditions, which depicts nude women figures. According to the author, women's nudity is meant for male spectators.It does not make any sense for the narrative depicted by the paintings. The painting self consciously exhibits the secularity of women. It is accused of vanity through symbols such as beauty tools and mirrors. According to the chapters, images proliferate widely in modern society. However, various traditional representations are still evident in art. Women are still depicted as passive. They exist for male pleasure. On the other hand, men enjoy a diverse multitude of representations. The presence of a man in society is about potency. It is also related to their ability, the power they possess, and what they can accomplish. Females' presence in the community is unrelated to any potential. They are objects of power. How they appear to a man determines how the male will treat them. These gender relations systems are hypocritical. The man spectator is considered a subjective individual while denying individual agency to a female subject. This hypocritical representation is present in the modern-day. They reinforce the accuracy of Berger's analysis more than forty years ago. Assignment for Thurs 4/15 New Attempt A theme that emerged from my week two free writing is the relationship between what we know and what we see. Most specifically, art is the central concept. According to Berger the representations of men and women in visual culture provide different gazes. One of the most exciting ideas from Berger's Ways of Seeing is publicity images. According to the author, people are likely to encounter publicity images every day in the cities they live in.These images often belong to a specific moment because they have to be continually made up to date and renewed. One thing that resonated with me in chapter 2 of Writing Without Teachers is the ability to write among individuals. According to the author, the relationship of many people to the writing process is that of helplessness. In most cases, people cannot write at all or write unsatisfactory (Elbow, 1973). There is no significant relationship between the results and the energy that people put into writing. Assignment for Thurs 4/22: Cooking Writing process as "the interaction of contrasting material" Countries implement various economic systems to use in the management of their economic resources and regulation of the means of production. The United States uses capitalism as its prevailing economic system. This system includes ownership and control of factors of production by an individual or private businesses instead of the government. The success of capitalism depends on the free market economy. Other countries such as North Korea, China, and Cuba use socialism as their prevailing economic systems. This system requires the government to make all decisions about how to produce and distribute the resources. The individuals depend on the government for employment, food, healthcare, and other services. The amount of supply, output, and pricing are determined by the government and not the free market. In capitalist economies, the government has a minimum influence on decisions about production, when to produce, and the cost of goods. The market forces determine production and distributions. Entrepreneurs can spot opportunities in a free market and are open to utilizing them to maximize their well-being. In the socialist economy, the government makes economic decisions. The government also owns and controls most of the resources. The decision by the state on what, when, and how to produce is known as centralized planning. Capitalism creates economic freedom, which leads to political freedom. A government that owns most of the resources results in a powerful state that develops into a large bureaucracy. It also allows innovation whereby firms and entrepreneurs seek to develop and create profitable productions. The system is beneficial for economic growth. Socialism ensures shared resource ownership. Social planning by the state also allows equal distribution of goods and a fair society. However, it fails to reward innovation and ingenuity. Short Essay Questions Short Essay Questions How did the invention of the camera change the way people see? How did it change the experience of viewing art? The invention of the camera changed how people see by inspiring remarkable creative accomplishments. It also changed the experience of viewing art by radically changing painting. The camera was invented in 1839 by Louis-Jacques-Mandé Daguerre. It was called the daguerreotype (Lyon, 2002). This invention was the first commercial camera in the world. It was enthusiastically and immediately embraced by the world. The camera led to a new relationship between the representation of reality. Reproducing art objects was essential in the development of photography, and it has an impact on changing society’s visual culture. It made art accessible to the public and changed its notion and perceptions. Photography led to the appreciation of beauty and increased knowledge of art. Photography made art more portable, cheaper, and accessible. Photographed portraits were easier and cheaper to produce compared to painted art. The painting ceased to be a privilege of the high-end society. The development also led to opposition against photography by those who felt it made art cheap. They saw it as an attempt to reproduce artistic and unique things cheaply and massively. According to Baudelaire, photography is a failed painters' refuge (Lyon, 2002). Art involves judgment, feeling, and imagination. However, photography is a reproduction that captures beautiful products. The invention of the camera liberated art from its realism tied to factuality. Originally, painting relied on fixed objects, and it took time to achieve realistic results. With the invention of the camera, a new way of viewing the word came up to capture momentary effects of movement and light, which were not possible in the traditional studio. What is the difference between "nude" and "naked" depictions of bodies in European oil painting, according to John Berger? According to John Berger nude is different from the naked. The nude is not a unique individual. It is conventionalized (Berger, 2008). To be nude means to be on display, while to be naked is to be yourself. In the European oil painting, a protagonist in an initiative is not inside the art itself. They are presumed to be men at the center of the action. The other parts of the painting implicitly address the man who is the spectator. This approach is through figure orientation to face the viewer from the front of casting the subject's gaze towards the viewer instead of other characters in a painting. By doing this, the nude painting conventions appear to let the figure assume their nudity for the viewer's sake (Berger, 2008). This delusion of power reinforces the masculine sexuality of the spectator. In a nude painting, the central female figure without clothes looks at the spectator with a charm exhibiting their sexual value and femininity voluntarily. Being naked is not organized around the secular pleasure of the viewer. From the analysis by John Berger, the difference between the naked and the nude helps understand the objectification of women's sexuality (Berger, 2008). Nakedness