Thinking About Things We Can T See Alfredo Cragg

When analyzing Romans Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” The artist used a multitude of visual elements to grab our attention. One great powerful example that caught my attention was the four corners of the roman sarcophagus. The four corners of the sarcophagus stood out the most to me be it depicted the battle's outcome while maintain a balance of each side. It shows us trophies, weapons, kneeling Amazon prisoners and hands bound behind their backs, but directly at the corners we men and women kneeling with their heads down which is unusually because through all of the weapons and trophies and chaos we see the after math of the battle. Showing us the true feeling of sorrow, forgiveness and possibly

"This is a valley of ashes-a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens, where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of gray cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-gray men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operation from your sight." Page 27

Bedrock, this. The cold and the silence. The ashes of the late world carried on the bleak and temporal winds to and fro in the void. Carried forth and scattered and carried forth again. Everything uncoupled from its shoring.

The poem “Facing it” by Yusef Komunyakaa has a tone that will haunt a reader well after they are done reading it. The poem is about the author, a veteran visiting the Vietnam veteran’s memorial for the very first time. The author describes the emotional impact the visit has on him. The author uses lines such as “I said I wouldn’t, dammit: No tears.” (Komunyakaa, 1947, line 3-4) and “I’m stone. I’m flesh” (Komunyakaa, 1947, line 5) to drive home the emotion and deep feelings in the poem. Throughout the poem the author utilizes personification to add to the effect and tone of the poem as well. The author talks about the memorials stone as if it were alive. He uses the line “I turn this way –the stone lets me go.” (Komunyakaa, 1947, line 9). This is an example of the personification the author uses to help bring the stone to life. The author feels the stone truly has a strong hold on him.

The sculpture on South Campus at Moravian College commonly known as Moravian Roots One and Two, who was created by Steve Tobin in 2010 has a significant meaning behind the moderately new sculpture. There are two of the same types of sculptures in the same place, just distance away from one another. This sculpture seems to be abstract, since we are taking the form of what it looks like to create a meaning, which can be something different in other people’s eyes. The sculpture is a dark black shade that naturally blends in with the surroundings, therefore making it blend in with its natural surroundings. The negative space between the roots are easily seen since its roots are based in various directions, showing us how far the roots of the sculpture and realistically Moravian has grown. There is no base or pedestals for these two sculptures who go hand in hand together, but it is roughly around five feet standing upward and going in sporadic directions, to signify differences. They are roundly shaped with carved pointed edges giving the image that it is like a tree root or branch, being slightly pointed on the top. The inner parts of the “tree roots” are textured off to have a little dots making it a bit rougher than the soft and smooth outer sides that we see from a distance. There seems to be no said real front or back side to this piece because the tree roots go in different directions, therefore giving the observer a chance to decide which way they would like to view it.

The town of Holcomb soon sinks into a stupor of uncertainty as its unity is taken up in the flames of Clutter belongings: “...they acquired additional fuel for the impending fire--blood-soiled bedclothes, matresses, a bedside rug, a Teddy-bear doll. … How is it possible that such effort, such plain virtue, could overnight be reduced to this--smoke, thinning as it rose and was received by the big, annihilating sky?” (Capote 78-79). The multiple descriptors enhancing imagery creates a metaphor: the burning of everyday items, the disintegration of a common trust

Ashes, Fire and dust are recurring motifs in the novel. Analyze passages that reference ashes fire, and dust in any form from candlelight flames to heaps of ashes. You must discuss the motif here. What do fire, ashes, and/or dust represent beyond the literal in the passage.

The Gravestone of a Woman with her attendant is a sculpture created by an unknown artist and is now on display at the Getty Villa in Malibu, California. The sculpture is of a woman seated in a cushioned armchair, reaching out to lightly touch the top of a box or chest held by her attendant. We can tell from the sculpture that the women is of a higher class because of how her hair is done, the significant amount of jewelry, and the decorated throne that she lounges in. This sculpture is an extremely detailed Grecian gravestone made from a thick slab of colorless marble around 100 B.C.

After merely seeing the memorial the speaker begins to fight back tears because of the memories he was having involving the Vietnam War. Describing himself as both “stone” and “flesh” relates him to being a veteran of a war who is alive and a dead man like the fallen soldiers he knew who are honored in granite in the memorial. While staring at the memorial the speaker’s vision is blurry and is described as a “clouded reflection” when viewing the memorial through tear filled eyes. This reflection eyeing him “like a bird of prey” conveys a sense of weakness and judgment felt by the speaker regarding those around him who are standing strong. The speaker is so captivated by the memorial the light transports him “inside the Vietnam Veterans Memorial” and the stone has the ability to “let him go.” Light is an important aspect because it represents the good that the Vietnam Memorial has created and the way or honoring the veterans of that war. Etched

Even through it was briefly discussed that part to me was very interesting. It’s amazing to how they have such amazing art work on each and every hollow tree. Each design has a meaning, some of the meaning of the artwork could insist of celebration of life, respect for the dead, and also people’s connections with the ancestors. The aboriginal people also put the ashes of the fallen in the hollow tree, by doing this the ashes will eventually grow into their lands and be a part of

The sculpture on South Campus at Moravian College commonly known as Moravian Roots one and two has a significant meaning behind the moderately new sculpture. There are two of the same type of sculptures in the same place, signifying the same meaning. This sculpture seems to be abstract, since we are taking the form of what it looks like to create a meaning, which can be something different in other people’s eyes. The sculpture is a dark black shade that naturally blends in with the surroundings, therefore making it blend in with its natural surroundings. The negative space between the roots are easily seen since its roots are based in various directions, showing us how far the roots of the sculpture and realistically Moravian has grown. There is no base or pedestals for these two sculptures who go hand in hand together, but it is roughly around five feet standing upward and going in

Both Etruscan and Roman tomb sculpture function to memorialize the departed allowing them to move on from the world of the living and seeks to comfort those who have lost the ones they love. The two societies have differing practices in regards to death and therefore sculptures concerning the subject are somewhat different with a few identifiable similarities. While both societies seek to comfort the living and commemorate the dead this is achieved through different approaches. The Etruscan Sarcophagus with reclining couple from Cerveteri, Italy and the Mummy of Artemidorus from Roman Egypt are two examples of contrasting representations of the dead. When analyzing tomb sculpture one of the main questions is whether the work adapts a retrospective approach (presentation of the deceased as they were in life) or a prospective one (the viewpoint of looking forward to life beyond the grave). While the Etruscan sarcophagus gives a more retrospective memorialization through the depiction of the couple in a state of regularity the Roman Mummy of Artemidorus presents a more prospective approach concerning the deceased through the emphasis of funerary practices.

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

People who are guilty of pride are illustrated carrying large stones on their backs. Those whom are carrying stones are unable not capable of standing straight up. The second terrace is where envy is punished, the souls all have their eyelids stitched shut. Domenico di Michelino choice of color allows for an easy distinction between the ground and the soul. Next the third terrace is the location in which the wrath is punished.

The aesthetic of ruins can help us understand aspects of interior design in terms of the lack of human presence indicating elements we might otherwise ignore. To explore this theme, I will examine how theorists have thought about the aesthetic of abandonment in relation to the beauty of abandoned structures, beginning with the work of Gordon Matta-Clark, in leading us to rethink our lived in environment apart from just its visual aspect. Gay Watson introduces the idea of emptiness as a therapeutic perspective and following this I discuss the origins of beauty in impermanence, non-selfhood and emptiness. I also analysis beauty existing in ruined buildings that reveals the relationship between space and human beings, supported by the work of Henri Lefebvre.