Considering Bullough's theory of psychical distancing and notions of Essay

Considering Bullough's theory of psychical distancing and notions of kinaesthetic empathy (Stolnitz etc.), discuss the extent - Essay Example Two scholars in particular dominated this debate in the early to mid-twentieth century and this paper explores each of their theories in turn: first Bullough’s theory of psychical distance and secondly Stolnitz’s theory of kinaesthetic empathy . The language of these two authors is quite technical and so definition and clarification of the terms they use in each case is necessary before the theories can be understood in depth. In the light of these two approaches and some more recent critiques of them, there is then a consideration of the extent to which the choreographer can attempt to shape or control the viewer’s degree of attention, and in particular whether or not it is possible to create the conditions within an audience for different levels of attention. A key element in the work of Stolnitz is the idea that when we look at things in the world we always do so with a certain attitude, by which he means that we devote more attention to some things and less t o others and that this varies from person to person and from one occasion to another. He uses the example of an Indian scout giving close attention to markings (Stolnitz, 1960, p. 17) as someone at the more focused end of this spectrum whereas someone just out for a stroll would be at a the less focused end. This state of giving something close attention involves excluding other things which might be a distraction and preparing to react to what is seen, either in a positive or negative way. The relevance of this to dance is that when an audience comes to watch dance being performed they come with a special kind of attitude, involving focus and hopefully a positive expectation of perceiving something worthwhile that they will react to in some way. This kind of expectant appreciation is, in Stolnitz’s terms the aesthetic attitude, deriving from ancient Greek philosophy where aesthetics is the appreciation of beauty. A further important distinction, in Stolnitz’s view, of this special attitude and way of perceiving things is that it is quite different from everyday kinds of perception, because it is not put to some practical purpose: â€Å"Usually perception is merely a rapid and momentary identification of the kind of thing it is and its uses.† (Stolnitz, 1960, p. 18) In contrast to this Stolnitz defines the aesthetic attitude as â€Å"disinterested and sympathetic attention to and contemplation of any object of awareness whatever, for its own sake alone.† (Stolnitz, 1960, p. 19). In ordinary modern English we might assume that â€Å"disinterested† means â€Å"bored† or â€Å"not much interested in† but in fact it has a narrower meaning of not wanting any specific purpose out of the act of paying attention something. In terms of dance, then, this aesthetic attitude is what comes into play when a member of the audience comes simply to observe and enjoy the performance. He or she may at times reflect on what is seen , or react with pleasure, or distaste, or even anger at what happens in the performance, but the point is that coming to see the dance is the only outcome that the observer is really after. The example of a lecturer coming to watch a student performance would not, in Stolnitz’s view, be an example of someone approaching the dance with the appropriate aesthetic

