Writing a Serial Killer Sample Essay

Writing a Serial Killer Sample EssayIs it possible for an online student to write a real life case study on the murders of serial killers? You bet it is. In fact, I would like to give you a hint to how you can write this sample essay to find out if you have what it takes to become a true researcher.If you have a question on how serial killers hunt down their victims, and why these mass killers have remained at large for so long, then I want to give you some good news. There are many schools and colleges that offer a degree in forensic psychology. You can also study forensic psychology as an undergraduate or a Master's degree. The benefits of studying in such a program are well worth your money.One of the most common questions, a serial killer has and that they would most likely be asked is: 'why do they continue to kill?' People have questions, too, but the mere thought of asking the questions will put you on edge. However, for those who want to know the truth behind a serial killer' s actions, here is some useful information you should know.There is a lot of research that needs to be done to find out why. And yes, the answers may not come right away. But you can be sure that you will get them eventually. There are over 600 serial killers currently on the run, so even if you do not find the answer to the question, you will still be a better researcher.Once you learn all the reasons why some serial killers are on the run, you need to see if you can find more information by going to public criminal record databases. By using a computer, you can easily pull up the public record files of the serial killers that have been on the run for a while. You will find a lot of information about each killer that will be useful.The next thing you should find out is how they live and how they make their living. A killer will want to know where their next victim will be. They will also want to know how much money the victim makes. You should find out how the victim gets paid and how often she/he works. You will learn a lot about the killer's life.Do you want to know what drives a serial killer? Then study more about them today.

Living Color free essay sample

This is still a rough copy, but I would like to get some feedback on the essay anyway. thanks! Gender. Place of birth. Financial background, residence, religion, IQ, genes, environment and social input. These are factors that, all together, make us who we are. Bits and pieces of all these influences, sewn together into an intricate fabric, similar to other fabrics, yet different; having its own intricacies and imperfections, both growing and shrinking over time in order to be refined into something better. Life, and maturation brings different things for different people. Many people weave responsibility seamlessly into their fabric. Some people, however, have slower, more precise hands, taking time to pinpoint where to place this thread perfectly so that it will define their fabric. Like a key change in the symphony of a person’s life, how one deals with responsibility can grow to define their existence on this planet. We will write a custom essay sample on Living Color or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Many of my responsibilities have always come from the church I attend. Leading the worship band, being a â€Å"Youth Leader†, and helping with an immeasurable amount of church events, and youth fundraising took up much of my time. I stopped playing Football and Baseball in order to continue helping the youth group, and thus, make that the base of my fabric, the core of my life. However, as life went on, I realized I needed more balance in my life. Putting all of my time into the youth took its toll on other areas of my life, and I realized I had to broaden the scale of my fabric and make it encompass many areas without being overly focused on any particular area. Anything in excess is bad, whether it be food, work, or even being content; complacency at its core is an excess of being content. Which is why over the last two years I have learned that I must never become complacent. There is always more to be done: playing a simple four-chord song for worship was alright, but I was capable of more, and strove to do so; to weave color into my music, to master the intricacies of each piece. My love for reading has brought an exceptionally unique color into the fabric of my life. Even as a younger child I strove to read books, from reading The Hobbit and the whole Lord Of The Rings trilogy so that my parents would let me watch the movies, to The Fortunate Pilgrim , and A Series Of Unfortunate Events. Literature has added experiences and texture to the fabric of my life that would’ve never occurred if I had been content with reading only books that were assigned. Even though this fabric has been affected in so many ways, and by so many people, works of both music and literature, and events, it is not complete. It can never be complete, because my nature tells me I will forever strive to do more; I refuse to become complacent. What makes me who I am will forever be changing; colors will continue to be added to the fabric, the masterpiece of my life until the day I die.

Pope John Paul II, Biography essays

Pope John Paul II, Biography essays In the history of the Catholic Church there have been but a few great popes who have made a change in history, Pope John Paul II is one of them. When he was young the Nazis occupied his home country, Poland. But despite this he managed to be ordain and to go college in Rome. He showed remarkable ability in his work for God and was quickly raised to bishop, cardinal, and finally he was elected pope. During his rise to the papacy he had spoke out against Communism, and they were upset that Karol had been elected pope. A hired assassin tried to kill him, and though the bullet came very close to a vital artery, he survived. And a few years later Karol helped bring around the downfall of Communism in Europe. Pope John Paul II has had a exciting, holy life, during which he has helped many people. Karol Joseph Wojtyla grew up in a hard time. He was born in Wadowice, Poland on May 18, 1920.1 His father was a officer in the Polish Army, and his Mom was a school teacher. Karol enjoyed sports, especially soccer, skiing, kayaking and hiking. When he was young he developed a love of the theater. In his book Witness To Hope, George Weigel stated: Stealing quietly through Krakow's blacked out streets, the actors and their audience arrived at an apartment in the city's Debniki district.... As the performance unfolded behind closed blinds, Nazi loudspeakers on the street outside began blaring the news of another German victory. The 22 year-old actor then speaking, an underground seminary student named Karol Wojtyla, paid no attention whatsoever to the racket. Unfazed, he continued his recitation as if the harsh static of the occupation simply did not exist2 He was 19 when the Nazis invaded Poland. During the time of Nazi occupation he made a living as a stonecutter so he could keep his work permit to avoid deportation. Despite a hard life he still clung on to his hope of a better life. He secretly pursu...

