How can you not be moved by the spirit? How can your heart not be happy for the Lord? I love late mornings… for many reasons. This morning was beautiful late morning though, because I am so in love with life right now. As I read this scriptures about the voice of the Lord and how he speaks with his children I can not help but to hear the Lord’s voice speak to me. I can not help but to think back only a few hours ago when I laid in my bed thinking about how wonderful life is. I can not help but to feel like God is speaking to me.
He speaks to me so personally sometimes. I truly can hear his voice as it comes into my heart. In all truth I can not always understand what he is says; I get the impressions or the jest of the message, but words can not describe what we talk about. Other times he talks to me through others, a sunset, lucky pennies, and so on. I want to focus on the direct voice of the Lord though. The one that is clear. The voice that is so clear that you feel like you are speaking to someone who is in the room with you right now. That someone who is present is sending you a message. That is the voice that I am thinking of.
Some nights when I can not go to sleep I imagine that God is tucking me into bed. Just like any father I am sure that he loves to tuck his children into bed. That when the sun sets and the nigh sky is draped across the heavens that is his way of pulling the blanket up to my chin. That when the night birds call, the wind blows through the trees, the rain drizzles, that he is singing a lullaby to me. That his lullaby is beautiful and about love and kindness. I can hear the music and it enters my heart. It makes me feel calmed and loved. I like to imagine his face- not so that I can KNOW, but so that I can believe and recognize him. I image his eyes shine like the rays of sun or the beams of star light. I image that he feels warm like the summer breeze when he hugs me good night. I image that his lips are soft like clay when he kisses me on my forehead good night. I image that his arms are strong, stronger than the wind, stronger than the waves, and larger than the mountains when he encircles me in his arms and holds me close.
Then he tells me all of the beautiful things of the word. He tells me about the butterfly that hatched from his cocoon today, and he tells me about the rainbows. We don’t talk about the world problems at night, sometimes, but most of the time we talk about the beautiful things. I tell him about my day, and what happened. I tell him what I loved, and what I want. He listens, and listens. He does not say anything when he knows that I wont listen. He tells me everything when he knows that I am listening.
He does not answer all of my questions in an instant. Although, most days he answers my questions rather quickly. He tells me when I am reading in my text book the next day. Other times he just tells me when I am walking to class. He tells me when I am not paying any particular attention to anything, and he tells me when I am concentrating on something. I can feel the thoughts come into my body. They don’t hit me, and they don’t soak into me, but they come to me. More like they walk right through me, and if I don’t write them down or repeat them to myself then they are gone.
The voice of the Lord is a beautiful voice. I am thankful that I have the gift of the Holy Ghost in my life, and that when I am worthy and humble I can hear God’s voice in my life. His voice is the voice of truth.
Sunday, September 4, 2011
Thursday, September 1, 2011
ARTHC notes
CHAPTER 1 ART BEFORE HISTORY
Every artist in every generation asks
1. What shall be my subject?
2. How shall I represent it?
Paleolithic Art (greek paleo “old” and lithos “stone”) old stone age- few people depicted mostly profile of animals. When archaeologists first decovered statues of women they named them venus after the Greek goddess of Love
Mesolithic: middle stone age- few people depicted mostly profile of animals
Neolithic: New stone age- few people depicted mostly profile of animals
Burin: a pointed engraving tool to scratch lines into a surface
Incise: scratches on an engraving
Twisted perspective/ composite view: the viewrs see the heads in profile but the horns from the front
Optical: painting seen from a fixed viewpoint ex: portrait
Descriptive: painting that builds the concept of the image. Ex: stick figure
Negative: the painter placed one hand against the wall and then brushed or blew or spat pigment around it
Makapansgat pebble (3,000,000 BCE) South Africa: a water worn reddish-brown jasperite pebble near prehuman bones
PALEOLITHIC ART (30,000-900 BCE)
Apollo 11 cave (23,000 BCE) Africa: seven fragments of stone plaques with paint on them (recognizable animals)
Hohlenstein-stadel (30,000 BCE) Germany ivory: 1 high sculpture with feline head and human body (male/female?)
Venus of Millender (28,000-25,000 BCE) found in Austria: stone age, a women with full bossom named after the greek goddess of Love because the sculpture is nude. Like other human figures you can not see the face, but it appears to be covered in curly hair or a woven hat. The body is disproportionate, but the artist did detail the pubic triangle.
Laussel (Paleolithic era) France: stone block found in a rock shelter from stone that was painted with red ocher. Simulare to the earlier venus of Millender with a disproportionate body but one arm is up and another is across the abdomine.
Le Tuc D’audoubert (10,000 - 15,000 BCE) France: two bison about 2 feet long sculptures built in clay
La Madeleine (12,000 BCE) France: bison 4 inches long with turned head with lines into the bison’s main and carved from reindeer antler. Face turned at 180 degrees to maintain the full profile view.
Altamira (12,000-11,000) southern France, northern Spain: discovered by Don Marcelinno Sanz de Sautuola with his daughter Maria in 1879 while they explored into a cave. 85 feet into a cave a chamber with shadowy paintings of running animals. The artists sole concern was representing the animals not locating them in the space- no relation to each other.
