Summary Of Stooller's Journey As An Apprentice Of Mehanna

This traditionally formatted book was the first set of prints to give Utamaro some noteriety. After a few similar books, Utamaro began to develop his figurative style even more. He elongated the figures in his prints and drew the heads more oveal rather than circular. It is at this time that his talent for arranging and relating figures began to take shape (Hiller 42).

In this paper you will see how the drawings that I have presented to you make sense and are not just randomly there. There are names, places, religion, and lines present in this art piece that mean something to me and others as well. I’m from two places and not just one but I spend more time in one place than the other, so somethings of what I have known from the other place have been lost in time and memory. The memories come and go but remain lost because of the fact that they aren’t remembered and from being seen as unimportant to my present when in reality they are just as important. “I write the myths in me, the myths I am, the myths I want to become,” Anzaldua.

In Meditation Two of René Descartes’ Meditation on First Philosophy, he notes the sight of “men crossing the square.” This observation is important as Descartes states, “But what do I see aside from hats and clothes, which could easily hide automata? Yet I judge them to be men.” This is an important realization as Descartes argues that instead of purely noticing the men through sight, it is actually “solely with the faculty of judgement,” the mind, that perceives and concludes that the thing wearing a hat and clothes are men. I argue that this view of the outside world by Descartes is incomplete as his idea of “I” is faulty, as well as having a misunderstanding on the importance of the senses.

Despite this problem, we believe it is the same piece of wax we see, touch, or imagine. But it is not our feelings or imagination that gives us the idea. If we had evaluated these abilities, and if the wax is distorted, we would not be able to agree that it is the same wax. This study enables us to recognize that the imagination, just like sensation, does not convey the true nature of wax; rather, this difficulty indicates that only understanding, exercising its powers of conception and judgment, performs the unifying function that constitutes the self-identity of the piece of wax: “our perception of the wax is neither a seeing, nor a touching, nor an imagining… but the mind alone” (68). Although the changing characteristics of the body has been transported through our senses and imagination, the identity of the matter is provided by the understanding of the wax itself. This analysis confirms Descartes’ view that “what we thought we had seen with our eyes, we actually grasped solely with the faculty of judgment, which is in our mind” (68). Therefore, any sense of the body is actually an introspection of our mind, not an external inspection.

In the Meditations, Descartes abandons his views about everything he knows in the world. During this he discusses the idea of senses relying on the mind rather than the body. The role of senses is shown through his demonstration of the wax example and the ever changing properties the wax entailed. “The perception I have of it is a case not of vision or touch or imagination…but purely of mental scrutiny.” (Descartes 31) To Descartes, the senses were deceiving and could not be solely trusted in the understanding of a worldly object, in Meditation II he adequately defends this argument. Throughout this paper we will examine how this example was important to the entire argument that Descartes discusses in this paper, along with Descartes ultimate conclusion: “One cannot be deceived of their existence” and how these views may relate to other philosophers such as Locke and Berkeley.

The artwork is one of the main ways to express the culture of a region or a country. Therefore, art has played a very important role throughout history. When talking about art, the first thing that comes to most people’s minds is probably that art is a painting or it is a sculpture. However, art has many forms of expression, and it closely connects to human’s daily life. Besides paintings and sculptures, art is everywhere around us. I am always interested in how people have linked art with daily life throughout history. For this reason, the two pieces of artwork I chose from my visit to the Museum of Fine Arts are both objects that can be used in everyday life: one is the mixing bowl and the other is an incense burner. Though they are from different cultures, have different making processes, and have a different purpose in usage, they both are good examples to show how artists tried to apply art using different techniques to human’s daily life.

Furthermore, In Meditation II, Descartes sets out to build new knowledge on his recently established foundations. In addition, Descartes conducts a thought experiment using wax to “consider the things which people commonly think they understand most distinctly of all; that is, the bodies which we touch and see” (20). Descartes begins by describing the wax based on its properties, such as its smell, taste, colour, shape, size, hardness and that sound it makes, if you were to “rap it with your knuckles” (20), “in short, it has everything which appears necessary to enable a body” (20). Continuing from there, Descartes proceeds to move the piece of wax closer to the fire and to observe what happens. He describes that the previous properties of

In Meditations II Rene Descartes, the father of modern philosophy changed the landscape of Western Philosophy by stating: ‘cogito ergo sum – I think, therefore I am’. Now referred to as Descartes’ Cogito argument. The introduction of the cogito would go on to not only immortalize Descartes but also solidify his status as a pioneer of human thought. However, over time many modern day philosophers have begun to question the merit of Descartes’ Cogito argument. Much of the argument’s criticism draws from its uncanny similarities to Avicenna’s Floating Man thought experiment, which had been presented 600 years prior. Despite the apparent similarities between these arguments, a thorough analysis of each account will reveal unexpected distinctions.

