In any case, on the off chance that we concentrate on the title "The Road Not Taken" it implies that the artist is atoning on why he has selected the less frequented street. The artist legitimizes his choice by saying "I will state this with a murmur" likewise underpins this. Another translation of the lyric is that RoberFrost had not taken any of the expressed streets. Or maybe, he chooses the center way or does not pick any street for him as the title of the sonnet proposes. Ice himself cautioned "You must be watchful of that one; it 's a dubious ballad – extremely tricky”.
The argument was whether or not photography was art. Soon this argument was asked about film and whether it was art because it seemed to transform the entire nature of art. Walter also inserted quotes from Abel Gance, Severin Mars and Alexandre Arnoux about their thought as to what actually constitutes for art. Wlater Benjamin then wrote,”It is instructive to note how their desire to class the film among the “arts” forces these theoreticians to read ritual elements into it – with a striking lack of discretion. Even today authors give film a similar contextual significance if not outright sacred one, then at least a supernatural one.
Eliot’s work also declared that the individual elements of the artist should be filtered out of their work, and the artist should only serve as a “medium” for transmitting the words (148). In today’s society, however, identity markers and individualism are at a peak, and the rise of technology no doubt exacerbates our obsession with crediting the individual for their work. In the case of Mar’s, the criticism is not focused on his work, but the man, Bruno Mars, his identity. In the discussion of “cultural appropriation” we place the individual on trial, but that barely addresses the larger issue: the societal privileging of the individual. French Philosopher Michel Foucault asserts in his essay “What is an Author?” that “The coming into being of the notion of the ‘author’ constitutes the privileged moment of individualization in the history of ideas (157).
Firstly, regarding the script, there are some obvious plot holes, like why Lim Kyu-nam was not interrogated about the incident in the pawn shop and why the police did not contact immediately an investigation in the pawn shop and obtain the CCTV footage on first place? Another downside are the few farfetched scenes, like the one with the cutter towards the end of the movie. Nerveless, this is a minor drawback, since some over-the-top scenes are generally expected in movies that deal with humans with super powers. Unfortunately, there is another more vital flaw. Director and writer Kim Min-suk, even if he put some effort either intentionally or unintentionally, to make Cho-In’s character sympathetic, he misses the chance to ultimately achieve this, when he made Cho-In capable of harming an innocent baby.
At the end of it all, the questions of the film’s plot are unimportant. The most important question the film asks the audience is “Why did you want to watch that?” A man lies dead in a pool of his own blood, a son no longer has a father, a man’s marriage is falling apart and the audience, much like Georges, is still only interested in finding out who it was that made those tapes. The things happening around this plot point are almost like sideshow spectacles, distracting the viewer from the main event. In their search for the scopohilic, however, the audience misses the minutiae of the events surrounding them, consuming in a sort of blind frenzy. The film goes to great lengths show this to the audience, to try and get them to take a step back and critically examine why they want to watch events unfold, but the audience cannot see this, for they are too caught up in discovering who the culprit is, when it was them all along.
Abstract art doesn't jump out and declare "This is what I'm all about." Instead, abstract art requires one to have an open, inquiring mind; one must enter the painting and see where it takes you. Abstract art gives them the freedom to explore the artwork and assign their own meaning to the piece. This intensely personal process enriches the viewer and artist’s experience of an artwork. Greenberg on the other hand defines abstraction; not simply to avoid representation, but to avoid the impurity and inauthenticity of representing three dimensional space on a two-dimensional surface.
This book is an exploration of the tension created by its’ dual existence i.e. the disconnect between the artist’s inspiration and the potential of his/her work at the marketplace. A hard to summarize book (by the author’s own account), it is divided into two parts. In Part 1 Hyde builds upon the theory of gift exchange through the use of mythologies, fables and anthropogenic examples and in Part 2 he applies this theory to art, specifically upon the poetry of Walt Whitman and the life and guiding philosophy of poet and critic Ezra Pound. The central premise of this essay is to gauge the difference between these two economies through a political economic lens and analyse the degree of reconciliation that can occur between both, if reconciliation is at all possible.
The use of the phrase “superficial mimesis of life” is paramount. Yeats’ rejection of depicting “the real world” (Yeats) in art is not due to a “hatred of the real world” (Pasley, 251), such as is suggested Malcolm Pasley; Yeats is not necessarily rejecting naïve realism. Rather, Yeats is acknowledging that the fallibility of the ‘realism’ depicted in theatre. It is a “surface reality” (Carlson); the trend of studying the “intricacies of character” (Carlson) only serves to “sacrifice vision”
The gay pornography magazines displayed in the installation is a part of the immersive experience for the visitors and is something the artist’s wanted. Censoring and removing from the exhibition would not be the correct artistic intent. Tan (2011) justified that altering an artwork would limit the creative expression and change the message of the artist’s (para.24). In the case of “Welcome to the Hotel Munber”, it was to raise awareness about oppression and freedom, which is a social issue as oppression happens not just in a country, but a household as well. Therefore, censoring it with not allow to raise awareness about the issue, hence condemning the
Some may argue that suspending disbelief — especially in the light of contemporary scientific method — can be considered a form of ignorance. However, it is often essential to take no notice of doubts in order to finally achieve the aim of gaining knowledge. It surely happens in theatre on multiple levels — from the substantial ignorance of the dark space around the stage, to the trust in the authenticity of characters’ emotions. But not only does the “suspension of disbelief” applie to Arts, but it can also find its use in other Areas of Knowledge such as Natural Sciences and Religious Knowledge Systems. Nevertheless, it should be underlined that applying