Flatlands Trisha Baga Summary

People cannot hide from what makes them unique, even when someone dies, their personality is what will be remembered by their loved ones. Isabel Quinteros’ book “Gabi A Girl In Pieces”describes how the main character, Gabi, is a senior in highschool living with her mother, father, and teenage brother Beto. Quintero contends how Gabi is trying to find herself meanwhile having to juggle between being body shamed from those who are close to her such as her mother and aunt. In addition, Gabi’s best friends who she shares, and speaks about her and Cindy’s boy crazy moments with have something to tell her; Her Best friends revealed that Sebastian is gay and Cindy (her best friends) is pregnant, but soon Gabi finds out Cindy isn’t the only one pregnant Gabi’s mom is pregnant as well. Moreover, Gabi is trying to find her soulmate who will accept her for who she is inside and out. When Gabi began dating Martin, from her poetry class, she

the person who is responsive to the stimuli of art behaves toward the reality of dream much the way the philosopher behaves toward the reality of existence; he observes exactly and enjoys his observations, for it is by these images that he interprets life, by these processes that he rehearses it. (Nietzsche 440)

Situated in the kaleidoscope exhibition, Sandra Selig’s work ‘Heart of the air you can hear’, is a large sculpture piece that emphasises a stark corner through the strategic placement of red thread. The thread relies on tensile forces uniting nails on opposing walls in a corner space. As you move alongside the piece, there is a depth that alludes to a dimensionless plane, the red in stark contrast to the white background that allows its existence. Reminiscent of perspective planes, the piece sets up an immersive reflective experience, which can appear to trick your senses not dissimilar from the optical illusion books where you unfocus your eyes and see another context.

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

Equally, the works in My Sentiments Exactly explore the space between the algorithmic and the organic. A series of exacting oil paintings show a set of organically disrupted monochromatic patterns, reminiscent of the movement inducing Op art painting of Bridget Riley. These optically complex patterns suggest the horizontal scan lines of CRT televisions as well as the oily residue left by our fingertips on a touch screen device, offering a trace image of our interaction with the digital world.

A piece of artwork in this case is created and invented in manner that the viewer is lost away from the world of reality. The Invention and Fantasy theme of art uses the concept of imagery as most of this type of art work usually drifts the viewer from the state of reality into the dream world.

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

Susan Sontag discusses the difference in viewing art in physical form versus viewing in through a lens. Throughout the essay “In Plato’s Cave”, Sontag thinks both Plato’s cave images and photographs represents, “the mere image of truth” (Sontag 3). With that, Sontag repeatedly uses the terms “truth” and “reality”, but does not define what these terms mean to her. The impression Sontag left for these terms is that “truth” or “reality” stand for nothing more than what we can see. Being said, the difference between what we can with our own eyes and what we can see with a camera is reduced to the physical/mechanical differences between the human eye and body camera/lens.

The concept of image as presence refers to the concept that film can show the world as it truly is. Directors can choose to project the idea of image as presence in multiple ways, through the subjective viewpoints of the characters of the film, through an objective approach in which an omnipresent force that dictates to us about the facts that exist. In contrast, image as text, operates on the understanding that the world cannot be shown as it is, rather there is an understanding that what the viewer is seeing comes from an interpretive perspective. This viewpoint expects the audience to make connections between what they are seeing on the screen and other images that are already known. Making connections is part of the way that

In Chapter 4 of The Language of New Media, he discusses about “The Illusions”. He talks about several different points about the evolution of imagery that the users can reach out the silicon graphics computer known as reality system, and how powerful this computing system was in the 1990’s for creating 3D images and illuminated videos in the new media. This chapter was more interesting and it was even a little informative. In current times, these illusions can be defined as realistic images or film created with photo images, videos, and computer graphics.

To begin with, the author utilizes descriptive vivid imagery to awaken the reader’s sensory perception, and it helps the reader to realistically envision

An interview with Barbara Stafford discussing the movement hyperrealism art, asking the question what is hyperrealism? and how it was reacted to.

In the world we live in today, anyone can pick up a handheld video camera and record their son’s soccer game or daughter’s school play, but to really capture the beauty of an event takes true talent. It takes the expertise of a cinematographer or director of photography as they are also known, to capture the true essence of an event and scene. Thomas Edison even once said, “By faithfully reproducing and kind or type of movement, it [cinematography] constitutes man’s most astonishing victory to date over forgetfulness. It retains and restores the things memory alone can’t recover, not to mention its auxiliary agencies: the written page, drawing photography. … Like them, cinematography prevents the things of yesterday that are useful to tomorrow’s progress from sinking into oblivion; amongst these one must count moving things, which only a few years ago were considered impossible to fix in an image” (Neale, 54). A picture, whether it be a photographed image or a filmed image is nothing when it has not been looked at with the proper eyes. When expressed through the proper lens and eye an image can really be worth a thousand words.

Art is experienced best on an emotional level rather than just the beauty, pleasure or understanding of it. Artists will use their form of artwork to pass along their views and feelings. Teresa López’s and Wendy Ewald’s “The Phantom” is a piece of art that invokes many emotions. It simulates both the possibility of comfort or fear of the unknown and the anxious waiting of the known through its immaculate composition. This is done through its use of dense distortion and contrasting colors. Through distortion the artists get us to focus on the phantom that is the only source of light and the contrasting colors make us realize how contrasting our perceptions can be.

According to the classical theorist, there should be a display of visual representation which the solvet montagists, realists and the Perkins theory – which was founded by Victor Perkins book, Film as Film. The solvet montagist concepts