The European Modern Art in the Period of WWI Essay Example for Free

The European Modern Art in the Period of WWI Essay The early 20th century was a period of impetuous change. The First World War profoundly altered peoples understanding of their worlds. Early 20th-century art movements powerfully reflect this new mind-set. It was a brutal reality of war that was to give abstraction its edge. To those who survived the First World War it came to embody the collapse of traditional Western culture. What had started as an exercise in honor and chivalry (for Futurists) ended as mass destruction (for Dada artists). Moreover, the First World War forced many to reconsider the kind of value system and culture that could have permitted such an atrocity in the first place. As the war dragged on, more and more artists felt themselves compromised by the act of making art at least the kind of work that seemed so much a part of a larger, hypocrisy-hidden cultural machine. For many, to continue meant a drastic re-evaluation of the role of the art for themselves and their society. The result was a radically new way of looking at the world and at art – one that survives to this day. Daringly innovatory in technical terms, movements such as Cubism and Futurism, both of which were at their height around 1910–13, neglected traditional painting to probe the structure of consciousness itself. Though, it is to Dada and Surrealism that we should look for the most compelling explorations of the modern psyche, not least because both movements placed considerable emphasis on mental investigation. Dada partially saw itself as re-enacting the psychic upheaval caused by the First World War, while the irrationalism celebrated by Surrealism could be seen as a thoroughgoing acceptance of the forces at work beneath the coating of civilization. In this work I summarize the overlapping histories of movements of Futurism and Dada, first of all, and what common features link them. Also on particular examples of Boccioni and Jean Arp’s works I endeavor to find similarities and differences of these two movements. Futurist painting is a fascinating example of how seemingly innocuous pictorial movement can take on political and social aspects. The Futurists were for the most part a collection of modernist Italian painters who saw the destruction of the old and the glory of the new as the hallmarks of a truly modern artist. The Futurist movement burst upon the consciousness of an astonished public in the years 1909-1910. For the first time artists crossed over the line between conventional taste and new ideas. Taking their cue from the anarchists with whom as youths they were in sympathy, the self-styled Futurists published shocking manifestoes, governing their art and thoughts, the most famous of which was the Futurist Technical Manifesto  negating all past values, even art itself. Fighting their way towards a new liberty against apathy, nostalgia, and sentimentality, they became for a very wide public the symbol of all that was new, terrifying, and seemingly ridiculous in contemporary art. As for the term Futurism, there is no mystery about its origin, nor was it a word thrust by chance upon the artists as were Fauvism, and Cubism or Dada. It was coined in the autumn of 1908 by the bilingual Italian poet, editor, and promoter of art, Filippo Tommaso Marinetti, to give ideological coherence to the advanced tendencies in poetry. Because the Futurist painters early adapted to their own use some of the formal language of Cubism, their painting has often been considered a kind of speeded up version of that classically oriented movement. However the significant difference consisted in Futurism’s aim to represent motion, a goal better realized in moving pictures. Motion for the Futurist painter was not an objective fact to be analyzed, but simply a modern means for embodying a strong personal expression. In their iconoclasm and concern for the vagaries of the mind, they had not a little in common with Dada. The Italian Futurists were fighting the estrangement from the world, the lonely isolation of the individual that was not only the inheritance of the artist but a common threat to modern man. They rejected firmly the temptation to brood over mans plight, sentimentalizing over his helplessness in the way fashionable at the turn of the century. With Nietzschean arrogance they despised the weak and the timid, the thoughtful or hesitant, and wished to feel themselves rash, bold, and capable of infinite accomplishment. They wanted their art to restore to man a sense of daring, an assertive will rather than submissive acceptance. Perhaps the most talented Futurist artist was Umberto Boccioni, whose work and interests included both painting and sculpture. In his The Street Enters the House (Fig. 1) of 1911 it is quite apparent that he employed Cubist inventions for the depiction of a fractured space and the breaking down of forms across the picture plane. But to this he adds something Cubists had shied away from: color – the kind which illuminated and even decomposed forms. In this work forms, light and color melt into a frenzy of simultaneous activities, each actively pursuing the other for visual authority. The result is something like a visual noise, where each gesture or diminished form takes on the personality of a boisterous shout in a turbulent crowd. It appears that the radical Boccioni’s treatment of forms was to certain extent conservative. He never completely let go of the descriptive character of his work. In his sculptural work (Fig. 2) he maintains an awkward balance between the radical character of Cubist traditions and his desire to maintain a likeness. In this case, the piece looks like an icon to motion and progress and ironically discloses disdain for the whole history of figurative sculpture. Perhaps the greatest irony was the artist’s welcome to the First World War as a â€Å"cleansing† of culture. When the war was declared, he, like many of Futurists immediately enlisted and shortly after he was killed. Thus, with the horrors of the First World War, Futurism died too. Chronologically, the Dada movement (1915-1922) followed the Cubist style, from which it borrowed the papier collà © technique[2], and preceded the Surrealist movement for which it laid a foundation. Dada artists dismissed the canons of the traditional arts as well, considering their work to be non-art and, in some instances, even anti-art. More than anything else, Dada was an ‘avant-garde’ movement. The term ‘avant-garde’, which was first employed by the French utopian socialist Henri de Saint-Simon in the 1820s, initially had military connotations, but came to signify the advanced socio-political as well as aesthetic position to which the modern artist should aspire[3]. By the early 20th century, several key art movements such as Futurism in Italy, Constructivism in Russia or De Stijl in Holland, as well as Dada and Surrealism were pledged to contesting any separation between art and the contingent experience of the modern world. Appearing almost simultaneously in Zurich, New York, and Paris, the Dada movement did not represent a particular style of art as much as an intellectual rebellion of artists against the war and a general rejection of the formal traditions of culture and society. The term Dada was selected for the movement by opening a dictionary at random and arbitrarily selecting a word. This use of chance as a factor of determination and decision making would become systemized by the Dadaists in their work. The main practitioner of the art of chance was Jean (Hans) Arp, a Dada artist less inclined to grand gesture than on establishing a liberating, and thus in his opinion moral, work method for his art. The result can be seen in his Collage Arranged According to the Laws of Chance (Fig. 3). In this particular case, the actual work method is perhaps more noteworthy than the image it produced, and it hints at much larger issue in later art making – the supposed unlocking of the unconscious. Arp strongly believed that the unconscious existed and could be triggered, but revealing it required a radically different approach to art making. To produce this image, Arp simply dropped pieces of torn paper in a random manner onto a field of background color, and then glued the shapes down exactly where they fell. Such a method denies all possibility of craft concerns technical skills or even the simplest discretionary gesture on the part of the artist. All aspect of its production are left to chance. These pieces are seen as triggering mechanism to the unconscious, an activity in harmony with nature. The importance of Arp’s work lies in its acceptance of an uncontrollable event as at least as real as all of the intellectual conventions on which the European tradition was grounded. And at the time when many of these intellectual and cultural ideas were shattered by war, the unconscious might have seemed like the only place to hide. So we can conclude that both movements resemble each other in their striving to abandon conventional artistic approach and methods. However, in terms of art, Dada could be said to have had the most wide-ranging post-war impact, a fact which is paradoxical given Dadas anti-art inclinations. Dada committed itself to the deconstruction of lethal culture and its reconstruction according to more humane principles. Its success was constituted in the intensity and scope of its critique. The attitude towards the war of each of the movement was considerably predetermined by the period of their existence. Unlike Dada artists who survived the horrors of the war and under this experience reconsidered their understanding of art, Futurist artist believed in positive effect of the war. The analysis of the two artists’ works, representatives of both movements, displays the most striking difference existent between Futurism and the Dada movement, that is, art vs non-art forms. Figure 1. Umberto Boccioni The Street Enters the House 1911 Oil on canvas (100à 100.6 cm) Sprengel Museum, Hanover    Figure 2. Umberto Boccioni Unique Forms of Continuity in Space 1913 Bronze Height 110.5 cm Collection, The Museum of Modern Art, New York Figure 3. Jean Arp Collage Arranged According to the Laws of Chance 1916-17 Torn and pasted paper (48.6à 34.5 cm) Collection, The Museum of Modern Art, New York Bibliography: Braun, Emily. â€Å"Futurist Fashion: Three Manifestoes†. Art Journal. Vol.: 54. 1995: 34-49 Hopkins, David. Dada and Surrealism. Oxford: Oxford University Press, 2004 â€Å"Papier collà ©.† Wikipedia, the free encyclopedia. 2005. Retrieved on December 16, 2005 from http://en.wikipedia.org/wiki/Papier collà © Taylor, Joshua C. Boccioni. New York: Double Company, Inc [1] Emily Braun in the article Futurist Fashion: Three Manifestoes presents a profound insight of Futurists manifestos. [2] Papier collà © (French: pasted paper) is a painting technique and type of collage. With papier collà © the artist pastes pieces of flat material (paper, oil cloth and the like) into a painting in much in the same way as a collage, except the shape of the pasted pieces are objects themselves. (Wickipedia) [3] David Hopkins in his book Dada and Surrealism gives detailed survey of the historical, political and social backgrounds of Dada and Surrealism, as well as examines their relation to other movements that emerged at that period, 2.

