(3335,81,'2013-09-23 19:46:31','2013-09-24 01:46:31','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center\">Donatello’s David</p>\r\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.</p>\r\n<p dir=\"ltr\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"alignnone size-medium wp-image-3266\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" />http://www.italianrenaissance.org/donatellos-david/</a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\">          <img class=\"alignnone size-medium wp-image-3272\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" />http://www.google.com/imgres?imgurl=http://www.gunnzone.org/GunnImages/images/11_David_Donatello-L-R.jpg&amp;imgrefurl=http://www.gunnzone.org/KingDavid/David_web.html&amp;h=600&amp;w=463&amp;sz=96&amp;tbnid=hLYql66eGCgZlM:&amp;tbnh=89&amp;tbnw=69&amp;zoom=1&amp;usg=__-jTurwdVoqed-jKIhM0NnbQfV5Q=&amp;docid=YvsmGs4vJy-s4M&amp;sa=X&amp;ei=zu5AUrO-OMTn2wWKvIHQDg&amp;ved=0CGgQ9QEwEw&amp;dur=469</a><!--more--></p>\r\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\r\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\r\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\r\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\r\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\r\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\r\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\r\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\r\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\r\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\r\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\r\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\r\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\r\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\r\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\r\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\r\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\r\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\r\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\r\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\r\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\r\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\r\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\r\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-revision-v1','','','2013-09-23 19:46:31','2013-09-24 01:46:31','',3253,'http://jeanatacc.com/2011/?p=3335',0,'revision','',0),(3328,88,'2013-09-23 18:27:03','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 18:27:03','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3328',0,'post','',0),(3330,88,'2013-09-23 18:32:53','2013-09-24 00:32:53','Ibn Battuta wrote the “Book of Travels”, which he writes about his journeys several Muslim countries. It started out as his pilgrim to Mecca but he continued to travel instead of going home. He started his pilgrimage in 1325 and did not return to his home town till 1355 (Hrbek).\r\n\r\n<!--more-->\r\n\r\nHe started his travels in Tangier to go to Mecca on his pilgrimage, after he got to Mecaa, he continued to travel around going from China to Africa and everything in between to witness the Muslim culture and he wrote in extreme detail of their actions. Women’s roles in certain areas, the crime he witnessed, the rulers ways rather good or bad. He wrote about everything and criticized everything that he felt was wrong but also praised everything he found to be right. He travel by camel, foot and boat. He shared his legal advice with other lawyers and just shared his common beliefs with anything really.\r\n\r\nWhile he was traveling, it was apparent that the world was not sitting still, this was around the time that the pledge was going around Eastern Asia, Egypt and North Africa killing around 20,000,000. This is also around the time the Hundred Years War started, the war was between England and France. This war started in 1337 while Battuta was still traveling, and ended well after his passing in 1368 (Notes on the 14th-century History).\r\n\r\n&nbsp;\r\n\r\nWhile no one thought anything of his pilgrimage to Mecca because it was completely normal for Muslim men to make this journey, what set him aside was his extraordinary detail of writing everything he felt worthy. With his 16 month pilgrimage he decided to continue and see other countries and other cultures. He gave criticism to every country he did not agree with, “at this I was sorry I had come to their county, because of their bad manners and contempt for white people” (Fiero). “The women are of outstanding beauty and are more highly regarded than men. Conditions among these people are remarkable and their style is strange” (Fiero). “He said “The companionship of women and men among us is a good thing and an agreeable practice, which causes no suspicion; they are not like the women of your country.” I was astonished at his silliness. I left him and did not visit him again” (Fiero). All of this was in the city of Iwalatan,\r\n\r\nMali. He obviously disagreed with their practices because of the different cultures. This is also why he his writing is so extremely important, they tell the different cultures of different Muslim cultures that we would most likely not know otherwise. He may have no found a new country or a new religion, but he wrote about one that many countries may not have known there was a difference at, such as the city of Tangier to the city of Iwanlatan.\r\n\r\n&nbsp;\r\n\r\nI would compare him most to Marco Polo, both travelers who documented their travels well. Marco Polo. They both had a great need to travel and generally traveled the same areas, only for different reasons. Marco Polo being an Italian was one of the first to travel through Asia (Marco Polo: Explorer). He also did not find any new country or any new culture, he was the first to travel from his country, like Battuta.\r\n\r\n&nbsp;\r\n\r\nI have found that he is very popular in the Scholar world but I have to say, that I have never heard of this person before which surprises me. I feel like he needs to be more known around the world. He wrote more about a culture I have no knowledge of then anyone in the 14 century than anyone else. I have learned more about his writing than I have in almost 15 years in school of any kind. I feel like his outtake of different variations of a religion is the most significant aspect of his work that needs to be pasted down to future generation. They need to focus on that it okay to accept variation of an idea, not just a religion and that it has happened since the turn of time.\r\n\r\n&nbsp;\r\n\r\nWork Cited\r\n\r\nIvan , Hrbek. \"Ibn Battutah.\" Encyclopedia Britannica. &lt;http://www.britannica.com/&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Marco Polo: Explorer.\" Enchanted Learning. n. page. Web. 22 Sep. 2013. &lt;www.enchantedlearning.com&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Notes on the 14th-century History.\" Washington State University. Web. 22 Sep. 2013. &lt;http://public.wsu.edu/~hanly/chaucer/coursematerials/14thcent.html&gt;.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. Cross-Cultural Encounter Ibn Battuta in West Africa. 6th. 2. Boston: Mcgraw-Hill, eBook.','\"The Book of Travels\" By Ibn Battuta ','','inherit','open','open','','3326-revision-v1','','','2013-09-23 18:32:53','2013-09-24 00:32:53','',3326,'http://jeanatacc.com/2011/?p=3330',0,'revision','',0),(3329,88,'2013-09-23 18:28:09','2013-09-24 00:28:09','Ibn Battuta wrote the “Book of Travels”, which he writes about his journeys several\r\n\r\nMuslim countries. It started out as his pilgrim to Mecca but he continued to travel instead of\r\n\r\ngoing home. He started his pilgrimage in 1325 and did not return to his home town till 1355\r\n\r\n(Hrbek).<!--more-->\r\n\r\nHe started his travels in Tangier to go to Mecca on his pilgrimage, after he got to Mecaa,\r\n\r\nhe continued to travel around going from China to Africa and everything in between to witness\r\n\r\nthe Muslim culture and he wrote in extreme detail of their actions. Women’s roles in certain\r\n\r\nareas, the crime he witnessed, the rulers ways rather good or bad. He wrote about everything and\r\n\r\ncriticized everything that he felt was wrong but also praised everything he found to be right. He\r\n\r\ntravel by camel, foot and boat. He shared his legal advice with other lawyers and just shared his\r\n\r\ncommon beliefs with anything really.\r\n\r\n&nbsp;\r\n\r\nWhile he was traveling, it was apparent that the world was not sitting still, this was\r\n\r\naround the time that the pledge was going around Eastern Asia, Egypt and North Africa killing\r\n\r\naround 20,000,000. This is also around the time the Hundred Years War started, the war was\r\n\r\nbetween England and France. This war started in 1337 while Battuta was still traveling, and\r\n\r\nended well after his passing in 1368 (Notes on the 14th-century History).\r\n\r\n&nbsp;\r\n\r\nWhile no one thought anything of his pilgrimage to Mecca because it was completely\r\n\r\nnormal for Muslim men to make this journey, what set him aside was his extraordinary detail of\r\n\r\nwriting everything he felt worthy. With his 16 month pilgrimage he decided to continue and see\r\n\r\nother countries and other cultures. He gave criticism to every country he did not agree with, “at\r\n\r\nthis I was sorry I had come to their county, because of their bad manners and contempt for white\r\n\r\npeople” (Fiero). “The women are of outstanding beauty and are more highly regarded than men.\r\n\r\nConditions among these people are remarkable and their style is strange” (Fiero). “He said “The\r\n\r\ncompanionship of women and men among us is a good thing and an agreeable practice, which\r\n\r\ncauses no suspicion; they are not like the women of your country.” I was astonished at his\r\n\r\nsilliness. I left him and did not visit him again” (Fiero). All of this was in the city of Iwalatan,\r\n\r\nMali. He obviously disagreed with their practices because of the different cultures. This is also\r\n\r\nwhy he his writing is so extremely important, they tell the different cultures of different Muslim\r\n\r\ncultures that we would most likely not know otherwise. He may have no found a new country or\r\n\r\na new religion, but he wrote about one that many countries may not have known there was a\r\n\r\ndifference at, such as the city of Tangier to the city of Iwanlatan.\r\n\r\n&nbsp;\r\n\r\nI would compare him most to Marco Polo, both travelers who documented their travels\r\n\r\nwell. Marco Polo. They both had a great need to travel and generally traveled the same areas,\r\n\r\nonly for different reasons. Marco Polo being an Italian was one of the first to travel through Asia\r\n\r\n(Marco Polo: Explorer). He also did not find any new country or any new culture, he was the\r\n\r\nfirst to travel from his country, like Battuta.\r\n\r\n&nbsp;\r\n\r\nI have found that he is very popular in the Scholar world but I have to say, that I have\r\n\r\nnever heard of this person before which surprises me. I feel like he needs to be more known\r\n\r\naround the world. He wrote more about a culture I have no knowledge of then anyone in the 14\r\n\r\ncentury than anyone else. I have learned more about his writing than I have in almost 15 years in\r\n\r\nschool of any kind. I feel like his outtake of different variations of a religion is the most\r\n\r\nsignificant aspect of his work that needs to be pasted down to future generation. They need to\r\n\r\nfocus on that it okay to accept variation of an idea, not just a religion and that it has happened\r\n\r\nsince the turn of time.\r\n\r\n&nbsp;\r\n\r\nWork Cited\r\n\r\nIvan , Hrbek. \"Ibn Battutah.\" Encyclopedia Britannica. &lt;http://www.britannica.com/&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Marco Polo: Explorer.\" Enchanted Learning. n. page. Web. 22 Sep. 2013.\r\n\r\n&lt;www.enchantedlearning.com&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Notes on the 14th-century History.\" Washington State University. Web. 22 Sep. 2013. &lt;http://\r\n\r\npublic.wsu.edu/~hanly/chaucer/coursematerials/14thcent.html&gt;.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. Cross-Cultural Encounter Ibn Battuta in West Africa. 6th. 2. Boston:\r\n\r\nMcgraw-Hill, eBook.','\"The Book of Travels\" By Ibn Battuta ','','inherit','open','open','','3326-revision-v1','','','2013-09-23 18:28:09','2013-09-24 00:28:09','',3326,'http://jeanatacc.com/2011/?p=3329',0,'revision','',0),(3191,1,'2012-11-26 23:53:39','2012-11-27 05:53:39','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/sgtpepperscover2.jpg\"><img class=\"aligncenter size-medium wp-image-3054\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/sgtpepperscover2-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n\r\n&nbsp;\r\n\r\nI submit for inclusion in our time capsule, Sgt. Pepper\'s Lonely Hearts Club Band by The Beatles. Sgt. Pepper\'s Lonely Hearts Club Band was released in June of 1967. This album is one of the most important works of its time because of its sonic brilliance, the lyrics and the messages within, as well as the band\'s immaculate crafting of a concept album.<!--more-->\r\n\r\nSgt. Pepper\'s Lonely Hearts Club Band by the Beatles is an album comprised of 13 tracks for a combined 40 minutes. The sound of the album compared to the band previous releases is a decidedly more experimental sound and more mature take on some of the same topics that the group had already explored, along with a few new questions to ponder thrown in as well. The album was in line with its contemporaries in a time of psychedelic sentiments and sounds that reflected the culture of the 60\'s and the 1967 \'Summer of Love\' in particular. The thing that set this work apart from the others of its time were the brilliant  musicality that the band displayed as well as the compelling songwriting, mostly by band members John Lennon and Paul McCartney. Tony Hicks, in an article for the Contra Costa Times, wrote, “The music inside mixed in classical psychedelia sounds, electronic effects, was full of offbeat instrumentation and arrangements, and somehow heightened the band’s personality and songwriting genius while sill being easy to follow. The record connected the listener to a perceived continuous performance, powerfully sequenced for one great moment to set up the next.” The result was apart from a musical masterpiece, a quintessential concept album. The Beatles were huge stars in the eyes of the world, and their popularity along with the quality of the music and the mood of the time made for a cultural phenomenon in the form of what is widely considered the greatest rock and roll album of all time.\r\n\r\nThe 1967 \'Summer of Love\' revolved around the expanding of the hippie counter culture, experimental drug use, and the general abandonment of the straight laced attitude of the 1950\'s. Bands like The Grateful Dead, The Doors, The Byrds, The Mamas and the Papas, and Jimi Hendrix along with The Beatles sang songs that provided the background for this shift in attitudes and documented the growth of new ideas and the questioning of authority of this era. In the July issue of Rolling Stone magazine, Mikal Gilmore recalled that \"Sixties rock, along with the civil rights and anti-Vietnam War movements and a mass willingness to experiment with marijuana and LSD, had given young people a new sense of empowerment.\" The possibilities of how one could go about living life were expanding as boundaries of resisting established forms of authority were pushed. Gilmore goes on to state, \"The Beatles had been introduced to marijuana by Bob Dylan in 1964 and had used the drug steadily since. But psychedelics -- which they were now taking -- proposed chancier, more intense possibilities. [...] Lennon felt his songwriting initially benefited from psychedelic experience.\" Former psychologist turned 1960s counterculture icon, Timothy Leary coined the catchphrase \"Turn on, tune in, drop out\" (Collis, Brunner, Halperin, Johnson, and McCaffery 1). He was a fixture in the culture that now was what the adolescent, teenybopper audience that The Beatles had begun to distance themselves from, has evolved into. The young people of this era had begun to grow up and experiment with new ideas which is part of what made the Sgt. Pepper\'s album such a huge phenomenon. The Beatles, the largest mainstream rock and roll act of the time, put out a classic album, expertly navigating the most pressing social issues of the time, at the exact time that their audience was ready to hear it.\r\n\r\nThe era of the 1960\'s revolved around the hippie counter culture and the ideas of free love. Along with these events came experimental drug use, an almost childish rebelliousness, and a spacey, hypnotic aesthetic related to the music of some of the most popular artists of the era. The band grasp of music and their ability and willingness to step outside of the normal boundaries of expression helped set them apart from their peers. In the studio, the band employed many innovative forms of technology into their creative process to expand the pallet of sounds that they used to create the Sgt. Pepper\'s album. They employed the idea of a concept to build the albums sound around that gave them even more room to experiment. In their book, The Beatles Anthology, Paul McCartney says, “We would be Sgt. Pepper’s band, and for the whole of the album we’d pretend to be someone else. So, when John walked up to the microphone to sing, it wouldn’t be the new John Lennon vocal, it would be whoever he was in this new group, his fantasy character. It liberated you - you could do anything when you got to the mike or on your guitar, because it wasn’t you.”\r\n\r\nThe work was received with wide acclaim, with many in the music media deeming it an instant classic. Sgt. Pepper\'s was a true studio album, as the band had stopped performing live, and dedicated themselves to making a meaningful work of art, and separate themselves from the Beatlemania that had dominated their careers from the inception. That\'s where the complexity of sounds in the album stem from. Today the album is widely believed to be the best rock and roll album of all time and is generally considered the band\'s seminal work. Today most of the novelty of Beatlemania has worn off, and their work is appreciated a little more than it was then. The albums detractors usually attributed the praise of the album to the hype surrounding the band, but the albums legacy has persevered through the years and still stands as one of the most popular musical works of all time.\r\n\r\nI bought this album about a year ago because I had stumbled upon Rolling Stone\'s 500 Greatest Albums of All Time. I wanted to start my way down the list and experience all of these acclaimed albums over time. Sgt. Pepper\'s Lonely Hearts Club Band was the number one album on the list and I had always meant to get into The Beatles, so I decided to start there. On the first listen I loved a few songs, but as a person that favors listening to albums in their entirety, I wasn\'t impressed. Eventually, after acquiring a higher quality set of headphones, I went back to it, and it pulled me in quickly. Lately I\'ve been listening to it at least a couple times a week, and while its still not my favorite album, I have begun to understand how this album as well as The Beatles as a band influenced the culture of their time, as well as many of the other artist that I enjoy from that era. This album inspired an era of musical artists that were only then being introduced to the recording technology that is standard today.\r\n\r\nIn 1967, as The Beatles were arguably at the top of their success, The Doors made their debut. Both bands were successful at crafting music that both centered around and centered on the biggest societal issues of the time. Paul McCartney and John Lennon’s lyrical artistry was rivaled by Jim Morrison’s psychedelic intellectualism. In a May 2003 issue of Rolling Stone Magazine, Parke Puterbaugh writes an article about The Doors’ debut album in which he states, “The Doors arrived in 1967, the same year as Sgt. Pepper’s Lonely Hearts Club Band; both were psychedelic touchstones and among the first major rock discs that truly stood as albums, rather than collections of songs. But whereas The Beatles took a basically sunny view of humanity, the Door’s debut offered the dark side of the moon.” In my opinion, The Doors debut was just as important as far as the impact of the album itself. I strongly considered submitting The Doors’ album for consideration to be included in our time capsule. The thing that put The Beatles over the top for me was the mainstream success that they were at the time and the accessibility that their notoriety had given them. In a TIME Magazine article titled “The Messengers”, the an unnamed author writes, “All the successes of the past two years were a foreshadowing of Sgt. Pepper, which more than anything dramatizes, note for note, word for word, the brilliance of the new Beatles.” Their popularity gave them access to as wide of a channel of listeners as any band had ever garnered. This made their album that much more impactful. They brought their new sounds and ideas to the large audience that they already had, as well as pulling in a more mature and enlightened audience that had dismissed them before.\r\n\r\nFuture generations should look back on this work and primarily view it as a seminal example of a complete musical work of art. The musicality of the band as well as the lyricism and the messages that they convey show how an album should ultimately be approached. Not matter how different the music might be, the ambition to express thoughts in a unique and sonically beautiful way should be held by all musical artists. Future generations should also note how successful Sgt. Pepper’s was as a concept album. Personally, I have heard and enjoyed many concept albums, Sgt. Pepper’s stands out, because of the musicality it possesses as well as the stylistic variance of the songs therein. The songs stand well on there own, and possess their own unique sounds that go together well as an album. That is a balance that is hard to achieve for any artist or band that is trying to convey a message or tell a story though a collection of songs, especially in an industry that even in 1967 was driven by singles. In an article titled <em>Rereading: Sgt. Pepper’s Words</em>, David Michaelis stated, Sgt. Pepper’s Lonely Hearts Club Band revolutionized pop music as the airplane revolutionized warfare. Until Sgt. Pepper, the pop single dominated the recording industry.” There were many cases of radio stations playing the album in its entirety after its release. Every song on the album received radio play either by itself or in succession with other tracks from the album. This signifies how Sgt. Pepper’s Lonely Heart’s Club Band contains some of the most important music of one of the most important musical eras, and deserves to be preserved for future generations to enjoy.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBeatles, The. <em>The Beatles Anthology</em>. San Francisco: Chronicle Books Llc, 2002. Print.\r\n\r\nMichaelis, David. \"Rereading: Sgt. Pepper\'s Words.\" <em>American Scholar</em>. 2002: 130. Print.\r\n\r\nHicks, Tony. \"\'Sgt. Pepper\'s\' Still Turns Us On: Beatles Album Forever Changed Way Music Made, Played.\" <em>Contra Costa Times</em> [Walnut Creek] 28 05 2007, n. pag. Print.\r\n\r\nGilmore, Mikal. \"Making Sgt. Pepper.\" <em>Rolling Stone</em>. 12 2007: n. page. Print.\r\n\r\nCollis, Clark, Rob Brunner, Shirey Halperin, Beth Johnson, and Damien McCaffery. \"Summer of Love Revisited.\" <em>Entertainment Weekly</em>. 06 2007: n. page. Print.\r\n\r\n\"The Messengers.\" <em>Time</em>. 