The Use of Evaluative Emojis by College Students in Kuwait1
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The Role of Art in Do Androids Dream of Electric Sheep?
Alex Hines Instructor Andrew Nance English 1102 13 November 2017 Does John Donne Dream of Electric Sheep? The Role of Art in Do Androids Dream of Electric Sheep? Despite its futuristic setting, Philip K. Dick’s Do Androids Dream of Electric Sheep? features several allusions to classic works of art. Although the androids have the capacity to appreciate such references on technical and even cultural levels, they lack the ability to identify meaningfully with the artworks as experiences. While the androids’ appreciation of art is tethered to a rigid rubric of logic and program-structured emotions, Dick emphasizes the ways in which “organic” humans, on the other hand, synthesize their logical and emotional reactions into a subjective, personal experience of artwork. In making this distinction, Dick suggests that the ability to empathize with the moral motivations and circumstantial emotions of the human subjects within each piece, as well as the capacity to recognize subjective thematic elements and the artists’ intentions behind them, are uniquely human characteristics. One of the first allusions that Dick features comes in the form of an opera: The Magic Flute. Dick chooses to present this allusion when Deckard must retire android Luba Luft, a singer performing as one of the opera’s protagonists. Dick’s decision to include this opera is significant because truth is a central theme in both the play and his novel. Deckard observes that it is “ironic” that an android should play a role where truth is so vital, because androids inherently lack the ability to understand the value of truth to such a role (Dick 96). -
Unravelling Historical and Artist Applied Varnish Layers in Painting Collections
Eur. Phys. J. Plus (2021) 136:899 https://doi.org/10.1140/epjp/s13360-021-01758-5 Regular Article Munch and optical coherence tomography: unravelling historical and artist applied varnish layers in painting collections Thierry Ford1,2,a , Magdalena Iwanicka3, Elena Platania2,4,PiotrTargowski5, Ella Hendriks6 1 The National Museum of Art, St. Olavs Plass, P.O. Box 7014, 0130 Oslo, Norway 2 Department of Archaeology, Conservation and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008 Blindern, 0315 Oslo, Norway 3 Department for Conservation and Restoration of Paintings and Polychromed Sculpture, Faculty of Fine Arts, Nicolaus Copernicus University, ul. Gagarina 7, 87-100 Toru´n, Poland 4 Hylleraas Centre for Quantum Molecular Sciences, Department of Chemistry, University of Oslo, Blindern, Post Box 1033, 0315 Oslo, Norway 5 Institute of Physics, Nicolaus Copernicus University. Ul, Grudziadzka 5, 87-100 Toru´n, Poland 6 Programme Conservation and Restoration of Cultural Heritage, University of Amsterdam (UvA), Johannes Vermeerplein 1, 1071 DV Amsterdam, Netherlands Received: 1 November 2020 / Accepted: 14 July 2021 © The Author(s) 2021 Abstract Effective care of large-scale museum collections requires planning that includes the conservation treatment of specific groups of art works, such as appropriate cleaning strategies. Optical coherence tomography (OCT) has been successfully applied as a non- invasive method for the stratigraphic visualisation of the uppermost transparent and semi- transparent layers in paintings, such as varnishes. Several OCT case study examples have further demonstrated the capabilities of the non-contact interferometric technique to measure the thickness of the various varnish layers, to help monitor cleaning and associated optical changes, and to detect past restorations. -
Masterpiece: the Scream, 1893 by Edvard Munch
Masterpiece: The Scream, 1893 by Edvard Munch Keywords: Expressionism, color Grade: 5th Grade Month: May Lesson Expressionist Self Portrait Meet the Artist: ••• 1863 – 1944. Born in Norway and was often ill as a child, had to deal with a lot of illness and grief in his family. ••• Considered one of his country’s greatest artists. He was a painter, lithographer, etcher and wood engraver. ••• Played a vital role in the development of the Expressionism movement. His works were considered “objectionable” and provoked outrage during the late 1800’s but he was a major influence on other artists and he later gained fame and respect of art critics. ••• His art is reflective of his own unhappy life as well as the basic fears and anxieties of mankind. ••• Munch stated, “We want more than a mere photograph of nature. We do not want to paint pretty pictures to be hung on drawing room walls. We want to create art that arrests and engages. An art created of one’s innermost heart.” ••• Munch died shortly after his 80 th birthday. He willed over 20,000 works of art to the city of Oslo (capital of Norway) which built a museum in his honor. KEY WORDS – Expressionism – a style of art in which the artist tries to express certain feelings about something. The artist is more concerned about having their painting express a feeling than in making the painting look exactly like what they are painting. Color – discuss the use of color to show emotion. It will not be realistic, but are based upon the feelings of the artist. -