Rabies :: essays research papers

Rabies Rabies is an infectious disease of animals which is a member of a group of viruses constituting the family Rhabdoviridae. The virus particle is covered in a fatty membrane, is bullet-shaped, 70 by 180 nanometres and contains a single helical strand of ribonucleic acid (RNA). Although rabies is usually spread among domestic dogs and wild carnivorous animals, all warm-blooded animals are susceptible to infection. The virus is often present in the salivary glands of infected animals, referred to as rabid, and is excreted in the saliva. The bite of the infected animal easily introduces the virus into a fresh wound. In humans, rabies is not usually spread from man to man, rather the majority of infections occur from rabid dogs. After a person has been inoculated, the virus enters small nerve ends around the site of the bite, and slowly travels up the nerve to reach the central nervous system (CNS) where it reproduces itself, and will then travel down nerves to the salivary glands and replicate further. The time it takes to do this depends on the length of the nerve it must travel - a bite on the foot will have a much lengthier incubation period than a facial bite would. This period may last from two weeks to six months, and often the original wound will have healed and been forgotten by the time symptoms begin to occur. Symptoms in humans present themselves in one of two forms: ‘furious rabies', or ‘ dumb rabies'. The former is called such because of the severe nature and range of the symptoms. The virus, upon reaching the CNS will present the person with headache, fever, irritability, restlessness and anxiety. Progression may occur on to muscle pains, excessive salivation, and vomiting. After a few days or up to a week the person may go through a stage of excitement, and be afflicted with painful muscle spasms which are sometimes set off by swallowing of saliva or water. Because of this the afflicted will drool and learn to fear water, which is why rabies in humans was sometimes called Hydrophobia. The patients are also extremely sensitive to air or drafts blown on their face. The stage lasts only fews days before the onset of a coma, then death. Dumb rabies begins similarly to furious rabies, but instead of symptoms progressing to excitement, a steady retreat and quiet downhill state occurs. This may be accompanied with paralysis before death. Rabies diagnosis in this type of cases can be missed. Unfortunately with both furious and dumb rabies, once the disease has taken hold