22 1967: n. page. Print.','Sgt. Pepper\'s Lonely Hearts Club Band by The Beatles','','inherit','open','open','','3047-revision-6','','','2012-11-26 23:53:39','2012-11-27 05:53:39','',3047,'http://jeanatacc.com/2011/?p=3191',0,'revision','',0),(3192,1,'2012-12-15 12:55:51','2012-12-15 18:55:51','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/sgtpepperscover2.jpg\"><img class=\"aligncenter size-medium wp-image-3054\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/sgtpepperscover2-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\"> http://afteramerica.files.wordpress.com/2012/05/sgt-pepper-cover.jpg</p>\r\nI submit for inclusion in our time capsule, Sgt. Pepper\'s Lonely Hearts Club Band by The Beatles. Sgt. Pepper\'s Lonely Hearts Club Band was released in June of 1967. This album is one of the most important works of its time because of its sonic brilliance, the lyrics and the messages within, as well as the band\'s immaculate crafting of a concept album.<!--more-->\r\n\r\nSgt. Pepper\'s Lonely Hearts Club Band by the Beatles is an album comprised of 13 tracks for a combined 40 minutes. The sound of the album compared to the band previous releases is a decidedly more experimental sound and more mature take on some of the same topics that the group had already explored, along with a few new questions to ponder thrown in as well. The album was in line with its contemporaries in a time of psychedelic sentiments and sounds that reflected the culture of the 60\'s and the 1967 \'Summer of Love\' in particular. The thing that set this work apart from the others of its time were the brilliant  musicality that the band displayed as well as the compelling songwriting, mostly by band members John Lennon and Paul McCartney. Tony Hicks, in an article for the Contra Costa Times, wrote, “The music inside mixed in classical psychedelia sounds, electronic effects, was full of offbeat instrumentation and arrangements, and somehow heightened the band’s personality and songwriting genius while sill being easy to follow. The record connected the listener to a perceived continuous performance, powerfully sequenced for one great moment to set up the next.” The result was apart from a musical masterpiece, a quintessential concept album. The Beatles were huge stars in the eyes of the world, and their popularity along with the quality of the music and the mood of the time made for a cultural phenomenon in the form of what is widely considered the greatest rock and roll album of all time.\r\n\r\nThe 1967 \'Summer of Love\' revolved around the expanding of the hippie counter culture, experimental drug use, and the general abandonment of the straight laced attitude of the 1950\'s. Bands like The Grateful Dead, The Doors, The Byrds, The Mamas and the Papas, and Jimi Hendrix along with The Beatles sang songs that provided the background for this shift in attitudes and documented the growth of new ideas and the questioning of authority of this era. In the July issue of Rolling Stone magazine, Mikal Gilmore recalled that \"Sixties rock, along with the civil rights and anti-Vietnam War movements and a mass willingness to experiment with marijuana and LSD, had given young people a new sense of empowerment.\" The possibilities of how one could go about living life were expanding as boundaries of resisting established forms of authority were pushed. Gilmore goes on to state, \"The Beatles had been introduced to marijuana by Bob Dylan in 1964 and had used the drug steadily since. But psychedelics -- which they were now taking -- proposed chancier, more intense possibilities. [...] Lennon felt his songwriting initially benefited from psychedelic experience.\" Former psychologist turned 1960s counterculture icon, Timothy Leary coined the catchphrase \"Turn on, tune in, drop out\" (Collis, Brunner, Halperin, Johnson, and McCaffery 1). He was a fixture in the culture that now was what the adolescent, teenybopper audience that The Beatles had begun to distance themselves from, has evolved into. The young people of this era had begun to grow up and experiment with new ideas which is part of what made the Sgt. Pepper\'s album such a huge phenomenon. The Beatles, the largest mainstream rock and roll act of the time, put out a classic album, expertly navigating the most pressing social issues of the time, at the exact time that their audience was ready to hear it.\r\n\r\nThe era of the 1960\'s revolved around the hippie counter culture and the ideas of free love. Along with these events came experimental drug use, an almost childish rebelliousness, and a spacey, hypnotic aesthetic related to the music of some of the most popular artists of the era. The band grasp of music and their ability and willingness to step outside of the normal boundaries of expression helped set them apart from their peers. In the studio, the band employed many innovative forms of technology into their creative process to expand the pallet of sounds that they used to create the Sgt. Pepper\'s album. They employed the idea of a concept to build the albums sound around that gave them even more room to experiment. In their book, The Beatles Anthology, Paul McCartney says, “We would be Sgt. Pepper’s band, and for the whole of the album we’d pretend to be someone else. So, when John walked up to the microphone to sing, it wouldn’t be the new John Lennon vocal, it would be whoever he was in this new group, his fantasy character. It liberated you - you could do anything when you got to the mike or on your guitar, because it wasn’t you.”\r\n\r\nThe work was received with wide acclaim, with many in the music media deeming it an instant classic. Sgt. Pepper\'s was a true studio album, as the band had stopped performing live, and dedicated themselves to making a meaningful work of art, and separate themselves from the Beatlemania that had dominated their careers from the inception. That\'s where the complexity of sounds in the album stem from. Today the album is widely believed to be the best rock and roll album of all time and is generally considered the band\'s seminal work. Today most of the novelty of Beatlemania has worn off, and their work is appreciated a little more than it was then. The albums detractors usually attributed the praise of the album to the hype surrounding the band, but the albums legacy has persevered through the years and still stands as one of the most popular musical works of all time.\r\n\r\nI bought this album about a year ago because I had stumbled upon Rolling Stone\'s 500 Greatest Albums of All Time. I wanted to start my way down the list and experience all of these acclaimed albums over time. Sgt. Pepper\'s Lonely Hearts Club Band was the number one album on the list and I had always meant to get into The Beatles, so I decided to start there. On the first listen I loved a few songs, but as a person that favors listening to albums in their entirety, I wasn\'t impressed. Eventually, after acquiring a higher quality set of headphones, I went back to it, and it pulled me in quickly. Lately I\'ve been listening to it at least a couple times a week, and while its still not my favorite album, I have begun to understand how this album as well as The Beatles as a band influenced the culture of their time, as well as many of the other artist that I enjoy from that era. This album inspired an era of musical artists that were only then being introduced to the recording technology that is standard today.\r\n\r\nIn 1967, as The Beatles were arguably at the top of their success, The Doors made their debut. Both bands were successful at crafting music that both centered around and centered on the biggest societal issues of the time. Paul McCartney and John Lennon’s lyrical artistry was rivaled by Jim Morrison’s psychedelic intellectualism. In a May 2003 issue of Rolling Stone Magazine, Parke Puterbaugh writes an article about The Doors’ debut album in which he states, “The Doors arrived in 1967, the same year as Sgt. Pepper’s Lonely Hearts Club Band; both were psychedelic touchstones and among the first major rock discs that truly stood as albums, rather than collections of songs. But whereas The Beatles took a basically sunny view of humanity, the Door’s debut offered the dark side of the moon.” In my opinion, The Doors debut was just as important as far as the impact of the album itself. I strongly considered submitting The Doors’ album for consideration to be included in our time capsule. The thing that put The Beatles over the top for me was the mainstream success that they were at the time and the accessibility that their notoriety had given them. In a TIME Magazine article titled “The Messengers”, the an unnamed author writes, “All the successes of the past two years were a foreshadowing of Sgt. Pepper, which more than anything dramatizes, note for note, word for word, the brilliance of the new Beatles.” Their popularity gave them access to as wide of a channel of listeners as any band had ever garnered. This made their album that much more impactful. They brought their new sounds and ideas to the large audience that they already had, as well as pulling in a more mature and enlightened audience that had dismissed them before.\r\n\r\nFuture generations should look back on this work and primarily view it as a seminal example of a complete musical work of art. The musicality of the band as well as the lyricism and the messages that they convey show how an album should ultimately be approached. Not matter how different the music might be, the ambition to express thoughts in a unique and sonically beautiful way should be held by all musical artists. Future generations should also note how successful Sgt. Pepper’s was as a concept album. Personally, I have heard and enjoyed many concept albums, Sgt. Pepper’s stands out, because of the musicality it possesses as well as the stylistic variance of the songs therein. The songs stand well on there own, and possess their own unique sounds that go together well as an album. That is a balance that is hard to achieve for any artist or band that is trying to convey a message or tell a story though a collection of songs, especially in an industry that even in 1967 was driven by singles. In an article titled <em>Rereading: Sgt. Pepper’s Words</em>, David Michaelis stated, Sgt. Pepper’s Lonely Hearts Club Band revolutionized pop music as the airplane revolutionized warfare. Until Sgt. Pepper, the pop single dominated the recording industry.” There were many cases of radio stations playing the album in its entirety after its release. Every song on the album received radio play either by itself or in succession with other tracks from the album. This signifies how Sgt. Pepper’s Lonely Heart’s Club Band contains some of the most important music of one of the most important musical eras, and deserves to be preserved for future generations to enjoy.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">Works Cited</p>\r\nBeatles, The. <em>The Beatles Anthology</em>. San Francisco: Chronicle Books Llc, 2002. Print.\r\n\r\nMichaelis, David. \"Rereading: Sgt. Pepper\'s Words.\" <em>American Scholar</em>. 2002: 130. Print.\r\n\r\nHicks, Tony. \"\'Sgt. Pepper\'s\' Still Turns Us On: Beatles Album Forever Changed Way Music Made, Played.\" <em>Contra Costa Times</em> [Walnut Creek] 28 05 2007, n. pag. Print.\r\n\r\nGilmore, Mikal. \"Making Sgt. Pepper.\" <em>Rolling Stone</em>. 12 2007: n. page. Print.\r\n\r\nCollis, Clark, Rob Brunner, Shirey Halperin, Beth Johnson, and Damien McCaffery. \"Summer of Love Revisited.\" <em>Entertainment Weekly</em>. 06 2007: n. page. Print.\r\n\r\n\"The Messengers.\" <em>Time</em>. 22 1967: n. page. Print.','Sgt. Pepper\'s Lonely Hearts Club Band by The Beatles','','inherit','open','open','','3047-revision-7','','','2012-12-15 12:55:51','2012-12-15 18:55:51','',3047,'http://jeanatacc.com/2011/?p=3192',0,'revision','',0),(3193,66,'2012-11-26 23:44:36','2012-11-27 05:44:36','<div>\r\n\r\nTheory of relativity\r\n\r\n</div>\r\n<div>\r\n\r\nAlbert Einstein\r\n\r\nBetween 1907 and 1915<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/tumblr_m3phbxkhaR1r3si8so1_r1_12801.jpg\"><img class=\"alignright size-medium wp-image-3044\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/tumblr_m3phbxkhaR1r3si8so1_r1_12801-300x228.jpg\" alt=\"\" width=\"300\" height=\"228\" /></a>\r\n\r\n</div>\r\n<div>It is uncommon knowledge  to know why we orbit our sun in a vacuum, or how light cannot escape a black hole, but the concepts given to us by Einstein\'s Theory(s) of Relativity gives us be best insight on explaining these amazing powers of this universe. Special relativity states that laws of physics are the equal  for all non-accelerating observers, and that the speed of light is constant. General relativity states that The larger the object is, the larger its distortion in space time which is what we call as gravity. His theories of special and general relativities correlate in that it explains the effects and differences between stationary bodies and bodies in motion. It also explains how light is affected by gravity via gravitational lensing, which gravity\'s ability to bend light. Without such an incredible idea we would be forever ignorant about such things, and would be severely detrimental to our growth as a species. My proposal to preserve this concept, apart from it allowing us to travel in space, is because it is, undoubtedly, one of the greatest human achievements of all time. It is the foundation by which all explanations in physics and cosmology are based on, and thus, allows us to further our knowledge of the vast universe around us. I believe that we must preserve this because it is everything in our universe operates upon given a few known exceptions, and gives a foothold into our continued progress towards discovery. Ultimately, however, we don\'t need to preserve it, because it will always exist.</div>\r\n<div><!--more--></div>\r\n<div>\r\n\r\nIn the age of curiosity and trying to understand the cosmos, a singular individual spearheaded physics and cosmology, and every major science of the time, and would forever change the way we view the universe. This individual was named Albert Einstein, a theoretical physicist. His ideas revolutionized the way we explain how things work, and helped answer some of the big questions. His ideas  and theories went along with many others such as Robert Oppenheimer and Niels Bohr. Many were driven, given the rapid evolution of technology, to find out and discover everything they could, as quickly as they could because they were finally able to.\r\n\r\n</div>\r\n<div>\r\n\r\nFor it\'s time, it\'s significance is beyond it. It was theoretical physics that accounted for many unknowns in the universe that wouldn\'t be discovered until after Einstein\'s death. It had predicted a great many concepts such as black holes and dark matter, the things that make up most of the gravity in our universe. He was ahead of his time, and this theory leap-frogged us into proving it. We looked for the black holes and the dark matter, and there they are. Theoretical physics, cosmology, astrophysics, the sciences most people have a hard time understanding, and all the others as well, operate upon this foundation, so it\'s importance is beyond understanding. Allaboutscience.org best summarizes it\'s importance after many occurrences where the general theory could be applied, \"Einstein’s theories of both special and general relativity have been confirmed to be accurate to a very high degree over recent years, and the data has been shown to corroborate many key predictions...general relativity proved itself accurate to better than a trillionth of a percent precision, thus making it one of the best confirmed principles in all of physics.\"\r\n\r\n</div>\r\n<div>\r\n\r\nUpon it\'s birth, the theory was met with varied beliefs. Many thought it was in correct because it conflicted with other theories at the time, but the majority grew to accept it very quickly. The more study that was done with it as the basis, the more it made sense to the rest of the scientific community. And though Einstein is the accepted creator of this theory, many others are credited to its culmination, such as <a href=\"http://en.wikipedia.org/wiki/Albert_Michelson\">Albert Michelson</a>, <a href=\"http://en.wikipedia.org/wiki/Hendrik_Lorentz\">Hendrik Lorentz</a>, <a href=\"http://en.wikipedia.org/wiki/Henri_Poincar%C3%A9\">Henri Poincaré</a>. This was a huge undertaking, to explain the fundamental laws of the universe, and to say with almost certainty that this what the basic laws of the universe operate on would be a bold statement. So of course many disbelieved at first, but as we know now it is very widely accepted. It best explained space-time in relation to gravity, a Space.com put it, \" [he] worked out the equations for his general theory of relativity, Einstein realized that massive objects caused a distortion in space-time. Imagine setting a large body in the center of a trampoline. The body would press down into the fabric, causing it to dimple. A marble rolled around the edge would spiral inward toward the body, pulled in much the same way that the gravity of a planet pulls at rocks in space\"\r\n\r\n</div>\r\n<div>\r\n\r\nIt is so widely accepted, in fact, that you will not find a single educated adult who does not know E = mc2, Energy equals mass times the speed of light squared, as it\'s and explanation to special relativity. In fact, most young people today could even recognize it and who it\'s accredited to, it is that relevant and important to our culture. And though it was met with mixed acceptances upon its creation, it is almost universally accepted today. This, however, does not mean that everyone understands it. Typically it\'s explanation is left to advanced high school physics and higher level learning.\r\n\r\n</div>\r\n<div>\r\n\r\nTo me it is a grand idea to be in wonder of. No one ever thinks about how even though we\'re floating on a huge rock in the vacuum of space, we\'re affected by an invisible, immeasurable force, thousands of miles away, and that we\'re also being affected by the rock we\'re standing on itself. We call this gravity, and we know it exists because we know the difference between it\'s pull, and no gravity at all. Or that light takes eight minutes to travel from the sun to us, and yet that speed at which it travels is incomprehendable. I\'ve always had a huge wonder of astrophysics and what lies beyond this planet, beyond what we know and are comfortable with. When we discovered the Higgs-Boson, aka the God Particle, earlier this year no one could care less about it\'s importance and it\'s relevance to even the basic laws of physics. But for those reading I\'ll summarize. It is the particle, or set of particles, that give everything mass and essentially, existence. Thus, giving something mass essentially gives it gravity and a foot-hold in our dimension/reality. The science behind it is very in-depth and complicated. Interestingly, Einstein stated that it is impossible for anything to travel faster than the speed of light, but when we smashed the atoms at the The Hadron Collider and Detector at Fermilab to find the Higgs Boson, we found it to be traveling a bit faster than light. We don\'t know how to classify this in the known laws of physics, but I believe we\'re stepping into a whole new universe of science, almost literally.\r\n\r\n</div>\r\n<div>\r\n\r\nJ<a href=\"http://www.google.com/url?sa=t&amp;rct=j&amp;q=maxwell%27s%20electromagnetic%20theory&amp;source=web&amp;cd=2&amp;cad=rja&amp;ved=0CDwQFjAB&amp;url=http%3A%2F%2Fen.wikipedia.org%2Fwiki%2FJames_Clerk_Maxwell&amp;ei=1byzUOLGOc-s0AGj7YHICA&amp;usg=AFQjCNEhnZ2Hy0Jkra3niTYhOS2kL8bc2w\">ames Clerk Maxwell</a> was working in parallel to Einstein in trying to explain the framework of such laws, but only came as far as showing a relation between energy and mass.  Thebigview.com gives a good synopsis on Einstein\'s E=MC2 versus Maxwell\'s E/c2, \"Einstein derived this relation in an attempt to reconcile Maxwell\'s electromagnetic theory with the conservation of energy and momentum. Maxwell said that light carries a momentum, which is to say that a wave carries an amount of energy. Due to the principle of conservation of momentum, if a body emits energy in the form of radiation, the body loses an equivalent amount of mass that is given by E/c². This describes the relation between energy and mass. \"\r\n\r\n</div>\r\n<div>\r\n\r\nThe most significant thing future generations should be aware of is that first is that it is almost the law on how our universe operates, and secondly, that there are things in our universe that this law/theory does not apply to. Future generations must work off what we discover by using this theory.\r\n\r\n</div>\r\n<div>\r\n\r\nThis work has become one of the greatest testaments to human knowledge and curiosity. It has given us great insight into what exists and more importantly, how it exists. It the fundamental basis for the guidelines the universe and relative physics operate by. There is still so much to learn, but Einstein gave us a way to help point us in the right direction. And it\'s because of these things that we must preserve it, for our culture at least.\r\n\r\n</div>\r\n<div>\r\n\r\nThe things that helped me most was just having a curious mind and an openness to the things I didn\'t know. There is a multitude of information out there on any given subject, so when you find something of interest, pursue it and learn all you can about it, learn all its aspects and what have been taken from it.\r\n\r\nImage: http://gifsoup.com/webroot/animatedgifs/763130_o.gif\r\n\r\nWorks Cited\r\n\r\nRedd, Nola T. \"Einstein\'s Theory of General Relativity.\" <em>Space.com</em>. N.p., n.d. Web. 26 Nov. 2012.\r\n\r\nKnierim, Thomas. \"Special and General Relativity Theory (Albert Einstein).\" <em>Special and General Relativity Theory (Albert Einstein)</em>. N.p., n.d. Web. 26 Nov. 2012. &lt;http://www.thebigview.com/spacetime/relativity.html&gt;.\r\n\r\n\"Theory Of Relativity.\" <em>AllAboutScience.org</em>. N.p., n.d. Web. 26 Nov. 2012. &lt;http://www.allaboutscience.org/theory-of-relativity.htm&gt;.\r\n\r\n</div>','Albert Einstein\'s Theory of relativity','','inherit','open','open','','3041-revision-5','','','2012-11-26 23:44:36','2012-11-27 05:44:36','',3041,'http://jeanatacc.com/2011/?p=3193',0,'revision','',0),(3194,61,'2012-12-12 21:31:29','2012-12-13 03:31:29','','Auto Draft','','inherit','open','open','','3161-revision','','','2012-12-12 21:31:29','2012-12-13 03:31:29','',3161,'http://jeanatacc.com/2011/?p=3194',0,'revision','',0),(3195,61,'2012-12-16 19:05:00','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-12-16 19:05:00','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3195',0,'post','',0),(3196,56,'2012-12-16 19:22:26','2012-12-17 01:22:26','[caption id=\"\" align=\"alignleft\" width=\"180\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"      \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"180\" height=\"180\" /></a> Jiro Ono[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.<!--more-->\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" target=\"_blank\"><img class=\"   alignright\" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"214\" height=\"118\" /></a>\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n<p style=\"text-align: center\">Image Sources</p>\r\n<p style=\"text-align: left\">Jiro Ono - http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg</p>\r\nAkami (Lean Tuna) - http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','publish','open','open','','%e2%80%8bjiro-dreams-of-%e9%ae%a8-sushi','','','2012-12-16 19:22:26','2012-12-17 01:22:26','',0,'http://jeanatacc.com/2011/?p=3196',0,'post','',0),(3197,61,'2012-12-16 19:08:16','2012-12-17 01:08:16','<p style=\"text-align: left\">AUSTIN COMMUNITY COLLEGE\nOPTIONAL ASSIGNMENT\nJ. Lauer – 1302 – 207 # 13622\nPHILIP ROBINSON\n12/15/2012</p>\n<p style=\"text-align: center\">I HAVE SEEN THE FUTURE TOO</p>\nWhen professor Lauer mentioned the Norman Bel Geddes exhibit “I Have Seen the Future” as an optional assignment possibility, I remembered hearing the name before in some of my drafting classes. I remembered him work being well advanced for his time and quite modern. Upon walking through heavy iron and glass doors of the Harry Ransom Center, my recollections were both confirmed and blown away in how little they encompassed the genius on exhibit. The vision and depth of his talent must be seen firsthand to be fully appreciated. The genius in innovative thought and design that his work demonstrates is second to none, and should be required study for anyone in any of the design fields that his work covers.