The Scream, 1893 Madonna, 1894
The Scream, 1893 http://www.edvardmunch.org/the-scream.jsp Madonna, 1894 http://www.edvardmunch.org/madonna.jsp Puberty, 1894 http://www.edvardmunch.org/puberty.jsp The Sick Child, 1906-07 http://www.edvardmunch.org/the-sick-child.jsp Edvard Munch Edvard Munch was born in Løten, Norway, on December 12, 1863. At a young age he lost both of his parents and two siblings, a traumatic experience that he carried throughout his life in his art. He started his art career in Norway and for twenty years after 1885, he painted in Paris and Berlin. His style was so new and shocking that one of his shows was shut down in 1892. Munch suffered from an anxiety disorder, which became more serious as time passed. He eventually returned to Norway in 1909 where he spent the remainder of his life. He died on January 23, 1944. He left 1,000 paintings, 15,400 prints, 4500 drawings and watercolors and 6 sculptures to the city of Oslo, which built the Munch Museum at Tøyen in his honor. The museum houses the broadest collection of his works. His works are also represented in major museums and galleries in Norway and abroad. Munch appears on the Norwegian 1000 Kroner note along with pictures inspired by his artwork. Style/Significance: Munch is one of the main forces behind the Expressionist movement. His work contains a very strong sense of emotion, brought out through brilliant colors and a highly stylized way of painting. Most of his pieces contain an expressive orange-red color that is very dominant in the image. -
Emoji Symbols Proposed for New Encoding
Emoji Symbols Proposed for New Encoding For the Proposal for Encoding Emoji Symbols L2/09-026 Date: 2009-Jan-30 Authors: Markus Scherer, Mark Davis, Kat Momoi, Darick Tong (Google Inc.) Yasuo Kida, Peter Edberg (Apple Inc.) In the HTML version of this document, each symbol row has an anchor to allow direct linking by appending #e-4B0 (for example) to this page's URL in the address bar. Time Code Symbol Name & Annotations Internal ID Point U+23E9 CLOCK FACE ONE OCLOCK e-01E U+23EA CLOCK FACE TWO OCLOCK e-01F U+23EB CLOCK FACE THREE OCLOCK e-020 U+23EC CLOCK FACE FOUR OCLOCK e-021 U+23ED CLOCK FACE FIVE OCLOCK e-022 U+23EE CLOCK FACE SIX OCLOCK e-023 U+23EF CLOCK FACE SEVEN OCLOCK e-024 U+23F0 CLOCK FACE EIGHT OCLOCK e-025 U+23F1 CLOCK FACE NINE OCLOCK e-026 CLOCK FACE TEN OCLOCK U+23F2 Design Note: For the representative font, make it look like the rest of the SB clock series rather than making it e-027 look like the new alarm clock Emoji. U+23F3 CLOCK FACE ELEVEN OCLOCK e-028 U+23F4 CLOCK FACE TWELVE OCLOCK e-029 ALARM CLOCK U+23F5 Temporary Notes: a general clock symbol e-02A Design Note: Make the glyph look like an alarm clock. Other Signs Code Symbol Name & Annotations Internal ID Point WHITE HEAVY CHECK MARK U+2705 Temporary Notes: Check mark (red); not unified with ✓ U+2713 e-B4A Design Note: Should look like a hollow version (that is, without fill) of ✔ U+2714 HEAVY CHECK MARK. -
The Sky in Edvard Munch's the Scream
THE SKY IN EDVARD MUNCH’S THE SCREAM FRED PRATA, ALAN ROBOCK, AND RICHARD HAMBLYN The sky in Munch’s famous painting is compared with photographs of a display of nacreous clouds. ABSTRACTS IMPORTANCE OF LATE FALL However, since 1900 neither ob- THE SKY IN EDVARD ENSO TELECONNECTION served CONUS landfalling hur- MUNCH’S THE SCREAM IN THE EURO-ATLANTIC ricane frequency nor intensity The Scream is a well-known paint- SECTOR shows significant trends, including ing by Edvard Munch (1863–1944). Recent studies have indicated the the devastating 2017 season. The Norwegian word used by importance of fall climate forcings Two large-scale climate modes Munch is “skrik,” which can be and teleconnections in influenc- that have been noted in prior translated as “shriek” or “scream.” ing the climate of the northern research to significantly impact The Scream may be of interest mid- to high latitudes. Here, we CONUS landfalling hurricane ac- to meteorologists because of the present some exploratory analy- tivity are El Niño–Southern Oscil- quite striking representation of ses using observational data and lation on interannual time scales the sky. It has been suggested seasonal hindcasts, with the aim and the Atlantic multidecadal that the dramatic red-colored sky of highlighting the potential of oscillation on multidecadal time was inspired by a volcanic sunset the El Niño–Southern Oscilla- scales. La Niña seasons tend to be seen by Munch after the Krakatau tion (ENSO) as a driver of climate characterized by more CONUS eruption in 1883 and by a sighting variability during boreal late fall hurricane landfalls than El Niño of stratospheric nacreous clouds, and early winter (November and seasons, and positive Atlantic mul- and also that it is part of the artist’s December) in the North Atlantic– tidecadal oscillation phases tend expression of a scream from na- European sector, and motivating to have more CONUS hurricane ture. -