Analysis of the government institutions, society, political system of Essay

Analysis of the government institutions, society, political system of Greece, - Essay Example The organizational structure created by the authorities is the most significant entity in predicting the performance of the community. The consideration within the paper accords the system in Greece and the impacts of the established societal system. The government institutions and political system within Greece present a given impact on the societal setting. With the structures established under consideration, the result can offer judgement to argue for or against the established framework in offering the needed result and stable coexistence. The modern civilization and the presented aspects in Europe had been considered to have origins from the ancient civilization in Greece. Ancient Greece had been organized into stable political systems that offered the ventures to create societal systems identified through the rich theatrical presentations, culture and architecture. The organization of the Greece had been included in relation to achieve civilization within Europe. The organization witnessed Sparta depict an Oligarchy government system, democracy established in the central Athens and monarchies established within the other states to establish an organization that lacked in the majority of the other states across Europe. The stable political system established within Greece led to the origin of the stability witnessed as compared to other European nations. The transition of the political Greece system fails to be listed in the format of transformation from feudalism to anthropocentrism as in the other European civilizations. The state had been under the centralized government system that had been influenced by the rule in Rome. However, in 1974, Greece had been altered to a democratic state to alter the relationship and role of the state and civil societies. The modifications saw the transition from the centralized governing system that saw a prolonged dictatorship rule of the military. The change saw the formation of

The Strategy Adopted By the Capsim Company Lab Report

The Strategy Adopted By the Capsim Company - Lab Report Example The researcher states that the adoption of the niche cost leader (low technology) strategy has enabled the company to become effective in the achievement of its strategic and operational goals. Activity ratios are used in measuring the effectiveness of company goals. The company recorded a high accounts payable turnover ratio of 14.64, meaning that it takes around 15 days for the company to pay its suppliers. The Capsim Company has been paying its suppliers at a faster rate, a clear indication of how effective it has been in its operational strategies and goals. High accounts receivable turnover of 24.33 recorded by the company is also an indication of how effective the company has been it its operational strategies. The high accounts receivable turnover ratio shows how effective the company has been in debt collection and has also been efficient in turning its inventory into sales, hence its effectiveness in the achievement of its strategic and operational goals. For the Capsim Comp any to increase and improve its operations in the future, it should change its strategy to adopt a more advanced strategy such as a cost leader with product lifecycle focus strategy. The change in its strategy will enable the company reaps from sales of high products of each and every new product introduced into the segment. The increased sales from the high-end products will then enable the company to improve its profitability. The company can also change its strategy to niche differentiator (high technology) that will enable it shifts from low technology to high technology products in the low-end segments. This will enable the company to reap more sales and profits from each of the new high technology product it introduces into the segment.