\n\n<!--more-->\n\nThe Exhibit is broken down into five sections. “Setting the Stage: 1916 - 1927,” covers the beginnings of his career as a professional; with his innovative work in set design. “Industrious Design: 1927 - 1937,” takes the experience from the stage to interior design and architecture in private and commercial applications. His Book Horizons(1932), makes streamlining popular. “A Bigger World: 1937 - 1945,” looks at decentralization of the landscape in reshaping America. “Futurama: 1939 - 1940,” showcases his modern urban planning, and his futuristic modeling and puts them on display the New York World’s Fair. “Total Living: 1945 - 1958,” demonstrates the level of influence his work has had on every aspect of design in America that his talents reached. The show is running through January 6th at 300 w. 21st Street in Austin.\n\nMost folks that have heard of the man are familiar with the futuristic cars and boats that he has designed. What I found that was most impressive was his omni directional view of what we could do if we put our minds to the task. What follows is my understanding and enlightenment in what it means to think as broadly as Norman Bel Geddes. Most of us are familiar with artistic expressions that utilize a stage as the location for expressing our vision to the masses. What better way to reach the audience with your message than to enhance the experience than with innovative stage and costume design. Taking what is normally a blank canvas and altering the scenery of the stage with back drop scenery and movable set pieces was normal; Geddes transformed the physical stage and the costumes into other worldly beings to immerse the audience unlike anyone of the time. Theatrical performances today owe a great deal to the innovative mind of Norman Bel Geddes.\nThe brilliance that Geddes was able to display in the world of the stage was not limited to the stage. He continued this creative process to an awe inspiring view of what society would be like in the future. His modern vision of streamlined and futuristic residential and commercial architecture can still be seen almost one hundred years later. Interstate travel, decentralized city planning, and an aesthetically pleasing core belief, were pillars of what would become the future, not only in the world fair model, but in the world of tomorrow.\n\nTo say that Geddes was a creator of worlds is not all that farfetched. Good writers create worlds that include everything from facial tics to landscapes and languages to spacecraft. Geddes and those he worked with designed and created everything from everyday items, to furniture, to homes and hotels and high rises, to massively large and luxuriant vehicles for travel. Throughout his career, Geddes thought outside of the box, disregarded the thought of impossible, and showed all of us what we could do if we set our minds to the task.','I Have Seen The Future Too','','inherit','open','open','','3161-revision-2','','','2012-12-16 19:08:16','2012-12-17 01:08:16','',3161,'http://jeanatacc.com/2011/?p=3197',0,'revision','',0),(3198,61,'2012-12-16 19:09:35','2012-12-17 01:09:35','<p style=\"text-align: left\">AUSTIN COMMUNITY COLLEGE\nOPTIONAL ASSIGNMENT\nJ. Lauer – 1302 – 207 # 13622\nPHILIP ROBINSON\n12/15/2012</p>\n<p style=\"text-align: center\">I HAVE SEEN THE FUTURE TOO</p>\nWhen professor Lauer mentioned the Norman Bel Geddes exhibit “I Have Seen the Future” as an optional assignment possibility, I remembered hearing the name before in some of my drafting classes. I remembered him work being well advanced for his time and quite modern. Upon walking through heavy iron and glass doors of the Harry Ransom Center, my recollections were both confirmed and blown away in how little they encompassed the genius on exhibit. The vision and depth of his talent must be seen firsthand to be fully appreciated. The genius in innovative thought and design that his work demonstrates is second to none, and should be required study for anyone in any of the design fields that his work covers.\n\n<!--more-->\n\nThe Exhibit is broken down into five sections. “Setting the Stage: 1916 - 1927,” covers the beginnings of his career as a professional; with his innovative work in set design. “Industrious Design: 1927 - 1937,” takes the experience from the stage to interior design and architecture in private and commercial applications. His Book Horizons(1932), makes streamlining popular. “A Bigger World: 1937 - 1945,” looks at decentralization of the landscape in reshaping America. “Futurama: 1939 - 1940,” showcases his modern urban planning, and his futuristic modeling and puts them on display the New York World’s Fair. “Total Living: 1945 - 1958,” demonstrates the level of influence his work has had on every aspect of design in America that his talents reached. The show is running through January 6th at 300 w. 21st Street in Austin.\n\nMost folks that have heard of the man are familiar with the futuristic cars and boats that he has designed. What I found that was most impressive was his omni directional view of what we could do if we put our minds to the task. What follows is my understanding and enlightenment in what it means to think as broadly as Norman Bel Geddes. Most of us are familiar with artistic expressions that utilize a stage as the location for expressing our vision to the masses. What better way to reach the audience with your message than to enhance the experience than with innovative stage and costume design. Taking what is normally a blank canvas and altering the scenery of the stage with back drop scenery and movable set pieces was normal; Geddes transformed the physical stage and the costumes into other worldly beings to immerse the audience unlike anyone of the time. Theatrical performances today owe a great deal to the innovative mind of Norman Bel Geddes.\nThe brilliance that Geddes was able to display in the world of the stage was not limited to the stage. He continued this creative process to an awe inspiring view of what society would be like in the future. His modern vision of streamlined and futuristic residential and commercial architecture can still be seen almost one hundred years later. Interstate travel, decentralized city planning, and an aesthetically pleasing core belief, were pillars of what would become the future, not only in the world fair model, but in the world of tomorrow.\n\nTo say that Geddes was a creator of worlds is not all that farfetched. Good writers create worlds that include everything from facial tics to landscapes and languages to spacecraft. Geddes and those he worked with designed and created everything from everyday items, to furniture, to homes and hotels and high rises, to massively large and luxuriant vehicles for travel. Throughout his career, Geddes thought outside of the box, disregarded the thought of impossible, and showed all of us what we could do if we set our minds to the task.','I Have Seen The Future Too','','inherit','open','open','','3161-autosave','','','2012-12-16 19:09:35','2012-12-17 01:09:35','',3161,'http://jeanatacc.com/2011/?p=3198',0,'revision','',0),(3199,56,'2012-12-16 19:12:43','2012-12-17 01:12:43','This is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\n\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\n\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\n\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\n\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\n\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\n\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\n\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\n\n[caption id=\"\" align=\"alignright\" width=\"850\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"850\" height=\"466\" /></a> AKAMI - Lean Tuna[/caption]\n\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\n\n\n\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\n\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\n&nbsp;\n\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision','','','2012-12-16 19:12:43','2012-12-17 01:12:43','',3196,'http://jeanatacc.com/2011/?p=3199',0,'revision','',0),(3200,56,'2012-12-16 19:13:43','2012-12-17 01:13:43','This is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\n\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\n\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\n\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\n\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\n\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\n\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\n\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\n\n[caption id=\"\" align=\"alignright\" width=\"510\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\" \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"510\" height=\"280\" /></a> AKAMI - Lean Tuna[/caption]\n\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\n\n\n\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\n\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\n&nbsp;\n\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-2','','','2012-12-16 19:13:43','2012-12-17 01:13:43','',3196,'http://jeanatacc.com/2011/?p=3200',0,'revision','',0),(3201,61,'2012-12-16 19:14:56','2012-12-17 01:14:56','','Bel Geddes - 1','','inherit','open','open','','bel-geddes-hrc-1','','','2012-12-16 19:14:56','2012-12-17 01:14:56','',3161,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/Bel-Geddes-HRC-1.jpg',0,'attachment','image/jpeg',0),(3202,56,'2012-12-16 19:13:59','2012-12-17 01:13:59','This is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-3','','','2012-12-16 19:13:59','2012-12-17 01:13:59','',3196,'http://jeanatacc.com/2011/?p=3202',0,'revision','',0),(3203,56,'2012-12-16 19:15:34','2012-12-17 01:15:34','[caption id=\"\" align=\"alignleft\" width=\"300\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\"><img src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a> Jiro Ono[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-4','','','2012-12-16 19:15:34','2012-12-17 01:15:34','',3196,'http://jeanatacc.com/2011/?p=3203',0,'revision','',0),(3204,61,'2012-12-16 19:08:34','2012-12-17 01:08:34','<p style=\"text-align: left\">AUSTIN COMMUNITY COLLEGE\r\nOPTIONAL ASSIGNMENT\r\nJ. Lauer – 1302 – 207 # 13622\r\nPHILIP ROBINSON\r\n12/15/2012</p>\r\n<p style=\"text-align: center\">I HAVE SEEN THE FUTURE TOO</p>\r\nWhen professor Lauer mentioned the Norman Bel Geddes exhibit “I Have Seen the Future” as an optional assignment possibility, I remembered hearing the name before in some of my drafting classes. I remembered him work being well advanced for his time and quite modern. Upon walking through heavy iron and glass doors of the Harry Ransom Center, my recollections were both confirmed and blown away in how little they encompassed the genius on exhibit. The vision and depth of his talent must be seen firsthand to be fully appreciated. The genius in innovative thought and design that his work demonstrates is second to none, and should be required study for anyone in any of the design fields that his work covers.\r\n\r\n<!--more-->\r\n\r\nThe Exhibit is broken down into five sections. “Setting the Stage: 1916 - 1927,” covers the beginnings of his career as a professional; with his innovative work in set design. “Industrious Design: 1927 - 1937,” takes the experience from the stage to interior design and architecture in private and commercial applications. His Book Horizons(1932), makes streamlining popular. “A Bigger World: 1937 - 1945,” looks at decentralization of the landscape in reshaping America. “Futurama: 1939 - 1940,” showcases his modern urban planning, and his futuristic modeling and puts them on display the New York World’s Fair. “Total Living: 1945 - 1958,” demonstrates the level of influence his work has had on every aspect of design in America that his talents reached. The show is running through January 6th at 300 w. 21st Street in Austin.\r\n\r\nMost folks that have heard of the man are familiar with the futuristic cars and boats that he has designed. What I found that was most impressive was his omni directional view of what we could do if we put our minds to the task. What follows is my understanding and enlightenment in what it means to think as broadly as Norman Bel Geddes. Most of us are familiar with artistic expressions that utilize a stage as the location for expressing our vision to the masses. What better way to reach the audience with your message than to enhance the experience than with innovative stage and costume design. Taking what is normally a blank canvas and altering the scenery of the stage with back drop scenery and movable set pieces was normal; Geddes transformed the physical stage and the costumes into other worldly beings to immerse the audience unlike anyone of the time. Theatrical performances today owe a great deal to the innovative mind of Norman Bel Geddes.\r\nThe brilliance that Geddes was able to display in the world of the stage was not limited to the stage. He continued this creative process to an awe inspiring view of what society would be like in the future. His modern vision of streamlined and futuristic residential and commercial architecture can still be seen almost one hundred years later. Interstate travel, decentralized city planning, and an aesthetically pleasing core belief, were pillars of what would become the future, not only in the world fair model, but in the world of tomorrow.\r\n\r\nTo say that Geddes was a creator of worlds is not all that farfetched. Good writers create worlds that include everything from facial tics to landscapes and languages to spacecraft. Geddes and those he worked with designed and created everything from everyday items, to furniture, to homes and hotels and high rises, to massively large and luxuriant vehicles for travel. Throughout his career, Geddes thought outside of the box, disregarded the thought of impossible, and showed all of us what we could do if we set our minds to the task.','I Have Seen The Future Too','','inherit','open','open','','3161-revision-3','','','2012-12-16 19:08:34','2012-12-17 01:08:34','',3161,'http://jeanatacc.com/2011/?p=3204',0,'revision','',0),(3205,56,'2012-12-16 19:15:58','2012-12-17 01:15:58','[caption id=\"\" align=\"alignleft\" width=\"180\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\"><img class=\" \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"180\" height=\"180\" /></a> Jiro Ono[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-5','','','2012-12-16 19:15:58','2012-12-17 01:15:58','',3196,'http://jeanatacc.com/2011/?p=3205',0,'revision','',0),(3209,56,'2012-12-16 19:19:25','2012-12-17 01:19:25','[caption id=\"\" align=\"alignleft\" width=\"180\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"      \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"180\" height=\"180\" /></a> Jiro Ono[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.<!--more-->\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-9','','','2012-12-16 19:19:25','2012-12-17 01:19:25','',3196,'http://jeanatacc.com/2011/?p=3209',0,'revision','',0),(3206,56,'2012-12-16 19:17:00','2012-12-17 01:17:00','[caption id=\"\" align=\"alignleft\" width=\"108\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"  \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"108\" height=\"108\" /></a> Jiro Ono (http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg)[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-6','','','2012-12-16 19:17:00','2012-12-17 01:17:00','',3196,'http://jeanatacc.com/2011/?p=3206',0,'revision','',0),(3207,56,'2012-12-16 19:17:23','2012-12-17 01:17:23','[caption id=\"\" align=\"alignleft\" width=\"76\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"   \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"76\" height=\"76\" /></a> Jiro Ono (http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg)[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-7','','','2012-12-16 19:17:23','2012-12-17 01:17:23','',3196,'http://jeanatacc.com/2011/?p=3207',0,'revision','',0),(3208,56,'2012-12-16 19:18:05','2012-12-17 01:18:05','[caption id=\"\" align=\"alignleft\" width=\"67\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"     \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"67\" height=\"67\" /></a> Jiro Ono (http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg)[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"306\"]<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\"><img class=\"  \" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"306\" height=\"168\" /></a> http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg[/caption]\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-8','','','2012-12-16 19:18:05','2012-12-17 01:18:05','',3196,'http://jeanatacc.com/2011/?p=3208',0,'revision','',0),(3210,56,'2012-12-16 19:21:43','2012-12-17 01:21:43','[caption id=\"\" align=\"alignleft\" width=\"180\"]<a href=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" target=\"_blank\"><img class=\"      \" src=\"http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg\" alt=\"\" width=\"180\" height=\"180\" /></a> Jiro Ono[/caption]\r\n\r\nThis is a film directed by David Gelb and was a Featured Documentary Official Selection in the 2011 Tribeca Film Festival World Documentary category (“TribecaFilm.com”).  It tells the story of (now) 86 year old Jiro Ono and his sushi restaurant, すきやばし 次郎 (Sukiyabashi Jiro) which is located in the basement of an office building in Tokyo.  If one wants to eat at this establishment, it requires a reservation at least one month in advance.  Some people plan vacations around Jiro’s sushi and make reservations a year or more in advance.  In addition, the minimum cost of a meal is ¥30,000 yen which is $358.49 dollars as of this writing; that does not include drinks.<!--more-->\r\n\r\nJiro, mainly due to neglect, left home at the unbelievably young age of nine years old and began an apprenticeship at a sushi restaurant.  His original goal was to not live under a bridge.  His primary goal quickly became perfect and improve his craft ever since then.  He says that it is necessary to fall in love one’s chosen profession in order to be happy.  He has relentlessly pursued that goal for 75 years, sometimes to the detriment of his family.  He recounts the story of one Sunday morning when he had taken the morning off and was sleeping in.  One of his children went to their mother and reported that, “there is a strange man sleeping in your bed!”\r\n\r\nThere are significant differences between the Japanese culture and ours.  In the United States, we are dedicated and proponents of pursuing one’s own goals and dreams.  In Japan, the culture and tradition is that your future is predestined by other factors; in this case the father’s profession.  Jiro said that, “I allowed my children to graduate from high school.”  After that, he required his children to become his apprentices.  After high school, college was not an option for Jiro’s sons.\r\n\r\nAnother difference in culture is seen in the fact that Jiro pushed his younger, Takashi, son out of Jiro’s service to open his own restaurant, while his oldest son, Yoshikazu, remains at his father’s restaurant.  In the United States, that appears to be an insult to the oldest son; as if Jiro has more confidence in his youngest son.  In addition, here in the United States, we would probably push all of our children out to succeed on their own, or they would chafe under such a long subordinate position in the family business.  In Japan, that is just the way things are.  The oldest son inherits the father’s legacy while the younger children do not have that opportunity.\r\n\r\nIn the beginning, I found myself interpreting the facial expressions of everyone in the film from my Western perspective.  As the movie progressed, I began to come to terms with the differences in culture and expectations.  What I originally saw as stoic unhappiness in Yoshikazu’s face I became to understand was actually a peaceful affirmation of their customs.\r\n\r\nThere are no special secret recipes or practices in Jiro’s practices ~ simply a dedication to good taste and perfection.  They use only the best ingredients and a persistent quest for perfection.  For example, they massage their octopus for almost an hour so that it isn’t chewy or tough.  In their mind there is nothing particularly special in what they do.  They attribute much of their success in their ingredients.  They buy all of their ingredients from specialists in their field; their tuna vendor only sells tuna, and so on.  All of the vendors they use are also family businesses handed down from father to son.\r\n\r\nSurprisingly, more than one customer said that Jiro’s rice was a critical component to his sushi.  I didn’t understand exactly what was so special about their rice, but their vendor refused to sell the type of rice that Jiro uses to the Grand Hyatt in Tokyo because he did not think they would be able to do it justice.\r\n\r\nAs I watched Jiro and his apprentices create this artistic food, I wanted to taste it, but I knew that I did not have the palate to appreciate it.  For example, they serve three grades of tuna; toro, choturo and akami.  The toro and choturo are what Westerners generally prefer.  Akami is the leanest cut and the prettiest.  It looks like a red ruby glistening on top of the rice.\r\n\r\n<a href=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" target=\"_blank\"><img class=\"   alignright\" src=\"http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\" alt=\"\" width=\"214\" height=\"118\" /></a>\r\n\r\nJiro is the oldest chef to ever be awarded 3 Michelin stars.  According to the Michelin website, “Three stars reward exceptional cuisine where diners eat extremely well, often superbly. Distinctive dishes are precisely executed, using superlative ingredients. Worth a special journey.”  Poignantly, Jiro was not the chef who actually prepared the sushi that the Michelin reviewers ate; Yoshikazu did.\r\n\r\n\r\n\r\nI could appreciate the the beauty of their creations and the effort involved.  I watch the Food Channel on a fairly regular basis and I’ve never wanted to make the effort to go somewhere for what I was seeing, but now I want to go to Tokyo.  As a reflection of my Western bias though, I’d rather eat sushi prepared by Yoshikazu than Jiro.\r\n\r\nI enjoyed this glimpse into a different culture, especially since I wasn’t expecting that.  I thought it was going to be a regular movie; a drama.  When it started out as a documentary, I kept expecting to see behind the scenes and get the “real” insight.  It turned out to be a real documentary and it was about more than raw fish.  It was culture, history and human interactions aka ~ Humanities.\r\n<p style=\"text-align: center\">Image Sources</p>\r\n<p style=\"text-align: left\">Jiro Ono - http://xfinity.comcast.net/blogs/tv/files/2012/08/Sushi.jpg</p>\r\nAkami (Lean Tuna) - http://www.silveremulsion.com/wp-content/uploads/2012/11/jirodreamsofsushi1.jpg\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\n\"TribecaFilm.com|Film Guide Archive|Jiro Dreams of Sushi.\" TribecaFilm.com. Tribeca Enterprises, LLC, n.d. Web. 16 Dec 2012. &lt;http://www.tribecafilm.com/filmguide/archive/jiro_dreams_of_sushi-film36081.html&gt;','​Jiro Dreams of 鮨 (Sushi)','','inherit','open','open','','3196-revision-10','','','2012-12-16 19:21:43','2012-12-17 01:21:43','',3196,'http://jeanatacc.com/2011/?p=3210',0,'revision','',0),(3211,68,'2012-12-16 19:42:44','2012-12-17 01:42:44','Collin Weir\r\n\r\nLauer\r\n\r\nHUMA 1302\r\n\r\nDecember 16, 2012\r\n<p align=\"center\"><em>Into the Sacred City</em></p>\r\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.<!