I expected him to walk straight towards me and spark a conversation. His wide eyes and smiling features made him appear as if he were ready to go on an outing. I felt chills, ready for this inanimate figure to come to life. Due to the elaborately styled hair I was inclined to touch it, reminding me much of the Assyrian hair style. I stood there marveling at the figures stance of an early rendition of contrapposto. His weight placed on one foot more than the other created the illusion of him taking a step. I anthropomorphized the figure as I imagined him walking like any other human being. His symetrical stance and his hands clenched gave him a sense of power and god-like

The stories behind his pieces were internal and conceptualized and spoke to viewers’ imagination, such as “Large Hand of a Pianist” where he gives “tangible form to things that are not visible such as energy, sound and rhythm” (Iris & B. Gerald Cantor Foundation, 2016). Rodin’s new way of perceiving art allowed us to use our imagination to make sense of what was presented to us, but why was this transformation so important? Rodin banished the many narrative references to classical myths still adhered to late 19th century academic sculptures that placed stress human moments of dignity in a limited way. However, Rodin incorporated a sense of novelty that was sadly, initially not appreciated. He sculpted life-like fragmented figures with ostensible modern attitudes of proud physicality and love with attempts to skew from the traditional focus on gods and muses. Additionally, the bronzes he incorporated sculptural surface that carried a potential for expression.

The purpose of the relics and the reliquaries were to symbolically transform the dying emperor’s body into a new state of being, which highlights the lack of clarity in the view of reliquaries as objects or subjects and furthers our understanding of the agency of the form. His statement that the reliquary set is “the most revealing visual documentation of a programmed throne succession scheme in Chinese history” also gives a deeper view into the role of reliquaries as a visual technology that has made looking and touch a means of acquiring and distributing knowledge and an indicator of what a culture prioritizes (Wang 55). The reliquaries in the Farnen Temple crypt provide insights into the connection between the object and ritual, as the reliquary casket sets spell out a succession of changing bodily states (Wang 68). Furthermore, this example demonstrates how the significance of the reliquaries can be overshadowed by the relics they hold, as Wang laments how often “the mystique of the relics trumps any interest in the richly decorated reliquaries that housed them” (Wang 51)

My thesis for this essay is that the authenticity of knowledge is derived from intuitive faculty. This commentary on principle number 28 of Rene Descartes Principles of Philosophy was written in order to reveal the mind and body debate and to exhibit the theory that God is not a deceiver. Through his work, Descartes is able to justify his position by the use of clear and distinct perceptions as a method to build up a “systematic body” of certain knowledge. Understanding Descartes and his conclusions regarding the

Some have suggested that René Descartes argues that sense perception relies on the mind rather than on the body. Descartes asserts that we can know our mind more readily than we can know our body. In support of this idea he gives the example of a piece of wax which is observed in its solid form and its liquid form. After pointing out the difficulties of relying on the senses of the physical body to understand the nature of the wax he makes this claim: [P]erception ... is neither a seeing, nor a touching, nor an imagining. ... [R]ather it is an inspection on the part of the mind alone (Section 31). 1 This quote is perhaps the most direct statement of the author's thesis on this subject.

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”

Knowledge lies at the foundation of everything in society. While it may not always be noticed, it is always present. This knowledge is used in an array of processes such as creativity, experimentation, analysis, and so much more. From process to process, or area of knowledge to area of knowledge, all knowledge incorporates the processes of both transformation and description in order to evolve as justifiable beliefs. Transformative knowledge includes the product of an individual’s implementation of their personal cognitive processes to challenge traditional perspectives, while descriptive knowledge results when individuals utilize the new perspectives, allowing fresh outlooks to be perceived. While all areas of knowledge incorporate the use of both processes, some may primarily use one or the other. This can be seen in the areas of art and natural sciences. Knowledge in arts seems to primarily describe the world, while knowledge in natural sciences seeks to transform it through innovation and much more.