Sensation is the way in which our senses of vision, hearing, taste, touch and smell receive external stimuli. Perception, on the other hand, according to Hunt & Ellis (2004), is the way in which our internal, psychological processes add meaning to these sensory experiences (p.39). In the well-known book, “The Man Who Mistook his Wife for a Hat,” Oliver Sacks writes of Dr. P., a musician of distinction, with one peculiar trait; he does not recognise faces (Sacks, 1998). Dr. P., like Oliver Sacks himself
of femininity perception in history and society comparing its value and impact to the culture and fashion. The essay explores how the fatal side of femininity is depicted in media, how and why fashion exploits the femme fatale image and the term definition. The essay concentrates at femme fatale image in the 20th century as the necessary part of the feminism evolution. The work is based on the bodies of work by Mulvey, Elizabeth Wilson Adorned in Dreams (1985). The aim of the essay is to explore
through an experiment Bartlett performed whereby English background participants were asked to read and reproduce a Native American folk story. (1) The findings of the study showed that indeed cultural and societal factors may influence memory and perception. This approach shows how culture, i.e. shared knowledge, can affect the way we process new knowledge. The shared knowledge which is culture has been adapted in our minds and has become personal knowledge, and now acts as a filter for all new information
his tempo. Elliot points out that finding the right tempo was imperative to Schönberg, yet his writings on the topic are contradictory. In his essay About Metronome Markings from 1926 he complained about conductors being too free in their tempo choices. Nevertheless, he acknowledged that performance practices, including tempo, change over time. In his essay Mechanical Musical Instruments from the same year, for example, he wrote: “[…] there is hardly any tempo in which a talented player cannot make
The elephant in the Art room The mother the other Addressing the elephant in the Art room Linda Nochlin posed the question in her 1971 article “Why Have There Been No Great Women Artists? Arguing it was necessary to question “the unstated domination of white male subjectivity” that shaped the art historical canon; the article explored the reasons for the severe asymmetry of female to male artists throughout the course of art history. When examining western art as viewed through the canon one must
offers different types of audiences, for most of which are relatively unknown to the phenomenology of schizophrenia. While many people know or at least once experienced affective symptoms such as depression, anxiety or somewhat impaired thinking and perception, but with respect to schizophrenia for the average person can be difficult to understand what is this phenomenon. Moreover, compared with the clinical interviews (alive or video), schizophrenia imaged in the film can be more fully understood, more
society that had been complicit in the war. For Dada artists, the aesthetic of their work was considered secondary to the ideas it conveyed. “For us, art is not an end in itself,” wrote Dada poet Hugo Ball, “but it is an opportunity for the true perception and criticism of the times we live in.” Dadaists both embraced and critiqued modernity, imbuing their works with references to the technologies, newspapers, films, and advertisements that increasingly defined contemporary life. They were also experimental
field of arts, performance is defined as a discipline based on the body and temporality. It has multiple genealogies; in all of them, performance is an action that pushes the boundaries set by the disciplines from which it spins off. In the context of visual arts, performance arises as part of the dematerialization of the art object, which occurs within conceptual art, where the central aspect of the piece is the action or the process of execution, rather than a tangible product. The live presence of
In this essay, I will be focusing on a distinct division of The Walt Disney Company, ( also known as Disney) the mammoth conglomerate media company, Marvel Studios, which has risen to the forefront of popular film culture in the 21st century. Marvel Studios, LLC, formerly Marvel Films, was formerly a subsidiary of Marvel Entertainment, purchased by Disney in 2009, eventually becoming its own separate branch which is dedicated to producing films based on the popular Marvel Comic Books (Savage). This
sugar-coating and giving an unrealistic look at the lesbian romance within the movie, historically inaccurate as it is or not. It’s these incredibly heavy-handed and stereotypical representations of LGBTQ representations that set back and don’t change perceptions, despite their being that representation at all. Jillian Gutowitz, in her VICE article discussing the movie, sums it up perfectly, “Where Battle of the Sexes may have lacked in subtlety, it made up for in queer representation—and that's a step forward