--more-->\r\n\r\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\r\n\r\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\r\n\r\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','publish','open','open','','optional-assignment','','','2012-12-16 22:17:54','2012-12-17 04:17:54','',0,'http://jeanatacc.com/2011/?p=3211',0,'post','',0),(3212,68,'2012-12-16 19:42:38','2012-12-17 01:42:38','Collin Weir\n\nLauer\n\nHUMA 1302\n\nDecember 16, 2012\n<p align=\"center\"><em>Into the Sacred City</em></p>\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.\n\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\n\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\n\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-revision','','','2012-12-16 19:42:38','2012-12-17 01:42:38','',3211,'http://jeanatacc.com/2011/?p=3212',0,'revision','',0),(3213,68,'2012-12-16 19:42:39','2012-12-17 01:42:39','Collin Weir\r\n\r\nLauer\r\n\r\nHUMA 1302\r\n\r\nDecember 16, 2012\r\n<p align=\"center\"><em>Into the Sacred City</em></p>\r\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.\r\n\r\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\r\n\r\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\r\n\r\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-revision-2','','','2012-12-16 19:42:39','2012-12-17 01:42:39','',3211,'http://jeanatacc.com/2011/?p=3213',0,'revision','',0),(3214,1,'2012-12-16 19:16:06','2012-12-17 01:16:06','<p style=\"text-align: left\">AUSTIN COMMUNITY COLLEGE\r\nOPTIONAL ASSIGNMENT\r\nJ. Lauer – 1302 – 207 # 13622\r\nPHILIP ROBINSON\r\n12/15/2012</p>\r\n<p style=\"text-align: center\">I HAVE SEEN THE FUTURE TOO</p>\r\n<p style=\"text-align: left\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/Bel-Geddes-HRC-1.jpg\"><img class=\"aligncenter size-full wp-image-3201\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/Bel-Geddes-HRC-1.jpg\" alt=\"\" width=\"732\" height=\"442\" /></a></p>\r\nWhen professor Lauer mentioned the Norman Bel Geddes exhibit “I Have Seen the Future” as an optional assignment possibility, I remembered hearing the name before in some of my drafting classes. I remembered him work being well advanced for his time and quite modern. Upon walking through heavy iron and glass doors of the Harry Ransom Center, my recollections were both confirmed and blown away in how little they encompassed the genius on exhibit. The vision and depth of his talent must be seen firsthand to be fully appreciated. The genius in innovative thought and design that his work demonstrates is second to none, and should be required study for anyone in any of the design fields that his work covers.\r\n\r\n<!--more-->\r\n\r\nThe Exhibit is broken down into five sections. “Setting the Stage: 1916 - 1927,” covers the beginnings of his career as a professional; with his innovative work in set design. “Industrious Design: 1927 - 1937,” takes the experience from the stage to interior design and architecture in private and commercial applications. His Book Horizons(1932), makes streamlining popular. “A Bigger World: 1937 - 1945,” looks at decentralization of the landscape in reshaping America. “Futurama: 1939 - 1940,” showcases his modern urban planning, and his futuristic modeling and puts them on display the New York World’s Fair. “Total Living: 1945 - 1958,” demonstrates the level of influence his work has had on every aspect of design in America that his talents reached. The show is running through January 6th at 300 w. 21st Street in Austin.\r\n\r\nMost folks that have heard of the man are familiar with the futuristic cars and boats that he has designed. What I found that was most impressive was his omni directional view of what we could do if we put our minds to the task. What follows is my understanding and enlightenment in what it means to think as broadly as Norman Bel Geddes. Most of us are familiar with artistic expressions that utilize a stage as the location for expressing our vision to the masses. What better way to reach the audience with your message than to enhance the experience than with innovative stage and costume design. Taking what is normally a blank canvas and altering the scenery of the stage with back drop scenery and movable set pieces was normal; Geddes transformed the physical stage and the costumes into other worldly beings to immerse the audience unlike anyone of the time. Theatrical performances today owe a great deal to the innovative mind of Norman Bel Geddes.\r\nThe brilliance that Geddes was able to display in the world of the stage was not limited to the stage. He continued this creative process to an awe inspiring view of what society would be like in the future. His modern vision of streamlined and futuristic residential and commercial architecture can still be seen almost one hundred years later. Interstate travel, decentralized city planning, and an aesthetically pleasing core belief, were pillars of what would become the future, not only in the world fair model, but in the world of tomorrow.\r\n\r\nTo say that Geddes was a creator of worlds is not all that farfetched. Good writers create worlds that include everything from facial tics to landscapes and languages to spacecraft. Geddes and those he worked with designed and created everything from everyday items, to furniture, to homes and hotels and high rises, to massively large and luxuriant vehicles for travel. Throughout his career, Geddes thought outside of the box, disregarded the thought of impossible, and showed all of us what we could do if we set our minds to the task.','I Have Seen The Future Too','','inherit','open','open','','3161-revision-4','','','2012-12-16 19:16:06','2012-12-17 01:16:06','',3161,'http://jeanatacc.com/2011/?p=3214',0,'revision','',0),(3216,1,'2012-12-16 22:17:09','2012-12-17 04:17:09','Collin Weir\n\nLauer\n\nHUMA 1302\n\nDecember 16, 2012\n<p align=\"center\"><em>Into the Sacred City</em></p>\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.\n\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\n\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\n\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-autosave','','','2012-12-16 22:17:09','2012-12-17 04:17:09','',3211,'http://jeanatacc.com/2011/?p=3216',0,'revision','',0),(3215,1,'2012-12-16 22:14:34','2012-12-17 04:14:34','<p style=\"text-align: left;\">AUSTIN COMMUNITY COLLEGE\r\nOPTIONAL ASSIGNMENT\r\nJ. Lauer – 1302 – 207 # 13622\r\nPHILIP ROBINSON\r\n12/15/2012</p>\r\n<p style=\"text-align: center;\">I HAVE SEEN THE FUTURE TOO</p>\r\n<p style=\"text-align: left;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/Bel-Geddes-HRC-1.jpg\"><img class=\"aligncenter size-full wp-image-3201\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/Bel-Geddes-HRC-1.jpg\" alt=\"\" width=\"732\" height=\"442\" /></a></p>\r\nWhen professor Lauer mentioned the Norman Bel Geddes exhibit “I Have Seen the Future” as an optional assignment possibility, I remembered hearing the name before in some of my drafting classes. I remembered him work being well advanced for his time and quite modern. Upon walking through heavy iron and glass doors of the Harry Ransom Center, my recollections were both confirmed and blown away in how little they encompassed the genius on exhibit. The vision and depth of his talent must be seen firsthand to be fully appreciated. The genius in innovative thought and design that his work demonstrates is second to none, and should be required study for anyone in any of the design fields that his work covers.\r\n\r\n<!--more-->\r\n\r\nThe Exhibit is broken down into five sections. “Setting the Stage: 1916 - 1927,” covers the beginnings of his career as a professional; with his innovative work in set design. “Industrious Design: 1927 - 1937,” takes the experience from the stage to interior design and architecture in private and commercial applications. His Book Horizons(1932), makes streamlining popular. “A Bigger World: 1937 - 1945,” looks at decentralization of the landscape in reshaping America. “Futurama: 1939 - 1940,” showcases his modern urban planning, and his futuristic modeling and puts them on display the New York World’s Fair. “Total Living: 1945 - 1958,” demonstrates the level of influence his work has had on every aspect of design in America that his talents reached. The show is running through January 6th at 300 w. 21st Street in Austin.\r\n\r\nMost folks that have heard of the man are familiar with the futuristic cars and boats that he has designed. What I found that was most impressive was his omni directional view of what we could do if we put our minds to the task. What follows is my understanding and enlightenment in what it means to think as broadly as Norman Bel Geddes. Most of us are familiar with artistic expressions that utilize a stage as the location for expressing our vision to the masses. What better way to reach the audience with your message than to enhance the experience than with innovative stage and costume design. Taking what is normally a blank canvas and altering the scenery of the stage with back drop scenery and movable set pieces was normal; Geddes transformed the physical stage and the costumes into other worldly beings to immerse the audience unlike anyone of the time. Theatrical performances today owe a great deal to the innovative mind of Norman Bel Geddes.\r\nThe brilliance that Geddes was able to display in the world of the stage was not limited to the stage. He continued this creative process to an awe inspiring view of what society would be like in the future. His modern vision of streamlined and futuristic residential and commercial architecture can still be seen almost one hundred years later. Interstate travel, decentralized city planning, and an aesthetically pleasing core belief, were pillars of what would become the future, not only in the world fair model, but in the world of tomorrow.\r\n\r\nTo say that Geddes was a creator of worlds is not all that farfetched. Good writers create worlds that include everything from facial tics to landscapes and languages to spacecraft. Geddes and those he worked with designed and created everything from everyday items, to furniture, to homes and hotels and high rises, to massively large and luxuriant vehicles for travel. Throughout his career, Geddes thought outside of the box, disregarded the thought of impossible, and showed all of us what we could do if we set our minds to the task.','I Have Seen The Future Too','','inherit','open','open','','3161-revision-5','','','2012-12-16 22:14:34','2012-12-17 04:14:34','',3161,'http://jeanatacc.com/2011/?p=3215',0,'revision','',0),(3217,1,'2012-12-16 19:42:44','2012-12-17 01:42:44','Collin Weir\r\n\r\nLauer\r\n\r\nHUMA 1302\r\n\r\nDecember 16, 2012\r\n<p align=\"center\"><em>Into the Sacred City</em></p>\r\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.\r\n\r\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\r\n\r\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\r\n\r\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-revision-3','','','2012-12-16 19:42:44','2012-12-17 01:42:44','',3211,'http://jeanatacc.com/2011/?p=3217',0,'revision','',0),(3218,1,'2012-12-16 22:17:31','2012-12-17 04:17:31','Collin Weir\r\n\r\nLauer\r\n\r\nHUMA 1302\r\n\r\nDecember 16, 2012\r\n<p align=\"center\"><em>Into the Sacred City</em></p>\r\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.<!--more-->\r\n\r\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\r\n\r\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\r\n\r\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-revision-4','','','2012-12-16 22:17:31','2012-12-17 04:17:31','',3211,'http://jeanatacc.com/2011/?p=3218',0,'revision','',0),(3219,1,'2012-12-16 22:17:39','2012-12-17 04:17:39','Collin Weir\r\n\r\nLauer\r\n\r\nHUMA 1302\r\n\r\nDecember 16, 2012\r\n<p align=\"center\"><em>Into the Sacred City</em></p>\r\nI visited the Blanton Museum’s <em>Into the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collection. </em>The exhibit displayed religious artwork from Tibet from a time that the culture was closed off to most of the world. I have a personal fascination with Buddhism and other eastern cultures and religions so this exhibit was an enlightening and educational experience.<!--more-->\r\n\r\nIn class we discussed the progression of globalization. Through technological advances and human travel, art has taught us about different cultures. The art displayed at the Blanton Museum’s <em>Into the Sacred City </em>exhibit is the collection of Theos Bernard. Bernard was the first westerner allowed into the Tibetan city of Lhasa. In 1937, he documented his spiritual journey and the Tibetan culture through photography and film. He was given the “thangkas” and “mandalas” shown in the exhibit and wrote books about his journey. As a result he helped globalize yoga and Tibetan culture to the West.\r\n\r\nThe exhibit made me realize the major difference of religious art of the West and the East.  For example, Leonardo de Vinci’s <em>Last Supper </em>was a realist interpretation of the event and is a significant piece of religious artwork in the West. The Tibetan artwork I saw was more of a dream-like transcendental scene. Not an image of the actual city, but complex scenery with deities and divine symbolisms. The artworks with these scenes are called “thangkas.” Thangkas are used during meditation in Tibetan Buddhism. I prefer the method of Eastern religious work because it aligns with my personal views on religion. Religion is not about one figurehead or one historical event; it is a state of mind.\r\n\r\nMy favorite artworks at the exhibit were the mandalas. At first glance they look like beautiful circle designs, but after reading the descriptions and looking more closing I saw the intricate detail and significance of the sacred circle. I learned that the making of the mandalas and the thangkas is not done with an artistic approach, but is a devotional act done with precise instructions. Each mandala represented a specific deity and is depicted through certain symbols. The importance of symbolism throughout the Tibetan artwork is very intriguing. Every hand position (<em>Mantra), </em>landscape, and object has a significance to the religion. The artwork is also anonymous. I think art should be guided by the vision of the artists and I prefer to not have guidelines to my artistic expression, but I commend the artist for their dedication and humbleness.','OPTIONAL ASSIGNMENT','','inherit','open','open','','3211-revision-5','','','2012-12-16 22:17:39','2012-12-17 04:17:39','',3211,'http://jeanatacc.com/2011/?p=3219',0,'revision','',0),(3220,62,'2012-12-12 22:57:05','2012-12-13 04:57:05','','Auto Draft','','inherit','open','open','','3174-revision','','','2012-12-12 22:57:05','2012-12-13 04:57:05','',3174,'http://jeanatacc.com/2011/?p=3220',0,'revision','',0),(3221,62,'2012-12-17 22:06:05','2012-12-18 04:06:05','The Horse in Motion, by Eadweard Muybridge\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion.jpg\"><img class=\"size-medium wp-image-3229 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a>\r\n<p style=\"text-align: center;\">http://upload.wikimedia.org/wikipedia/commons/7/73/The_Horse_in_Motion.jpg</p>\r\n\r\nEadweard Muybridge (1830-1904) is credited by many of have created the first motion picture. His work, The Horse in Motion, or by its original title, (Sallie Gardner at a Gallop) (1878) was the culmination of years of careful study and planning by it’s creator in order to settle a bet between two California gentleman (cite). This groundbreaking piece of early motion picture technology is the root of the family tree by witch all modern cinema’s can trace their lineage. Never before had the public been exposed to such undeniable evidence from the visual medium, putting to rest once and for all the question. <!--more-->Do all of a horses hooves leave the ground while running? The Horse in Motion consists of a three second projection of a jockey and a black thoroughbred running down a racetrack, and although this is not terrifyingly groundbreaking by todays standards we would do well to remember that this is the genesis of the movies and television we watch today. It was during the latter part of the nineteenth century as the worlds borders were shrinking from the swell of technology born from the industrial revolution and nearly a decade after the opening of the transcontinental railroad, Muybridge’s work became the turning point for the emerging technologies of film and photography, just as the automobile revolutionised the technology of transportation. The Horse in Motion is one of the most significant films ever produced, on the basis of its importance, and it’s impact to history. This work deserves to be preserved so future generations will have a perspective to their accomplishments by seeing the progress their forebears have made.\r\n\r\nWorks Cited\r\n\"Eadweard Muybridge Biography.\" Bio.com. A&amp;E Networks Television, n.d. Web. 17 Dec. 2012.\r\n\"Eadweard Muybridge.\" Wikipedia. Wikimedia Foundation, 13 Dec. 2012. Web. 17 Dec. 2012.\r\n\"The First Movie Ever Made: A History of Film Firsts.\" Yahoo! Contributor Network. N.p., n.d. Web. 17 Dec. 2012.\r\n\"History of the Camera.\" Wikipedia. Wikimedia Foundation, 17 Dec. 2012. Web. 17 Dec. 2012.\r\n\"Puppies and Flowers.\" Â» Eadweard Muybridgeâ s Animal Locomotion. N.p., n.d. Web. 17 Dec. 2012.','Super Late TCP3 The Horse in Motion','','publish','open','open','','super-late-tcp3-the-horse-in-motion','','','2012-12-17 22:18:11','2012-12-18 04:18:11','',0,'http://jeanatacc.com/2011/?p=3221',0,'post','',2),(3222,62,'2012-12-17 17:53:44','2012-12-17 23:53:44','','I phone best 1019','','inherit','open','open','','i-phone-best-1019','','','2012-12-17 17:53:44','2012-12-17 23:53:44','',3174,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg',0,'attachment','image/jpeg',0),(3223,62,'2012-12-17 17:52:59','2012-12-17 23:52:59','Barketecheture 2012\r\nBrandon Seals\r\n\r\n\r\n\r\nImage Credit: Eunsil Kim (ASEE Team Member)\r\n\r\n\r\nAfter spending the better part of a year designing acquiring the materials and building the structure, the build team and I were finally ready for present our dog house design for the Barchetecture 2012 event, which is a charity design competition held every year and requires participants to build a doghouse for a budget of under three hundred dollars and suggestes you to use mostly recycled and sustainable materials that were found or donated. There were about twenty-five dog houses present and of those, two were built by student groups.\r\n\r\n	Acc’s entry consisted of a design based on the work of Frank Lloyd Wright and his breathtaking Usonian houses. We received the materials donations from several local companies and only spent money on the fasteners and paint. the structure was built entirely in my garage and by students of the American Society of Engineering Education (ASEE). We took home the honor of winning the largest student fundraiser, a total of over seven hundred and eighty dollars. We had to extremely resourceful in order to create this structure seeing as how we hand limited and non standard materials and the renaissance concepts of perspective and scale were just as present and important in this design as they were to Brunelleschi and Pallaio.\r\n\r\nThere were many inspiring designs and structures present at the event and of those one was constructed entirely of chicken wire and soda cans. Square volumes were made with the cans then encased in chicken wire, this was an interesting idea due to its implications as cheap building materials for impoverished and material starved areas. By bringing a cheap and sheltering structure that could be build by unskilled laborers we might be able to begin bridging the gap between the modern world and the third world. \r\n\r\n	Also present was an interesting design involving a dog sized murphy bed and what was most interesting about was it was all built for under a hundred dollars and was made of a single plywood sheet. This kind of innovation is crucial to our modern concept of design because our generation is constantly trying to find new ways to use old ideas and if we don\'t end up recycling the great thoughts of our forefathers we will just waste time and effort attempting to bring ourselves to the same conclusion. Its all well and good to reinvent the wheel but many modern designers are fooling themselves by believing there innovation for the sake of innovation is the key to an intelligent design when in fact only the proper application of these innovations will make the design a flowing and functional creation or a restrictive obstacle to its design intent.\r\n\r\n	All in all this was a very interesting and eye opening exhibition, not only was it a calling card for the new waves of design wash upon our shores but the effort and emotions present in order to bring so many concepts and ideas to fruition was an example of how different cultures and design backgrounds can come together and benefit a cause for our environment and our humanity.\r\n	','Design for the Dogs','','inherit','open','open','','3174-revision-2','','','2012-12-17 17:52:59','2012-12-17 23:52:59','',3174,'http://jeanatacc.com/2011/?p=3223',0,'revision','',0),(3224,62,'2012-12-17 17:54:12','2012-12-17 23:54:12','Barketecheture 2012\r\nBrandon Seals\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\"><img class=\"alignnone size-full wp-image-3222\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\" alt=\"\" width=\"281\" height=\"187\" /></a>\r\n\r\nImage Credit: Eunsil Kim (ASEE Team Member)\r\n\r\nAfter spending the better part of a year designing acquiring the materials and building the structure, the build team and I were finally ready for present our dog house design for the Barchetecture 2012 event, which is a charity design competition held every year and requires participants to build a doghouse for a budget of under three hundred dollars and suggestes you to use mostly recycled and sustainable materials that were found or donated. There were about twenty-five dog houses present and of those, two were built by student groups.\r\n\r\nAcc’s entry consisted of a design based on the work of Frank Lloyd Wright and his breathtaking Usonian houses. We received the materials donations from several local companies and only spent money on the fasteners and paint. the structure was built entirely in my garage and by students of the American Society of Engineering Education (ASEE). We took home the honor of winning the largest student fundraiser, a total of over seven hundred and eighty dollars. We had to extremely resourceful in order to create this structure seeing as how we hand limited and non standard materials and the renaissance concepts of perspective and scale were just as present and important in this design as they were to Brunelleschi and Pallaio.\r\n\r\nThere were many inspiring designs and structures present at the event and of those one was constructed entirely of chicken wire and soda cans. Square volumes were made with the cans then encased in chicken wire, this was an interesting idea due to its implications as cheap building materials for impoverished and material starved areas. By bringing a cheap and sheltering structure that could be build by unskilled laborers we might be able to begin bridging the gap between the modern world and the third world.\r\n\r\nAlso present was an interesting design involving a dog sized murphy bed and what was most interesting about was it was all built for under a hundred dollars and was made of a single plywood sheet. This kind of innovation is crucial to our modern concept of design because our generation is constantly trying to find new ways to use old ideas and if we don\'t end up recycling the great thoughts of our forefathers we will just waste time and effort attempting to bring ourselves to the same conclusion. Its all well and good to reinvent the wheel but many modern designers are fooling themselves by believing there innovation for the sake of innovation is the key to an intelligent design when in fact only the proper application of these innovations will make the design a flowing and functional creation or a restrictive obstacle to its design intent.