Play Response

It's A Wonderful Life On Saturday November 19, 201 I went to Cookeville Children's Theatre school performance to watch the show â€Å" It's A Wonderful Life† and it was the last show for this play. This show also has been showed on November 11, 12, 13 15, 17, 18, 19. This play is has a good story. I went to watch the play with two of my friends and other classmates. We went there at 7:30 p. m. at first we could not find the Cookeville Children's Theatre school performance because I have not been there before. With a little help from other friends we found the place.This play was $10 for adults $8 for seniors,students, and children. However, while we were waiting for the play to get started, a staff gets up and gives us a little guide about the play. The Play From childhood, George's greatest ambition has been to see the world, to become an architect and design bridges and skyscrapers everywhere. However, George repeatedly has to sacrifice his dreams. He puts off going to colle ge until Harry graduates from high school to take over the family business, the Bailey Building and Loan Association, essential to many of the disadvantaged in Bedford Falls.But on Harry's graduation night, as George discusses his future with his date Mary Hatch who has had a crush on him since she was a little girl, although George either doesn't realize it or believe it, and tries to remain emotionally detached his father suddenly has a stroke and dies. Mr. Potter , the owner of most of the town, seizes the opportunity to gain control of the Board of Directors and decides to end the â€Å"sentimental hogwash† of home loans for the working poor. George persuades the board members to stop Potter; they agree, but only on condition that George himself run the business. The Music and ChoreographyIn the It’s a Wonderful Life play. The lines of the show are faithfully adapted from the original 1946 movie version and the songs are seamlessly woven in. The score is challengin g musically- and these actors have the range to deliver. â€Å"The ballads shed light on the characters’ feelings behind the dialogue seen in the movie. And the range of emotion is not simply shown by the lyrics in the songs, but by the musicality of the score as a whole. The music for this show is not an afterthought to the famous plot line. It truly is beautiful and rich. Hearing young actors, some of them singing for the first time on stage, is a magical experience.Young voices being grown and blossoming right before your eyes- it represents art in every facet. Conclusion Overall, I really liked the play and the way the actors and the director existing this play. Honestly , when I first planed to go to the play I thought I would stay there for only 15 or 20 minutes at most, but after I watched the first scene I enjoyed it and thought I would watch only the next one then I will leave which I did not until the play was done. I had watch the whole play and did not even feel the play was uninterested . It was an enjoyable play.

