I am fond of asking simple questions since unpretentiousness constitutes a method for the interrogation of reality. I also believe that the attempt to apprehend the world through discourse requires acknowledging the fact that when drafting queries we are –in a very uncanny way- forcing reality to be as we want, desire or need it to be. For a long time now, we came to learn that language shapes realness. And if we agree on that, we will also agree that we have the ability to create it by following, among other things, our own interests. However, if we seek to understand a phenomenon as closer to its covert attributes and far from our own particular concerns and preconceptions we will be forced to rethink our strategies. Therefore, simplicity …show more content…
Catherines, Canada) & Nadja De Carvalho Lamas (Joinville, Brazil) invited me to participate as a writer for this exhibition, the first thing I thought, while sitting in front of my computer in Córdoba (Argentina), that this was a good opportunity to raise a modest question regarding how it would be possible a more friendly approach to contemporary art practices. Hence, I thought of the most epidermal interrogation; something that has always startled me: how a contemporary art exhibition comes together. Here is the trick: simple questions in contemporary art (as in life) do not usually have simple answers, even though they do tend to shake the structure of conventional knowledge. Not simple, because there are too numerous and different angles and perspectives to address the subject, since –luckily for us, workers of art- there are not so many formulas or prescriptions when dealing with the conception of contemporary art-shows. Of course, there are typologies of exhibitions and some recipes for materializing and mounting them, but this is of no concern for the purpose of this text. Besides, I intend to put into words the fascinating instant of coming up with an idea for an exhibit, but most outstandingly the necessary unconsciousness to achieve it by not following the well-known chore. This was the challenge that Duncan and Nadja were willing to
The Letter from Birmingham Jail was written by Dr. Martin Luther King Jr. in April of 1963. Dr. Martin Luther King Jr. was one of several civil rights activists who were arrested in Birmingham Alabama, after protesting against racial injustices in Alabama. Dr. King wrote this letter in response to a statement titled A Call for Unity, which was published on Good Friday by eight of his fellow clergymen from Alabama. Dr. King uses his letter to eloquently refute the article. In the letter dr. king uses many vivid logos, ethos, and pathos to get his point across. Dr. King writes things in his letter that if any other person even dared to write the people would consider them crazy.
In “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” Joan R. Branham argues about the experiences art viewers have in museums based on their surroundings. Her points include how a person is to completely understand and feel a ritual object if it is taken out of its natural context or how someone is able to fully appreciate of work of art if they can’t see it where it truly belongs.
The YouTube video “U.S. Armed Forces – We Must Fight – President Reagan” by Matthew Worth was made with the intention to motivate the viewers to support the U.S. Armed Forces. The purpose of this Rhetorical Analysis is to determine whether or not the video has been successful in doing just that, motivating and drawing support for the United States Armed Forces. The video was uploaded to YouTube on February 19, 2012 and has nearly 4 million views. Matthew uses the famous speech “A Time for Choosing” by the United States former President, Ronald Wilson Reagan, who has a reputation for his patriotism, to complement the video. This video has been effective in motivating the viewers because of its strong use of the rhetorical concepts logos, ethos, and pathos.