Marcel Duchamps Influences on Modern Art

Marcel Duchamps Influences on Modern Art Marcel Duchamps Influence on 20th/21st Century Art 1: Introduction The influence of Duchamp’s notion of readymade art has had widespread and profound connotations for the development of art in the 20th and 21st century. Firstly, Duchamp’s art attempted to avoid many of the traditions of art at the time; his use of readymades stigmatised the notion of the artist as a creator. This radical redefinition of the role of artist informed future Conceptual artists in their attempts to relocate the boundaries that would define their role. Duchamp’s role was precisely the opposite role as those artists concerned about formulating an ideal form of subjective expression – Duchamp was more concerned about the political role of the artist and the institutions that serve to create art, rather than of the production of art itself. His readymade work challenges many of these conceptions and institutions by drawing attention to the political and social processes behind the production of art. Secondly, Duchamp’s readymade work also b roadened what could be defined as art. This placed art within a broader philosophical, structural and linguistic field of discourse in which the placement of art was more ephemeral. Ultimately, Duchamp’s project was to untie and disassemble art entirely; this is linked to the postmodern notion that categories and objects do not possess any inherent meaning, but only contain the meanings that we ourselves assign to them. As such, Duchamp’s legacy in both a practical and a theoretical and philosophical sense has served to inform cultural and artistic debate throughout the 20th century, from Jasper Johns, to pop art, performance art and other forms of avant-garde art that challenge the underlying principles behind artistic production. Duchamp’s readymade has left a profound legacy across the board of contemporary art for a number of reasons. Responses to the readymade and the challenge that it poses for a redefined art divorced from the artefact are widespread. Firstly, the elevation of a readymade work of art alters the role of the artist in the production process: Buchloh comments that the extent of Duchamp’s influence on art can be answered by responding to three particular points for discussion. Firstly, he suggests that Duchamp’s influence can be seen in how â€Å"the specific forms of how traditional forms of mark-making can be displaced by an exclusively photographic or textual operation of recording and documentation† (Buskirk Nixon, 205). The impact of this method is to erode and to redefine the role of artist. Whereas we can say that the classical and modernist form of the artist was to present us with a version of reality authenticated by the presence of the artist and the s ubjective aesthetic rules that made that artist â€Å"good† or â€Å"bad†, Duchamp’s readymade work, namely The Fountain, challenges this approach by stressing the role of the artist as a collector and an assembler rather than as a creator. Because it is obvious that Duchamp’s Fountain would not be considered a work of art if it were presented to us in a lavatory, Duchamp highlights and challenges the prejudices inherent to artistic production: namely, the traditional methods for artistic production and for â€Å"mark-making† are redefined and with it, the artist. Of course, this implication has had a profound impact on the development of 20th and 21st century art, from Jasper John’s flags to Warhol’s pop art, and has served to change the material conditions behind the production of art. The mechanistic connotations invoked by Duchamp and his readymade radically challenges and redefines the aesthetic palette available to artists; Duch amp’s influence was to challenge the subjective aesthetic of artistic production – Duchamp’s systemic use of a readymade on the one hand broadens the philosophical and conceptual basis for art production while on the other hand exposing the fallacies of art production in its more traditional sense. Of course, the impacts of this challenge have served to inform critical debate about the role of the artist in art ever since. 2: Readymades In Advance of The Broken Arm, Trebuchet (Trap), Hat Rack, Bicycle Wheel, Bottle Dryer, Air de Paris (400 words) â€Å"The elevation of a common object to the level of a work of art did not consist in merely choosing and signing it. It implied following a set of four rules: de-contextualisation, titling, limiting the frequency of the act and, the most esoteric of all, the necessity of a ‘rendez-vous’ – the meeting of the artist and the object† (Schwarz, 126). Duchamp’s readymade also served to interrogate the principles by which we define objects themselves; because Duchamp’s readymade work inherently interrogates the status of objects by changing their relation to one-another, it can be asserted that Duchamp’s project was to challenge how categories and objects are defined by their intrinsic properties rather than by their relationship to their broader environment. Buchloh points out that Duchamp facilitated the â€Å"radical dismantling of all traditional definitions of objects and categories – the ‘dematerialisation of the work of art,’ as Lucy Lippard called it – and its transfer onto the linguistic, the photographic, and the site-specific operations within which Conceptual art was defined† (Buskirk Nixon, 205). Of course, the linguistic and structural properties of Duchamp’s readymade serves to interrogate and dismantle the traditional role of artist. It also broadens the scope and the context of art itself. However, perhaps more significantly, the nature of Duchamp’s readymade does not allow for a particularly easy redefinition of art’s aesthetic