At the first glance, I liked these two murals. They are beautiful and different with a narrative of the major human periods. One is the history of art, and the other is history of science, which displays a certain kind of beauty of symmetry. The very interesting element in the murals, in my mind, is the tree. It spreads out, divides and also connects every historic period. It can be seen as an indication of human growth, even if this might not the creators’ original intention. The image in every panel of the murals concludes general characteristics of each major historic period. I also like that the artists display those panels quite straightforwardly. It displays a continuous development and advancement of human history overtime.
However, after a personal visit in the library, I find there are some controversial points portrayed in these murals. The first thing is that you will find the lack of diversity if you take a closer look. The gender is an issue. Only a very few women were represented in the painting. And there are no females at the top panels. The diversity of races is also up for debate. It seems only white men were portrayed. All these are not a good representation and capture of whole human history of arts and science. In my opinion, it shows some unacceptable notions, such as inequality. I think this is the main reason why it invokes so many controversial issues. Moreover, it may not be fully able to display the overall human growth, since it does not imply any innovations process. Humans’ learning process is omitted. As Doss sated, public art “is as diverse as the people who view it” (Doss, 1). In this aspect, it may not be fully demonstrate the things public arts are supposed to.
What if we think standing from a different angle, maybe this piece is just a good reminder for the public that we should overcome inequality and improve the diversity of our community. I do believe this is one of characteristics the public arts should possess. As public arts, it should pass over some meaning to the society. And these murals in library, in some senses, are carrying some positivity. Doss claimed that, “It’s difficult to imagine any kind of contemporary public art that might adequately address the multifaceted interests of today’s diverse America” (Doss, 5). Not everyone will love a piece at the same time. I believe most people can learn something from the murals. The website provided in the course blog is very helpful to understand the background and history of the Runquist murals. I am excited to know they were from the alumni of University of Oregon. It demonstrates the history of University of Oregon as a successful entity. Therefore, in effect, the murals show relevance to the people and public.
In the reading, Doss mentioned, public art “can lead to a larger examination and questioning of assumptions, ideas and concepts” (Doss, 6). I completely agree and the murals in the library have the function. It can stimulate profound and constructive discussion (or debate) in our society and help us figure out the promotion and progress we need to develop in near future by the examination and evaluation of our historic artistic expression. Even if there are many controversies around the murals (in fact any public art would cause controversy), “the dynamics surrounding public art reveal an ongoing American commitment to meaningful conversations, which are the cornerstones of an active democratic culture” (Doss, 1).
So overall, I do appreciate what the murals bring to me, to people. It raises conversations and debate. However, whether or not it was an original intention from the artists, it expresses some issues and gives us some thinking about how to make social progress and how to develop culture diversity. Thus, I don’t think it should be removed from where they are right now.
Doss, E. (2006, October). Public art controversy: Cultural expression and civic debate. Retrieved from http://www.americansforthearts.org/pdf/networks/pan/doss_controversy.pdf
Posted in Unit 10 March 12, 2014
List: Harmony, Uniqueness, Indifference, Inspiration, Peacefulness (in picture)
Tranquil, Creative, Persistence, Expressive, Abstract
Posted in Unit 09 March 8, 2014
Before the author moves to talk about the copyright law in America, he discusses two different cultures of creativity with different values. In the reading, the author wrote, “RO culture speaks of professionalism. Its tokens of culture demand a certain respect. They offer themselves as authority. They teach, but not by inviting questions” (Lessig, 85). I completely agree with him on this point. Speaking for RO culture, it is not always bad since it can provide guidance from authority. However, it seems to be only for professionals. It doesn’t free people to think broad. Instead, RW gives more opportunities to people to participate. In this culture, there would be more communication and flow of opinions, and people will be able to challenge authorities. RW culture will welcome more innovations. This is exactly how our human culture and values are driven to be promoted. He also stated, “This is the first difference between RO and RW cultures. One emphasizes learning. The other emphasizes learning by speaking. One preserves its integrity. The other teaches integrity. One emphasizes a hierarchy. The other hides the hierarchy. No one would argue we need less of the first, RO culture. But anyone who has really seen it believes we need much more of the second” (Lessig, 87-88). I think China’s education is exactly the first one: RO culture. It emphases too much on the authority guidance. Teachers are packing all professional knowledge without productive instruction. Student then are enforced to accepting all taught omitting the thinking process. For me I think this is a process asking no response. However, learning should focus on response.