\r\n\r\nAll in all this was a very interesting and eye opening exhibition, not only was it a calling card for the new waves of design wash upon our shores but the effort and emotions present in order to bring so many concepts and ideas to fruition was an example of how different cultures and design backgrounds can come together and benefit a cause for our environment and our humanity.','Design for the Dogs','','inherit','open','open','','3174-revision-3','','','2012-12-17 17:54:12','2012-12-17 23:54:12','',3174,'http://jeanatacc.com/2011/?p=3224',0,'revision','',0),(3225,62,'2012-12-17 17:57:01','2012-12-17 23:57:01','Barketecheture 2012\nBrandon Seals\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\"><img class=\"alignnone size-full wp-image-3222\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\" alt=\"\" width=\"281\" height=\"187\" /></a>\n\nImage Credit: Eunsil Kim (ASEE Team Member)\n\nAfter spending the better part of a year designing acquiring the materials and building the structure, the build team and I were finally ready for present our dog house design for the Barchetecture 2012 event, which is a charity design competition held every year and requires participants to build a doghouse for a budget of under three hundred dollars and suggestes you to use mostly recycled and sustainable materials that were found or donated. There were about twenty-five dog houses present and of those, two were built by student groups.\n\nAcc’s entry consisted of a design based on the work of Frank Lloyd Wright and his breathtaking Usonian houses. We received the materials donations from several local companies and only spent money on the fasteners and paint. the structure was built entirely in my garage and by students of the American Society of Engineering Education (ASEE). We took home the honor of winning the largest student fundraiser, a total of over seven hundred and eighty dollars. We had to extremely resourceful in order to create this structure seeing as how we hand limited and non standard materials. The renaissance concepts of perspective and scale were just as present and important in this design as they were to Brunelleschi and Pallaio.\n\nThere were many inspiring designs and structures present at the event and of those one was constructed entirely of chicken wire and soda cans. Square volumes were made with the cans then encased in chicken wire, this was an interesting idea due to its implications as cheap building materials for impoverished and material starved areas. By bringing a cheap and sheltering structure that could be build by unskilled laborers we might be able to begin bridging the gap between the modern world and the third world.\n\nAlso present was an interesting design involving a dog sized murphy bed and what was most interesting about was it was all built for under a hundred dollars and was made of a single plywood sheet. This kind of innovation is crucial to our modern concept of design because our generation is constantly trying to find new ways to use old ideas and if we don\'t end up recycling the great thoughts of our forefathers we will just waste time and effort attempting to bring ourselves to the same conclusion. Its all well and good to reinvent the wheel but many modern designers are fooling themselves by believing there innovation for the sake of innovation is the key to an intelligent design when in fact only the proper application of these innovations will make the design a flowing and functional creation or a restrictive obstacle to its design intent.\n\nAll in all this was a very interesting and eye opening exhibition, not only was it a calling card for the new waves of design that wash upon our shores, and the effort and emotions present in order to bring so many concepts and ideas to fruition was an example of how different cultures and design backgrounds can come together and benefit a cause for our environment and our humanity.','Design for the Dogs','','inherit','open','open','','3174-autosave','','','2012-12-17 17:57:01','2012-12-17 23:57:01','',3174,'http://jeanatacc.com/2011/?p=3225',0,'revision','',0),(3226,1,'2012-12-17 17:55:59','2012-12-17 23:55:59','Barketecheture 2012\r\nBrandon Seals\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\"><img class=\"alignnone size-full wp-image-3222\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/I-phone-best-1019.jpg\" alt=\"\" width=\"281\" height=\"187\" /></a>\r\n\r\nImage Credit: Eunsil Kim (ASEE Team Member)\r\n\r\nAfter spending the better part of a year designing acquiring the materials and building the structure, the build team and I were finally ready for present our dog house design for the Barchetecture 2012 event, which is a charity design competition held every year and requires participants to build a doghouse for a budget of under three hundred dollars and suggestes you to use mostly recycled and sustainable materials that were found or donated. There were about twenty-five dog houses present and of those, two were built by student groups.\r\n\r\nAcc’s entry consisted of a design based on the work of Frank Lloyd Wright and his breathtaking Usonian houses. We received the materials donations from several local companies and only spent money on the fasteners and paint. the structure was built entirely in my garage and by students of the American Society of Engineering Education (ASEE). We took home the honor of winning the largest student fundraiser, a total of over seven hundred and eighty dollars. We had to extremely resourceful in order to create this structure seeing as how we hand limited and non standard materials. The renaissance concepts of perspective and scale were just as present and important in this design as they were to Brunelleschi and Pallaio.\r\n\r\nThere were many inspiring designs and structures present at the event and of those one was constructed entirely of chicken wire and soda cans. Square volumes were made with the cans then encased in chicken wire, this was an interesting idea due to its implications as cheap building materials for impoverished and material starved areas. By bringing a cheap and sheltering structure that could be build by unskilled laborers we might be able to begin bridging the gap between the modern world and the third world.\r\n\r\nAlso present was an interesting design involving a dog sized murphy bed and what was most interesting about was it was all built for under a hundred dollars and was made of a single plywood sheet. This kind of innovation is crucial to our modern concept of design because our generation is constantly trying to find new ways to use old ideas and if we don\'t end up recycling the great thoughts of our forefathers we will just waste time and effort attempting to bring ourselves to the same conclusion. Its all well and good to reinvent the wheel but many modern designers are fooling themselves by believing there innovation for the sake of innovation is the key to an intelligent design when in fact only the proper application of these innovations will make the design a flowing and functional creation or a restrictive obstacle to its design intent.\r\n\r\nAll in all this was a very interesting and eye opening exhibition, not only was it a calling card for the new waves of design that wash upon our shores, and the effort and emotions present in order to bring so many concepts and ideas to fruition was an example of how different cultures and design backgrounds can come together and benefit a cause for our environment and our humanity.','Design for the Dogs','','inherit','open','open','','3174-revision-4','','','2012-12-17 17:55:59','2012-12-17 23:55:59','',3174,'http://jeanatacc.com/2011/?p=3226',0,'revision','',0),(3227,62,'2012-12-17 17:52:59','2012-12-17 23:52:59','','Auto Draft','','inherit','open','open','','3221-revision','','','2012-12-17 17:52:59','2012-12-17 23:52:59','',3221,'http://jeanatacc.com/2011/?p=3227',0,'revision','',0),(3228,62,'2012-12-17 22:04:43','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-12-17 22:04:43','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3228',0,'post','',0),(3229,62,'2012-12-17 22:05:31','2012-12-18 04:05:31','','The_Horse_in_Motion','','inherit','open','open','','the_horse_in_motion','','','2012-12-17 22:05:31','2012-12-18 04:05:31','',3221,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion.jpg',0,'attachment','image/jpeg',0),(3230,62,'2012-12-17 22:04:43','2012-12-18 04:04:43','The Horse in Motion, by Eadweard Muybridge\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nhttp://upload.wikimedia.org/wikipedia/commons/7/73/The_Horse_in_Motion.jpg\r\n Eadweard Muybridge (1830-1904) is credited by many of have created the first motion picture. His work, The Horse in Motion, or by its original title, (Sallie Gardner at a Gallop) (1878) was the culmination of years of careful study and planning by it’s creator in order to settle a bet between two California gentleman (cite). This groundbreaking piece of early motion picture technology is the root of the family tree by witch all modern cinema’s can trace their lineage. Never before had the public been exposed to such undeniable evidence from the visual medium, putting to rest once and for all the question. Do all of a horses hooves leave the ground while running? The Horse in Motion consists of a three second projection of a jockey and a black thoroughbred running down a racetrack, and although this is not  terrifyingly groundbreaking by todays standards we would do well to remember that this is the genesis of the movies and television we watch today. It was during the latter part of the nineteenth century as the worlds borders were shrinking from the swell of technology born from the industrial revolution and nearly a decade after the opening of the transcontinental railroad, Muybridge’s work became the turning point for the emerging technologies of film and photography, just as the automobile revolutionised the technology of  transportation. The Horse in Motion is one of the most significant films ever produced, on the basis of its importance, and it’s impact to history. This work deserves to be preserved so future generations will have a perspective to their accomplishments by seeing the progress their forebears have made. \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nWorks Cited\r\n\"Eadweard Muybridge Biography.\" Bio.com. A&amp;E Networks Television, n.d. Web. 17 Dec. 2012.\r\n\"Eadweard Muybridge.\" Wikipedia. Wikimedia Foundation, 13 Dec. 2012. Web. 17 Dec. 2012.\r\n\"The First Movie Ever Made: A History of Film Firsts.\" Yahoo! Contributor Network. N.p., n.d. Web. 17 Dec. 2012.\r\n\"History of the Camera.\" Wikipedia. Wikimedia Foundation, 17 Dec. 2012. Web. 17 Dec. 2012.\r\n\"Puppies and Flowers.\" Â» Eadweard Muybridgeâ  s Animal Locomotion. N.p., n.d. Web. 17 Dec. 2012. \r\n','Super Late TCP3 The Horse in Motion','','inherit','open','open','','3221-revision-2','','','2012-12-17 22:04:43','2012-12-18 04:04:43','',3221,'http://jeanatacc.com/2011/?p=3230',0,'revision','',0),(3231,62,'2012-12-17 22:05:41','2012-12-18 04:05:41','The Horse in Motion, by Eadweard Muybridge\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion.jpg\"><img class=\"alignnone size-medium wp-image-3229\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a>\r\n\r\nhttp://upload.wikimedia.org/wikipedia/commons/7/73/The_Horse_in_Motion.jpg\r\nEadweard Muybridge (1830-1904) is credited by many of have created the first motion picture. His work, The Horse in Motion, or by its original title, (Sallie Gardner at a Gallop) (1878) was the culmination of years of careful study and planning by it’s creator in order to settle a bet between two California gentleman (cite). This groundbreaking piece of early motion picture technology is the root of the family tree by witch all modern cinema’s can trace their lineage. Never before had the public been exposed to such undeniable evidence from the visual medium, putting to rest once and for all the question. Do all of a horses hooves leave the ground while running? The Horse in Motion consists of a three second projection of a jockey and a black thoroughbred running down a racetrack, and although this is not terrifyingly groundbreaking by todays standards we would do well to remember that this is the genesis of the movies and television we watch today. It was during the latter part of the nineteenth century as the worlds borders were shrinking from the swell of technology born from the industrial revolution and nearly a decade after the opening of the transcontinental railroad, Muybridge’s work became the turning point for the emerging technologies of film and photography, just as the automobile revolutionised the technology of transportation. The Horse in Motion is one of the most significant films ever produced, on the basis of its importance, and it’s impact to history. This work deserves to be preserved so future generations will have a perspective to their accomplishments by seeing the progress their forebears have made.\r\n\r\nWorks Cited\r\n\"Eadweard Muybridge Biography.\" Bio.com. A&amp;E Networks Television, n.d. Web. 17 Dec. 2012.\r\n\"Eadweard Muybridge.\" Wikipedia. Wikimedia Foundation, 13 Dec. 2012. Web. 17 Dec. 2012.\r\n\"The First Movie Ever Made: A History of Film Firsts.\" Yahoo! Contributor Network. N.p., n.d. Web. 17 Dec. 2012.\r\n\"History of the Camera.\" Wikipedia. Wikimedia Foundation, 17 Dec. 2012. Web. 17 Dec. 2012.\r\n\"Puppies and Flowers.\" Â» Eadweard Muybridgeâ s Animal Locomotion. N.p., n.d. Web. 17 Dec. 2012.','Super Late TCP3 The Horse in Motion','','inherit','open','open','','3221-revision-3','','','2012-12-17 22:05:41','2012-12-18 04:05:41','',3221,'http://jeanatacc.com/2011/?p=3231',0,'revision','',0),(3232,1,'2012-12-17 22:06:05','2012-12-18 04:06:05','The Horse in Motion, by Eadweard Muybridge\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion.jpg\"><img class=\"alignnone size-medium wp-image-3229\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/The_Horse_in_Motion-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a>\r\n\r\nhttp://upload.wikimedia.org/wikipedia/commons/7/73/The_Horse_in_Motion.jpg\r\nEadweard Muybridge (1830-1904) is credited by many of have created the first motion picture. His work, The Horse in Motion, or by its original title, (Sallie Gardner at a Gallop) (1878) was the culmination of years of careful study and planning by it’s creator in order to settle a bet between two California gentleman (cite). This groundbreaking piece of early motion picture technology is the root of the family tree by witch all modern cinema’s can trace their lineage. Never before had the public been exposed to such undeniable evidence from the visual medium, putting to rest once and for all the question. Do all of a horses hooves leave the ground while running? The Horse in Motion consists of a three second projection of a jockey and a black thoroughbred running down a racetrack, and although this is not terrifyingly groundbreaking by todays standards we would do well to remember that this is the genesis of the movies and television we watch today. It was during the latter part of the nineteenth century as the worlds borders were shrinking from the swell of technology born from the industrial revolution and nearly a decade after the opening of the transcontinental railroad, Muybridge’s work became the turning point for the emerging technologies of film and photography, just as the automobile revolutionised the technology of transportation. The Horse in Motion is one of the most significant films ever produced, on the basis of its importance, and it’s impact to history. This work deserves to be preserved so future generations will have a perspective to their accomplishments by seeing the progress their forebears have made.\r\n\r\nWorks Cited\r\n\"Eadweard Muybridge Biography.\" Bio.com. A&amp;E Networks Television, n.d. Web. 17 Dec. 2012.\r\n\"Eadweard Muybridge.\" Wikipedia. Wikimedia Foundation, 13 Dec. 2012. Web. 17 Dec. 2012.\r\n\"The First Movie Ever Made: A History of Film Firsts.\" Yahoo! Contributor Network. N.p., n.d. Web. 17 Dec. 2012.\r\n\"History of the Camera.\" Wikipedia. Wikimedia Foundation, 17 Dec. 2012. Web. 17 Dec. 2012.\r\n\"Puppies and Flowers.\" Â» Eadweard Muybridgeâ s Animal Locomotion. N.p., n.d. Web. 17 Dec. 2012.','Super Late TCP3 The Horse in Motion','','inherit','open','open','','3221-revision-4','','','2012-12-17 22:06:05','2012-12-18 04:06:05','',3221,'http://jeanatacc.com/2011/?p=3232',0,'revision','',0),(3233,3,'2011-02-08 22:32:47','2011-02-09 04:32:47','Testing - article content posted from Word.\r\n\r\n<!--more-->\r\n\r\np.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }div.Section1 { page: Section1; }\r\n\r\n<strong>Course Rationale: </strong>The study of the humanities from a comparative and interdisciplinary perspective affords the student the opportunity not only to acquire a deeper appreciation of particular works of art but also to gain a larger perspective on the work of art as an expression of the human spirit in a particular time and place.\r\n\r\n<strong>Discipline Course Objectives:</strong>\r\n\r\n1. Students will be able to identify a variety of significant works of art from various times and places in human history, from prehistory to the Renaissance.\r\n\r\n2. Students will demonstrate the ability to associate works of art with their cultural context.\r\n\r\n3. Students will be able to discuss the relationship between the arts and human nature and values.','Testing as Student','','inherit','open','open','','39-revision-v1','','','2011-02-08 22:32:47','2011-02-09 04:32:47','',39,'http://jeanatacc.com/2011/?p=3233',0,'revision','',0),(3237,1,'2011-09-18 10:20:52','2011-09-18 16:20:52','Before I begin, there are two words used for “The People”. First, is Navajo. Second is Dinē. “Because of its colonial origin, the designation Navajo is in the process of being replaced by the term Dinē. (Lampshere) You will see both terms used for “The People” in the following.\r\n','Dine bahane','','inherit','open','open','','1549-revision-v1','','','2011-09-18 10:20:52','2011-09-18 16:20:52','',1549,'http://jeanatacc.com/2011/?p=3237',0,'revision','',0),(3238,1,'2011-03-13 23:08:32','2011-03-14 05:08:32','The Pantheon is a Roman temple built in 27 B.C.E. It is a rectangular temple with a huge concrete dome and portico.  <!--more-->Located in Rome, it was saved from sacking and burning during the crusades when  , it was converted into a Catholic church.  .  The Greeks worshipped many gods and the Pantheon meaning “All the Gods” was meant as a place where they could all be worshipped at once.  It is the world’s second largest dome to this day.\r\n\r\nThe Pantheon is typical of its era in that it was meant as a place of worship for the gods.  Just as churches are common in Texas, temples were easy to find in ancient Rome.  The dome had been in existence for a while before the Pantheon was built, small domed structures were common.  The roman people worshipped many gods and temples were pretty common back then.  The materials and style of the pantheon are also typical of this time period.  The building materials, bricks and limestone, were plentiful in that area and most buildings were made of the same materials.  The pillars are designed in the Corinthian style.  Characterized by various features including a capital resembling leavesand entasis, a widening of the pillar near the middle, to counter the look of concavity that straight pillars have.  This is another aspect of Corinthian style, which makes the columns appear straight.\r\n\r\nThe Pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome, mixed with pumice it was lighter.  The pantheon is innovative in its size and some of the technology used to allow for such a large dome.  These innovations include the use of adytons and coffers and empty spaces in the walls helped to reduce the weight of the drum easing stress on the foundation.  A new kind of concrete was used in the upper parts of the dome.  It was mixed with pumice, which lightened the load on the structure and kept the dome from collapsing.  This allowed it to be built higher and wider than any preceding dome. The fact that the Pantheon still exists is another unique aspect about it.  Rome has suffered through fires and pillaging which destroyed many of its buildings.  The Pantheon has burned down before, but was rebuilt.  While many of the materials used in the Pantheon were readily available in the area, those used to build the pillars were not.  They were quarried in Egypt where they waited until spring for the Nile river to flood its banks so they could by floated to the Mediterranean.  Once there they were loaded onto ships and had to be pulled up 40 miles or river before they were then dragged on land to their final resting place.  Normally lengths this great wouldn’t be taken to build a temple but the Pantheon’s grand size meant it received the best materials.  Marcus Agrippas wanted Romans to be able to worship straight to the heavens while they were in the Pantheon.  This is why there is a hole, or oculus, in the ceiling.  Like Cowboys stadium, it was unique in this aspect.  When it would only cost a little more to keep out the elements few roman buildings featured a hole in the ceiling and roof.\r\n\r\nThe Pantheon was well received in its time because nearly everyone believed in the polytheistic religion it was built for.  Also, it was thought that the gods would be pleased with such a structure built in their honor.  Nationalism was another reason to have pride in such a large structure.  It flaunted the wealth and might of the Roman Empire.  A lot of money collected in taxes funded the project which may have upset some who didn’t see the need for such excessive displays of wealth, but when foreigners came to Rome they visited its greatest monuments and the Pantheon was undoubtedly one of them.   Another reason the Pantheon would have been more impressive at the time is because its ceilings were once entirely covered in Bronze.  The precious metal was eventually removed for use in the altar of St. Peter’s and several other works.  As I mentioned earlier, the concept of the dome was not at all new, but this one was just so much bigger than any before it that people were awe struck when they saw it for the first time.  It was a fitting shrine to the gods they worshipped.\r\n\r\nTo this day people are still amazed by the Pantheon.  It is the best preserved roman monument in the world “thanks to its conversion to a church in 609 when the Byzantine emperor Pholas presented it to Pope Boniface VI as a gift” (“Sights”). Like the Egyptian pyramids; it’s fantastic to think that humans created the building without the aid of machinery.  The advances in technology at the time which allowed for the dome to tower to such a height are now commonplace and knowing that the dome was one of the first structures to implement these technologies make it that much more fascinating to us today.  Nowadays we are used to huge buildings being completed in about a year but the great lengths the Romans went to in order to construct this gigantic structure would be  considered excessive nowadays.  For example, the pillars on the portico took many months to transfer from Egypt.  We wouldn’t stand for a wait this long for pillars in the present.  In today’s world, where we can build a structure comparable to the Pantheon in just a few months, we don’t value buildings like the romans did.  For this reason, as much as people are impressed by the Pantheon, I don’t think they admire it anywhere as much as ancient Romans would have upon its completion.  Despite this, the Pantheon has accumulated an interesting history over its nearly 2000 years of existence.  For example, it is the first temple in Rome to be Christianised.  In 609 A.D. the Byzantine emperor Pholas gave it to Pope Boniface VI who then converted it into a church.  