Exposing Motherhood in Nineteenth Century Europe
Woman, demonstrating a shift in the nature of moth- Munch’s Madonna: erhood: that from a moral duty towards an option in a Exposing Motherhood in woman’s life. The methodologies of iconography and Nineteenth Century Europe feminism unravel the symbolically-charged painting, and serve as a means to understand the social impli- cations of motherhood in nineteenth-century Europe. Helena Gomez Where does Munch’s Madonna fit in the con- text of nineteenth-century cultural ambivalence to- wards the emerging New Woman? Although much of Munch’s work has been viewed in a misogynis- tic light, criticized as the objectification of women in the extreme, and seen as a threat to the sanctity of motherhood, there may be room for more subtle in- terpretation. Munch’s Madonna reflects the changing role of motherhood as a social arrangement, and the exploration of the feminine through the New Woman. Late nineteenth-century Europe was charac- terized by the slow decline of Church power since The Virgin Mary, icon of purity and paradig- the French Revolution, modern developments in sci- matic image of the unconditional loving and caring ence, and acceptance of physical and biological hu- mother, represents the idealization of motherhood par man needs; but more importantly, there emerged an excellence. Characterized since Renaissance Mario- ambivalent atmosphere governing the male popula- logical imagery as the embodiment of chastity, she tion around the phenomenon of the New Woman.1 is most often depicted as soft, delicate, fully clothed, The New Woman introduced new tenets of social, and accompanied by the Christ Child. -
The Scream Edvard Munch
The Scream edvard munch ann temkin the museum of modern art, new york et’s plainly state what may seem self-evident: The Scream now L on view at The Museum of Modern Art is a unique work of art (fig. 1). It exists in contradistinction to the seemingly infinite number of images, produced during the course of more than a century, that replicate, modify, and caricature it. Edvard Munch drew this image with pastels on a sheet of paper mounted on card- board. It measures 32 by 23 1/4 inches. He made it in 1895, signing and dating it on the lower left. The artist housed the drawing in a gilded frame bearing a plaque with a text hand-lettered in red paint, signed “E. M.” The resulting object is resolutely autonomous, employing both image and text to convey the full force of Munch’s nightmarish vision. That being said, this Scream takes its place within a tightly knit family of related paintings, drawings, and prints made by Munch. Multiplicity is part of its DNA, for Munch continually revis- ited virtually all his motifs; returning to them was an integral part of his practice. Thus, long before the legions of imitations appeared, The Scream was both singular and multiple. This pastel drawing relates most obviously to the best-known version of The Scream, now in the National Museum in Oslo, Norway (fig. 2). Munch created 1. edvard munch that work in 1893, just before he turned thirty years old. From the The Scream. 1895. Pastel on paper on moment this painting on cardboard was first exhibited in Decem- cardboard, 32 × 23 1/4" ber 1893, The Scream became a sensationalized focal point for both (79 × 59 cm). -
Munch Van Gogh Exhibition at the Van Gogh Museum by Renee Phillips
Munch Van Gogh Exhibition at The Van Gogh Museum By Renee Phillips sk any artist or art Munch: Van Gogh, an exhibition that enthusiast to name their offers a stunning juxtaposition of favorite artists and two major artists. The exhibition invariably Vincent van Gogh which runs through January 17, will spring to mind. As an art 2016 is the first of its kind. It draws Astudent I was enthralled by his life fascinating parallels and similarities and inspired by his artistic between the two artists. Munch: Van contributions. In spite of his lack of Gogh is the result of years of career success during his lifetime, he in-depth collaboration and research is viewed as one of the most by the Van Gogh Museum in influential Post-Impressionist artists Amsterdam and the Munch Museum in to have laid the foundation of Oslo. modern art. Although they never met, Vincent Vincent van Gogh’s legacy lives on at van Gogh (1853-1890) and the the Van Gogh Museum in Amsterdam Norwegian artist Edvard Munch http://www.vangoghmuseum.nl/ (1863-1944) shared similar visions where he continues to have a in their art and life. When viewing prominent impact on the world. The more than a hundred important museum achieves its mission to make works of art by these artists, it is the life and work of this clear that they were kindred spirits. extraordinary artist accessible to as Their art can be characterized as many people as possible and to colorful, emotionally charged and provide them with education and intense. Their paintings The Scream inspiration. -