role. For example, if it is asserted that Duchamp’s role was to reposition items of artistic worth and to place them into the political space of a gallery, this highlights the political rather than the aesthetic role of the gallery and the artist in measuring items of subjective worth. In addition, Duchamp’s process of selection is also telling: â€Å"The great problem was the act of selection. I had to pick an object without it impressing me and, as far as possible, without the least intervention of any idea or suggestion of aesthetic pleasure. It was necessary to reduce my personal taste to zero. It is very difficult to select an object that has absolutely no interest for us not only the day we pick it but which never will and which, finally, can never have the possibility of becoming beautiful, pretty, agreeable or ugly† (Paz, 88). Duchamp’s aim, therefore, was to divorce art from its meanings and from the methods of judgement that are usually assigned to it. His desire to locate an object that had absolutely no interest whatsoever highlights both his desire to challenge the centrality of the artistic object, and also helps us to trace his legacy through what can be construed as an attempt to apply Duchamp’s philosophical theory on locating a work of art that can never be â€Å"beautiful, pretty, agreeable or ugly†, and the inevitable failure entrenched within the politics of the readymade: despite Duchamp’s intention to create art that did not have any meaning, the assignation of meaning to Duchamp’s readymades as a series of fetishised objects seemed inevitable and also influenced other Conceptual artists in their project to erode the stability and the legitimacy of the artefact via a number of means: the fetishisation of art in late capitalism, for example, causes art to am ass a capitalistic value regardless of whether the artist him or herself wishes for a value to be attached to it. Trebuchet: a coat rack, which means a â€Å"trap for small birds and is a pun on the phonetically identical ‘trebucher’, meaning to stumble over.† (Schwarz 126-7). Section 3: Duchamp as Rrose Selavy (400 words) Duchamp and the dada movement in general were concerned about elucidating through irony and humour the role of the artist in the production process. Although the concept of the readymade changed this role from that of creator to selector of appropriate works of art, the role and identity of the artist was questioned in a more thoroughly mocking way with his invention of his female alter-ego, Rrose Selavy, whom several works of art were ascribed to. Naumann (2008) suggests that the invention of Rrose Selavy served the grander purposes and preoccupations of Duchamp’s work, whose interests and themes include â€Å"disguise, reflection and signature† (70). Taken generally, the invention of an alter-ego who has as much artistic authority as the artist himself serves to obfuscate, delude and disorient the viewer of the art in itself; the notion of disguise functions as a means of disrupting the traditional role of the artist as singular creator of the work in question. Rrose Selavy also has a performance aspect to it, which, among other things, helps to blur the boundaries between the work of art and the artist himself. Along with this, Duchamp’s alter-ego also has obvious connotations through the paradigm of gender studies. The peculiarities of Rrose Selavy’s role is particularly problematic concerning this. As well as satirising the role of artist, the construction of Rrose Selavy also expressed many of the reservations expressed by Duchamp about the increasingly blurred boundaries between gender. Hopkins (2008) argues that Duchamp’s views were deeply conservative regarding the growing concern over gender equality: â€Å"he was deeply wary of the growing autonomy and mannishness of contemporary ‘liberated’ women. [†¦] The evident preoccupation with gender indeterminacy [†¦] became thematized conclusively in the photographs of his female alter ego Rrose Selavy† (Hopkins, 81). But while Rrose Selavy can be read as a satire of the mannish women who had become increasingly empowered in 1920s France, the role of Selavy could also be seen as a satire of the â€Å"traditional† French aristocratic woman, whose conservative sensibilities are also mocked by Duchamp’s character. This problematic is also supported by the texts that frequently anchored the print representations of Rrose Selavy. Litterature magazine tagged one of his portraits with the following sentence: â€Å"Here is the Domain of Rrose Selavy – how arid it is – how fertile – how joyous – how sad† (from Hopkins 2008, 87), which demonstrates warmth and empathy with Rrose Selavy rather than irony or satire. Hopkins adds that â€Å"The Paris group may well have understood Duchamp to be killing off his old ‘dry’, dusty male persona and being reborn as Rrose (Eros).† (Hopkins, 86-7). Section 4: Duchamp’s use of language, wordplay, puns, paradoxes and humour in his work Fresh Widow, Why Not Sneeze Rrose Selavy, L.H.O.O.Q., Ready Made Rectified (Wanted $2000 Reward) (400 words) Duchamp’s assault on the art establishments and its values was executed in a manner that used a great deal of wordplay, irony and often cryptic allusion to more salacious and scandalous depths. Fresh Widow, for example, features a play on the words for French Window and can be read, as Hopkins comments, as â€Å"a salacious allusion to the sexual availability of bereaved women in Paris after the war†. Other puns assist in denigrating the stature of the traditional artistic canon by anchoring them in a completely different, and somewhat lewder context. This eroticism is exemplified by Duchamp’s famous work, â€Å"L. H. O. O. Q.