Cold Dark Matter

The title; “Mark and Memory” refers to the making of art and then the ideas behind it. Fieldhouse explained this, saying “The mark is the way the hand created the forms, the memory is the idea created.” In the exhibition, is a piece called “Baskets” This piece is a reinterpretation of the Islander basketry practises, in the piece, rather than using the traditional materials, she uses flexible porcelain. The artwork is striking, its white colour, overlapping lines and the way the light passes through the piece creating light and shadow, all serve to make the artwork a success. It is simple, yet its use of form and line is beautiful; it is visually interesting, as well as visually

Dark Matter is a very interesting book that I would recommend you to read. The author of Dark Matter has both assimilation and tolerance in the book. In the book tolerance is used by Jason having to survive in different situations. At one point in the book he goes to a world that is covered in snow. He built tolerance to the cold and was able to carry Amanda to a cabin and survive. But also has assimilation sprinkled in. Jason had to adapt to his doppelgangers and their worlds.

That jersey held the full collection of memories with my grandfather: holidays, camping, and his long rambling lectures. It is such a powerful item because of the memories it holds. Objects themselves can be conjurers of emotion because they have the ability to capture a moment: a visual time capsule. Just as Teju Cole, suggest in his article, “Object Lessons,” ordinary objects directly harmed by war can provide a glimpse into the affects a conflict has had on the owners. Cole compares them to the gory, overly cinematic, medieval portrayals that are often shown in the news, which do not evoke the sympathy from the viewer that simple objects do. He uses still life photographs of ransacked kitchens during the Ukrainian conflict and the uniform of a missing school girls as support for his claim. His reasoning is that, “Objects, sometimes more powerfully than faces, remind us of what was and longer is” (Cole 5). We experience that moment of pain with the victims: despite their absence from the

For this journal review, I have decided to do a graveyard in Asheville which is very well known. The cemetery – Riverside Cemetery has existed since 1885 and was built by the Asheville Cemetery Company and in 1952 was sold to the City of Asheville. For this review I’ll be focusing on the various styles of graves seen throughout the cemetery, while also emphasizing the meaning of the different artistic symbols seen. I’ll also make sure to note the significant graves and mausoleums that are home to some of the most descriptive artwork. The graveyard is home to more than 14,000 graves some of which carry important meanings or information. I believe graveyards are sacred art museums and while walking through one provides a much different experience, some similarities are important for us to see.

Thank you for your post. In your discussion of Bolman and Deal’s (2013) presentation of frames, I appreciated your sentiment that one must choose the correct frame or “the right tool for the right job” (Berry, 2016, para.2). This especially important when it comes to the examination of the paradigms or frames through which we examine a particular circumstance. Bolman and Deal (2013) stated that, “Learning multiple perspectives, or frames is a defense against thrashing around without a clue about what you are doing or why” (p.19).

Created to help grow recognition of the Museum, the project of Modern Sculpture Initiative collected identifiable sculptures in the Kansas City Sculpture Park at the Nelson-Atkins Museum (Paine 15). This park holds pieces from Henry Moore and the duo Claes Oldenburg and Coosje Van Bruggen. As a gift to retired Martin Friedman, who was the advisor of the Modern Sculpture Initiative and director of the Walker, he got to commission a work by the artist of his choosing (Roxy Paine’s), 2010). With help from the Hall Family Foundation, a dendroid installation called Ferment by Roxy Paine was the newest addition in 2011 (Paine 17). Since Paine has 24 dendroid sculptures spread across North America, it is an honor to have one that gave excitement and quality to the park (Roxy Paine’s, 2010). Curator Jan Schall expressed, “Roxy Paine is one of the most important young sculptors today. Ferment will be the reigning monarch on that hillside. It is an outstanding addition to the collection that will enlighten, perplex and delight everyone who sees it. (“Roxy Paine’s”, 2010)” When a person goes to the Nelson-Atkins Museum, they may see a tall, shiny tree in the park. However, this installation

The top section is well-molded faces of the registers. Their facial expressions are very sad. The space of the top section is compressed. We could see there is no space between heads. Each face have different detailed. The middle section has few details than the top section. Instead of just registers’ faces, there is few full body of resisters. The mourner in the middle puts his hand on Karl’s body. This creates a connection between the middle section and bottom section. Karl’s body is be placed at the bottom section. Instead of using black ink, she used white as a contrast color to make Karl’s body stand out. The value of this art piece is on Karl’s body. So when the audience first looked at this piece of work, their eyes will move on the bottom part first.