According to legend, he had 28 wagonloads of martyrs bones transferred from the Roman catacombs and had them buried beneath the altar.\r\n\r\nI’ve seen the pantheon first hand and I was more than impressed.  Knowing how old the building is and that it was built almost entirely by hand are just a couple of reasons to be impressed by it.  It’s huge even by today’s standards and the style is completely different from that of today’s buildings.  For example, there is no glass.  A lack of metal and windows on the exterior of the building help to distinguish it from modern day architecture.  It doesn’t look anything like what we often perceive as a normal structure.  Today’s buildings are typically square or rectangular, with right angles where walls meet.  The pantheon is round so the dome can sit atop the walls.  When I visited the pantheon, we came approached it from the rear so it appeared as just a huge circular wall. (We were too close to see the massive dome sitting on top) Upon entering, the only light coming in when I visited came through the small opening in the top of the dome and some unobtrusive lighting that was installed within the last twenty or thirty years.  The combination of a huge ceiling, a small amount of natural lighting, and the lack of carpet or other materials which might deaden echoes combined to make the Pantheon seem even larger and older, unlike any building I’ve entered in the states.\r\n\r\nDuring my trip to Europe I visited a lot of famous buildings that were older than anything still in existence in here in the United States.  There were a few roman buildings that hadn’t been destroyed during the crusades but they were all fairly small.  The Pantheon is similar to many buildings of its time because it is made of the same materials and shares various decorative features.   Take the Parthenon for example.  A large publicly funded build, it shares pillars built in the Corinthian style.  However, it does not have a dome, and it was built to honor only one god, Athena Parthenos.    Large buildings existed almost exclusively in this time to serve the roman government in some way.  Private businesses that could fund such works didn’t exist like they do today and it’s a guarantee that any large buildings still in existence were government owned.  The Parthenon and Pantheon are no exception.\r\n\r\nI think that what future generations should know about the Pantheon is the effect it gives when one is inside.  We are used to buildings which are flooded with light thanks to windows and electricity.   The opportunity to step into a naturally lit building as old as the Pantheon will come less and less often to future generations as old buildings fall apart and disappear.  Another aspect of the Pantheon we don’t experience often is the effect of huge arched ceilings.  Today’s buildings almost always implement the kind of space in the dome of the pantheon for more floors but the dome is open in the Pantheon.  The average American ceiling is probably around 12 feet tall and not worth looking at.  However the Pantheon draws attention to its cavernous ceiling with coffers sunk into the curved ceiling of the massive dome.  It’s a new experience that you can only get from visiting old buildings.  Future generations should also be aware of the history of the Pantheon because it has been a focal point of attention for almost two thousand years.  It has stood as a symbol of power and religion during this time so naturally people have wanted it in order to celebrate their religion within its walls.  It’s an old building that offers a new experience and a rich history.  As we get older, these monuments do too and they also become rarer.  It’s important that future generations get to experience them firsthand.\r\n\r\nSchulman, Bruce. \"Classical Orders of Architecture.\"\r\n\r\nhttp://www.cmhpf.org/kids/dictionary/classicalorders.html. Charlotte-Mecklenburg Historic Landmarks Commission, 011310. Web. 13 Feb 2011. &lt;http://www.cmhpf.org/kids/dictionary/classicalorders.html&gt;.\r\n\r\nDutemple, Lesley. “The Pantheon”. 1st. Minneapolis: Lerner Publishing Group, 2003. Print.\r\n\r\nMacDonald, William. The Pantheon: Design, Meaning, and Progeny. 2nd. Cambridge: Harvard University\r\n\r\nPress, 1976. Print.\r\n\r\nSteven W. Semes. “Pantheon Inside” ArchitectureWeek No. 254, 2005.0831, pC1.1.\r\n\r\nSemes, Steven. \"Pantheon Inside.\" Architecture Week February 2004: n. pag. Web. 13 Feb 2011.                 &lt;http://www.architectureweek.com/2005/0831/culture_1-1.html&gt;.\r\n\r\n\"Sights.\" Pantheon. 4th. New York: Random House, 2010. Print.','The Pantheon - draft','','inherit','open','open','','373-revision-v1','','','2011-03-13 23:08:32','2011-03-14 05:08:32','',373,'http://jeanatacc.com/2011/?p=3238',0,'revision','',0),(3239,1,'2011-02-15 11:22:28','2011-02-15 17:22:28','Oh , when the saints go marching in\nLord, how I want to be in that number\nWhen the saints go marching in','Oh, when the saints go marching in','','inherit','open','open','','156-revision-v1','','','2011-02-15 11:22:28','2011-02-15 17:22:28','',156,'http://jeanatacc.com/2011/?p=3239',0,'revision','',0),(3240,1,'2011-02-14 14:21:22','2011-02-14 20:21:22','Marcus Aurelius: The Meditations\r\n\r\nIn year 167 CE, Roman Emperor Marcus Aurelius wrote <em>The Mediation\'s. </em>A philosophic writing about self-discipline, virtue, and inner tranquillity. <!--more-->The emperor was also did a large part for social reform, working with the poor, slaves and convicted criminals.','Time Capsule Proposal Blog','','inherit','open','open','','80-revision-v1','','','2011-02-14 14:21:22','2011-02-14 20:21:22','',80,'http://jeanatacc.com/2011/?p=3240',0,'revision','',0),(3241,1,'2011-02-14 14:35:46','2011-02-14 20:35:46','Test for today! <!--more-->America is beautiful!','Valentines Day!','','inherit','open','open','','149-revision-v1','','','2011-02-14 14:35:46','2011-02-14 20:35:46','',149,'http://jeanatacc.com/2011/?p=3241',0,'revision','',0),(3242,75,'2013-09-17 16:31:26','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-17 16:31:26','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3242',0,'post','',0),(3243,76,'2013-09-22 13:48:14','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-22 13:48:14','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3243',0,'post','',0),(3253,81,'2013-09-23 11:47:52','2013-09-23 17:47:52','Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.\r\n<p dir=\"ltr\"><!--more--></p>\r\n<p dir=\"ltr\" style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"size-medium wp-image-3266 aligncenter\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" /></a><a href=\"http://www.italianrenaissance.org/donatellos-david/\" target=\"_blank\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\" style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\"><img class=\"size-medium wp-image-3272 aligncenter\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" /></a><a href=\"http://www.gunnzone.org/GunnImages/images/11_David_Donatello-L-R.jpg\" target=\"_blank\">http://www.gunnzone.org/GunnImages/images/11_David_Donatello-L-R.jpg</a></p>\r\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\r\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\r\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\r\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\r\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\r\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\r\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\r\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\r\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\r\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\r\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\r\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\r\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\r\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\r\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\r\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\r\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\r\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\r\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\r\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\r\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\r\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\r\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\r\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','publish','open','open','','donatellos-david-in-bronze','','','2013-09-24 12:10:55','2013-09-24 18:10:55','',0,'http://jeanatacc.com/2011/?p=3253',0,'post','',9),(3254,86,'2013-09-23 11:36:36','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:36:36','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3254',0,'post','',0),(3255,79,'2013-09-23 12:00:15','2013-09-23 18:00:15','<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\" target=\"_blank\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\" target=\"_blank\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify;\"><b>Description</b>:</p>\r\n<p style=\"text-align: justify;\">“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify;\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify;\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify;\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify;\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','publish','open','open','','on-painting','','','2013-09-24 12:16:20','2013-09-24 18:16:20','',0,'http://jeanatacc.com/2011/?p=3255',0,'post','',12),(3258,87,'2013-09-23 11:38:24','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:38:24','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3258',0,'post','',0),(3259,83,'2013-09-23 11:38:25','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:38:25','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3259',0,'post','',0),(3260,84,'2013-09-23 11:38:51','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:38:51','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3260',0,'post','',0),(3261,86,'2013-09-23 12:00:21','2013-09-23 18:00:21','<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline;\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\" target=\"_blank\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify;\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify;\"><!--more--></p>\r\n<p style=\"text-align: justify;\">         Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify;\">         There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify;\">         At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify;\">         Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline;\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify;\">         Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','publish','open','open','','titians-venus-of-urbino','','','2013-09-24 12:18:27','2013-09-24 18:18:27','',0,'http://jeanatacc.com/2011/?p=3261',0,'post','',8),(3262,76,'2013-09-23 11:39:59','2013-09-23 17:39:59','Mic check, mic check. 1, 2, 3.\r\n\r\n...\r\n\r\nHow\'s the sound back there?\r\n\r\n&nbsp;\r\n\r\nTurn it up a bit.\r\n\r\n&nbsp;\r\n\r\nHow about now?\r\n\r\n&nbsp;\r\n\r\nYup, sounds fine.','TESTING TESTING','','inherit','open','open','','3251-revision-v1','','','2013-09-23 11:39:59','2013-09-23 17:39:59','',3251,'http://jeanatacc.com/2011/?p=3262',0,'revision','',0),(3265,82,'2013-09-23 11:58:21','2013-09-23 17:58:21','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: center\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','The Potawatomi Creation Myth','','publish','open','open','','tyler-hudson-tcp1-the-potawatomi-creation-myth','','','2013-09-23 12:17:13','2013-09-23 18:17:13','',0,'http://jeanatacc.com/2011/?p=3265',0,'post','',6),(3263,76,'2013-09-23 11:59:33','2013-09-23 17:59:33','Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier 236, 237). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today (Fiero).\r\n\r\nFurther east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (Foner)\r\n\r\nThe <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).\r\n\r\nThe work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturally, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier 238).\r\n\r\nDuring it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).\r\n\r\nToday, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).\r\n\r\nReception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same time frame in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.\r\n\r\nI believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.\r\n\r\nThis work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.\r\n\r\nThis divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).\r\n\r\nThis work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with fortunes, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.\r\n<p align=\"center\">Works Cited</p>\r\nCampbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, 1998. Print.\r\n\r\n- A helpful guide to the history of paintings after their creation.\r\n\r\nCarleton, David L. \"A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan Van Eyck.\" Art Bulletin 64.1 (1982): 118. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- Very insightful as to how van Eyck achieved his psuedo-linear perspective in other works than the Arnolfinis\r\n\r\nCarrier, David. \"Naturalism and Allegory in Flemish Painting.\" Journal of Aesthetics &amp; Art Criticism 45.3 (1987): Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- A primary source for the intentions of the artist behind the work, also provided insight from other art critics, mainly Panovsky and criticisms of his ideas\r\n\r\nElkins, James. \"On the Arnolfini Portrait and the Lucca Madonna: Did Jan Van Eyck Have a Perspectival System?\" Art Bulletin 73.1 (1991): 53. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- Another insight to van Eyck\'s perspective and potential theories about how he achieved his particular realism\r\n\r\nFiero, Gloria K., The Humanistic Tradition, Book 4, Faith, Reason, and Power in the Early Modern World. 6th. 1. New York City: McGraw-Hill Humanities/Social Sciences/Languages, 2011. Print.\r\n\r\n- Humanities textbook that offered many historical comparisons to other works of the time and provided context with art of the era\r\n\r\nFoner, Eric. Give Me Liberty!, Volume 1, An American History. 3<sup>rd</sup> Edition. New York City: W. W. Norton, 2010. Print.\r\n\r\n-U.S. History 1301 textbook that gave insight to early 15th and 16th century power and economic developments for historical context','Preserving the Arnolfinis','','publish','open','open','','preserving-the-arnolfinis','','','2013-09-23 12:06:16','2013-09-23 18:06:16','',0,'http://jeanatacc.com/2011/?p=3263',0,'post','',7),(3264,84,'2013-09-23 12:14:35','2013-09-23 18:14:35','The age of European Exploration of the Americas, which made its big debut from the late fifteenth century to the mid-sixteenth century, encouraged many European explorers to write diaries and journals of their encounters of the New World. Almost everybody knows about Christopher Columbus, the Italian explorer that was sent by Spanish rulers King Ferdinand and Queen Isabella, and how they sent him to the New World in search of gold. However, there is a less-known Italian explorer named Girolamo Benzoni, who made the decision to go to the New World himself in 1541 to participate in a slave trade of Indians.  Benzoni’s mission was to bring these Indians back to Spain to sell as slaves. Unlike Columbus, who was on assignment, Benzoni was motivated to go to the New World himself. His inspiration came about while reading about other famous explorers’ voyages about discovering and exploring foreign lands. Coming from a poor family, Benzoni was the first of his clan to go on an adventure with other Spaniards. As he was making this journey, Benzoni wrote his journeys down to create <i>History of the New World, </i>a book that was not published until 1565. The work <i>History of the New World </i>by Giralmo Benzoni should be preserved because this explorer came from a poor family, and became a wealthy man by trading with the Spaniards.<!--more-->\r\n\r\nThe book <i>History of the New World </i>was fortunate for readers because it was published during the invention of the printing press. This is an innovation to this era because this invention resulted in a larger audience of readers, specifically in the wealthy class. Also, illustrations started to become increasingly large as the printing press produced these images with an essence of extravagance. This was beneficial to European readers because the large images gave them a vivid picture of life in the Americas. Benzoni’s illustrations are called woodcuts, which are carved images using wood blocks. However, these simple drawings were over exaggerated by the literary interests of the De Brys. Without Benzoni’s approval, these people used exotic graphics using concepts such as nudity and violence to take away the peacefulness of Benzoni’s simple artwork. They also made an effort to exaggerate scenes by adding buildings and other distracting miscellaneous detail. The De Brys, as one can see, liked to emphasize the literary illustrations by adding graphic information to each painting to increase the work’s attraction to its readers.\r\n\r\nWhen this book was published in Italy in 1565, it was published in French, German, Latin, and it had excerpts in English. The Spanish, however, did not take light of the offensive content taken toward their native heritage. Thus, the Spanish people did not have this book published until the twentieth century. In fact, Benzoni’s hatred of the Spanish was recorded later by the Jesuit official and Spanish historian. However, ultra-philanthropists found Benzoni’s book to be of great assistance with their studies. This book, unfortunately, has very little credibility because it is considered to be controversial. This is because the book contains violence and hostility. <i>History of the New World </i>loses its source of credibility because it does not focus on less-threatening situations. A man of little education, Benzoni only had limited views that included the negativity of these situations. Therefore, this book’s content is not positively looked upon due to its many understatements about historically correct information about the New World.\r\n\r\nAnn Rosalind Jones, in her article <i>Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio</i> , points out that Italian naturalist Ulisse Aldrovani believed that “…wonder was a cognitive passion as much about knowing as feeling.” (2) The concept of wonder can be applied today as students, for the most part, know very little about Benzoni and his voyage to the Americas. <i>History of the New World </i>can be a fascinating narrative to learn about because it gives insight into another explorer’s adventure to the Americas, which can help us learn more about the era of European Exploration. This was not the scenario for the era in which this book was written. The Spanish culture, in particular, found this narrative to be offensive to their customs and beliefs. Thus, the first Spanish edition did not get published until the twentieth century. Benzoni’s major attacks and hatred of the Spanish culture had a major impact on the publication process, and the offenses were to the point that this book would have to be censored many times. When all the slavery between countries was over with, this book was ready to be published in the Spanish language.\r\n\r\nWhile researching and learning about Benzoni, I thought he was a very unique explorer to this time period. Although he had little knowledge about the New World, I admire that his observations were impressive considering his social status. Coming from a poor family, I found it interesting that Benzoni made a fourteen-year voyage to the New World to explore what the Spaniards were doing to the Indians. I consider this to be a remarkable journey because I would have never imagined a poor boy going to the New World with complete strangers during this era. I feel like Benzoni stood out from his people by embarking on this journey because it would have likely been impossible for his relatives due to the fact that there was little money to do anything for themselves.\r\n\r\nThere are many similarities between Benzoni and thirteenth century Italian explorer Marco Polo. Compared to Benzoni, Polo also made his journey to a foreign land. Polo went east and Benzoni made his journey west, but both explorers encountered people of separate cultures. Benzoni was from a poor family, but he still managed to become a successful merchant explorer like Polo. He earned his money by participating in a Spanish slave trade in the New World. Both explorers managed to be successful by investing in activity that dealt with trading in a foreign land.\r\n\r\nUnlike Benzoni’s lower class family background, Polo had already come from a family of wealthy merchants. Polo’s father and uncle, Niccolo and Maffeo Polo, had been making their three-and-a-half year journey to China since 1262. When Marco began to learn about the merchant’s trade, he decided to join his relatives on their journey to China. This voyage to China was direct unlike Benzoni’s fourteen-year journey to the New World with stops to multiple countries. Another difference is Polo’s and Benzoni’s level of compassion to foreigners. While Polo was making amends with the Chinese, Benzoni participated in a slave trade in which he captured four-thousand Indians to sell to the Spanish. He was fortunate enough to show remorse for his slave-trading days in the West. In the end, both explorers succeeded in gaining wealth as merchants on their voyages to international foreign lands.\r\n\r\nI highly suggest that Girolamo Benzoni’s <i>History of the New World </i>should be restored because I think the idea of an individual from a poor family becoming a successful merchant explorer is interesting. The experience Benzoni witnessed and gained, I believe, should be of interest to today’s students and scholars because they could gain insight and knowledge from this explorer’s remarkable journey to the New World. It is surprising to me that this explorer is not popular in any history textbooks because I believe all explorers’ journeys should be included in the exploration of our native land. In future generations, I think it would be wonderful to see this book as well as its author popularized as a source of research in numerous libraries, and to be more participatory in the building blocks of the stage of the exploration era.\r\n\r\n<strong>Citation Sources:</strong>\r\n\r\n1.    \"Girolamo Benzoni.\" CATHOLIC ENCYCLOPEDIA:. 29 Aug. 2013 &lt;http://www.newadvent.org/cathen/02484c.htm&gt;.\r\n2.    Moffitt, John F., and Santiago Sebastiâan. O Brave New People : The European Invention Of The American Indian. Albuquerque, N.M.: University of New Mexico Press, 1998. eBook Collection (EBSCOhost). Web. 30 Aug. 2013.\r\n3.    Jones, Ann Rosalind. \"Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio.\" Journal Of Medieval &amp; Early Modern Studies 41.1 (2011): 137-171. Academic Search Complete. Web. 30 Aug. 2013.\r\n4.    \"Asian Experiences: Marco Polo and the Silk Road.\" World Eras. Ed. Jeremiah Hackett. Vol. 4: Medieval Europe, 814-1350. Detroit: Gale Group, 2002. 29-31. World History In Context. Web. 23 Sept. 2013.','\"History of The New World\" by Girolamo Benzoni','','publish','open','open','','history-of-the-new-world-by-girolamo-benzoni','','','2013-09-23 17:05:55','2013-09-23 23:05:55','',0,'http://jeanatacc.com/2011/?p=3264',0,'post','',4),(3266,81,'2013-09-23 11:43:06','2013-09-23 17:43:06','','Jessie Donatello','','inherit','open','open','','jessie-donatello','','','2013-09-23 11:43:06','2013-09-23 17:43:06','',3253,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg',0,'attachment','image/jpeg',0),(3267,86,'2013-09-23 11:44:50','2013-09-23 17:44:50','','Venus of Urbino','','inherit','open','open','','venus','','','2013-09-23 11:44:50','2013-09-23 17:44:50','',3261,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg',0,'attachment','image/jpeg',0),(3268,79,'2013-09-23 11:45:32','2013-09-23 17:45:32','','Alberti','','inherit','open','open','','alberti','','','2013-09-23 11:45:32','2013-09-23 17:45:32','',3255,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png',0,'attachment','image/png',0),(3269,76,'2013-09-23 11:45:53','2013-09-23 17:45:53','Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today. (Fiero)\r\n\r\nFurther east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (US History text)\r\n\r\nThe <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).