Pech-Merle (22,000 BCE) France: checks, dots, squares, line to picture animals and human hands painted in the negative
Chauvet Cave (30,000-28,000 BCE) France: two hinoceroses suggest that the artist intended a narative. An exhibit of advanced features such as overlapping horns
Lascaux (15,000-13,000 BCE) France: most paintings hundreds of feet from entrance of the caves. There is an image of a man, with his prominent penis, but not detailed. One of the more famous is Hall of the Bulls (15,000-13,000 BCE) France: many colored silhouetttes and outlines; one is 11 feet long
NEOLITHIC ART (8000- 2300 BCE)
Shrines: distinguished from the house structures by the greater richness of their interior decoration: wall paintings, plaster reliefs, animal heads
Bucrania: bovine skulls
Terracotta: baked clay found at Catal Hoyuk and most are small female figures a few are 12 inches
Megaliths: (great stones) designated Neolithic architecture in western Europe
Passage grave: tomb with a long stone corridor leading to burial chamber covered by earthen burial mound (western Europe)
Tumulus: earthen burial mound (Western Europe)
Corbeled vault: construction techniaue used in tombs today
Courses: stacked horizontal rows
Post-and-lintel system: two uprith stones (posts) support a horizontal beam (lintel)
Apses: semicircular recesses that curve
Henge: arrangement of megalithic stones in a cirlce, often surrounded by a ditch (almost entirely limted to Britain)
Sarsen: a form of sandstone (Britian‘s stone henge)
Bluestones: various volcanic rocks (Britian’s stone henge)
Jericho (7000 BCE) Palestine and Iran: villiage with spectacular water ways, wealth, more than 2,000 people, and arcihitecture
Ain Ghazal (7200-5000 BCE) Amman Jordan: houes of irregularly shaped stones and 3 doxen plaster statues with busts and some two heads. White plaster built up over a core of reeds and twine. Some with clothing but not always obvious gender but there were details added with painting
Catal Hoyuk (7000-5000 BCE) Anatolia- Near east: houses in early city adjoined one another and and doors but openings in the roof. With decorated rooms and burial grounds. Wall paintings of hunters, but regural appearance of the human figure with wettings and groups describing scenes. Landscape with volcanic erution is a wall painting from Level VII (6150 BCE) Catal Hoyuk, Turkey and first known landscape with out human or animals
New grange (3200 BCE) Ireland burial monument, a tomb with a large stone corridor leading to the burial chamber covered in burial mounds (others found in Franc, England, Spain and Scandinavia) to honor the dead. At winter solstice the sun illuminates the passageway
Hagar Qim (32000 and 2500 BCE) Malta an island far south: oldest stone temples, and built out of carefully cut stone blocks. Altars, stone statues of headless nude women on seats and standing
Stonehenge (2550-1600 BCE) outer ring is almost 100 feet in diameter and is made of megaliths with a ring of bluestones open end facing eat of a horseshe shaped. Some stones weigh 50 tons. Accurate to the solar calendar
CHAPTER 2 THE ANCIENT NEAR EAST
Mesopotamia: Greek meaning land between the Tigris and Euphrates rivers and gave birth to 3 major religions: Judaism, Christianity, and Islam
City-state: unified nation of Sumaria with each city was thought to be under the protection of a different deity. Ruled by a family or individual
Pictogrpahs: simplified pictures standing for words
Stylus: shar tool used to make inventory clay tablits in Sumaria
Cuneiform signs: group of wedge-shaped signs used in Samaria to simplify pictures of animals
Ziggurat: a high platform for temple construction
Bent-axis plan two or three angular changes in directions down the doorways of White Temple Uruk
Cella: set aside central hall for the divinity and housed a stepped alta
Registers/friezes: bands in a sculpture that depict the story in pictographs
Votive offering: gift of gratitude to a deity usually made in fulfillment of a vow
Conceptual: representation of what is being seen not the actual image
Hierarchy of scale: greater height of the priest-king and Inanna compared to the offering bearers indicaes their greater importance
Stele: carved stone slab erected to commemorate a historical even, or sometimes mark a grave
Ensi: ruler/king in of Lagash depicted in Stele
Lapis lazuli: rich azure-blue stone imported from Afghanistan into Ur- Iraq
Bestiaries: medieval stories with animals as the humanistic characters
Heraldic composition: symmetryical on either side of a central figure
Diorite: a rare costly dark stone, hard to find in carve, used to make Gudea statotues of Lagash for gods
Sumer (2,000 BCE) Sumarians in Iraq. Made up of city-states (government) writing (3400-3200 BCE) inventory of cattle, food, supplies into clay with stylus; these were simplified to cuneiform signs; literatuer (2,000 BCE) Epic of Gilgamesh the sotyr of king Uruk and moster slayer of Huwawa
White Temple, Uruk (3000 BCE) Uruk-a city with 40,000 people. Whitewashed walls to the sky god, with a central hall and a stepped alter. Sumerian’s refered to as waiting rooms
Inanna (3200-3000 BCE) Uruk- Iraq war discovered: fragmentary white marble female head- only a face with a flat back, drilled holes for attachment to the rest of the head and the boyd that may have been wood; goddess Inanna- but unknown. Colored shell or stone filled the deep recesses for the eyebrows and large eyes. A wig of gold leaf on the head
Warka Vase first great work of narrative relief sculpture; in Inanna temple, has several bands, figures to tell a story; with crops depicted, and domesticated animals. Naked men fills baskets, top layer has goddess
Eshunna Statuettes (2700 BCE) Iraq: cache of sculptures in temple at Eshnunna. They are gypsum inlaid with shell and black limestone of a both males and females. Their oversized eyes symbolized perpetual wakefulness of substitute worshipers offering prayers to deity, beakers they hold were for libations in honor of the gods about 30 inches tall.
Stele of the vultures (2600-2500 BCE) Iraq: limestone about 2 ½ feet high and the full stele almost 6 feet. Vultures carrying off the severed heads and arms of defeated enemies; Hierarchy of scaled enemy: king on top, war chariots, foot soldiers. Eannatum is larger than any one leading his army against the enemy
Standard of Ur (3000 BCE) Iraq (biblical Abraham) tomb chambers filled with gold helmetns, dagger of lapis lazuli, dozen of bodies with musicains, servants, charioteers, soldiers. With wood inlaid with shell, lapis lazuli, and red limestone paintings using a mosaic-like technique of battlefields, and feast of celebrations. There were two sides on the box, the war side and the peace side, but they might be the first and second part of the entire narrative
Bull-headed Lyre (2600 BCE) Iraq- Ur: gold lear and lapis lazuli of a wooden core over 5 feet high a bull’s head, imaginary composite creatues as heroic figures; the lion carrying the vase, and the donkey playing the lyre
Cylinder Seals: found in the tombs of “Queen” a cylindrical piece of stone engraved to produce a raised impression when rolled over clay. Figures with large frontal eyes, profile head, seated dignitaries- looks like a stamp roller today.