The Visual Elements
Chapter Four B The Visual Elements • Color • Texture and Pattern • Space • Time & motion Color: All color is dependent on light Sir Isaac Newton was one of the first scientists to investigate color theory. Around 1671-72 he shone a beam of light through an angular prism and split it into the spectrum - the various colors of the rainbow. With a second prism he found he was able to recombine these colors into white light. The colors of the visible spectrum. Do you have a favorite color? Why do you like this color? Black Mysterious and powerful. Dignified, refined and intelligent. Calm and in control. Deep thinkers. Smart, capable and responsible. White Purity, cleanliness, independence, order and peace. Innocence, change and transformation. Wise and balanced. Color Wheel: Made up of the colors refracted by Sir Isaac Newton’s prism plus the transitional color of red- violet. The colors of the visible spectrum. Primary Colors: Colors that cannot be created by mixture of other colors. Red, yellow, blue. Primary Colors Secondary colors: Created by combining two primary colors. Orange, green, violet. Mondrian defined neoplasticism as a quest for transcendent spiritual experience through an attempt to reduce art to its simplest, clearest form. He sought pure harmony and equilibrium, and believed highly simplified art could model a harmonious ideal world. Piet Mondrian, Composition with Red, Blue and Yellow, 1930, oil on canvas, 50.8 x 50.8 cm Piet Mondrian, Composition with Red, Yellow and Blue 1921 Oil on canvas Color: Cultural and Personal Components Emotional responses to color are both cultural and personal. -
'The Scream', by Edvard Munch 1893 LINE
‘The Scream’, by Edvard Munch 1893 LINE- The diagonal lines of the bridge lead the viewer’s eye into the picture. • Wavy lines in the sky and background are distorted and seem to mirror the screaming figure’s torment. COLOUR- • The predominant use of bright red in the sky may symbolise anger or torment as red is a colour often associated with these emotions. • The grey and beige colour of the face makes the figure look ghostly and as if all the colour and life has been drained from him/it. SHAPE- • The curved shapes of the body, sky and water look unnatural which gives the painting a distorted feel. • Munch reduces the features of the face to a series of simplified shapes which enhances the tormented emotions of the figure. TONE and FORM • The lack of natural skin tones in the face makes the figure look subhuman and almost alien-like. • There is a mixture of dark, mid and light tones blended together that make the bridge seem 3D. This contrasts with the flattened, distorted figure creating visual impact. TEXTURE- • The artist paints the bridge in great detail to create the illusion of a hard, wooden texture. • There are noticeable light blue streaks in the water which create a fluid, watery texture. PATTERN- • Irregular wavy patterns dominate the sky and land. They seem to mirror the figure’s torment. • Diagonal lines on the bridge and path create a linear pattern that the draws the viewer into the painting. COMPOSITION- • The screaming figure is placed centrally in the composition which makes it the focal point. -
Contextual Analysis 2
Understanding Standards Support pack for National course assessment C805 77 Art and Design (Advanced Higher): Expressive Portfolio evidence Identifier: Isolation This edition: October 2019 The information in this publication is for use by assessors from SQA approved centres. It may be reproduced in whole or in part to support assessment. © Scottish Qualifications Authority 2019 Contents Overview 1 Candidate evidence – contextual analysis 2 Please note: The materials in this pack were used as part of the (subject) Understanding Standards event in (September 2019). Overview Purpose Understanding Standards packs are intended to provide teachers, lecturers and assessors with a clear understanding of the marks that have been awarded to specific examples of candidate evidence and the reasons why these have been awarded. They may be used in centres: ♦ to prepare for the assessment of the relevant course component ♦ as benchmarks to help assessors judge the evidence produced by their own candidates ♦ for training purposes The commentary and candidate evidence in this pack should be read in conjunction with the relevant coursework assessment task and the marking instructions. Candidate evidence – contextual analysis Further expressive portfolio evidence for this candidate can be found here: https://www.understandingstandards.org.uk/Subjects/ArtandDesign/AdvancedHig her/ExpressivePortfolio Advanced Higher Expressive Art Contextual Analysis The Scream by Edvard Munch: an expression of anxiety and despair Edvard Munch was born in Løten, Norway. Famous for his intensely emotional and vivid artwork, The Scream is his most well-known piece. He expressed his pain and mental illness through his art. Munch was greatly influenced by the tragic life surrounding him and expressed his torment and pain through his art.