Financial Disclosure of Starbucks

Accounting is the language of business. It is used basically to communicate or to provide information about the profit or loss and the financial position of the business about which there are many interested parties like owners, employees, creditors, government, investors, and research scholars. To provide such valuable information an accountant prepares financial statements comprising of Trading and Profit and Loss Account and the Balance Sheet. But these statements cannot meet the needs of a wide variety of users unless they are prepared in a prescribed form and discloses all the material facts of the business.To comply with this accounting principle namely ‘full disclosure principle’ has been developed which postulates that the financial statements should disclose all the important material facts about the business. In addition to this, it also states that the objective of such statements must not only be to provide true and fair view of the state of affairs of the bu siness but also it must be able to give the prescribed forms under which such financial statements are prepared. This disclosure of accounting principle helps the organization to reveal their financial statements and mail stone of the development of the business.A qualified financial statement helps to the organization to take the decision accurately. This paper discusses the disclosure principles followed by Starbucks Inc. with regard to certain items. The essay covers only important items of current assets such as cash and cash equivalents, receivables and inventory. The essay also discusses the various components of cash and cash equivalents of the company. Disclosure Policy with regard to cash and cash equivalents, Receivables and Inventory Starbucks is recognized as the world's number 1 specialty coffee retailer company.It has more than 16,000 coffee shops situated at different countries which are about more than 35 countries. Their outlets offer not only coffee drinks and food items, but also roasted beans, coffee accessories, and teas. Starbucks owns more than 9,000 of its shops, which are located in about 10 countries, but most of its outlets are situated in US, while licensees and franchisees operate more than 7,400 units worldwide and they are mainly focused on shopping centers and airports. The company also owns the Seattle's Best Coffee and Torrefazione Italia coffee brands.In addition to this, Starbucks markets its coffee through grocery stores and licenses its brand for other food and beverage products. Starbucks as a firm has some accounting flexibility in measuring their key success factors and risks. This flexibility makes them to manage its reported numbers in such a way that it makes their accounting data to be informative and reliable as regards to how their company is doing and to evaluate and analyze their performance more significantly. Starbucks, like most other companies in the United States, must adhere to standard accounting policies and conventions.With all of the new SEC regulations, companies have less room to move around numbers in their financial statements in a way to benefit the company and it discloses the financial information more clearly and up to date. In order to assess the firm’s business strategy and explaining key accounting policies financial disclosure is necessary. It describes lot about the items involved in the financial statement such as cash and cash equivalents, cash receivable, inventory, allowance for doubtful accounts, property, plant and equipment, etc.The Management Discussion and Analysis of Financial Conditions and Results of Operations section of the 10-K sufficiently explains Starbucks’ current performance and Also their report describes the increase in earnings. Revenues are growing due to the increase of new stores opening in the United States and in other countries. This depicts comparing the Starbucks’Consolidated Statements of Earnings and Liquidity and Capital Resources. This also shows breaks down each item and describes why each increased between the years.Operating segments are the business segments that are focused on in the 10-K. The 10-K does not reflect any bad news or hardly any poor performance that has occurred. Starbucks is a growing company and their revenues do increase each year, but it mainly shows all the increases of the statements and gives some explanation on why certain items decreased. Cash from Sales consists of Sales +/- the decrease/increase of Accounts Receivable. Each year, Cash provided/ (used) by changes in operating assets specifically Accounts Receivable were at a decrease.Because of this reason why the ratio is below one because Cash from Sales is greater than Sales. ThNetSales/Net Accounts Receivable ratio fluctuated throughout the years. Sales increased substantially each year as Accounts Receivable only increased slightly. The Net Sales/Unearned Revenue ratio consistently decreased through the ye ars. The disclose procedure of inventory valuation with respect to Starbucks can implement moving average cost method, last-in-first-out method, or the first-in-first-out method.All of these methods produce variant outcomes that can either benefit or maintain the financial statements of the firm. Also, every firm has a choice on how they want to amortize Goodwill over the period. They can write-off the Goodwill over forty years or take a more conservative approach and write it off over a shorter time period. It is also important to realize how Starbucks records their inventory on their consolidated financial statements. Since they sell products, not services, they have a large inventory, which they record at the lower of cost or market.It is also crucial how a firm records and depreciates its inventory, and can give investors wrong information if not done correctly. Components of Cash and Cash equivalents The components of cash and cash equivalents are stated by Starbucks as being h ighly liquid instruments with a maturity of three months or less when purchased to be cash equivalents. The cash and cash equivalent components of star bucks Cash and cash equivalents are the most liquid assets found within the asset portion of a company's balance sheet.Cash equivalents are assets that are readily convertible into cash, such as money market holdings, short-term government bonds or Treasury bills, marketable securities and commercial paper. Cash equivalents are distinguished from other investments through their short-term existence; they mature within 3 months whereas short-term investments are 12 months or less, and long-term investments are any investments that mature in excess of 12 months.Another important condition a cash equivalent needs to satisfy is that the investment should have insignificant risk of change in value, when used in the context of payments and payments transactions refer to currency, coins, money orders, paper checks, and stored value products such as gift certificates and gift cards. If in adjustment of cash flow is written that investment is short term which should not consider that investment as a part of cash and cash equivalent.