†. Mundy (2008) suggests that humour and eroticism were key components to this Dada aesthetic, as Duchamp reinvented himself as a woman, disfigured a Mona Lisa with a moustache and printed underneath the letters â€Å"L. H. O. O. Q.† which, in French when pronounced phonetically translates as â€Å"she has a hot arse†. T he intention of this clearly stems from an attempt to intentionally sabotage works treated with reverence by the establishments at the time by using sexual innuendo and wordplay. In addition, the linguistic addition draws attention to what exists outside of Da Vinci’s original framing, perhaps drawing attention to extraneous factors in artistic production and reproduction that cannot be framed as easily. In many respects, the titles of Duchamp’s works have almost as great a significance as the works themselves; Mundy (2008) comments that this focus intentionally blurs the boundaries between traditional points of anchorage in the artistic production process: â€Å"The title-cum-impossible-question of another readymade, Why Not Sneeze Selavy?, posits unfathomable relationships between objective reality and subjective intentionality† (35). Paradox between different elements of the sculpture are brought into question and serve to defy simple, certain interpretation. Duchamp’s famous readymade The Fountain challenges the utilitarian role of the urinal by placing the signature horizontally rather than vertically, thus metamorphosing the work into a piece of art by defying its utilitarian purpose. For de Duve, the challenge of Duchamp’s legacy is, in part, linguistic: â€Å"I went straight for what I think to be the heart of the issue, namely the status of the sentence: ‘this is art.’ It entails no definition or redefinition whatsoever, neither of ‘this,’ nor of ‘art.’ To take a shortcut, I’d say it is the modern formula for the aesthetic judgement† (213). Because Duchamp primarily and explicitly asserts that his fountain is art because it is socially defined as such (by its location, its reception etc.), he places art within an unfamiliar field of discourse – namely that, anything can be seen as art providing it is anchored by the notion that what is being done is art. As su ch, Duchamp’s interrogates and problematizes any objective qualities that may have previously been considered â€Å"artistic† by nature. Of course, this has impacted significantly on conceptual and avant-garde art throughout the 20th century and into the 21st. His work Ready Made Rectified utilises Rrose Selavy by juxtaposing his own portrait with a wanted poster, on the one hand emphasising his role as enfant terrible of the artistic establishment and drawing ironical attention to the fallacious nature of the spectacle in itself. Humour and irony is always used to expose these central paradoxes and to create a detachment between the various angles that are interrogated by these pieces. Mundy (2008) suggests that, for Duchamp, â€Å"humour is always of a tragic nature. Humour signals a total independence of mind and is, essentially, a revolt of the spirit and of the unconscious against the conditioning of life and society. Humour has an endless power to challenge and provoke. It is a factor of opposition, superbly subversive in so far as it establishes a victory of the pleasure principle over the reality principle.† (35). Section 5: Duchamp’s work with Chance Three Standard Stoppages (400 words) Duchamp also interrogates the place of art in society by using chance operations. Three Standard Stoppages provides an example of this strategy, and again serves to undermine and interrogate the role of artist in the production process, as well as interrogating a number of other devices and standards. Firstly, Three Standard Stoppages draws attention to the authority of standardised meters. Judovitz (1995) suggests that, because the work is on the one hand based on standardised measurement, but on the other hand does not produce consistent results, undermines the legitimacy of â€Å"universal† systems of measurement, which has metaphorical connotations for the way in which value judgements are made: â€Å"it demonstrates the recognition that the meter itself as a unit of length is generated through approximation: the straightening out, as it were, of a curved meridian. Duchamp sets the viewer straight by graphically showing that the authority of the meter as a measuring devic e relies upon distortions that he corrects through chance operations† (Judovitz 1995, 48). In addition, the work also interrogates notions of artistic authority: Three Standard Stoppages â€Å"puts into question the voluntaristic and intentional logic that defines the creative act and the identity of the artist. To assume chance as a locus for production is to understand causality itself not as an origin but as a productive event, whose plasticity can redefine the notion of artistic creativity† (Judovitz 1995, 49). The utilisation of chance, therefore, metaphorically serves to emphasise the temporal element of artistic production – the â€Å"traditional† role of the artist as an objective, isolated producer of universal and timeless works is drawn into question by these chance operations. As such, the prior legitimacy of artistic creativity being equated to notions of timelessness are jeopardized. Section 6: Duchamp (or more accurately his alter-ego Rrose Selavy) The Green Box the use of Photomechanical Printing, instead of the usual autographic printing methods (400 words) The use of unusual printing methods in Duchamp’s The Green Box draws significant attention to the traditional methods associated with mechanical reproduction of works of art. The mechanical drawings of The Green Box, combined with the intentionally disruptive printing methods utilised draw attention to the very process of printing and the