Prospectus, February 1, 1984

TOOTH FAIRY PROMOTES DENTAL HEALTH; News Digest; Vote today or tomorrow for StuGo senators; PC Happenings: Parenting programs on TV, Jackson prints donated to Parkland; Letter to the editor; Get involved!!; Experience the uniqueness of people; Letter to the Editor; Student Government candidate platforms; Counseling center; A new look at the library; Story Shop stimulates young writers; Mechanics services at Parkland College; Life Science: largest division at Parkland; Dental hygiene service; Shop around for new phones; Dental clinic accepting new patients; Question: What is a friend? ; Classifieds; Kinks perform in State of Confusion ; Coppola\u27s \u27One from the Heart\u27 worth seeing; Machines star in series; Rodgers is still going strong; The Kinks still have what it takes to sound good; Parkland art collection valid part of education; Formigoni reaches out with color and space; Hubler talks about Champaign; Placement office finds jobs; What Is Art?; Cobras ease to victory; Men edge the Blue Knights; Track--two national qualifiershttps://spark.parkland.edu/prospectus_1984/1033/thumbnail.jp

Augmented Reality: The Challenges and Opportunities of This New Medium

Augmented reality is a technology that pushes the boundaries of media art and cyber security, expanding the potential and challenges of each. By combining computer graphics and realistic visuals, a new medium category was created that increased the classic realistic experiences. Traditional realistic sensations are the ordinary senses humans use to respond to incoming information, such as seeing, hearing, touching, and smelling—this viewpoint is based on a combination of visual anthropology and media theory. It is vital for a media artist and software developer to understand how immersive technologies can improve the production and presentation of relevant content in interactive media and media art. The skills and experience gained in augmented reality benefit software developers, media artists, and designers by adding a new dimension to their creations and guiding their future roles in light of the new ethical challenges introduced by AR. This paper will look at historical and modern AR examples and ethical considerations concerning user interaction, security, and innovation, focusing on the prospect of updating and fine-tuning our current traditional and prototype augmented reality apps. Finally, this study will give recommendations for the future of AR development in the sectors of cyber security and media art

Mirar para saber : una propuesta pedagógica de apreciación estética a través del hipermedia

Mirar es más que ver; es observar, examinar, interpretar y apreciar. Por lo tanto, para mirar una obra de arte se requiere información y un medio que propicie la contemplación de sus formas y composición. El hipermedia, dentro del abanico digital de las nuevas tecnologías, se erige como un nuevo medio para el desarrollo del gusto estético. La experiencia en la producción de un hipermedia para la apreciación plástica plantea retos estimulantes y significa confrontar la teoría con la práctica. Mirar para saber surge ante la necesidad de ofrecer fundamentos básicos que permitan a cualquier novel espectador de arte aproximarse a la apreciación plástica. Partimos de los atributos de este medio digital y del innegable valor pedagógico que posee la estimulación del pensamiento visual.Looking at is more than seeing, it is observing, examining, interpreting, and appreciating. Consequently, to look at a work of art requires information and a medium which favours the contemplation of its shapes and composition. Hypermedia, within the digital panorama of new technologies, is emerging as the new medium for developing aesthetic appreciation. The experience of producing hypermedia for the appreciation of the visual arts poses stimulating challenges and means confronting theory with practice. Looking at in order to know arises in the face of the need to offer basic foundations that will allow any new spectator of art to approach the appreciation of visual arts. We start from the attributes of this digital medium and the undeniable pedagogical value that it holds for stimulating visual thought

Professional Practices (ART 399)