\r\n\r\nThe work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturalistically, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier).\r\n\r\nDuring it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).\r\n\r\nToday, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).\r\n\r\nReception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same timeframe in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.\r\n\r\nI believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.\r\n\r\nThis work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.\r\n\r\nThis divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).\r\n\r\nThis work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with multimillions, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.','Preserving the Arnolfinis','','inherit','open','open','','3263-revision-v1','','','2013-09-23 11:45:53','2013-09-23 17:45:53','',3263,'http://jeanatacc.com/2011/?p=3269',0,'revision','',0),(3270,58,'2013-09-23 12:22:22','2013-09-23 18:22:22','<!--[if !mso]&gt;-->\r\n<p class=\"MsoNormal\" style=\"text-align: center;\"><span style=\"font-size: 8.0pt; line-height: 115%;\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse;\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in;\" width=\"100%\">\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%;\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black;\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art.</span></span></span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">       The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt; line-height: 150%;\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\"><span> </span></span><span style=\"font-size: 12.0pt; line-height: 150%;\">Mayan Aztecs</span><span style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\">.</span><span style=\"font-size: 12.0pt; line-height: 150%;\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt;\">\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in; height: 4.0pt;\" width=\"100%\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Calibri\',\'sans-serif\';\">\r\n</span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in; text-align: left; text-indent: .5in;\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n&nbsp;\r\n\r\n<span style=\"font-size: 11.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black;\"><span style=\"color: black;\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal;\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','publish','open','open','','aztec-calendar-stone-3','','','2013-09-24 12:20:32','2013-09-24 18:20:32','',0,'http://jeanatacc.com/2011/?p=3270',0,'post','',15),(3271,86,'2013-09-23 11:47:21','2013-09-23 17:47:21','','Sleeping Venus','','inherit','open','open','','venus-2','','','2013-09-23 11:47:21','2013-09-23 17:47:21','',3261,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg',0,'attachment','image/jpeg',0),(3272,81,'2013-09-23 11:47:35','2013-09-23 17:47:35','','jessie donatello 3','','inherit','open','open','','jessie-donatello-3','','','2013-09-23 11:47:35','2013-09-23 17:47:35','',3253,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg',0,'attachment','image/jpeg',0),(3273,81,'2013-09-23 11:47:52','2013-09-23 17:47:52','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center\">Donatello’s David</p>\r\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"alignnone size-medium wp-image-3266\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" /><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\"><img class=\"alignnone size-medium wp-image-3272\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" /></a></a><!--more--></p>\r\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\r\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\r\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\r\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\r\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\r\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\r\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\r\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\r\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\r\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\r\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\r\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\r\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\r\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\r\n&nbsp;\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\r\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\r\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\r\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\r\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\r\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\r\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\r\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\r\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\r\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\r\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-revision-v1','','','2013-09-23 11:47:52','2013-09-23 17:47:52','',3253,'http://jeanatacc.com/2011/?p=3273',0,'revision','',0),(3274,86,'2013-09-23 11:47:55','2013-09-23 17:47:55','<!--more-->\r\n<p align=\"center\">Venus of Urbino</p>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<p align=\"center\">Painted by Titian in 1538</p>\r\n<p align=\"center\"></p>\r\n         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.\r\n\r\nAlthough many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.\r\n\r\nThere was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.\r\n\r\nAt first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)\r\n\r\nTitian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\nOther generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-revision-v1','','','2013-09-23 11:47:55','2013-09-23 17:47:55','',3261,'http://jeanatacc.com/2011/?p=3274',0,'revision','',0),(3282,82,'2013-09-23 11:57:06','2013-09-23 17:57:06','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: justify\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','Tyler Hudson - TCP1 - The Potawatomi Creation Myth','','inherit','open','open','','3265-revision-v1','','','2013-09-23 11:57:06','2013-09-23 17:57:06','',3265,'http://jeanatacc.com/2011/?p=3282',0,'revision','',0),(3277,80,'2013-09-23 11:53:24','2013-09-23 17:53:24','Before we move onto More’s Utopia we need to try to understand the man that imaged this make believe land. Thomas More was a Christian humanist with a conscience who criticized the evils of greedy private enterprise. His unwilling cooperation and faith as a Roman Catholic had him executed in 1535 for treason. Thomas More\'s Utopia; put Thomas More on the map as a humanities and made his make believe land well recognized over Plato Republic therefore it should be preserved.\r\n\r\nIt was 1516 when Thomas More completed his statecraft and society which he named Utopia. More’s fictional land is a socialistic state in which personal property is shared; war and personal prides are disdain. Everyone has a right to an education and freedom of religion.  While More believes that commonwealth, motivation, compassion, and scorn for material wealth ensures social harmony. However; More’s Utopians are not Christian, yet inspired by Christian principals of ethics and assistance. They have little use for metals, jewels, and the taste that drives men to war.\r\n\r\nEvery city was divided into four sections with a market place built in the middle for all families to bring in different goods to sell. The streets are designed for vehicles and to protect from the wind. Buildings are facing each other are running up and down the street. Front of the houses are separated by twenty foot roadway with a large garden behind them as long as a street.  No shortages in this community while a few things have value when compared to the English, for all their values are in short supply. Gold and silver are used in chamber pots and slave restraints, since everyone has a job in producing the basic needs to survive; therefore the workdays are only six hours long.\r\n\r\nThe family life was organized around the needs of the situation. A child who prefers to a woodworker or a ironworker would be sent to a woodworker or iron worker family. However; the families men are the most powerful members. It is said when a women gets married she will move in with mans household. Yet the male of each generation has to stay at home and follow the orders of the oldest male. Utopian women live inferior to the males of utopia, they must admit their sins to their husbands even before attending a church.\r\n\r\nThe community serves as means of public consistency and control. People are not allowed to leave the town and workplace without approval or they will be reprimanded. In order to eat you must work even if you go to another town or island. \"Wherever you are, you always have to work. There\'s never any excuse for idleness. There are also no wine-taverns, no ale-houses, no brothels, no opportunities for seduction, no secret meeting-places. Everyone has his eye on you, so you\'re practically forced to get on with your job, and make some proper use of your spare time\"  The constants surveillance, utopian ethics and religion emphasize that a good life spent, when not working , utopians read, play games, have conversations, and attend public lectures.\r\n\r\n&nbsp;','  Thomas More\'s Utopia','','inherit','open','open','','3276-revision-v1','','','2013-09-23 11:53:24','2013-09-23 17:53:24','',3276,'http://jeanatacc.com/2011/?p=3277',0,'revision','',0),(3275,84,'2013-09-23 11:49:04','2013-09-23 17:49:04','The age of European Exploration of the Americas, which made its big debut from the late fifteenth century to the mid-sixteenth century, encouraged many European explorers to write diaries and journals of their encounters of the New World. Almost everybody knows about Christopher Columbus, the Italian explorer that was sent by Spanish rulers King Ferdinand and Queen Isabella, and how they sent him to the New World in search of gold. However, there is a less-known Italian explorer named Girolamo Benzoni, who made the decision to go to the New World himself in 1541 to participate in a slave trade of Indians.  Benzoni’s mission was to bring these Indians back to Spain to sell as slaves. Unlike Columbus, who was on assignment, Benzoni was motivated to go to the New World himself. His inspiration came about while reading about other famous explorers’ voyages about discovering and exploring foreign lands. Coming from a poor family, Benzoni was the first of his clan to go on an adventure with other Spaniards. As he was making this journey, Benzoni wrote his journeys down to create <i>History of the New World, </i>a book that was not published until 1565. The work <i>History of the New World </i>by Giralmo Benzoni should be preserved because this explorer came from a poor family, and became a wealthy man by trading with the Spaniards.<!--more-->\r\n\r\nThe book <i>History of the New World </i>was fortunate for readers because it was published during the invention of the printing press. This is an innovation to this era because this invention resulted in a larger audience of readers, specifically in the wealthy class. Also, illustrations started to become increasingly large as the printing press produced these images with an essence of extravagance. This was beneficial to European readers because the large images gave them a vivid picture of life in the Americas. Benzoni’s illustrations are called woodcuts, which are carved images using wood blocks. However, these simple drawings were over exaggerated by the literary interests of the De Brys. Without Benzoni’s approval, these people used exotic graphics using concepts such as nudity and violence to take away the peacefulness of Benzoni’s simple artwork. They also made an effort to exaggerate scenes by adding buildings and other distracting miscellaneous detail. The De Brys, as one can see, liked to emphasize the literary illustrations by adding graphic information to each painting to increase the work’s attraction to its readers.\r\n\r\nWhen this book was published in Italy in 1565, it was published in French, German, Latin, and it had excerpts in English. The Spanish, however, did not take light of the offensive content taken toward their native heritage. Thus, the Spanish people did not have this book published until the twentieth century. In fact, Benzoni’s hatred of the Spanish was recorded later by the Jesuit official and Spanish historian. However, ultra-philanthropists found Benzoni’s book to be of great assistance with their studies. This book, unfortunately, has very little credibility because it is considered to be controversial. This is because the book contains violence and hostility. <i>History of the New World </i>loses its source of credibility because it does not focus on less-threatening situations. A man of little education, Benzoni only had limited views that included the negativity of these situations. Therefore, this book’s content is not positively looked upon due to its many understatements about historically correct information about the New World.\r\n\r\nAnn Rosalind Jones, in her article <i>Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio</i> , points out that Italian naturalist Ulisse Aldrovani believed that “…wonder was a cognitive passion as much about knowing as feeling.” (2) The concept of wonder can be applied today as students, for the most part, know very little about Benzoni and his voyage to the Americas. <i>History of the New World </i>can be a fascinating narrative to learn about because it gives insight into another explorer’s adventure to the Americas, which can help us learn more about the era of European Exploration. This was not the scenario for the era in which this book was written. The Spanish culture, in particular, found this narrative to be offensive to their customs and beliefs. Thus, the first Spanish edition did not get published until the twentieth century. Benzoni’s major attacks and hatred of the Spanish culture had a major impact on the publication process, and the offenses were to the point that this book would have to be censored many times. When all the slavery between countries was over with, this book was ready to be published in the Spanish language.\r\n\r\nWhile researching and learning about Benzoni, I thought he was a very unique explorer to this time period. Although he had little knowledge about the New World, I admire that his observations were impressive considering his social status. Coming from a poor family, I found it interesting that Benzoni made a fourteen-year voyage to the New World to explore what the Spaniards were doing to the Indians. I consider this to be a remarkable journey because I would have never imagined a poor boy going to the New World with complete strangers during this era. I feel like Benzoni stood out from his people by embarking on this journey because it would have likely been impossible for his relatives due to the fact that there was little money to do anything for themselves.\r\n\r\nThere are many similarities between Benzoni and thirteenth century Italian explorer Marco Polo. Compared to Benzoni, Polo also made his journey to a foreign land. Polo went east and Benzoni made his journey west, but both explorers encountered people of separate cultures. Benzoni was from a poor family, but he still managed to become a successful merchant explorer like Polo. He earned his money by participating in a Spanish slave trade in the New World. Both explorers managed to be successful by investing in activity that dealt with trading in a foreign land.\r\n\r\nUnlike Benzoni’s lower class family background, Polo had already come from a family of wealthy merchants. Polo’s father and uncle, Niccolo and Maffeo Polo, had been making their three-and-a-half year journey to China since 1262. When Marco began to learn about the merchant’s trade, he decided to join his relatives on their journey to China. This voyage to China was direct unlike Benzoni’s fourteen-year journey to the New World with stops to multiple countries. Another difference is Polo’s and Benzoni’s level of compassion to foreigners. While Polo was making amends with the Chinese, Benzoni participated in a slave trade in which he captured four-thousand Indians to sell to the Spanish. He was fortunate enough to show remorse for his slave-trading days in the West. In the end, both explorers succeeded in gaining wealth as merchants on their voyages to international foreign lands.\r\n\r\nI highly suggest that Girolamo Benzoni’s <i>History of the New World </i>should be restored because I think the idea of an individual from a poor family becoming a successful merchant explorer is interesting. The experience Benzoni witnessed and gained, I believe, should be of interest to today’s students and scholars because they could gain insight and knowledge from this explorer’s remarkable journey to the New World. It is surprising to me that this explorer is not popular in any history textbooks because I believe all explorers’ journeys should be included in the exploration of our native land. In future generations, I think it would be wonderful to see this book as well as its author popularized as a source of research in numerous libraries, and to be more participatory in the building blocks of the stage of the exploration era.','\"History of The New World\" by Girolamo Benzoni','','inherit','open','open','','3264-revision-v1','','','2013-09-23 11:49:04','2013-09-23 17:49:04','',3264,'http://jeanatacc.com/2011/?p=3275',0,'revision','',0),(3276,80,'2013-09-23 12:17:57','2013-09-23 18:17:57','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Thomas-More-Utopia.jpg\"><img class=\"size-full wp-image-3353 aligncenter\" alt=\"Thomas More Utopia\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Thomas-More-Utopia.jpg\" width=\"288\" height=\"217\" /></a></p>\r\n<p style=\"text-align: center\"><a href=\"http://areteclassical.blogspot.com/2011/01/utopia-by-sir-thomas-more.html\">http://areteclassical.blogspot.com/2011/01/utopia-by-sir-thomas-more.html</a></p>\r\nBefore we move onto More’s Utopia we need to try to understand the man that imaged this make believe land. Thomas More was a Christian humanist with a conscience who criticized the evils of greedy private enterprise. His unwilling cooperation and faith as a Roman Catholic had him executed in 1535 for treason. Thomas More\'s Utopia; put Thomas More on the map as a humanities and made his make believe land well recognized over Plato Republic therefore it should be preserved.\r\n\r\n<!--more-->\r\n\r\nIt was 1516 when Thomas More completed his statecraft and society which he named Utopia. More’s fictional land is a socialistic state in which personal property is shared; war and personal prides are disdain. Everyone has a right to an education and freedom of religion.  While More believes that commonwealth, motivation, compassion, and scorn for material wealth ensures social harmony. However; More’s Utopians are not Christian, yet inspired by Christian principals of ethics and assistance. They have little use for metals, jewels, and the taste that drives men to war.Every city was divided into four sections with a market place built in the middle for all families to bring in different goods to sell. The streets are designed for vehicles and to protect from the wind. Buildings are facing each other are running up and down the street. Front of the houses are separated by twenty foot roadway with a large garden behind them as long as a street.  No shortages in this community while a few things have value when compared to the English, for all their values are in short supply. Gold and silver are used in chamber pots and slave restraints, since everyone has a job in producing the basic needs to survive; therefore the workdays are only six hours long.\r\n\r\nThe family life was organized around the needs of the situation. A child who prefers to a woodworker or a ironworker would be sent to a woodworker or iron worker family. However; the families men are the most powerful members. It is said when a women gets married she will move in with mans household. Yet the male of each generation has to stay at home and follow the orders of the oldest male. Utopian women live inferior to the males of utopia, they must admit their sins to their husbands even before attending a church.\r\n\r\nThe community serves as means of public consistency and control. People are not allowed to leave the town and workplace without approval or they will be reprimanded. In order to eat you must work even if you go to another town or island. \"Wherever you are, you always have to work. There\'s never any excuse for idleness. There are also no wine-taverns, no ale-houses, no brothels, no opportunities for seduction, no secret meeting-places. Everyone has his eye on you, so you\'re practically forced to get on with your job, and make some proper use of your spare time\"(qdp more in fiero)  The constants surveillance, Utopian ethics and religion emphasize that a good life spent, when not working , Utopians read, play games, have conversations, and attend public lectures.\r\n\r\n&nbsp;\r\n\r\nWork Cited\r\n\r\n<b>The Humanistic Tradition</b> <b>Sixth Edition</b> <b>Gloria K. Fiero</b>','Thomas More\'s Utopia','','publish','open','open','','thomas-mores-utopia-4','','','2013-10-04 13:11:07','2013-10-04 19:11:07','',0,'http://jeanatacc.com/2011/?p=3276',0,'post','',11),(3350,1,'2013-09-24 12:20:32','2013-09-24 18:20:32','<!--[if !mso]&gt;-->\r\n<p class=\"MsoNormal\" style=\"text-align: center;\"><span style=\"font-size: 8.0pt; line-height: 115%;\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse;\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in;\" width=\"100%\">\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%;\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black;\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art.</span></span></span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">       The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt; line-height: 150%;\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\"><span> </span></span><span style=\"font-size: 12.0pt; line-height: 150%;\">Mayan Aztecs</span><span style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\">.</span><span style=\"font-size: 12.0pt; line-height: 150%;\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt;\">\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in; height: 4.0pt;\" width=\"100%\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Calibri\',\'sans-serif\';\">\r\n</span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in; text-align: left; text-indent: .5in;\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n&nbsp;\r\n\r\n<span style=\"font-size: 11.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black;\"><span style=\"color: black;\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal;\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-revision-v1','','','2013-09-24 12:20:32','2013-09-24 18:20:32','',3270,'http://jeanatacc.com/2011/?p=3350',0,'revision','',0),(3324,1,'2013-09-23 17:19:36','2013-09-23 23:19:36','<!