relationship between mass production techniques and the innately singular nature of hand-made works of art. Judovitz suggests that Duchamp’s use of mechanical drawing does not base itself around physical or scientific principles. Instead, â€Å"they represent a ‘symbolic way of explaining,’ one that privileges the logic of the machine, only to reveal its ironic underpinnings† (Judovitz 1995, 58). Significantly, the use of photomechanical printing further emphasises the problematic nature of these drawings which, on the one hand aesthetically reproduce the visual methods of mechanical drawing, while on the other hand is representative of a more outlandish, pseudoscientific principle that disrupts the legitimacy of the rubric, codes and language used to construct such mechanical, scientific devices. The use of photomechanical technology to construct these prints also draws attention to the more invisible process of production, rather than to the mere surface of the production itself. The legacy of Duchamp’s mixing and matching of various print processes has been widespread, both in terms of its philosophical qualities (questioning the authority of a single method of printing, and of the singular importance of a single work of art) and also its more technical aspects. Of course, this interrogation of the notion of artistic originality can be found in pop art, that reconciled notions of art, commerce and mass production in the generation of works of art that were no more artistically meaningful (meaningful in the traditional sense) than mass produced wallpaper or a newspaper advertisement. Thirkell (2005) comments that â€Å"Duchamp’s questioning of the notion of originality has also had a profound influence on modern print, ultimately triggering the revolution in print expression exemplified by photomechanically driven vehicle of Pop Art.† The Green Box, therefore, in its playfulness with printing processes would prove influential in the emerg ing debate surrounding artistic legitimacy, authority and originality. Section 7: Duchamp’s work in Optics in Motion Rotary Demisphere, Rotaryrelease (400 words) Many of Duchamp’s optical works focussed on optical illusion and the ambiguity of depth perception. His Rotoreliefs in particular create the illusion of depth and draw attention to the role of the artist as a magician or trickster. In addition, many of these works also had erotic connotations, as the voyeuristic proclivities of the viewer of the art are made explicit by overt and metaphorical sexualised content. Mundy (2008) comments that the Rotoreliefs and their disorientating movement echoes that of eroticism: â€Å"the visual sensation of movement back and forth had an erotic undertone† (31). This work in optics was also drawn from Picabia’s optical work, which was more overtly eroticised (Octophone II, for example). This draws attention to the innately subjective nature of sexualised imagery, and suggests that sexual content somehow alters and transfigures the technical quality of art in itself; by suggesting that sexuality is in itself a subjective illusion , Duchamp erodes the boundary that is arbitrarily placed between the art and the consumer of the artistic product. Mundy suggests that â€Å"he took the eroticisation of vision – the power of the corporeal and mental responses to control the interpretation of what is seen – to new heights† (31). This fragmentation of the process of interpretation serves metaphorically to activate the subjective, sensual feelings of the viewer of the art, who interprets the illusion as though is was not illusory. The use of optical illusion questions the boundary between what is â€Å"real† and what is â€Å"illusory†, as the eyes of the viewer effectively trick the viewer into perceiving the illusion as real. Perspective and depth and its illusory nature is made explicit by Duchamp’s works in optics. In Hand Stereoscopy, special glasses are required to give the work a level of depth, and also equates the use of colour and the use of depth: Judovitz comments that â€Å"these dots of pigment are the projection of the perspectival (mathematical) principles underlying optics† (138-9). In addition, the drawing together of depth illusions and colour serves to blur and make explicit the relationship between these technical attributes of the artistic product itself: as Duchamp himself suggests, â€Å"perspective resembles color† (Sanouillet Peterson 1973, 87). Section 8: Duchamp’s work influencing artists:Cornell: Duchamp’s work With Hidden Noise influenced Cornell’s Untitled (Rattle and Music Box); Cornell’s Cabinet of Natural History (Object) (one of the bottles containing shards of glass and labelled Methode de M. Duchamp) alludes to Duchamp’s work The Large Glass. Box Assemblages have become the process for Cornell’s entire oeuvre. (400 words) The legacy of Duchamp’s work has been significant, as many artists serve to draw attention (either explicit attention or implicit, coded reference) to the themes and codes of Duchamp’s disruptive oeuvre. Perhaps the most explicit reference to Duchamp’s legacy can be found in the work of Cornell, whose works drew directly from Duchamp and utilised much of his iconography. In particular, his Untitled works, such as Mona Lisa, Rattle and Music Box serve to use imagery popularised by Duchamp; in the former piece, the Mona Lisa in placed in a significantly different context, perhaps drawing more attention to Duchamp’s Mona Lisa of L. H. O. O. Q. than it does the original. The repetition of this imagery also draws attention to the mechanical processes of production that Duchamp used to interrogate the notion of the artist as a producer of singular works of art. Cornell’s use of readymade works can also be traced back directly