expos hw2
Jeton Koka 9/8/14
Writing the Essay Deepening Exercise 2
Part One:
1. We, as creators and consumers, must not fixate on the negatives of each respected artwork but rather on the wonders of it. When our minds are opened to the windows of what the artist or creator wanted us to see, we are able to learn more about the artwork in itself and ourselves as well; moreover, our minds become open to how the artwork affects us on an emotional and a physical level.
2. We are able to understand things by developing a unique algorithm in which we are able to break down the task at hand step by step. We use our senses, our past experiences, our imaginations, etc.
3. We, as critics and as listeners of those critics, must not be so quick to dismiss the opposing view. Although it may not be taken lightly as a certain point in time, Matthew Goulish brilliantly states that anything can become a work of art over time. In reference with the glass example, a work of art can be seen as unappealing or unmoving like a solid, but as we develop the skills to understand the artwork overtime, it can be seen in an entirely different aspect and become the opposite of what we originally thought (a liquid in Goulish’s example). As the cliché states, things get better overtime; that statement certainly applies to Goulish’s insight.
Part Two:
1. How does one improve on the future if he has yet to understand the past? Sure, it is just a collection of past memories jumbled up into a place where it gets increasingly harder to remember the small details but what meaning do those memories hold?
2. This is the beginning. I do not question anything before me because there was nothing before it to help rationalize it; “discover” is merely a word with no meaning to me.
3. Christopher Columbus experienced this new beginning first hand; of course he read about China and Japan but this was far from those regions. It was a blank slate, a new world for lack of a better name and this
Writing the Essay Deepening Exercise 2
Part One:
1. We, as creators and consumers, must not fixate on the negatives of each respected artwork but rather on the wonders of it. When our minds are opened to the windows of what the artist or creator wanted us to see, we are able to learn more about the artwork in itself and ourselves as well; moreover, our minds become open to how the artwork affects us on an emotional and a physical level.
2. We are able to understand things by developing a unique algorithm in which we are able to break down the task at hand step by step. We use our senses, our past experiences, our imaginations, etc.
3. We, as critics and as listeners of those critics, must not be so quick to dismiss the opposing view. Although it may not be taken lightly as a certain point in time, Matthew Goulish brilliantly states that anything can become a work of art over time. In reference with the glass example, a work of art can be seen as unappealing or unmoving like a solid, but as we develop the skills to understand the artwork overtime, it can be seen in an entirely different aspect and become the opposite of what we originally thought (a liquid in Goulish’s example). As the cliché states, things get better overtime; that statement certainly applies to Goulish’s insight.
Part Two:
1. How does one improve on the future if he has yet to understand the past? Sure, it is just a collection of past memories jumbled up into a place where it gets increasingly harder to remember the small details but what meaning do those memories hold?
2. This is the beginning. I do not question anything before me because there was nothing before it to help rationalize it; “discover” is merely a word with no meaning to me.
3. Christopher Columbus experienced this new beginning first hand; of course he read about China and Japan but this was far from those regions. It was a blank slate, a new world for lack of a better name and this