The video, “The Vertical Video Revolution,” narrated by Dan Kois presents a series of supports and objections to Kois’ hypothesis that the wide-frame video creates a better medium for cinematic art than vertical video. After some comedic editing and a brief description of the growing use of vertical video, Kois poses the question: What is the art in vertical video? Kois gives a few examples of vertical video’s current usage and raises concern about this vertical-video-viewing generation. His main concern is that if this generation is accustomed to vertical videos on their smartphones and tablets, then Hollywood will try to cash in on viewer preferences and create vertical films. From the two minute point to circa minute six, Kois presents his argument, which has three central points: 1)the spectacle of theater can only be fully captured horizontally, 2) the space on a horizontal screen allows a visible connection between two characters which the vertical screen cannot capture, and 3)the horizontal screen has room for multiple individuals to be presented simultaneously, while when done so vertically, the screen seems overcrowded.

The title of his artwork serves as an apology for those whom their relatives died. These artwork makes the tragedy memorable that the young innocents was once become a victim of the negligence and corruption of the government. However it may also cause to uneasy forgetting of that event for those who gain trauma.

There is perhaps no current problem of greater importance to astrophysics and cosmology than that of "dark matter". The controversy, as the name implies, is centered on the notion that there may exist an enormous amount of matter in the Universe that cannot be detected from the light that it emits. The evidence of dark matter is from the motions of astronomical objects, specifically stellar, galactic, and galaxy cluster/supercluster observations.

Dark matter is the idea of unseen matter in the universe that affects the gravitation and mass of varying objects, such as stars and galaxies. Dark matter is hard to see and find because unlike matter, it does not reflect or emit light. It also does not affect the electromagnetic fields in the universe (CERN 1). Dark matter can either be “hot” or “cold.” “Cold” dark matter means when the big bang occurred it was not moving fast enough to affect the formation of galaxies. Dark matter can also be “hot,” meaning it was moving fast enough to affect a galaxy’s matter (White 1).

The most recent full explication of frames and framing effects comes from Bertram and Dietram Scheufele (2010), and serves to define what frames are, what they do, how they do it, and where they come from. However, it

Even though dark matter is in existence we don’t have the instruments available to detect it yet. A theory suggests that dark matter is what actually makes up a large portion of our universe. Even though we can’t detect it, we know dark matter exists because it can interact gravitationally with visible matter and radiation. A professor from New York stated that dark matter plays a large role in causing geological catastrophes as well as mass extinction.

It is composed of two elements: a portrait with a stitching and a poem. The poems are the elements that create the emotional challenge. The texts are heavily charged emotionally, creating a strong reaction which could result from not being prepared for such representation of refugee life. It can be frightening, as people might not be accustomed to reading such stories. It can equally be moderately shocking, because even if people do understand that these are difficult moments in the lives of refugees through media coverage, it is not every day that they can learn about their journey in this way. Indeed, the texts are brutally honest about the atrocities they encounter on their way to the United Kingdom. In this case, the challenge is primarily due to the sitters who shared their stories via these poems. The artist is important since she initiated the project and decided to include these poems in the space. The curators worked on the placement of the poem but this does not impact the challenge potential of the work. In this case, wherever they were displayed, they would have had the same

Dust, written by Judith Wright, discusses the concepts of a destroyed, empty world and a mother reflecting on the days when the “Earth was kinder”. Through her poem she shows the audience her fears for the world and how the world will become barren and “sick” if the environment is not cared for. This is typical of Judith Wright, with environmental themes central to many of her poems. The emotive responses that are evoked while reading this poem are extremely strong. A great sadness is experienced as she describes the barren new word and contrasts it to the previous one. To convey the moral of this poem Wright has employed many different literary and poetic techniques. These range over three major categories, imagery, structure and