is a symbol of a woman's submissions in the European oil painting and not an expression of their feelings. Nude art is conventionalized and represented a way of seeing that an oil painting archives. He also points out that gender relations systems are encoded in nude paintings. They are inherently contradicted, and they rely on the individualism spirit by appealing to a subjective audience. However, to depict a woman as an object without individual subjectivity. How does the language of publicity compare to the language of European oil painting? The language of publicity differs from the language of European oil painting. Publicity imaged use painting and sculptures to learn authority or allure to their message. On the other hand, European oil paintings hung in windows as part of the display. An artwork that communicates the language of publicity has two main functions. Art is an affluence sign, and it belongs to high-end life. It is also part of furnishing the beautiful and the rich. An artwork that is part of the cultural heritage communicates the language of European oil painting (Alberro, 2003). This painting suggests cultural authority, events of wisdom, a form of dignity, and it is more than vulgar material interests. It is a reminder of the meaning of being a cultivated European. The language of art can also be contradictory. This happens when the art has two contradictory things. It might denote wealth and also spirituality. This implies that buying the painting is proposed to both of cultural value and luxury. Publicity has understood European oil painting history more than the majority of art historians (Alberro, 2003). It understands the implications of how an artwork relates to its owner or spectator. With these, it attempts to flatter and persuade the buyer or the spectator. The continuity between publicity and European oil painting was more than quoting the various paintings. The language of publicity relies on the language of European oil painting. They speak in a similar voice about similar things. One idea: the W.J.T. Mitchell uses to elaborate on his concept of "sensory-semiotic ratios" is "nesting." Explain what Mitchell means by "nesting" and briefly describe an example. Mitchell uses various ideas to elaborate on the concept of sensory-semiotic ratios. One of these ideas is nesting. The concept of media as a sensory ratio is supplemented with the semiotic ratio notions. These include the sign functions mixtures that constitute a medium. Cinema is not a ratio of sound and sight but also a ratio of words, images, and other parameters such as music, noise, and speech. Mitchell uses the idea of nesting to analyze the phenomenological and empirical level of sensory and semiotic elements (Mitchell, 2002). She also uses it to examine the logical relations between the two. It is presented to the reader that the triadic structures of a medium are its primitive elements. Mitchell notes that there is a closely related phenomenon between the two that she calls nesting. This relationship is where one medium appears to be inside the other as its content. For example, television has always been treated as the content of the film. This film includes the quiz show, Network, and wag the dog. What Mitchell means by nesting is that the content of one medium is treated as the content of another medium. The content of the medium is considered the content of the earlier medium gestured towards the nesting phenomenon, but it is restricted as a historical sequence (Mitchell, 2002). Another example is that a medium such as television can appear as content of another such as the field. It is also possible for a purely speculative medium that is later released to appear like the content of an earlier medium. Nicholas Mirzoeff discusses two versions of the image Blue Marble. What was the impact of the 1972 version, according to Mirzoeff? And why is the 2012 version "a good metaphor for how the world is visualized today" (p. 8)? In 1972, Apollo 17 astronauts pointed the camera towards the earth. By chance, there the globe's surface is fully illuminated. They were the first to see this, and the resulting photograph was referred to as Blue Marble. This image was the first most widely reproduced photo. The picture inspired hope in the world, and it pushed the young environmentalist movement who made the world look like a unified and hopeful place (Mirzoeff, 2016). Nicholas Mirzoeff explains the impact of the 1972 version as a picture that explains the building of an era where we live. The photographs depicted the world as a global system made intelligibly and connected above all by visual culture. Therefore, it demonstrated the world in which culture visualizes. In contrast, the 2012 photograph was a selfie shot by Akihiko Hoshide during a spacewalk. The earth was reflected in the visit of Hoshide, and the planet is physically different. The photograph shows that the world is changing fast, and transformations that are invisible to humans since they take place slowly are not visible in a single picture. Mirzoeff wrote that we need to learn to see the Anthropocene (Mirzoeff, 2016). From the two analyses, we can learn that images are ubiquitous. People are to read them framed in a giant, graphic, self-assembling novel. Visual meanings are common in the connection made between the images. By looking at a picture, we can see transformations that are not visible to the naked eye. While the 1972 photo showed the world as a hopeful place, the 2012 image was different, and it showed transformations that are invisible to humans. What happens in a successful "teacherless writing class," according to Peter Elbow? How can you secretly destroy it? In a successful teacherless writing class, students do not need to have an institutionally sanctioned tutor explaining theories or giving advice about bad and good writing. The success of such class is dependent on the case of faith as a necessary and active component of knowing how to write. Faith provides an energetic direction required to break dogmatic positivism (Elbow, 1998). Success depends on the individuals' energy to act. The energy depends on the belief that they will be successful. The faith verifies itself that they were right. Elbow follows James' reasoning challenging fastidious vetoes in a successful class of those who are bound in an ultrarational system (Elbow, 1998). Elbow’s target is a culture that does not value criticism and skepticism. The ultimate rebuke term is naivety. He argues that pragmatic belief potential discloses possibilities that lead to a successful teacherless writing class. To believe in the meaningfulness and significance of writing enable the learners to understand the skepticism foreclosed. Belief is what leads to a successful teacherless writing class. To destroy the success, Elbow speaks of growing the meaning. Students should try to help the words grow and treat them like they have the potential to grow. He gives an example of learning to ride a horse. A student riding a horse gains the skills as it constantly changes beneath his leg (Elbow, 1998). He explains that living organisms have a characteristic to unfold as they advance in stages that come in order. Writing is natural, and it requires careful nurturing. If coerced or forced, it can be destroyed.
