Life Is Strange “What,where am I ?”Max says in the pouring rain.”There’s the lighthouse,i'll be safe if I can make it.”Please let me make it there.Max walks toward the lighthouse.Before she makes it there,the top of the lighthouse falls on top of her.She wakes up in class.”Wha-? It was only a dream.” Victoria throws a crumpled up piece of paper at Kate. Why can't Victoria be a good person for one second?Max takes a “selfie”.”Shh,you see Max has taken a selfie,a dumb word for an amazing work of art,Now Max ,since you obviously wanted to become apart of the conversation, will you tell us who invented the first self portrait? “ Mr. Jefferson asks. Crap what do I say? “I don't know.” “Can anybody tell me the answer?” Victoria raises her “perfectly perfect” hand “Victoria.” “A French painter named Louis Daguerre,now you're really out of the retro zone,sad face.” Victoria gives Max a snotty look.The bell rings.”Don't forget,you everyday hero's assignment is due on Friday where you will ride with me to San Francisco and be feted by the arts.Max leaves to go into the hallway. Okay Max,let's go wash our face.Then we can leave.Max splashes some water on her face.She looks at one of her photos.Max you have a gift,don’t waste it.”Screw it.”She shreds her paper.A butterfly painted blue and black gently drifts in from a vent in the ceiling.Ok max,you don’t get a photo OP like this everyday.Max crouches down to the bucket where the butterfly landed.She takes a photo of the
She attempts to bring this photo to life, giving it a true identity, through the world of science and through the stories her family shares. The Immortal
4. When Hardy is explaining McMurphy “You are strapped to a table, shaped, ironically, like a cross, with a crown of electric sparks in place of thorns. Later in the book once Chief and McMurphy are moved to the Disturbed ward, McMurphy ask to be anointed with a crown of thorns while on the electroshock table.
4. “ You're in college?..Yes, i'm studying art. I want to paint… Oh how sad, she said and her smile sank into a gray line”. (Page
According to Julia Glum of International Business Times, millennials (people born between the early 80’s and early 2000’s) could take over 25,000 selfies in their lifetime. Keeping this statistic in mind, it is no wonder selfies are so popular today. Rachel Syme’s essay, “Selfie, the Revolutionary Potential of Your Own Face, in Seven Chapters”, talks about 3 women who would have loved the selfie, defines the word ‘selfie’, shows various selfies she has received, and explains a story of her own selfie. She concludes by listing people who selfies are and are not for and considering the potential of the selfie revolution. Through her use of examples and vivid language, Syme’s essay successfully argues to readers that selfies are a revolutionary
While Postman points out the literal meaning of photography is “writing with light”; the two are from completely different universes when it comes to public discourse (p. 71). Unlike typography, photography cannot offer assertions, make propositions and offers no commentary. As long as it is not an altered photograph, it has no choice but to be true (p. 73). Thus, the photograph is only able to capture a moment in time and does not have the ability to comment on that moment. Our author contends, where language presents the world as an idea, the photographs only option is to show the world as an object (p. 72). Whereas in language, the correct context requires consideration of what is said before and after, in photography there is no before and after, only the snapshot of time. Therefore, by its very nature photography is context-free (p. 73). As photography immersed itself in the American culture author, Daniel Boorstin called this “the graphic revolution.” Postman is unequivocal on the point that the traditional forms of information, news, and even reality itself received an impairment by this new focus on images. For examples, he cites billboards, posters and advertisements. He points to magazines Life, Look and several newspapers. The picture was the focal point, and the writing was forced to take a less dominate roll and sometimes done away with altogether (p.
Selfies are a form of capturing memories and for Kathryn Steinle (Kate), a 32 year old woman, a selfie with her father on a San Francisco pier
One day in 1893, Pierre Bonaire strolled on the streets of Paris. Many years later, he will be the post-impressionist Zongjiang, founder of the Nabi School of painting and the world, but then, he was just a 26-year-old solo painter. In the street, he helped a girl cross the road, and then occasionally began to chat: she said he was 16 years old, called Mardel de Mellini, first came to Paris, working in the flower shop. Later she became Bonnard's model, and then naturally become the lover of Bonnard.
His attempt to depersonalize the subjectivity that Bartleby represents crushes a part of himself. The photograph can only deal with a particle of experience but, as Bartleby explains to the lawyer, “I am not particular” (Melville, “Bartleby” 69)” (Weiner,
“Your paintings are different, the shading defines the personality behind the mask. However, I see that you haven’t painted yourself, have you ever considered a self portrait?”
Furthermore, the “selfie” or digital image seeks to represent a moment of time or fun that does not prove to be an authentic representation of one self. Moreover, it can be eluded from the text that self portraits are the art and the selfie or “digital” image is the human need. The text elaborates this ideology, stating “…digital photography has
An introductory course on American politics, as expected, addresses checks and balances, the constitutional system, and federalism. In addition, the course offers students a better understanding of democracy, political participation, power struggles. Whether rooted in history or focused on abstract ideas, such a course can help students better understand contemporary issues. Students can apply their new knowledge to be better informed about current politics. This paper explores three pressing issues: judicial review, political behavior, and race and politics. These concepts will be examined with examples to give the reader a sense of how to analytically explore political issues.
The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.
In “Why We Take Pictures,” Susan Sontag discusses the increase use of technology and its ability to impact the daily lives of mankind. Taking pictures is a form of self-evolution that slowly begins to shape past and present experiences into reality. Sontag argues how the use of photography is capable of surpassing our reality by helping us understand the concept of emotion, diversity, and by alleviating anxiety and becoming empowered. Moreover, according to her argument, people are able to construct a bond between the positive or negative moments in life to cognitively release stress through reminiscing. Therefore, Sontag claims that photography itself can help with reshaping individual’s perspectives of reality by being able to empathize with the emotions portrayed through an image. Thus, giving
The United States has a problem and its name is “anti-vaccination”. To combat this and the risk it presents to the general public 's health, the California state legislature has passed a law which is a monumental step forward in the quest for worldwide health. For decades, vaccines have been dramatically reducing the rates or even ridding whole continents of deadly diseases, the likes of which were previously thought a normal, albeit horrific, part of childhood. In recent years, a growing number of parents have decided to forgo the doctor-recommended schedule of vaccinations in favor of late or no vaccination at all.
Susan Sontag said photographs sends across the harmlessness and helplessness of the human life steering into their own ruin. Furthermore the bond connecting photography with departure from life tortures the human race. (Sontag 1977:64)