What is different when it comes to my idea and the author’s is that he expands this culture discussion into the issue about copyright regulation. The American copyright law, as Lessig said, favors one over another. It supports the practice of RO culture. Since the RO focuses on consumers(user), it limits the permission on consuming . He wrote, “RO cultures required the permission of copyright owners before RO culture could be remade”(Lessig, 98). In other words, we need permission whenever reading a book or sharing a book in digital context. Even if I don’t really like the massive expansion of copyright regulation, there is no doubt that RO will thrive in this digital and technology age.
Lessig, L. (2008). Comparing Cultures. Remix: Making Art and Commerce Thrive in the Hybrid Economy (pp. 84-116). New York: Penguin Press HC, The.
Posted in Unit 09 March 3, 2014
The Primary thesis of Computer Graphics: Effects of Origins is that “old cultural patterns do not die”. Technology shapes our contemporary society and produces a huge influence in the transformation of human cultures and values, but there are many connections between technologies and art. She wrote in the article, “These changes are not simply technical effects. They contribute to maintenance and change of culturally conditioned conceptual patterns in the larger historical context” (pg 51). The application of computer graphics and other technologies has already sunk into every aspect of daily life, and right now human society can barely operate without them. In other words, the art form and human culture values influence the development of contemporary technology.
There are many examples Jones provides as illustration of her thesis. She talks the Egyptian architecture, which was built up based on the “earlier bound papyrus columns” (pg. 21). In addition, Jones referred to the early beginning of computer graphics: “In the 1940’s analogue computers were used to generate the earliest computer graphics and display them on oscilloscopes” (pg 52). She mentioned the pioneers in this field and explained how they were making a perfect combination between visual art and computer technology. Moreover, “Computers have been used to customize the tailoring of suits in West Germany…Although these products are customized to a client’s body, individual conceptual design differences are not employed-that is, earlier concepts of designer and tailor as experts remain”. This is very true in fashion industry. Designers employ computer design program to create 3-D full design of clothes or accessories. But the basic idea is still the concept of tailoring or designing. This shows the evolution from the old to the new with maintenance of some old characteristics.
In today’s culture, pixel art is a perfect example to illustrate Jones’s idea. This digital visual art is created “created through the use of raster graphics software, where images are edited on the pixel level” (Wikipedia). We can see through this computer graphics invention to understand the development from physical or optical artistic experiences. Animation is also an example of this. People create moving image via the use of computer. Animation and 3D are even expanded into film industry. All these are built on the application of computer graphics that developed from the human arts form.
In an article on BBC News website, Eyal Gever wrote, “Throughout history, technology has provided artists with new tools for expression” (Gever, 2012). He thinks that the technology can show the traces of different artistry. They are interlinked more and more in contemporary society. As he stated, “All over the world, people are engineering our future. The Internet, digital fabrication, nanotech, biotech, self-modification, augmented reality, virtual reality, “the singularity” – you name it, all of this is altering our lives and our view of the world and ourselves” (Gever, 2012). Scientists, visual artists and people from all walks of life are collaborating to create fancy human experience. In the end of his article, he said that he believes that “any modern artist needs to remember about pushing the art forward, inventing, defining new paradigms of expression with powerful meanings” (Gever, 2012). He thinks art can be delivered in a more meaningful and colorful way.
Work Cited
Jones, B. J. (1990). Computer Graphics: Effects of Origins. LEONARDO: Digital Image – Digital Cinema Supplemental Issue, pp. 51-60.
Gever, E. (2012, 10 04). Technology and art: Engineering the future. Retrieved from http://www.bbc.com/news/entertainment-arts-19576763
Posted in Unit 08 March 1, 2014
Jane McGonigal delivered a great speech about online games. She thinks, “gamers are a human resource that we can use to do real-world work, that games are a powerful platform for change” (McGonigal, TED). But I am still not convinced. Based on her idea, people can resolve the issues and problems in reality by playing games. She believed that humans could construct good skills by the cooperation and teamwork experience in games. Perhaps it is true for someone. However, we cannot the side effects brought by the games. Right now most popular games consist of some extremely sexual and violent contents. Admittedly, the games develop some skills people need, but it also is very easy for people to transfer the attitude from the game. At often times, the games are along with anger, rage if people lose. This inevitably causes some attitude issues when they come back in real life. It may be true, in some sense, that games construct many skills needed in real life. It has a lot more danger at the same time. In addition, I am also concerned about her point that it makes people relaxed in virtual world and people enjoy the joy delivered in the game. Sometimes, the difference between real life and the virtual one can damage people in many aspects. Thus, I don’t agree with her at all.