Pollan’s article provides a solid base to the conversation, defining what to do in order to eat healthy. Holding this concept of eating healthy, Joe Pinsker in “Why So Many Rich Kids Come to Enjoy the Taste of Healthier Foods” enters into the conversation and questions the connection of difference in families’ income and how healthy children eat (129-132). He argues that how much families earn largely affect how healthy children eat — income is one of the most important factors preventing people from eating healthy (129-132). In his article, Pinsker utilizes a study done by Caitlin Daniel to illustrate that level of income does affect children’s diet (130). In Daniel’s research, among 75 Boston-area parents, those rich families value children’s healthy diet more than food wasted when children refused to accept those healthier but
“This world is but a canvas to our imagination” (Thoreau). The world is quite literally a canvas for graffiti artists, and these two opinion editorials cover the desire for this medium of art to be appreciated and showcased. Eric Felisbret wrote “Legal Venues Celebrate Graffiti as an Art Form” which was published on July 16, 2014 in the New York Times. Felisbret’s article was about creating more legal venues to showcase graffiti. Kathy Grayson wrote “L.A. Graffiti Exhibition, ‘Art in the Streets,’ belongs in N.Y.C.,” which was published on June 26, 2011 in the New York Daily News. Grayson wrote her article to persuade readers that “Art in the Streets” belongs in New York. The articles were simultaneously the same and very different in their content. Even though the specific messages were diverse the purpose was to persuade the discourse community, who value law, education, and their community, into having graffiti displayed as art. These two
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
Analyzing the codes used in the University of Arizonas Natural Science On-line Class Attendance Policy, a genre emerges disparaging the traditional view that knowledge is sharpened through the exchange of ideas. To make the class more appealing to non-traditional students the University has designed an attendance policy which does not eliminate traditional forms of interaction, but instead devalues them subversively thus discounting their necessity. Connotations within the policy divert the unsuspecting student into a particular learning mode. This mode, unappreciative of the insights a typical class would normally culture, does not encourage the student to be "present" mentally, an imperative aspect of becoming educated in a cyber class. Therefore by establishing the existence of these de-prioritizing codes, and the extent to which they must inevitably shape the interpretation of the text, we can clarify the level of interaction the policy genuinely intends. We see then the probability of students relating to the individualistic tone of the policy and discounting the requirements to attend to and with others.
Jack Shakley’s “Indian Mascots- You’re Out” published on the op-ed page of the LA times, he impacted readers about the argument over professional and college sport teams whose mascots are using Native American names. Shakley is the former chair of the Los Angeles city/county Native American Commission. The author describes the history of using Indian mascots and how it hurt a group of people. He wants readers to know that it is necessary to remove Native American names and mascots from college and professional teams. Jack Shakley uses three strategies to present his argument to show his attitude to remove Indian mascots in teams.
In a persuasive essay, rhetorical appeals are a very important tool to influence the audience toward the author’s perspective. The three rhetorical appeals, which were first developed by Aristotle, are pathos, logos, and ethos. Pathos appeals to the emotions of the audience, logos appeals to the facts or evidence and ethos exhibits the credibility of the writer.
The movie trailer “Rio 2”, shows a great deal of pathos, ethos, and logos. These rhetorical appeals are hidden throughout the movie trailer; however, they can be recognized if paying attention to the details and montage of the video. I am attracted to this type of movies due to the positive life messages and the innocent, but funny personifications from the characters; therefore, the following rhetorical analysis will give a brief explanation of the scenes, point out the characteristics of persuasive appeals and how people can be easily persuaded by using this technique, and my own interpretation of the message presented in the trailer.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
The piece that I will be analyzing is called How It Feels to Be Colored Me. This piece appealed to me because she described her point of view through the use of anecdote. Her perspective of being different caught my attention because most articles about being colored are so clique. This one is out of the ordinary because she thinks of being colored as a good thing. The only thing that could be difficult to analyze about this piece would understand how she feels because back then, black people were treated horribly.
Jonathan Kozol revealed the early period’s situation of education in American schools in his article Savage Inequalities. It seems like during that period, the inequality existed everywhere and no one had the ability to change it; however, Kozol tried his best to turn around this situation and keep track of all he saw. In the article, he used rhetorical strategies effectively to describe what he saw in that situation, such as pathos, logos and ethos.
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
On the video as well as being physically in the gallery, the patrons were studying the piece of art, speaking to one another about it, writing and photographing the canvas. The audience was captivated by the eccentric work, perhaps because they had never experienced anything like. This is different from watching paint dry on the walls of a home, this watching paint dry is for pleasure, enjoyment, and one’s curiosity. As for the enjoyment of the uncommon art, it is safe to speculate that from the looks on people’s faces many enjoyed the work; however, more were perplexed by it. This bewilderment could be from wondering why and how they came to view such an