to the influence of Duchamp. His Cabinet of Natural History, for example, is an assemblage of various found pieces of art placed in a glass cabinet. Apothecary bottles, maps and photographs are recontextualised in a manner thematically similar to Duchamp. In addition, Duchamp is also referenced directly, as if to interrogate further the concept of artistic authority and originality: Kosinski (2006) notes that â€Å"one bottle, containing shards of glass and labelled ‘Methode de M. Duchomp’ alludes to Duchamp’s key work, the Large Glass while playfully toying with the correct pronunciation of his French name† (39). The significance of Duchamp to Cornell is made explicit by the direct reference he makes to Duchamp’s legacy. In addition, his use of economy and meticulous, scientific rigour echoes the attention to detail of Duchamp’s scientific works. Thirdly, Cornell uses li nguistic anchorage, wordplay and the discrepancy between speech and writing (via the use of puns and misspellings) in a manner that echoes Duchamp’s work that places classical works of antiquity within a surprising new context. Section 9: Duchamp’s work influencing artists: Johns: Johns work Device makes reference to diagrams and sketches found in Duchamp’s Green Box. Johns acknowledged the powerful provocation of the readymade in his work Thoughts on Duchamps, published in1969 in Art in America. (400 words) Duchamp’s aesthetic statements on the role of artist was explored in an aesthetic sense by artists such as Jasper Johns, whose use of flags and collage sought to redefine what was considered as authentic art, Duchamp’s legacy also permeates into more conceptual fields. Buchloh comments that â€Å"the legacy of Duchamp was transformed from its first level of reception in the work of Jasper Johns to the second level in Morris – what one might call the semiological, or the structural / linguistic axis† (205). The effect of Duchamp on Jasper Johns is, by Johns own admission, significant. Again, Johns utilises Duchamp’s iconography and reformulates classical imagery in a manner that echoes Duchamp’s original idea to redefine the role of the Mona Lisa. For example, in Johns ambitious work The Seasons, explicit attention is drawn to the figure of the Mona Lisa in the first of the four paintings. Kosinski comments that irony is utilised in a manner t hat resembles the work of Duchamp himself: â€Å"The shadow in each panel of The Seasons is Johns himself, melancholic perhaps and surely self referential, although it is executed after a drawing of his cast shadow that was executed by someone else. This game of ironic distance is surely rooted in Duchamp’s play with shadow portraits† (32). This drawing of attention away from the subject and onto peripheral objects surrounding the subject draws immediately from Duchamp’s attempts to raise speculation about the single classical subject of painting. In addition, the dual authorship of these pieces raises questions about artistic integrity in a manner similar to Duchamp. Section 10: Duchamp’s work influencing artists: Rauschenberg: Duchamp’s influence is present in Rauschenberg’s boxes. He was influenced by With Hidden Noise for his work Music Box (Elemental Sculpture). (400 words) Thirdly, Duchamp’s legacy is explicitly referenced in the works of Rauschenberg, which look at the different ways in which the relationship between artistic modes of production and the increasingly fraught and disturbed relationship between artist and viewer. Rauschenberg’s Music Box (Elemental Sculpture), for instance, bears significant resemblance to Duchamp’s readymade With Hidden Noise, which demands the viewer to activate the piece in order for it to make a sound. The challenge that this poses for the viewer is similar to that of Rauschenberg: â€Å"Unwieldy, the box demands the physical engagement of the spectator-turned-performer, and the central issue is not the mysterious hidden object, but rather the potential sound itself, and the implied demands on the viewer to wrestle with the cumbersome crate† (Kosinski 2006, 19). The boxes that demand the attent ion of the viewer, and disturb the cherished role and piece of the artistic piece disturbs and challenges the traditionally voyeuristic relationship between the artist and the work in question. In addition, Rauschenberg’s boxes are more expansive in their approach to the role of art in the society that surrounds them; in a manner similar to Duchamp’s readymades, Rauschenberg takes directly from the society that surrounds it rather than approaching the production of art in a purely â€Å"creative† sense. Of course, this draws significantly upon the thematic content of Duchamp’s legacy, and draws explicit attention to the paradoxes and the frustrations that both artists had with the traditionally impotent role of art regarding the broader society that served to pigeonhole it. Rauschenberg’s process, while drawing upon Duchamp’s legacy, serves to reappropriate many of its central motifs and preoccupations in a manner that distinguishes it from the work of Cornell and Johns. While both Cornell and Rauschenberg utilised boxes in a manner that drew upon the work of Duchamp to frame its preoccupations, the nature and the content of these boxes were very different in their overall thematic context: â€Å"Cornell’s boxes are highly refined and rich in their variety of cultural allusion.