--[if !mso]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-align: center;\" align=\"center\"><b><span style=\"font-size: 36.0pt; line-height: 115%; font-family: \'AR JULIAN\';\">Aztec Calendar Stone </span></b></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;\"><span style=\"font-size: 8.0pt; line-height: 115%;\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse;\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in;\" width=\"100%\">\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%;\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black;\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art.</span></span></span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">       The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt; line-height: 150%;\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\"><span> </span></span><span style=\"font-size: 12.0pt; line-height: 150%;\">Mayan Aztecs</span><span style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\">.</span><span style=\"font-size: 12.0pt; line-height: 150%;\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt;\">\r\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in; height: 4.0pt;\" width=\"100%\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Calibri\',\'sans-serif\';\">\r\n</span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in; text-align: left; text-indent: .5in;\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\r\n&nbsp;\r\n\r\n<span style=\"font-size: 11.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black;\"><span style=\"color: black;\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal;\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-revision-v1','','','2013-09-23 17:19:36','2013-09-23 23:19:36','',3270,'http://jeanatacc.com/2011/?p=3324',0,'revision','',0),(3314,58,'2013-09-23 12:23:38','2013-09-23 18:23:38','<!--[if !mso]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><b><span style=\"font-size: 36.0pt;line-height: 115%;font-family: \'AR JULIAN\'\">Aztec Calendar Stone </span></b></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\"><span style=\"font-size: 8.0pt;line-height: 115%\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in\" width=\"100%\">\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"><span> </span><span>            </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art. </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>         </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt;line-height: 150%\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\"><span> </span></span><span style=\"font-size: 12.0pt;line-height: 150%\">Mayan Aztecs</span><span style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\">.</span><span style=\"font-size: 12.0pt;line-height: 150%\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt\">\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in;height: 4.0pt\" width=\"100%\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Calibri\',\'sans-serif\'\">\r\n</span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in;text-align: left;text-indent: .5in\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;--></p>\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;--></p>\r\n&nbsp;\r\n\r\n<span style=\"font-size: 11.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black\"><span style=\"color: black\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-revision-v1','','','2013-09-23 12:23:38','2013-09-23 18:23:38','',3270,'http://jeanatacc.com/2011/?p=3314',0,'revision','',0),(3296,58,'2013-09-23 12:02:49','2013-09-23 18:02:49','','Aztec','','inherit','open','open','','aztec','','','2013-09-23 12:02:49','2013-09-23 18:02:49','',3270,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg',0,'attachment','image/jpeg',0),(3280,74,'2013-09-23 11:56:07','2013-09-23 17:56:07','<p dir=\"ltr\" id=\"docs-internal-guid-308a791a-4be3-ca63-5cdc-5329ada5d8f8\">    <em>Don Quixote</em> is a spanish language novel written by Miguel de Cervantes and published in two parts, the first in 1605 AD and the second in 1615 AD. It\'s importance to western literature is immeasurable, since it was the first full-length novel published in Europe and it\'s characterization of the title character is complex and iconic. The story follows an idealistic nobleman who has spent all of his money on tales about chivalry and knighthood and decides to become a knight errant, righting injustice in Spain. He recruits his neighbor Sancho Panza as his squire and sets out on an epic quest. He imagines a beautiful princess named Dulcinea to give a purpose to his valiant deeds. The story is rife with comedy as Don Quixote imagines ordinary situations in the framework of a medieval tale, such as an encounter with windmills that he believes to be fearsome giants terrorizing the countryside. <em>Don Quixote</em> was written following several important historical events.  Cervantes had fought in the last Christian crusade in the Middle East. The Spanish Inquisition had occured, which had evicted a long-standing Muslim and Jewish presence from the region in favor of Catholocism. And finally, Spain was gaining tremendous profits from their ventures in the New World, changing the traditional society of peasants and aristocrats with a newly formed middle class.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is thematically similar to a popular form of book at the time called the piqaresque novel. These books starred an underdog hero and were humorous, telling small episodic tales. They were written in Spanish because they were considered a crude form of entertainment, rather than the Latin reserved for highbrow literature. The main character would be someone of low-standing living in a corrupt world who outsmarts the machinations of those around him. <em>Don Quixote</em> plays with this idea by instead making the protagonist a delusional dunce surrounded by people who are much savvier than him. His companion Sancho is a realist who has to guide him through the everyday folk who are often baffled by Don Quixote\'s ridiculous assertions. Often times Don Quixote is defeated in his encounters or tricked into believing he has accomplished his duties. What sets <em>Don Quixote</em> apart from contemporary novels is the psychological profile of the main character. He is motivated by pure idealism and a belief in right and wrong that often conflicts with the reality he finds himself in. This theme eschews other picaresque literature which did not approach such profound questions of existence. It also tells a longform story that builds up on past events, weaving a complex narrative. <em>Don Quixote</em> was such a success that many copycat authors wrote unauthorized sequels. This motivated Miguel de Cervantes to write a part two to reclaim his beloved characters. Even past Cervantes\' death, <em>Don Quixote</em> continued to be an inspiration in art. It has been adapted into plays and films, and in 2002 The Guardian published an article claiming it to be the world\'s best book in a poll given to influential authors. If anything it\'s status as a cultural artifact has improved over time and influenced countless people. Popular at the time it\'s status is now that of a formative work of world literature.</p>\r\n<p dir=\"ltr\">    I enjoy <em>Don Quixote</em> and find the satire to still hold up to todays society. The deeply held beliefs of the main character contrasted with what actually goes on around him echo an insecurity I have about having an immature view of the world. It\'s inspirational to see Don Quixote hold steadfastly to these ideals and funny to see him reason away events so that they fall in line with the story in his head of him being a courageous knight.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is similar to the tragic work Hamlet by William Shakespeare in how the story focuses on the inner turmoil of the protagonist. Both works provide highly detailed portraits of the protagonist, going into depth on their appearance, beliefs, relationships, and the world surrounding them. Both are singularly obsessed with a goal that others either do not understand or challenge completely. One difference is that the delusions Hamlet experiences turn out to be based on fact instead of flights of the imagination, but nonetheless the visions of both protagonists lead to their mistreatment and downfall. Both men are highly pursuant of justice, neglecting everything else in their emotional and spiritual journey through the story. They are well-read and use what they\'ve learned to inspire their actions. In Hamlet these actions form tragic consequences as the people around Hamlet die. In <em>Don Quixote</em>, they are humorous as the title character is battered around and forced to dust himself off. In the end, neither men can change the nature of those around them. Hamlet avenges his father\'s death but himself dies cruelly. Don Quixote finally realizes how crazy his behavior was and metaphorically kills the man he once was.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is important to future generations because it raises the question of how to reconcile our dreams with our reality. In today\'s world many things are becoming possible due to the wonders of technology, and the potential for ill often outpaces the altruistic hope for peace and happiness for everyone. Instead of blind belief in an ideal world, Cervantes urges the reader to think first and consider what is happening around them. By imploring consideration and thought before instant emotional reactions, <em>Don Quixote</em> is a work that resonates with the fast-changing lifestyles of today that increase in complexity as time moves on.</p>\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\">Bibliography:</p>\r\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\r\n<p dir=\"ltr\">&amp;U+2001</p>','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 11:56:07','2013-09-23 17:56:07','',3250,'http://jeanatacc.com/2011/?p=3280',0,'revision','',0),(3279,86,'2013-09-23 11:55:36','2013-09-23 17:55:36','<!--more-->\r\n<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify\">Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify\">There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify\">At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify\">Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify\">Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-revision-v1','','','2013-09-23 11:55:36','2013-09-23 17:55:36','',3261,'http://jeanatacc.com/2011/?p=3279',0,'revision','',0),(3278,82,'2013-09-23 11:54:41','2013-09-23 17:54:41','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','Tyler Hudson - TCP1 - The Potawatomi Creation Myth','','inherit','open','open','','3265-revision-v1','','','2013-09-23 11:54:41','2013-09-23 17:54:41','',3265,'http://jeanatacc.com/2011/?p=3278',0,'revision','',0),(3281,79,'2013-09-23 11:57:00','2013-09-23 17:57:00','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n\r\n<b>Description</b>:\r\n“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.\r\n<b>Discussion</b>:\r\n\r\n<i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).\r\n\r\n<b>Question Prompts</b>:\r\n\r\n<i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)\r\n\r\nThis peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i>\r\n\r\nAlberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.\r\n\r\nToday, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)\r\n\r\nPersonally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.\r\n\r\n<i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.\r\n\r\nThe work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.\r\n\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n<!--more-->','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 11:57:00','2013-09-23 17:57:00','',3255,'http://jeanatacc.com/2011/?p=3281',0,'revision','',0),(3283,86,'2013-09-23 11:57:07','2013-09-23 17:57:07','<!--more-->\r\n<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify\">         Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify\">         There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify\">         At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify\">         Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify\">         Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-revision-v1','','','2013-09-23 11:57:07','2013-09-23 17:57:07','',3261,'http://jeanatacc.com/2011/?p=3283',0,'revision','',0),(3347,1,'2013-09-24 12:16:20','2013-09-24 18:16:20','<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\" target=\"_blank\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\" target=\"_blank\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify;\"><b>Description</b>:</p>\r\n<p style=\"text-align: justify;\">“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify;\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify;\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify;\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify;\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-24 12:16:20','2013-09-24 18:16:20','',3255,'http://jeanatacc.com/2011/?p=3347',0,'revision','',0),(3284,79,'2013-09-23 11:58:16','2013-09-23 17:58:16','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify\"><b>Description</b>:\r\n“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n<!--more-->','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 11:58:16','2013-09-23 17:58:16','',3255,'http://jeanatacc.com/2011/?p=3284',0,'revision','',0),(3285,76,'2013-09-23 11:58:27','2013-09-23 17:58:27','Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier 236, 237). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today (Fiero).\r\n\r\nFurther east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (Foner)\r\n\r\nThe <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).\r\n\r\nThe work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturally, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier 238).\r\n\r\nDuring it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).\r\n\r\nToday, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).\r\n\r\nReception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same time frame in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.\r\n\r\nI believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.\r\n\r\nThis work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.\r\n\r\nThis divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).\r\n\r\nThis work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with fortunes, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.\r\n<p align=\"center\">Works Cited</p>\r\nCampbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, 1998. Print.\r\n\r\nCarleton, David L. \"A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan Van Eyck.\" Art Bulletin 64.1 (1982): 118. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\nCarrier, David. \"Naturalism and Allegory in Flemish Painting.\" Journal of Aesthetics &amp; Art Criticism 45.3 (1987): Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\nElkins, James. \"On the Arnolfini Portrait and the Lucca Madonna: Did Jan Van Eyck Have a Perspectival System?\" Art Bulletin 73.1 (1991): 53. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\nFiero, Gloria K., The Humanistic Tradition, Book 4, Faith, Reason, and Power in the Early Modern World. 6th. 1. New York City: McGraw-Hill Humanities/Social Sciences/Languages, 2011. Print.\r\n\r\nFoner, Eric. Give Me Liberty!, Volume 1, An American History. 3<sup>rd</sup> Edition. New York City: W. W. Norton, 2010. Print.','Preserving the Arnolfinis','','inherit','open','open','','3263-revision-v1','','','2013-09-23 11:58:27','2013-09-23 17:58:27','',3263,'http://jeanatacc.com/2011/?p=3285',0,'revision','',0),(3286,74,'2013-09-23 11:58:36','2013-09-23 17:58:36','<p dir=\"ltr\" id=\"docs-internal-guid-308a791a-4be3-ca63-5cdc-5329ada5d8f8\">    <em>Don Quixote</em> is a spanish language novel written by Miguel de Cervantes and published in two parts, the first in 1605 AD and the second in 1615 AD. It\'s importance to western literature is immeasurable, since it was the first full-length novel published in Europe and it\'s characterization of the title character is complex and iconic. The story follows an idealistic nobleman who has spent all of his money on tales about chivalry and knighthood and decides to become a knight errant, righting injustice in Spain. He recruits his neighbor Sancho Panza as his squire and sets out on an epic quest. He imagines a beautiful princess named Dulcinea to give a purpose to his valiant deeds. The story is rife with comedy as Don Quixote imagines ordinary situations in the framework of a medieval tale, such as an encounter with windmills that he believes to be fearsome giants terrorizing the countryside. <em>Don Quixote</em> was written following several important historical events.  Cervantes had fought in the last Christian crusade in the Middle East. The Spanish Inquisition had occured, which had evicted a long-standing Muslim and Jewish presence from the region in favor of Catholocism. And finally, Spain was gaining tremendous profits from their ventures in the New World, changing the traditional society of peasants and aristocrats with a newly formed middle class.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is thematically similar to a popular form of book at the time called the piqaresque novel. These books starred an underdog hero and were humorous, telling small episodic tales. They were written in Spanish because they were considered a crude form of entertainment, rather than the Latin reserved for highbrow literature. The main character would be someone of low-standing living in a corrupt world who outsmarts the machinations of those around him. <em>Don Quixote</em> plays with this idea by instead making the protagonist a delusional dunce surrounded by people who are much savvier than him. His companion Sancho is a realist who has to guide him through the everyday folk who are often baffled by Don Quixote\'s ridiculous assertions. Often times Don Quixote is defeated in his encounters or tricked into believing he has accomplished his duties. What sets <em>Don Quixote</em> apart from contemporary novels is the psychological profile of the main character. He is motivated by pure idealism and a belief in right and wrong that often conflicts with the reality he finds himself in. This theme eschews other picaresque literature which did not approach such profound questions of existence. It also tells a longform story that builds up on past events, weaving a complex narrative. <em>Don Quixote</em> was such a success that many copycat authors wrote unauthorized sequels. This motivated Miguel de Cervantes to write a part two to reclaim his beloved characters. Even past Cervantes\' death, <em>Don Quixote</em> continued to be an inspiration in art. It has been adapted into plays and films, and in 2002 The Guardian published an article claiming it to be the world\'s best book in a poll given to influential authors. If anything it\'s status as a cultural artifact has improved over time and influenced countless people. Popular at the time it\'s status is now that of a formative work of world literature.</p>\r\n<p dir=\"ltr\">    I enjoy <em>Don Quixote</em> and find the satire to still hold up to todays society. The deeply held beliefs of the main character contrasted with what actually goes on around him echo an insecurity I have about having an immature view of the world. It\'s inspirational to see Don Quixote hold steadfastly to these ideals and funny to see him reason away events so that they fall in line with the story in his head of him being a courageous knight.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is similar to the tragic work Hamlet by William Shakespeare in how the story focuses on the inner turmoil of the protagonist. Both works provide highly detailed portraits of the protagonist, going into depth on their appearance, beliefs, relationships, and the world surrounding them. Both are singularly obsessed with a goal that others either do not understand or challenge completely. One difference is that the delusions Hamlet experiences turn out to be based on fact instead of flights of the imagination, but nonetheless the visions of both protagonists lead to their mistreatment and downfall. Both men are highly pursuant of justice, neglecting everything else in their emotional and spiritual journey through the story. They are well-read and use what they\'ve learned to inspire their actions. In Hamlet these actions form tragic consequences as the people around Hamlet die. In <em>Don Quixote</em>, they are humorous as the title character is battered around and forced to dust himself off. In the end, neither men can change the nature of those around them. Hamlet avenges his father\'s death but himself dies cruelly. Don Quixote finally realizes how crazy his behavior was and metaphorically kills the man he once was.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is important to future generations because it raises the question of how to reconcile our dreams with our reality. In today\'s world many things are becoming possible due to the wonders of technology, and the potential for ill often outpaces the altruistic hope for peace and happiness for everyone. Instead of blind belief in an ideal world, Cervantes urges the reader to think first and consider what is happening around them. By imploring consideration and thought before instant emotional reactions, <em>Don Quixote</em> is a work that resonates with the fast-changing lifestyles of today that increase in complexity as time moves on.</p>\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\">Bibliography:</p>\r\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\r\n<p dir=\"ltr\">&amp;nbsp; This source helped when comparing <em>Don Quixote</em> to another work.</p>\r\n<p dir=\"ltr\"></p>','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 11:58:36','2013-09-23 17:58:36','',3250,'http://jeanatacc.com/2011/?p=3286',0,'revision','',0),(3287,79,'2013-09-23 11:58:55','2013-09-23 17:58:55','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify\"><b>Description</b>:\r\n“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 11:58:55','2013-09-23 17:58:55','',3255,'http://jeanatacc.com/2011/?p=3287',0,'revision','',0),(3288,86,'2013-09-23 11:59:02','2013-09-23 17:59:02','&nbsp;\r\n<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify\">         Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify\">         There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify\">         At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify\">         Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify\">         Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-revision-v1','','','2013-09-23 11:59:02','2013-09-23 17:59:02','',3261,'http://jeanatacc.com/2011/?p=3288',0,'revision','',0),(3289,79,'2013-09-23 11:59:23','2013-09-23 17:59:23','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify\"><b>Description</b>:</p>\r\n<p style=\"text-align: justify\">\r\n“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 11:59:23','2013-09-23 17:59:23','',3255,'http://jeanatacc.com/2011/?p=3289',0,'revision','',0),(3290,79,'2013-09-23 12:00:09','2013-09-23 18:00:09','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify\"><b>Description</b>:</p>\r\n<p style=\"text-align: justify\">“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 12:00:09','2013-09-23 18:00:09','',3255,'http://jeanatacc.com/2011/?p=3290',0,'revision','',0),(3291,86,'2013-09-23 12:00:21','2013-09-23 18:00:21','&nbsp;\r\n<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify\"><!--more--></p>\r\n<p style=\"text-align: justify\">         Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify\">         There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify\">         At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify\">         Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify\">         Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-revision-v1','','','2013-09-23 12:00:21','2013-09-23 18:00:21','',3261,'http://jeanatacc.com/2011/?p=3291',0,'revision','',0);