I’ve always had a passion for art and design as well as assisting those with mental and physical disabilities. When I was searching for a career in the arts and I discovered Art Therapy I knew I had found my calling. Art has always assisted me through my life experiences. I want to be able to help those with mental and physical disabilities do the same. The major inspiration for my work is being able to assist individuals with mental and physical disabilities and seeing their everyday struggles and how they overcome them, that your typical individual would take for granted. My art can be vague and mysterious with what I am trying to communicate. I want the viewers to be able to observe my work and discover their own meaning. I am more drawn to art where the meaning is not immediately clear. Abstract art has always interested me. With abstract art, you can find new and inventive ways to express things, those things could be very simple but made to look more complex and intriguing. Also with abstract art, the work must speak for itself and allow the viewer to decide. I try to find inspiration for my work in everything that I do and see. One artist that has always been an inspiration to me is Jackson Pollock. He put his whole self into all his work. If something of his fell out of his pocket or he had to stand on his piece to get at the correct angle, he would leave whatever fell out and he would even include his footprints. That’s how I want to be with my work, and all the individuals that I work with. I want to put everything I have and that I am into my work.https://digitalcommons.murraystate.edu/art399/1022/thumbnail.jp

Nature through sculpture

Human beings were born from nature and in death they return back to nature. This quote express how closely we are connected to nature which is defined a word as all the plants, animals and things that exist in the universe that are not made by people. We first came from nature, and in this complicated society, we sometimes feel like returning to the peaceful, magnificent and tranquil side of nature. Through my work, I would like to show his interpretation of how nature is. For example, a person can look at the ocean and feel peaceful, but someone else can look at the same ocean and feel depressed. Therefore, in my pieces I would like to show how I see different parts of nature. Another goal of in all of my work is to evoke the landscape of nature, as in painting, and force viewers to feel how nature breathes. To instill the breath of nature into lifeless object is what I strive to achieve in my work and in my life. The works are divided into two different parts that could be described by words like mountain, ocean. Most of my works, entitled Nature Through Sculpture, are composed of copper sheets and are simplified shapes of early Korean mountains in paintings, through modern Korean mountains in paintings. My works challenge viewers to discover an entirely new perspective of traditional sculptures realistically through contemporary sculptures almost as if they were futuristic. Sculptors and their work reflect and create the culture in their own way in modern art. Therefore, artistic works are a kind of aesthetic reflection of the culture. Art as defined by the Korean dictionary originally means, to join or fit together and culture comes from cultivation and growth. I believe the purpose of art is not to honor and increase its complexity, but to simplify the world and our place in it. From this perspective, functions have changed from time to time and age to age. Though my works, I intend to express lyrical Korean nature. These pieces raise the question of the image of the nature in today\u27s society. I encourage viewers to answer this question when seeing my emotional works

The Presence of Palestinian Absence in Narrating the Zionist Nation into Being

In 2005, the 38th year of the Israeli military occupation of the Palestinian West Bank, Gaza Strip and East Jerusalem and the year that saw the construction of an eight metre high concrete Wall of Separation through the Occupied West Bank, an exhibition, 'The New Hebrews: A Century of Israeli Art', was held at Martin-Gropius-Bau, Berlin.  The exhibition can be read as the narration of the Zionist nation coming into being – a narration in which the Palestinian people do not figure, though the reconfiguration of the land does. Only in the room on Conflict are Palestinian refugees, the Occupation and the Wall represented by Israeli photographers and media artists, making a slight dent into a historiography and landscape devoid of Palestinian agency and presence. From a Jewish feminist engagement with the discourses on Palestinian Right of Return, the essay addresses a set of questions about the field of vision posed by Ariella Azoulay in Death’s Showcase: The Power of Image in Contemporary Democracy (2001) when she asks: Who sees? Who is capable of seeing, what, and from where? Who is authorised to look? How is this authorization given or acquired? In whose name does one look? What can be seen outside the narrative of redemption and the frame set by the Temple Scroll and the Jug of Tears? Are the photographs of the Intifada and the portraits from the refugee camps in effect inserting the presence of the spectral other, as described by Judith Butler? This essay will consider the ways in which we might read these Israeli photographic insertions in the circumstance where representation and representational space is such a contested feature of the conflict

Religion, Art and Myth-Making: The Halo as an Aesthetic Expression of Ultimate Reality