AKKAD AND THE THIRD DYNASTY OF UR (2332-2279 BCE)
Akkadian: site in the vicinity of Babylon near Eastern people who spoke language related to Hebrew and Arabic, and used cuneiform characters; royal power based on loyalty to king rather than city-state
Akkadian Portraiture (2250-2200 BCE) copper head of Akkadian king is all that remains of a once grand statue, with the eyes gouged out to make statement. Life-size. Earliest known great monumental work of hollow-cast sculpture
Naram-sin Stele (2254-2218 BCE) Iran: the figures are staggered and not layered abandoning the traditional formate- the empty space between figures was utilized
Ziggurat, ur (2150 BCE) Iraq: construction of ziggurats one of the largest in Mesopotamia with a soild mas bass of brick fifty feet high, hundreds of steps
Gudea of Lagash (2100 BCE) Neo-Suerian age: portray of Gudea (ensi of Lagash) His statues were wearing a wollen brimmed hat and dressed in long garments with one shoulder exposed to give gods their du. All of diorite
SECOND MILLENNIUM BCE
Hammurabi (1792-1750) most renowned king in Mesopotamian history; best known for his law code that had penalties for adultery, murder, and cutting down a neighbor’s tree. Large blocks made of heavy stone with lions, beasts
Napir-asu of Elam (1350-1300 BCE) Iran: bronze and copper over 4 feet high but life-size of the wife of Elamite king and was as an offering in the temple with an inscription to ask the gods to protect the statue
Assyria: (721 BCE) ambitious layout the confidence of the Assyrain kings, strong defensive walls, palace on elevation, tiber roofed hallwas, courtyards, over-life-sized figures of kings lined wall
Lamassu (720-705 BCE) Iraq: limestone over 13 feet high complete view of animasl with five legs four legged on the side view and two in the front; Assyrian palace guardian
Palace of Ashuranasirpal II (875-860 BCE) Iraq: narrative reliefs exalting roay power. Throughout the palace, painted, rich textiles on the floors; archers shooting arros, enemy soldiers in the water. The human figures are enlarged to stand out from the back ground
Palace of Ashurbanipal (668-627 BCE)Nineveh palace: a great city was constructed. Brilliant depictions of straining muscles, swelling veins, wrinkled skin, flattened ears of defiant beast; making the king appear grander
NEO_BABYLONIA AND PERSIA
Ishtar Gate, Babylon (575 BCE) Iraq: under king Nebuchadnezzar II dazzling blue glazed brick that were on the front of gates, towers, with animals both real and imaginary. With lions in yellow or brown and sometime red against a blue background
The Persian Empire (559-529 BCE) Cyrus of Persia conquered Babylon
Persepolis (522-486 BCE) Iran: ceremonial/admnistrative complex with art and architecture; on high plateau, led through monumtental gateway called the Gate of All Lands, reference to the harmony among the peoples of th evast Persain Empire that is 60 feet high and 217 feet square with 36 colossal columns: 23 nations with a gift. has Greek influence that attests to mediterianian influence was speed
Sasnian Ctesiphon (330 BCE) Alexander the Great's conquest in Persia. erectedpalaces at Ctesiphon the capital his father established near modern Bahdad. a monumental iwan, covered by a vault more than 100 feet above ground
Shapur I and Rome (260 BCE) Turkey: a series of rock-cut reliefs in the cliffs of Bishapur in Iran to dipict his triumph (susanian army) over Roman emperor Valerian. with Valerian kneling before Susanian- ironic level of political message in stone
Every artist in every generation asks
1. What shall be my subject?
2. How shall I represent it?
Paleolithic Art (greek paleo “old” and lithos “stone”) old stone age- few people depicted mostly profile of animals. When archaeologists first decovered statues of women they named them venus after the Greek goddess of Love
Mesolithic: middle stone age- few people depicted mostly profile of animals
Neolithic: New stone age- few people depicted mostly profile of animals
Burin: a pointed engraving tool to scratch lines into a surface
Incise: scratches on an engraving
Twisted perspective/ composite view: the viewrs see the heads in profile but the horns from the front
Optical: painting seen from a fixed viewpoint ex: portrait
Descriptive: painting that builds the concept of the image. Ex: stick figure
Negative: the painter placed one hand against the wall and then brushed or blew or spat pigment around it
Makapansgat pebble (3,000,000 BCE) South Africa: a water worn reddish-brown jasperite pebble near prehuman bones
PALEOLITHIC ART (30,000-900 BCE)
Apollo 11 cave (23,000 BCE) Africa: seven fragments of stone plaques with paint on them (recognizable animals)
Hohlenstein-stadel (30,000 BCE) Germany ivory: 1 high sculpture with feline head and human body (male/female?)
Venus of Millender (28,000-25,000 BCE) found in Austria: stone age, a women with full bossom named after the greek goddess of Love because the sculpture is nude. Like other human figures you can not see the face, but it appears to be covered in curly hair or a woven hat. The body is disproportionate, but the artist did detail the pubic triangle.
Laussel (Paleolithic era) France: stone block found in a rock shelter from stone that was painted with red ocher. Simulare to the earlier venus of Millender with a disproportionate body but one arm is up and another is across the abdomine.
Le Tuc D’audoubert (10,000 - 15,000 BCE) France: two bison about 2 feet long sculptures built in clay
La Madeleine (12,000 BCE) France: bison 4 inches long with turned head with lines into the bison’s main and carved from reindeer antler. Face turned at 180 degrees to maintain the full profile view.
Altamira (12,000-11,000) southern France, northern Spain: discovered by Don Marcelinno Sanz de Sautuola with his daughter Maria in 1879 while they explored into a cave. 85 feet into a cave a chamber with shadowy paintings of running animals. The artists sole concern was representing the animals not locating them in the space- no relation to each other.
Pech-Merle (22,000 BCE) France: checks, dots, squares, line to picture animals and human hands painted in the negative
Chauvet Cave (30,000-28,000 BCE) France: two hinoceroses suggest that the artist intended a narative. An exhibit of advanced features such as overlapping horns
Lascaux (15,000-13,000 BCE) France: most paintings hundreds of feet from entrance of the caves. There is an image of a man, with his prominent penis, but not detailed. One of the more famous is Hall of the Bulls (15,000-13,000 BCE) France: many colored silhouetttes and outlines; one is 11 feet long
NEOLITHIC ART (8000- 2300 BCE)
Shrines: distinguished from the house structures by the greater richness of their interior decoration: wall paintings, plaster reliefs, animal heads
Bucrania: bovine skulls
Terracotta: baked clay found at Catal Hoyuk and most are small female figures a few are 12 inches
Megaliths: (great stones) designated Neolithic architecture in western Europe
Passage grave: tomb with a long stone corridor leading to burial chamber covered by earthen burial mound (western Europe)
Tumulus: earthen burial mound (Western Europe)
Corbeled vault: construction techniaue used in tombs today
Courses: stacked horizontal rows
Post-and-lintel system: two uprith stones (posts) support a horizontal beam (lintel)
Apses: semicircular recesses that curve
Henge: arrangement of megalithic stones in a cirlce, often surrounded by a ditch (almost entirely limted to Britain)
Sarsen: a form of sandstone (Britian‘s stone henge)
Bluestones: various volcanic rocks (Britian’s stone henge)
Jericho (7000 BCE) Palestine and Iran: villiage with spectacular water ways, wealth, more than 2,000 people, and arcihitecture
Ain Ghazal (7200-5000 BCE) Amman Jordan: houes of irregularly shaped stones and 3 doxen plaster statues with busts and some two heads. White plaster built up over a core of reeds and twine. Some with clothing but not always obvious gender but there were details added with painting
Catal Hoyuk (7000-5000 BCE) Anatolia- Near east: houses in early city adjoined one another and and doors but openings in the roof. With decorated rooms and burial grounds. Wall paintings of hunters, but regural appearance of the human figure with wettings and groups describing scenes. Landscape with volcanic erution is a wall painting from Level VII (6150 BCE) Catal Hoyuk, Turkey and first known landscape with out human or animals
New grange (3200 BCE) Ireland burial monument, a tomb with a large stone corridor leading to the burial chamber covered in burial mounds (others found in Franc, England, Spain and Scandinavia) to honor the dead. At winter solstice the sun illuminates the passageway
Hagar Qim (32000 and 2500 BCE) Malta an island far south: oldest stone temples, and built out of carefully cut stone blocks. Altars, stone statues of headless nude women on seats and standing
Stonehenge (2550-1600 BCE) outer ring is almost 100 feet in diameter and is made of megaliths with a ring of bluestones open end facing eat of a horseshe shaped. Some stones weigh 50 tons. Accurate to the solar calendar
CHAPTER 2 THE ANCIENT NEAR EAST
Mesopotamia: Greek meaning land between the Tigris and Euphrates rivers and gave birth to 3 major religions: Judaism, Christianity, and Islam
City-state: unified nation of Sumaria with each city was thought to be under the protection of a different deity. Ruled by a family or individual
Pictogrpahs: simplified pictures standing for words
Stylus: shar tool used to make inventory clay tablits in Sumaria
Cuneiform signs: group of wedge-shaped signs used in Samaria to simplify pictures of animals
Ziggurat: a high platform for temple construction
Bent-axis plan two or three angular changes in directions down the doorways of White Temple Uruk
Cella: set aside central hall for the divinity and housed a stepped alta
Registers/friezes: bands in a sculpture that depict the story in pictographs
Votive offering: gift of gratitude to a deity usually made in fulfillment of a vow
Conceptual: representation of what is being seen not the actual image
Hierarchy of scale: greater height of the priest-king and Inanna compared to the offering bearers indicaes their greater importance
Stele: carved stone slab erected to commemorate a historical even, or sometimes mark a grave
Ensi: ruler/king in of Lagash depicted in Stele
Lapis lazuli: rich azure-blue stone imported from Afghanistan into Ur- Iraq
Bestiaries: medieval stories with animals as the humanistic characters
Heraldic composition: symmetryical on either side of a central figure
Diorite: a rare costly dark stone, hard to find in carve, used to make Gudea statotues of Lagash for gods
Sumer (2,000 BCE) Sumarians in Iraq. Made up of city-states (government) writing (3400-3200 BCE) inventory of cattle, food, supplies into clay with stylus; these were simplified to cuneiform signs; literatuer (2,000 BCE) Epic of Gilgamesh the sotyr of king Uruk and moster slayer of Huwawa
White Temple, Uruk (3000 BCE) Uruk-a city with 40,000 people. Whitewashed walls to the sky god, with a central hall and a stepped alter. Sumerian’s refered to as waiting rooms
Inanna (3200-3000 BCE) Uruk- Iraq war discovered: fragmentary white marble female head- only a face with a flat back, drilled holes for attachment to the rest of the head and the boyd that may have been wood; goddess Inanna- but unknown. Colored shell or stone filled the deep recesses for the eyebrows and large eyes. A wig of gold leaf on the head
Warka Vase first great work of narrative relief sculpture; in Inanna temple, has several bands, figures to tell a story; with crops depicted, and domesticated animals. Naked men fills baskets, top layer has goddess
Eshunna Statuettes (2700 BCE) Iraq: cache of sculptures in temple at Eshnunna. They are gypsum inlaid with shell and black limestone of a both males and females. Their oversized eyes symbolized perpetual wakefulness of substitute worshipers offering prayers to deity, beakers they hold were for libations in honor of the gods about 30 inches tall.
Stele of the vultures (2600-2500 BCE) Iraq: limestone about 2 ½ feet high and the full stele almost 6 feet. Vultures carrying off the severed heads and arms of defeated enemies; Hierarchy of scaled enemy: king on top, war chariots, foot soldiers. Eannatum is larger than any one leading his army against the enemy
Standard of Ur (3000 BCE) Iraq (biblical Abraham) tomb chambers filled with gold helmetns, dagger of lapis lazuli, dozen of bodies with musicains, servants, charioteers, soldiers. With wood inlaid with shell, lapis lazuli, and red limestone paintings using a mosaic-like technique of battlefields, and feast of celebrations. There were two sides on the box, the war side and the peace side, but they might be the first and second part of the entire narrative
Bull-headed Lyre (2600 BCE) Iraq- Ur: gold lear and lapis lazuli of a wooden core over 5 feet high a bull’s head, imaginary composite creatues as heroic figures; the lion carrying the vase, and the donkey playing the lyre
Cylinder Seals: found in the tombs of “Queen” a cylindrical piece of stone engraved to produce a raised impression when rolled over clay. Figures with large frontal eyes, profile head, seated dignitaries- looks like a stamp roller today.
AKKAD AND THE THIRD DYNASTY OF UR (2332-2279 BCE)
Akkadian: site in the vicinity of Babylon near Eastern people who spoke language related to Hebrew and Arabic, and used cuneiform characters; royal power based on loyalty to king rather than city-state
Akkadian Portraiture (2250-2200 BCE) copper head of Akkadian king is all that remains of a once grand statue, with the eyes gouged out to make statement. Life-size. Earliest known great monumental work of hollow-cast sculpture
Naram-sin Stele (2254-2218 BCE) Iran: the figures are staggered and not layered abandoning the traditional formate- the empty space between figures was utilized
Ziggurat, ur (2150 BCE) Iraq: construction of ziggurats one of the largest in Mesopotamia with a soild mas bass of brick fifty feet high, hundreds of steps
Gudea of Lagash (2100 BCE) Neo-Suerian age: portray of Gudea (ensi of Lagash) His statues were wearing a wollen brimmed hat and dressed in long garments with one shoulder exposed to give gods their du. All of diorite
SECOND MILLENNIUM BCE
Hammurabi (1792-1750) most renowned king in Mesopotamian history; best known for his law code that had penalties for adultery, murder, and cutting down a neighbor’s tree. Large blocks made of heavy stone with lions, beasts
Napir-asu of Elam (1350-1300 BCE) Iran: bronze and copper over 4 feet high but life-size of the wife of Elamite king and was as an offering in the temple with an inscription to ask the gods to protect the statue
Assyria: (721 BCE) ambitious layout the confidence of the Assyrain kings, strong defensive walls, palace on elevation, tiber roofed hallwas, courtyards, over-life-sized figures of kings lined wall
Lamassu (720-705 BCE) Iraq: limestone over 13 feet high complete view of animasl with five legs four legged on the side view and two in the front; Assyrian palace guardian
Palace of Ashuranasirpal II (875-860 BCE) Iraq: narrative reliefs exalting roay power. Throughout the palace, painted, rich textiles on the floors; archers shooting arros, enemy soldiers in the water. The human figures are enlarged to stand out from the back ground
Palace of Ashurbanipal (668-627 BCE)Nineveh palace: a great city was constructed. Brilliant depictions of straining muscles, swelling veins, wrinkled skin, flattened ears of defiant beast; making the king appear grander
NEO_BABYLONIA AND PERSIA
Ishtar Gate, Babylon (575 BCE) Iraq: under king Nebuchadnezzar II dazzling blue glazed brick that were on the front of gates, towers, with animals both real and imaginary. With lions in yellow or brown and sometime red against a blue background
The Persian Empire (559-529 BCE) Cyrus of Persia conquered Babylon
Persepolis (522-486 BCE) Iran: ceremonial/admnistrative complex with art and architecture; on high plateau, led through monumtental gateway called the Gate of All Lands, reference to the harmony among the peoples of th evast Persain Empire that is 60 feet high and 217 feet square with 36 colossal columns: 23 nations with a gift. has Greek influence that attests to mediterianian influence was speed
Sasnian Ctesiphon (330 BCE) Alexander the Great's conquest in Persia. erectedpalaces at Ctesiphon the capital his father established near modern Bahdad. a monumental iwan, covered by a vault more than 100 feet above ground
Shapur I and Rome (260 BCE) Turkey: a series of rock-cut reliefs in the cliffs of Bishapur in Iran to dipict his triumph (susanian army) over Roman emperor Valerian. with Valerian kneling before Susanian- ironic level of political message in stone
Wednesday, August 31, 2011
ENG writting prompt 1
I am going into early childhood education, and working on a minor in visual art. Originally, I chose the visual art minor because I wanted to take drawing classes, photography classes, painting classes and feel justified. Choosing art as my minor has changed my entire perspective of how I interact with my students. In all truth, I would probably not start a writing workshop in my classroom. Early childhood is for children younger than third grade, and my ambition is to teach preschool. Most of the students I would be working with would be 3 and 4. They cannot recognize all of their letters and their attention span is short- really short. In my preschool classroom I would implement an art workshop for a few minutes each day. I would want it to be set up similar (almost identical) to the described writing workshop, but I think with 3-year-olds an art workshop would be more effective.
In High school I took a creative writing class. I learned so much about the game of writing and would consider it a writing workshop class. We meet for about two hours either 2 or 3 times a week, and we wrote. There were a few prompts and some teacher suggestions, but most of the time was spent writing. It was set up rather similar to the writing workshop described in the reading prompts. We could listen to our iPods, sit next to our friends, and each of us had our own notebook. I remember when students would share their work- I was always taken back. In the classroom there were obvious clicks (we were in High School). The emos sat in one corner; the rest of us sat on the other side of the classroom and divided ourselves into socially acceptable and socially rejected. We never did cross into another group’s zone, but I can remember reading our work out loud. It was the one safe time for us and them to share how different our lives were. They wrote things my imagination had never dreamed of. Their images were dripping with descriptions that my mind had never seen. Their words painted thoughts I had never believed were real. It changed my reality because writing became a competition, not a fight mind you, but a sophisticated game using language.
As a teacher my priority is to make my student brave. In my high school creative writing class we all wanted to share; even if we did not read in front of the class. I can remember watching students who I did not believe could care, holding their pencils so tight that their fingers turned white as they poured out all their thoughts into their notebook. We wrote in those notebooks because it was a time when we felt like what we had to say was important, even if we only said it to ourselves. I did not share my writings, because I was too afraid. No matter how proud of a poem or story I kept it safe in my notebook, and awed at the courage of the other students. I let me teacher read them though, and she gave me feedback. One time she told me that she enjoyed reading my notebook because it was like seeing into a map of my brain. I felt pretty sly after that, and I began to share my poems with the girl who sat next to me. When I am a teacher I want to emulate my English teacher. She helped me to be braver, to dare to believe in myself and what I had written. I want to help my students learn how to become brave.
The approach that I would want to use in my classroom would be to set up artistic time. Children are eager to express themselves, but they are still learning the tools of expression. Even when I work with 3-year-olds they want to express something beyond a pretty drawing. Art is different than writing, but I would use similar approaches. I think that the best time for an artist moment would be five to ten minutes after recess. That way the students would not be as fidgety, but it would give them enough time to calm themselves down. We could listen to music, watch a video, or read a story before I would allow them to gather up their art folders. In the classroom I would have different art supplies: markers, crayons, think paper, construction paper… I think that to keep it organized I would rotate the art supplies every other week. Then I would start drawing and use what I was creating to help them think of ideas. One day I could work on a collage, another day I could make an outline of myself. I think that by not directing what they should create I would get a better response from my students, but that if I demonstrate ways to use art and express they can learn. Even a child prodigy draws scribbles, and the purpose of doing the activity is not to make miniature Deviancies. I would have to ask them questions, lots of questions, about their art work. In the book the author suggested making a list of students and when they shared their work, and I would make a similar list- every day I would have two students show their favorite piece to the class and encourage the class to ask questions and comment on their art work.
I think that a workshop works well for other subject besides writing; I obviously want to use it for art. If I teach older students- even Kindergarteners I would implement a writing workshop because students who know how to use language as a tool of expression is life changing.
In High school I took a creative writing class. I learned so much about the game of writing and would consider it a writing workshop class. We meet for about two hours either 2 or 3 times a week, and we wrote. There were a few prompts and some teacher suggestions, but most of the time was spent writing. It was set up rather similar to the writing workshop described in the reading prompts. We could listen to our iPods, sit next to our friends, and each of us had our own notebook. I remember when students would share their work- I was always taken back. In the classroom there were obvious clicks (we were in High School). The emos sat in one corner; the rest of us sat on the other side of the classroom and divided ourselves into socially acceptable and socially rejected. We never did cross into another group’s zone, but I can remember reading our work out loud. It was the one safe time for us and them to share how different our lives were. They wrote things my imagination had never dreamed of. Their images were dripping with descriptions that my mind had never seen. Their words painted thoughts I had never believed were real. It changed my reality because writing became a competition, not a fight mind you, but a sophisticated game using language.
As a teacher my priority is to make my student brave. In my high school creative writing class we all wanted to share; even if we did not read in front of the class. I can remember watching students who I did not believe could care, holding their pencils so tight that their fingers turned white as they poured out all their thoughts into their notebook. We wrote in those notebooks because it was a time when we felt like what we had to say was important, even if we only said it to ourselves. I did not share my writings, because I was too afraid. No matter how proud of a poem or story I kept it safe in my notebook, and awed at the courage of the other students. I let me teacher read them though, and she gave me feedback. One time she told me that she enjoyed reading my notebook because it was like seeing into a map of my brain. I felt pretty sly after that, and I began to share my poems with the girl who sat next to me. When I am a teacher I want to emulate my English teacher. She helped me to be braver, to dare to believe in myself and what I had written. I want to help my students learn how to become brave.
The approach that I would want to use in my classroom would be to set up artistic time. Children are eager to express themselves, but they are still learning the tools of expression. Even when I work with 3-year-olds they want to express something beyond a pretty drawing. Art is different than writing, but I would use similar approaches. I think that the best time for an artist moment would be five to ten minutes after recess. That way the students would not be as fidgety, but it would give them enough time to calm themselves down. We could listen to music, watch a video, or read a story before I would allow them to gather up their art folders. In the classroom I would have different art supplies: markers, crayons, think paper, construction paper… I think that to keep it organized I would rotate the art supplies every other week. Then I would start drawing and use what I was creating to help them think of ideas. One day I could work on a collage, another day I could make an outline of myself. I think that by not directing what they should create I would get a better response from my students, but that if I demonstrate ways to use art and express they can learn. Even a child prodigy draws scribbles, and the purpose of doing the activity is not to make miniature Deviancies. I would have to ask them questions, lots of questions, about their art work. In the book the author suggested making a list of students and when they shared their work, and I would make a similar list- every day I would have two students show their favorite piece to the class and encourage the class to ask questions and comment on their art work.
I think that a workshop works well for other subject besides writing; I obviously want to use it for art. If I teach older students- even Kindergarteners I would implement a writing workshop because students who know how to use language as a tool of expression is life changing.
ENG notes for Writing Workshop
Response 1:
1. They were all skiers themselves
2. They believe in doing as opposed to talking about doing
3. The expected plenty of failure
4. The built on strengths
Time: give students a minimum of 3 hours a week 3 times a week to practice even if it is just journal writing, but allow students set their own pace- work on what they value because in short it is THEIR time. There are plenty of opportunities to direct students. For example if you ask them to find all of the adjectives they put in their paper.
Writing Time: is the time for students to work on projects they have set for themselves
Share Time: take about their piece, ask them to read it, give them feed back…
Space: physical locations I like to write, on my stomach…
A meeting place: SAFE area for everyone to be comfortable sharing work
A place for materials and Tools: create a writing center for simply tools to be stored with various pens, pencils, and paper
Carefully arranged desks or tables: especially for a one-to-one conference (you do not want to look like a bank official)
Short-term Goals: make them realistic and quickly obtainable (establish safe zone for class readings)
1. Write in a variety of genres: narrative, descriptive, persuasive
2. Deepening the connection between reading and writing
3. Learning the writing process; prewriting, drafts…
4. Mastering the conventions of print
Fostering a love for writing time: choice leads to voice, give them ownership over their writing. Allow for jugular thoughts and ideas to come out onto the paper. This can happen by reading various works, books, watching a moving movie, listening to a music video, ask the students to bring in what they feel is important to share before they start writing (allow ipods)
Establishing a Safe Environment
1. Specific praise
2. Let primary children draw
3. Read aloud “from-the-heart” pieces
4. Make writing notebooks- a specific book for these thoughts to come out
5. Write with students (enjoy this time yourself by setting an example)
Creating Workable Classroom Management: make sure that you can take the work load. Set and reset expectations until you feel comfortable, because that will help the students to feel comfortable
A finished book: due dates should not be finalized, but should be ambiguous. Students will turn in their work at the end of the day, but that work will be turned back to them with suggestions and then they can terminate it or continue to write
Unfinished writing folder: a list of topics to write about, ideas students like… simply brainstorm sentences
Finished writing folder: when the work is finished praise the accomplishment and savor the satisfaction. Make a list of the students who have shared their work and allow the students to write their name on a day that they want to share their writing with the class
1. They were all skiers themselves
2. They believe in doing as opposed to talking about doing
3. The expected plenty of failure
4. The built on strengths
Time: give students a minimum of 3 hours a week 3 times a week to practice even if it is just journal writing, but allow students set their own pace- work on what they value because in short it is THEIR time. There are plenty of opportunities to direct students. For example if you ask them to find all of the adjectives they put in their paper.
Writing Time: is the time for students to work on projects they have set for themselves
Share Time: take about their piece, ask them to read it, give them feed back…
Space: physical locations I like to write, on my stomach…
A meeting place: SAFE area for everyone to be comfortable sharing work
A place for materials and Tools: create a writing center for simply tools to be stored with various pens, pencils, and paper
Carefully arranged desks or tables: especially for a one-to-one conference (you do not want to look like a bank official)
Short-term Goals: make them realistic and quickly obtainable (establish safe zone for class readings)
1. Write in a variety of genres: narrative, descriptive, persuasive
2. Deepening the connection between reading and writing
3. Learning the writing process; prewriting, drafts…
4. Mastering the conventions of print
Fostering a love for writing time: choice leads to voice, give them ownership over their writing. Allow for jugular thoughts and ideas to come out onto the paper. This can happen by reading various works, books, watching a moving movie, listening to a music video, ask the students to bring in what they feel is important to share before they start writing (allow ipods)
Establishing a Safe Environment
1. Specific praise
2. Let primary children draw
3. Read aloud “from-the-heart” pieces
4. Make writing notebooks- a specific book for these thoughts to come out
5. Write with students (enjoy this time yourself by setting an example)
Creating Workable Classroom Management: make sure that you can take the work load. Set and reset expectations until you feel comfortable, because that will help the students to feel comfortable
A finished book: due dates should not be finalized, but should be ambiguous. Students will turn in their work at the end of the day, but that work will be turned back to them with suggestions and then they can terminate it or continue to write
Unfinished writing folder: a list of topics to write about, ideas students like… simply brainstorm sentences
Finished writing folder: when the work is finished praise the accomplishment and savor the satisfaction. Make a list of the students who have shared their work and allow the students to write their name on a day that they want to share their writing with the class
REG 2
The responsibility of learning. I have been thinking about the word receive for the past few weeks. It is a difficult word for me to understand, because when I think of receive I think of Christmas. All that comes to mind is gifts, wrapped in Christmas paper and a little sticker on it with my name on the to: line and Santa Clause on the from: line. As I have been reviewing the scriptures and blessings I believe that when God uses the word receive he is not talking about a box with a bow on top. He is talking about something much more, but I still have not been able to understand what. This class helped me to think more about what receive could mean.
In sort I want to know everything and was slightly disappointed that I can not know everything all at once. I was wondering why this is the case, not because… well because I get so frustrated when I know that I am not perfect. When I know that I don’t know; I realize that this is an incorrect way of thinking because it is telling myself a lie. I don’t know everything- that is the truth. Another truth is that I can know everything. The last truth is that in this life I am not going to learn everything. The last truth is what helped me to understand why God would not tell me everything at once.
When I learn more I become responsible for that which I have learned. Part of the learning process is to apply the lesson to life. God is trying to keep me from damming myself. Knowledge is not simply knowing, but becoming I guess. The type of learning I want to do is more than filling myself up with facts; part of learning is responsibility. I can see that in God’s plan. That when I learn more I am baptized. When I feel prepared I go to the temple and do work for the dead. Some time in my life when I am ready I will be married in the temple. I wonder if all of these blessings- the blessings of knowledge are based on the pivotal point of me being prepared. Like a little check list or a pre request classes? I don’t know if I believe that is entirely true… but maybe it is.
I mean although I do know people who I would not state were qualified to be married in the temple- who am I to judge. On top of that I do not even know or can not even comprehend the blessings that they have in their life- the blessings of knowledge, truth, and wisdom that enters their relationship because of their marriage. Even if I could know those blessings all I am seeking for is the “cause” of their blessings.
Is that how it works then; like my physics class, blessings are the direct cause or force of my actions. I have been thinking about force a lot lately too. Come to find out physics is amazing, and full of completely new ideas. Stop, stop, hold it right there. I love learning! Is that part of the game of life? I don’t know, but any way. I have been thinking about Newton’s Laws of Physics and I have been pondering the idea that it takes two individual things to create friction or a force… yeah an interaction. So one individual thing and then another individual thing have to have contact. This idea of physics made me wonder about my own individual soul. I came to the conclusion that if I want to interact with other people I need to be an individual- have my own ground so to say. If physics is as true spiritually as it is physically then the only possibly way for me to interact (create a force) with another person is if I am an individual. That is tricky because I don’t know if I am always and individual and I do not know if it is possible for me to become unindividual through my actions. So long story longer… I have to first be an individual.
That means that I have to come to know myself. I believe that the first focus of faith is to come to know God, but the second is to come to know myself: Who I am, what my purpose is in life, and how I am to go about accomplishing that. Oh! Oh! It all relates back to knowledge and how and what I am learning. When I know more I have a clearer understanding of who I am and therefore I become responsible to act to the true nature of my characters. When I receive revelation I become more aware of what my divine mission is and how I am to go about and accomplish that. If I do not know I am not fully aware of my individual self. Like an object, if the object is not complete… I don’t know how it is like an object. I get the fuzzy idea though, the idea that as I learn more I become closer to my true self. It makes me aware of who I am, and I am then responsible for acting that way because if I do not then I am no longer an individual. When I do not act that way I deny myself my individualness and I can no longer act upon other individuals (people, relationships…) it makes me ultimately useless. When I learn a step at a time I can learn to become; I can learn to be the individual. The point when I can be the individual is when I have received the knowledge and then I can receive more as I progress who I am individual- making me influential and effective in God’s plan of happiness.
In sort I want to know everything and was slightly disappointed that I can not know everything all at once. I was wondering why this is the case, not because… well because I get so frustrated when I know that I am not perfect. When I know that I don’t know; I realize that this is an incorrect way of thinking because it is telling myself a lie. I don’t know everything- that is the truth. Another truth is that I can know everything. The last truth is that in this life I am not going to learn everything. The last truth is what helped me to understand why God would not tell me everything at once.
When I learn more I become responsible for that which I have learned. Part of the learning process is to apply the lesson to life. God is trying to keep me from damming myself. Knowledge is not simply knowing, but becoming I guess. The type of learning I want to do is more than filling myself up with facts; part of learning is responsibility. I can see that in God’s plan. That when I learn more I am baptized. When I feel prepared I go to the temple and do work for the dead. Some time in my life when I am ready I will be married in the temple. I wonder if all of these blessings- the blessings of knowledge are based on the pivotal point of me being prepared. Like a little check list or a pre request classes? I don’t know if I believe that is entirely true… but maybe it is.
I mean although I do know people who I would not state were qualified to be married in the temple- who am I to judge. On top of that I do not even know or can not even comprehend the blessings that they have in their life- the blessings of knowledge, truth, and wisdom that enters their relationship because of their marriage. Even if I could know those blessings all I am seeking for is the “cause” of their blessings.
Is that how it works then; like my physics class, blessings are the direct cause or force of my actions. I have been thinking about force a lot lately too. Come to find out physics is amazing, and full of completely new ideas. Stop, stop, hold it right there. I love learning! Is that part of the game of life? I don’t know, but any way. I have been thinking about Newton’s Laws of Physics and I have been pondering the idea that it takes two individual things to create friction or a force… yeah an interaction. So one individual thing and then another individual thing have to have contact. This idea of physics made me wonder about my own individual soul. I came to the conclusion that if I want to interact with other people I need to be an individual- have my own ground so to say. If physics is as true spiritually as it is physically then the only possibly way for me to interact (create a force) with another person is if I am an individual. That is tricky because I don’t know if I am always and individual and I do not know if it is possible for me to become unindividual through my actions. So long story longer… I have to first be an individual.
That means that I have to come to know myself. I believe that the first focus of faith is to come to know God, but the second is to come to know myself: Who I am, what my purpose is in life, and how I am to go about accomplishing that. Oh! Oh! It all relates back to knowledge and how and what I am learning. When I know more I have a clearer understanding of who I am and therefore I become responsible to act to the true nature of my characters. When I receive revelation I become more aware of what my divine mission is and how I am to go about and accomplish that. If I do not know I am not fully aware of my individual self. Like an object, if the object is not complete… I don’t know how it is like an object. I get the fuzzy idea though, the idea that as I learn more I become closer to my true self. It makes me aware of who I am, and I am then responsible for acting that way because if I do not then I am no longer an individual. When I do not act that way I deny myself my individualness and I can no longer act upon other individuals (people, relationships…) it makes me ultimately useless. When I learn a step at a time I can learn to become; I can learn to be the individual. The point when I can be the individual is when I have received the knowledge and then I can receive more as I progress who I am individual- making me influential and effective in God’s plan of happiness.
Random lines
They both came in at the same time the one was well over six feet. He had high check bones and deep set eyes that looked like they were dipped in chocolate- no wait they were milky blue. The other’s eyes were covered behind a set of glasses. I watched their movements while thy sat at the computers. The one was so tall that he hovered abouve the computer screen and I could see his broad sholders protruded out of the monitor. The second was covered by the computer, his huntched over form and the way that he moved his spindly arms behind the screen. I wondered, about boys, and looks, and love, and life, and justice. It seems that at birth; if life were based on looks, there was no such thing as justice.
Tuesday, August 30, 2011
ENG notes for writing down the bones
WRITING DOWN THE BONES (FREEING THE WRITER WITHIN)
http://books.google.com/books?id=vIE2Dx-knU8C&printsec=frontcover&dq=writing+down+the+bones&hl=en&ei=JDNdTv-OK-WEsALrkLwo&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDUQ6AEwAA#v=onepage&q&f=false
"turst in whwat you love, continue to do it, and it will take you where you need to go" and don't worry too much about security. you will eventually have a deep security when you begin to do what you want.
1. beginners' minds, pen and paper: get a pen that flows, paper that is big, then small, open notebooks, try the computer, learn what you write best on
2. fist thoughts: trust your first thought, before you question it
a) keep your hand moving
b) don't cross out
c) don't worry about spelling, puncutation, grammer
d) lose control
e) don't think. don't get logical
f) go for teh jugular
"I cut the daisy from my throat" fist thought, but second thought is locial and politeness takes over
3. writing as a practice: the more you do it the better you get at it
4. composting: it is hard to write about a city we just moved to; it's not yet in our body. it is hard to write about love in the midst of a mad love affair- we have no perspective
5. Artistic stability: I am artistic; I am raw human; I am exploring the world
6. list of topics for writing pracits: make a list of things you notice daily for the times when you are short of thoughts when it happens
a) light coming through window- and how you presive it even if the words come to you at 2am
b) start with "I remember"
http://books.google.com/books?id=vIE2Dx-knU8C&printsec=frontcover&dq=writing+down+the+bones&hl=en&ei=JDNdTv-OK-WEsALrkLwo&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDUQ6AEwAA#v=onepage&q&f=false
"turst in whwat you love, continue to do it, and it will take you where you need to go" and don't worry too much about security. you will eventually have a deep security when you begin to do what you want.
1. beginners' minds, pen and paper: get a pen that flows, paper that is big, then small, open notebooks, try the computer, learn what you write best on
2. fist thoughts: trust your first thought, before you question it
a) keep your hand moving
b) don't cross out
c) don't worry about spelling, puncutation, grammer
d) lose control
e) don't think. don't get logical
f) go for teh jugular
"I cut the daisy from my throat" fist thought, but second thought is locial and politeness takes over
3. writing as a practice: the more you do it the better you get at it
4. composting: it is hard to write about a city we just moved to; it's not yet in our body. it is hard to write about love in the midst of a mad love affair- we have no perspective
5. Artistic stability: I am artistic; I am raw human; I am exploring the world
6. list of topics for writing pracits: make a list of things you notice daily for the times when you are short of thoughts when it happens
a) light coming through window- and how you presive it even if the words come to you at 2am
b) start with "I remember"
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