Posted in Unit 08 February 25, 2014
In my opinion, spirituality is an appearance of true self. My grandmother always talked about spirituality as a free state of meditation. As far as I concerned, spirituality is a conscious cluster of people’s experience and values. It is another higher level of our own disclosure. The noun for spirituality is spirit, which can be a good proof. Spirit is something close to cognitive power. I think humans consist of three different parts: body, mind, and spirit. We use body to make actions and reactions in everyday life; we use mind to connect the different things in our life; and finally we have spirit to make conclusions.
I personally do not make spirituality and religion equivalent, even if Merriam Webster gives spirituality such a definition: “something that in ecclesiastical law belongs to the church or to a cleric as such, or sensitivity or attachment to religious values”. First of all, religion is far more than spirituality. In some sense we cannot deny the connections and relevance between them, however, religion is a big collection of beliefs and views, which will influence people’s life by its huge social impact. In other words, religion is always a system of faith built for a group of people. On the contrary, spirituality is supposed to be form based on individual’s personal values and experience. For me, I think it is a sublime form of our own individuality. And this thing can extend to every aspect of our life. It will impact our normal behaviors, but this effect is from our own mind.
Creativity means originality. It is the result of innovative and novel brainstorming. Of course the brainstorm is not a completely freethinking. Instead it comes from the observations in daily life. Many details in observations link to one another and stimulate the inspiration or idea. Creativity provides a new and easier approach to do a thing. It improves efficiency and effectiveness. In my mind, creativity is the successful transformation from spirituality. Based on our sublime spirituality, we construct creative works to show our values.
As I write above, I believe that creativity comes from spirituality. Grey talks a lot about “seeing” or observations in the article, and I agree that seeing plays a significant part of building up creativity. But in my opinion, the observation is just part of spirituality or we can say it is eventually absorbed within. In addition, when Grey discusses the difference between looking and seeing, he dismisses looking as a source of creativity. I would think looking is just a body action without the involvement of spirituality. But seeing involves spirituality.
Posted in Unit 07 February 22, 2014
In this week’s reading assignment, one of the most impressive ideas offered by Grey is the justification of the fact that seeing is actually different from looking. Grey discusses the issue about how to determine the aesthetic quality of some objects by seeing. Author believes seeing is quite significant in the whole process of creation of art. As Grey said, “An artists finest works can symbolically unveil depth upon depth of meaning, like mirror reflecting each other, depending endlessly. In order to bring forth their most profound work, artists need to be sensitive to and courageous about their own creative process” (pg.75). Moreover, “artists need to be able to see on each level in order to bring technical beauty, archetypal beauty, and spiritual beauty to their work” (pg.73). With my interpretation of that, Grey thinks seeing can be the approach to accomplish the creative art making process.
The thing I would like to mention is his viewpoint about the placement of mind when we are reading a book or appreciating any other art piece. He wrote, “In order to experience art fully viewers must go through a mini ego death by placing themselves in the inspired mind of the artists…” (pg.74). First of all, I have to agree with him at this point. For audiences and readers, when we are reading a book, the most important thing is to embrace feeling that you understand and share another person’s experiences and emotions, even if you may not necessarily have that kind of experience. Since only in this way, we can truly comprehend what the author tries to tell and share. Sometimes, after experiencing the inspiration created by artists’ mind, we can feel either the agreement or difference. At often times, we might feel the reverse thing introduced by the artist.
Posted in Unit 07 February 17, 2014
Online Article 1:
The first article I find is Why Are There Horror Movies by Norman N. Holland.In the reading, Carroll discusses the question about “how pleasure is to be derived from that which is distressful” (2002, p. 276). He is seeking a reasonable way to explain “the way in which the artistic presentation of normally averse events and objects can give rise to pleasure or can compel our interests” (Carroll, 2002, p.276). Carroll believes that the pleasure involved is cognitive. However, Holland holds a view that the reason why we are pleased as we are afflicted is that our brain releases some certain kind of energy.
In the article written by Norman, he firmly disputes the cognitive answer provided by Aristotle (the same as Carroll): “Somehow the cognitive payoff counterbalances the negative experience. I don’t believe it” (2010). Norman claims the theory of “fictionality” and “actuality”. He thinks fictionality leads to the pleasure derived from fear, disgust, anger in art like works. He defines actuality as “ having to decide about acting in response to an emotional stimulus” (Holland, 2010). Compared to the explanations Carroll develops, Norman gives more idea from psychologic and physical aspects. In his opinion, this could be possibly explained like how Freud theorize the reason why we laugh at jokes. Basically, Freud “claimed that the three forms of humor he dealt with involved the release of energy previously used for inhibition by superego or cognition by ego. The excess energy, went off as laughter” (Holland, 2010). So Norman forms an assumption that if our brains sense a sudden demobilization of energy mobilized for some action in the outer world, when that energy is released, we feel pleasure.
Carroll thinks “these particular cognitive pleasures, insofar as they are set in motion by the relevant kind of unknowable beings, are especially well served by horrific monsters” (2002, p.283). Moreover, plots and subjects of horrific revelation agree with each other in a “highly appropriate” way. And this compatibility invokes natural inquisitiveness of audiences. In other worlds, plots render “unknown” horrific creatures known by discovery. However, in Holland’s opinion, this is not a working theory. He mentions, “Evolution suggests a different answer. Driving past a particularly gruesome accident on the highway, we crane our necks around to see the blood and guts. Fear and disgust signal dangers, and we do well, evolutionarily, to pay attention to them in order to maximize our chances for survival and reproduction. But that’s the real world. Evolution doesn’t suggest why we seek out fear, disgust, or anger in works of art like Polanski’s movie” (Holland, 2010). He doesn’t believe we would enjoy learning details from disgust, danger.
Online Article 2:
The second article is a report written by Sharon Begley.
Even if Carroll discusses this issue very thoroughly from different aspects, Sharon reveals that people like to be scared simply because they know they will walk out whole of the movie theater in the first place. Hence, in her opinion, the scare we crave in art horror is “a safe one” (Begley, 2011).
In the latter part of reading, Carroll also makes fascination a reason why we love to be scared. As he said, “non-narrative examples of art-horror, such as those found in the fine arts and narrative horror fictions that do not deploy disclosure devices, attract their audiences insofar as the objects of art-horror promote fascination at the same time they distress” (2002, p. 288). He explains, the central and key source of our pleasure when we see those art horrors originates from “the disclosure of the existence of the horrific and of its properties” (Carroll, 2002, p.282). Why we like that, like to see those disgusting and terrifying monsters? According to him, that is because we can gain fascinations watching those monsters. But Sharon reveals that people like to be scared because they know they will walk out whole of the movie theater in the first place. Hence, in her opinion, the scare we crave in art horror is “a safe one” (Begley, 2011).
However, Sharon explains in a different way: “If we have a relatively calm, uneventful lifestyle, we seek out something that’s going to be exciting for us, because our nervous system requires periodic revving, just like a good muscular engine” (Begley, 2011). She also mentions this is exactly the reasons “why horror movies are most popular with younger audiences” (Begley, 2011). As younger people, they are more likely to be attracted by strange and curious things. Since they know this recreation is 100% safe to get stimulus, horror movies or fictions become the first choice to satisfy their desire. In addition, according to science, she emphasizes the correlation between delight and fear. But she wants to discuss this connection with another elements—relief. She suggests the delight is from the relief that follows. Hence, fear is not the direct cause of our pleasure when it comes to art horror.
Carroll, N. (2002). Why Horror?. In Neill, A. & Riley, A. (Eds.) Arguing About Art: Contemporary Philosophical Debates (2nd ed., pp. 275-294). New York, NY: Routledge.
Holland, N. (2010, Jan 4). Why Are There Horror Movies?. Retrieved from http://www.psychologytoday.com/blog/is-your-brain-culture/201001/why-are-there-horror-movies
Begley Sharon. (2011, Oct 25). Why Our Brains Love Horror Movies. Retrieved from http://www.thedailybeast.com/articles/2011/10/25/why-our-brains-love-horror-movies-fear-catharsis-a-sense-of-doom.html
Posted in Unit 06 February 14, 2014
Non-diegetic Sound:
When those creepy man is out on street and searching around, dramatic music occurs. I choose this as an example because obviously that orchestra-like music is not a sound whose source is visible on the screen or implied to be to present by the action if the film. From creepy brass instruments sounds when monsters come out attic to the percussion when the African-American lady sees those monsters, those sounds generate very scary effect. Music employed in this scene produces a smoke-like terrifying desperation. And it adds more uncertainty to the midst of despair. The scene that monsters kill an innocent man uses a loud burst sound. It vividly illustrates chaos, struggle and terror. Personally, I think the sounds here are well played, directing audiences’ mood transition with the scary elements.
Diegetic Sound:
An example of diegetic sound in this Buffy the Vampire Episode is when the young girl is the crying sound from a woman when she run pass Buffy right before Buffy realizes she and people around her loses their voice. This sound is on-screen and predicts something going to happen in the later story. I choose this specific scene because I found the crying sound is purposefully in contrast to the lost voice of people, which slightly gives some subtle indication of the development of the horror story. In addition, in this scene (before the appearance of that crying woman), there are some other sounds, such as toilet flushing, tooth brushing, which actually makes it seem very normal, but the crying sound gives a transition to the horror part of the whole story. Overall, diegetic sound here is the shadow of the real climax of horror moment, producing a psychologically scary effect.
Mise-en-scene:
The scene I choose for the Mise-en-scene is when Buffy screams out with outrage. This return of Buffy’s voice just ends the whole silence of people. In this scene, Buffy sits on the floor and shows angry expression on her face. After her screaming is out of her mouth, those monsters seem not able to bear and right at this moment, the setting changes a bit: the lighting begins to be a little brighter. Then all of sudden, all the monsters’ heads are blew up, and green liquid comes out. The camera has some really quick switches from one actor to another, moreover director zooms in when some intense actions happen. Even if this scene is less scary and is close to the ending, the camera’s position movements, color and lighting change make it full of aesthetic transition. So it successful produces some divisions and levels of horror of the story, which contributes the effect of aesthetic horror of the video.
Posted in Unit 06 February 10, 2014
Before doing this assignment, I never thought about these questions. How to dress was not even a problem or bothering for me, because I simply put everything wearable on me. I don’t even often look at the mirror. Right now, I wear a black UO logo long-sleeve shirt and an A-crotch jean, which is my usual style. I like jeans and denim jacket, however the jeans have to be A-crotch. Most American boys are into tight or skinny ones, but they would make me uncomfortable since I am quite skinny. Sometimes I will wear some sweatpants. Sweatpants are very casual and easy to wear. I do not customize myself with a certain limited color. Different colors are full in my closet. If I have to choose some favorites, yellow and green would be the first choices. This is one of the main reasons I like our school.
I don’t think too much when I buy clothes. But I may decide subconsciously every time. Maybe I want myself to look more outgoing and positive from the outside, so I have a range of different outfits with diverse bright colors. As Sanders said, “A person’s physical appearance affects his or her self definition, identity and interaction with others” (Pg 1, Sanders). Indeed, I am a positive person, and I do not intend to be affected by exterior negative factors. For instance, even if the weather is terrible, I will still be in bright color. Moreover, I always think, the color of an outfit can show a person’s personality and living habits. So my clothes can probably show me as an amicable and nice people. I don’t have tattoo or any permanent boy decorations on my body. I kind of want to though. It is cool to have some beautiful tattoos, and yet it will not be cleaned out easily, so once you did wrong or did that merely because of a sudden impulse, it could be a forever regret. I used to be a rebellious teenager back when I went to high school. I had some fights with my parents. At that time, I was fond of black and white style, which was very popular in China. I thought my clothes were my cool attitude, so rings, earrings and necklace were all over my body. Bad memory!
My family is not a traditional Chinese family, since my mom had some education and working experience abroad, so we don’t dress traditional clothes. Both of my parents are in business field. My mom usually dresses bank uniforms, and my dad likes business casual. I don’t like formal outfits at all. I wouldn’t dress them unless there is a significant and formal situation. Even now when I go to work, I just wear some casual clothes. Another reason why I don’t like them might be the fact that they don’t fit me. My size is hard to find if I want to buy a business suit. I don’t think I have a lot of influence from my family, since my parents are very open, I can basically what I like to wear. Some well-of families in China may believe that it is important to dress up elegantly to present the status. But my parents don’t buy much fancy stuff to decorate. This might be the only thing which I am influenced on.
After I came here, I found there is a big difference between the customization of Chinese or Asians and that of Americans. In my Chinese peer community, there are basically three divisions: high-class, game-class, and study-class (I made up all these names, because I can’t find precise translations). High-class is a group of people who dress up fancy. They can afford elegant perfume, expensive handbags, chic outfits and posh cars. I think study is not their priorities and I believe this symbolizes their strong self-esteem. Game-class likes playing games, namely LOL. They usually stay at home whenever they have no classes. However, this does not mean they are not studying. And thus, they don’t care much about how to dress. This group values much on the pursuit of “fun”, due to the preference of playing games with their friends. In effect, they still care about their study. Finally, study-class stands for people who are hard worker in study and usually have high GPAs. Of course, there are some overlaps and exceptions. Someone may care appearance still be a big fan of game, or may spend a lot of money on clothes and still have a high GPA. American peers are either very casual or very sporty. They don’t usually spend big money on clothes. As far as I know, American girls like to do make up more than Asians. Asians generally dress them up in a limited color, but American peers show a range of color choices. It is really a culture gap!
Posted in Unit 05 February 7, 2014
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