Easy To Make Glitter Slime

Easy To Make Glitter Slime Why make ordinary slime, when you can make sparkly glitter slime!  Try this easy recipe to make the slime in any color of the rainbow. Glitter Slime Materials glitter glueboraxwater The recipe works with either clear or white school glue, but white glue makes opaque slime. For clear or translucent colored slime that glitters, choose a clear or translucent glue. If you cant find glitter glue, add glitter as an ingredient. Borax is sold as a detergent booster with laundry supplies, or you can purchase it online. Let's Make Glitter Slime! Slime is a polymer that forms when you mix two solutions: glue and dissolved borax. The first step is to make these solutions. Dissolve 1 teaspoon borax in 1/2 cup warm water. Its okay if the borax doesnt completely dissolve. You only need the liquid part, not any solid that stays at the bottom of the cup.In a separate container, mix 1/2 cup glue (4-oz bottle of glue) and 1 cup of water. If you dont like the color of the slime, you can add a few drops of food coloring to the mixture.When you are ready to make glitter slime, dump the two mixtures into a bowl. Use your hands to mix the slime (thats part of the fun). If you have any leftover liquid after the slime polymerizes, you can discard it. When you are finished playing with the glitter slime, you can store it in a sealed plastic bag. The borax is a natural disinfectant, but the slime will keep fresh even longer if you refrigerate it. Clean-up is easy using warm water. Other Ways To Make Glitter Slime If you dont have the materials for this glitter slime recipe, you can add glitter to any  other slime recipes, or you can add glitter to slime from the store.

Free Essays on The Evolutionary Step In Communication

, a â€Å"cave man†, an upper Paleolithic Homeo Sapien- Sapien, found an existing shape in his â€Å" sacred space†, saw the similarities between that and of an animal, like a bison, and decided to trace around it in ochre. Hence the recognition of a shape and the literal transformation of something real into a picture to convey a message to the collective. After this, the identification, the idea of making an image evolved to something more of a document. For example, later cave paintings are not of the naturalistic form, but rather formalized animal drawings (Cooke, 15). Rather than seeing a pre-existing form, man is creating from his imagination, not literally creating something, but the idea being lent from the indigenous animals of the region, of course not limited to animals, but primarily concentrated on (Coke, 105). Showing us that man was trying, or was indeed, comunicating through the use of images. I know I am leaving out other steps in the evolution of this idea, but it is clearly too broad of an investigation, if I were to go in that direction. None of my instances are to be examined in one place. They are a collective evaluation of the start of communication and how the man who gave birth to this idea of an image, interprets it as a phenomena of some greater deity. The very first cave paintings represent the first existence of the modern day man, in terms of thinking (Bataille, 12). The homeo- sapiean- sapiean was very similar to the modern day man. In the upper Paleolithic time period, man lived in an unconscious state, but was not with out understanding, he perceived his environment in a naà ¯ve manner (Lommel, 12). When creating something as revolutionary such as a representation of something in reality, he feels a vigor and freshness. Meaning, this new idea of drawing, is subject to interpretation. The interpretation of use and the interpretation ... Free Essays on The Evolutionary Step In Communication Free Essays on The Evolutionary Step In Communication The earliest forms of art were naturalistic, or in other words, a â€Å"cave man†, an upper Paleolithic Homeo Sapien- Sapien, found an existing shape in his â€Å" sacred space†, saw the similarities between that and of an animal, like a bison, and decided to trace around it in ochre. Hence the recognition of a shape and the literal transformation of something real into a picture to convey a message to the collective. After this, the identification, the idea of making an image evolved to something more of a document. For example, later cave paintings are not of the naturalistic form, but rather formalized animal drawings (Cooke, 15). Rather than seeing a pre-existing form, man is creating from his imagination, not literally creating something, but the idea being lent from the indigenous animals of the region, of course not limited to animals, but primarily concentrated on (Coke, 105). Showing us that man was trying, or was indeed, comunicating through the use of images. I know I am leaving out other steps in the evolution of this idea, but it is clearly too broad of an investigation, if I were to go in that direction. None of my instances are to be examined in one place. They are a collective evaluation of the start of communication and how the man who gave birth to this idea of an image, interprets it as a phenomena of some greater deity. The very first cave paintings represent the first existence of the modern day man, in terms of thinking (Bataille, 12). The homeo- sapiean- sapiean was very similar to the modern day man. In the upper Paleolithic time period, man lived in an unconscious state, but was not with out understanding, he perceived his environment in a naà ¯ve manner (Lommel, 12). When creating something as revolutionary such as a representation of something in reality, he feels a vigor and freshness. Meaning, this new idea of drawing, is subject to interpretation. The interpretation of use and the interpretation ...