† Kosinski (2006, 44) comments: â€Å"Rauschenberg’s early boxes, though small, are cruder, atavistic and dangerous rather than delightful† (44). As such Rauschenberg can be seen as taking a specific element of Duchamp’s thematic approach to readymade art and pushing it to its logical conclusion; his work is more confrontation than Cornell, who sought to beautify and protect his modified readymades by placing them in a more aestheti cally pleasing context, surrounding them in glass, etc. Rauschenberg’s work, by contrast, offers a more directly political assault on the establishment ethics at the time, drawing more upon Duchamp’s concept of the readymade as â€Å"junk from life† (Kosinski 2006, 46). Section 11: Duchamp’s work influencing artists: Robert Morris: Morris’s work Mirrored Cubes is influenced by Duchamp’s Green Box. Morris’s Three Rulers was influenced by Duchamp’s Three Stoppages. (400 words) The work of Robert Morris is also framed significantly by the central paradoxes opened up by dada and by Duchamp in particular. It’s attention, according to Benjamin Buchlow, is secondary to the primary reception in the artists described above. Here, the response to Duchamp’s work is based on â€Å"what one might call the semiological, or the structural / linguistic axis† (Buskirk and Nixon, 205). By this, Buchlow suggests that Morris’s Cardfile piece in particular draws attention to these categories of meaning regarding the tension between artistic subjectivity and anonymity. The development of Conceptual art in America, which is epitomised by Morris’s problematic work which draws attention to notions of artistic validity and of the tension between this structural and linguistic axis, is heavily indebted to the particular tensions opened up by Duchamp and his technical works which oriented itself around an exploration of the role of subjectivity in the artist. While this is drawn attention to, it is significant to note that the problematic surrounding artistic subjectivity in a given artistic piece continues to remain prevalent even in Morris’s deeply deconstructive and polymorphous work. Alberro comments that â€Å"Behind the Duchamp / Morris legacy I always see the figure of the artist; the artist / agent is always there. It’s there in both Duchamp and Morris, even in the Cardfile where he’s trying to remove it† (209). Thus, the drawing of attention to the purely linguistic sphere in Morris’s work equates to Duchamps utilisation of processes of artistic production that were traditionally outside of the traditional camp of visual, plastic art production. Like the readymades, Morris’s Cardfile is conceptual as it draws explicit attention to its own inherent aesthetic meaninglessness. It does not connote anything by itself; rather, it is defined by its context as an exhibition piece. I n addition, its purely linguistic role serves to disturb the previous aesthetic determinants of giving a piece artistic value as such. The role of artist in Duchamp’s readymade has been transfigured in a radical way into a political and social figure – namely, he is not defined by the artwork that he / she produces, but is defined by his / her position within the political space offered – this is explored by conceptual artists such as Robert Morris and in performance art where the artist does not decide to entrench himself in the dogmas of an accepted aesthetic tradition, and does not distance himself fro

The Descriptiveness of Conrads Heart of Darkness Essay -- Literary Ana

Heart of Darkness was written by Joseph Conrad in 1902. Before it was published it appeared in a 3-part series in Blackwood’s magazine. The story tells of a detailed incident when Marlow who takes over the assignment of the captain of a ferry-boat travels into the darkness. He was employed by the Belgian Trading company. Marlow is employed to transport ivory downriver; however while doing his job, he comes across a person called Kurtz to whom he has to give the ivories after he have collected them. Kurtz is a very reputed man throughout the region and is known by everyone. The novella starts as the main character Marlow at the Thames River in the evening with several other people and starts telling the story about how he entered into the Dark Continent. The novel is a critique to the manifest destiny which is a norm believed that Europeans were chosen by god to rule over the world and make colonies all over Asia and Africa. The Europeans behaved and acted like the kings of the world. They considered Africans as objects and not people. In the novel, Africans were merely used as a backdrop where Marlow—the main character can lay out his philosophical and existential struggles. The dehumanization is harder to identify then open racism or violence. Also, Conrad, through the book hypocrites his own country and blames them for dehumanization. When it comes to analyzing the novella—symbolic interpretations, character development and language are the three main topics to discuss. The novella is written in such precision and high detail that almost every paragraph has a very significant role to play in the overall plot. The story is created to illustrate ideas and themes, rather than just a simple narrative. The ideas and themes are consta... ...ughout the Heart of Darkness. One of them starts when the unnamed reader describes the ship Nellie, himself, his fellow mates on the ship and particularly Marlow. At first, the unnamed narrator is not sure to be a character in aboard on the ship until a few paragraphs until we realise that he has been observing others—â€Å"between us there was, as I have already said†. Marlow gradually takes over the narration beginning â€Å"and this also has been one of the darkest places on earth†. Later on in the novel, Conrad has Marlow take over the entire second monologue narrative. No matter how descriptive the book is, the basic facts still remain that Kurtz was the man who jumps off the edge of insanity and plunges into the dark of insanity. Whereas, Marlow is the man who goes to the edge of insanity, looks over the edge, and had enough strength to not go over to the other side.