In recent years there has been an increased interest in questions concerning religion and faith. There have been bestselling books by authors of the so called new-atheist movement, Dawikns, Dennite, Haris and Hitchens, as well as numerous responses given attempting to refute the attacks made on traditional views of religion and faith. Moreover, since September 11th 2001 there has been a heightened awareness of the gulf separating believers and non-believers. Yet, the problem at the heart of this debate often seems to become an inquiry into whether or not religion is good for society rather than a question of the existence of God. This indicates that there may be a new way to look at the question, what is religion? Perhaps we should begin to think of religion as a social thus natural phenomenon; in doing so religion can be understood in aesthetic terms. If it is the case that religion is essentially born from shared relations within a social framework, much in the same mode as aesthetics, then the gulf between believers and non-believers is illusory. Better understanding the dualistic quality of human relationships will likely serve to find common ground within religious dialogues; this involves seeing how both religion and art are modes of myth-making. Historically the aesthetic symbol of the halo has been used by many religions and aesthetic traditions as an expression of enlightenment or reason. Therefore, the halo servers as a fossil of human experience. The intent of this paper is to examine this position through the symbol of the halo and how it has evolved in the Mithraic, Christian and Buddhist traditions

Ways of seeing evaluation

Copyright @ 2011 Brunel UniversityThis report summarises the evaluation of Ways of Seeing, a community arts project funded by the Heritage Lottery Fund and hosted by the Lightbox, Woking, Surrey from 2008-11. The people involved have had remarkable experiences, choosing how to take part in each stage of preparations for a major public art exhibition. All those involved had disabilities, primarily arising from mental health issues but also including physical disabilities. The project was skilfully designed and led to enable them to make a significant contribution, enhancing their well-being and resulting in the Ways of Seeing exhibition which was widely appreciated. The Lightbox is an award-winning museum, housing a permanent local history exhibition as well as touring major art exhibitions. The Ingram Modern Art collection is on permanent loan, with regular exhibitions of work from the collection. Since the Lightbox opened in 2007, it has had a stated intention to promote local community involvement, successfully obtaining external funding to support this work. Ways of Seeing was the most ambitious project to date, aiming to exhibit selected work from the Ingram Collection alongside art created as part of the project by local disabled people. The emphasis on ways of seeing reflected an interest in their diverse perspectives, especially in relation to long term mental health problems. A steering group was set up, with members from local mental health initiatives and an evaluation team from Brunel University. The project started by orientating participants to how art is created and exhibited, with a series of visits and workshops on major art collections and artists’ studios. This stage successfully attracted a range of people and was followed by taster workshops of different art techniques. Then participants examined every item in the Ingram Collection and agreed a selection to inspire their own artistic responses. All-day workshops were convened, covering the same techniques as before and giving everyone space and time to get started. Curation of the exhibition gathered pace as final selections were made from participants’ art works and the Ingram Collection. The exhibition offered opportunities for everyone to have selections of their work exhibited to the public alongside the selected work from the Ingram Collection. A video artist captured the project in film and an MSc occupational therapy student from Brunel University undertook independent interviews of participants. It is clear that this multi-stage and carefully considered approach was highly successful in engaging people who are often excluded from arts events and venues. It was also successful in engaging the public in an innovative and thought-provoking exhibition, challenging assumptions about mental health and promoting the benefits of participation. The willingness of the Lightbox to host and support the project was essential. Based on tolerance, respect and a sympathetic curiosity, with clear and skilled leadership, the project enabled participants to make significant changes in their own lives.This study was funded by the Heritage Lottery Fund

Wittgenstein on Life, Art, and the "Right Perspective"

Dedicato a una lunga osservazione contenuta nelle "Vermischte Bemerkungen", il saggio mostra come Wittgenstein attribuisca all'arte un potere di trasformazione dell'ordinario e propone un confronto tra la concezione desumibile dall'osservazione wittgensteiniana e l'interpretazione hegeliana della pittura olandese

Philosophy of perception as a guide to aesthetics

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept