Amy Cuddy, TedTalk Assignment Example | Topics and Well Written Essays - 500 words

Amy Cuddy, TedTalk - Assignment Example Can you really fake it till you make it? This is true to some extent as it depends on the person and their motivation to achieve what they want. Actually what our body experiences can change what we think in our minds resulting in a change in our behaviors. The moment our behaviors change, the outcome is likely to be the ones we desire. There is so much faking that takes place in the business field. Most of the time people say some things about themselves that would be viewed as pure fiction. This practice is common among the entrepreneurs. People tend to exaggerate their experience, knowledge, compensation and accomplishments. They associate themselves with success in every area of their lives. They go to the extent of posting some of these online for the general public to read. These are made up allegations since they never have hard evidence to support whatever it is they write about. Some of these people actually end up achieving some of the things they fake if they focus very well. Fake it till you make it worked for my brother. When we were young he used to make toy cars and drive them around the neighborhood. He used to imitate the engine using his mouth. He would say that he had a real car that could take him where he wanted to go. The moment he got employed, he bought a car with the same model as the toys he used to

Thomas Eakins & Miss Amelia Van Buren Essay Example for Free

Thomas Eakins Miss Amelia Van Buren Essay The current project will analyze the oil canvas titled ‘Miss Amelia Van Buren’ that was created by a well-known USA painter and portraitist Thomas Eakins in 1891. The portrait is part of a series titled â€Å"Women in Pink† and belongs to the masterpieces of American Realism. The aim of the paper is to discuss the style and subject matter of this artwork as an integral part of the artist’s creative ancestry and within a broad historical framework. Eakins’s production was often rejected by contemporaries. This fact proves that any piece of artistry expresses different meanings for patrons and art audiences as well as for the artist himself. These competing implication will be assessed throughout the paper. Thomas Eakins: Brief Biography The reputation of Thomas Eakins (1844–1916) as an outstanding representative of the American school of realism in painting, photography, sculpture, and fine arts education was established only a few decades upon his death. Eakins was born in Philadelphia, where, watching his father, a writing master and calligraphy teacher, at duty, by twelve he has acquired profound skills in drawing, perspective planning, employing a grid to produce an accurate design. Thomas was graduated from Central High School, the first-class public school for applied science and arts, and entered the Pennsylvania Academy of the Fine Arts in 1861 to refine the knowledge of drawing and anatomy. The latter realm interested Eakins to such an extent that in 1864-1865 he started diligently attending courses in anatomy and dissection at Jefferson Medical College. In 1866, the young man joined the studio of Jean-Leon Gerome, a prominent Orieintalist painter, at the Paris School of Arts. The American student also frequented into the atelier of Leon Bonnat who put forward anatomical preciseness as a cornerstone of Realism. Upon the four-year period of studying abroad, Eakins returned back to the native city. His first portrayals of rowers (e. g. , ‘Single Scull’ or ‘The Champion Single Sculling,’ 1871; a series of eleven oils and watercolors altogether) stirred attention within Philadelphians due to their innovative treatment of a dynamically moving human body portrayed outdoors. In parallel with inquiring into the sports themes, the young artist created a range of domestic Victorian interiors (e. g. , ‘Home Scene,’ 1871; ‘Elizabeth at the Piano,’ 1875; ‘The Chess Players,’ 1876; ‘Elizabeth Crowell and her Dog. ’ 1874). The first large scale portrait ‘Kathrin’ was made in 1872. In 1876, Eakins commenced his teaching career at the Pennsylvania Academy – first as a volunteer teacher, then as a salaried professor (since 1878), and finally as director (1882-1886). Upon the scandalous resignation consequently to original methods of teaching, Eakins lectured at many art schools, including the Art Students League of Philadelphia, the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students Guild in Washington, D. C. , until the withdrawal from teaching in 1898. Eakins was not only a talented painter, but also a gifted photographer. His acquaintance with camerawork took place during his European studies and continued thereupon, when the artist learnt about the photographic motion research of Eadweard Muybridge and started his own experiments in the field. Many well-known canvases of Eakins were created relying on photographs to better understand the dynamics of body movements and increase the awareness of perspective (e. g. , ‘Mending the Net,’ 1881; ‘Arcadia. ’ 1883). In 1883, the artist started shooting the so-called ‘Naked Series,’ nude photographic depictions of students and professional models that revealed human anatomy from certain angles. About eight hundred photographs are thought to belong to Eakins and his followers. The fame of Eakins as a prominent representative of American Realism heavily relies on his portraits. Several hundred canvases depicted representatives of the local Philadelphian Bohemia, scientists, and medical workers (e. g. , ‘The Gross Clinic,’ 1875; ‘The Portrait of Dr. John Brinton,’ 1876; ‘The Agnew Clinic,’ 1889; ‘The Deans Roll Call,’ 1899; ‘The Concert Singer,’ 1890-92; ‘The Portrait of Maud Cook,’ 1895; ‘Antiquated Music,’ 1900; ‘The Portrait of Professor Leslie W. Miller,’ 1901) in their professional environment. On the reason of intense anatomic realism and the artist’s notoriety upon dismissal from the Pennsylvania Academy, Eakins’ portraits were often rejected by the sitters or their relatives. Therefore, the artists invited his relatives and friends (e. g. , ‘The Portrait of Walt Whitman,’ 1887-1888) to act as models. In the 1880s and 1990s, the artist created his finest examples of figure studies (e. g. , ‘The Swimming Hole,’ 1884-5; ‘Between Rounds,’ 1899; ‘Salutat,’ 1898). The portraits created by Eakins in the early 20th century captured the local Catholic clergymen (e. g. , ‘The Portrait of His Eminence Sebastiano Cardinal Martinelli,’ 1902; ‘The Portrait of Archbishop William Henry Elder,’ 1903; ‘The Portrait of Monsignor James P. Turner,’ ca. 1906). In the late period of life Eakins started enjoying recognition. In 1902, he was granted the title of a National Academician. Two years before death, in 1914, the artist sold a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes for four thousand dollars. In 1917-18, Eakins’ works were exhibited at the memorial retrospectives at the Metropolitan Museum of Art and the Pennsylvania Academy. Upon the death of Susan Macdowell Eakins, the artist’s wife, the major part of Eakins’ creative ancestry was purchased by Joseph Hirshhorn, and now is stored at the Hirshhorn Museums collection. Eakins house in North Philadelphia was included to the National Register of Historic Places list in 1966. In 2006, a group of sponsors paid $68,000,000 to keep ‘The Gross Clinic’ in Philadelphia, while previously it was planned to sell the canvas to the museums located in other cities, ‘Miss Amelia Van Buren’ (1891) Miss Amelia Van Buren (c. 1856-1942) was Eakins’s student and the friend of his family. This gifted painter and photographer participated in an episode that indirectly initiated resignation of the master from the post of director at the Pennsylvania Academy. One day, a young female asked the teacher to explain the anatomical function of the pelvis. At his lessons, Eakins exercised bold methods and stirred the differences between male and female students by exposing nude models of both sexes in the class where both men and women were present. Putting anatomy of a human body to the foreground, professor encouraged his followers not to afraid the Victorian model and bravely approach the secrets of physiology. Therefore, Eakins invited Van Buren to his studio and provided the requested instruction. The painter described the episode as follows: â€Å"There stripping myself, I gave her the explanation as I could not have done by words only. † Later on, Eakins’s behavior made the evil-wishers accuse him of sexual harassment and inappropriate methods of teaching. The painter responded with dignity, yet showing no signs of regret or shame: â€Å"There was not the slightest embarrassment or cause for embarrassment on her part or mine. I think indeed [Van Buren] might have been embarrassed, if I had picked up a man on the street and endeavored to persuade him to undress before the lady for a quarter. † Eakins often used his students as models for his works and saw nothing undignified in exchanging professional secrets with the members of his circle regardless of their sex. Van Buren was also publicly accused of posing nude in front in the painter. That fact aroused many rumors and negatively affected the womans reputation that could seriously spoil her social activity in those prudent times. Werbel has stressed that Amelia Van Buren altogether with Elizabeth Macdowell, Eakins’ future wife Susan, Cecilia Beaux, Alice Barber Stephens, and other female students of the Pennsylvania Academy belonged to the circle of the so-called â€Å"New Women. † They shared Eakins’ opinion concerning equal rights of men and women for education and social activity. Those females were talented artists and actively participated in the cultural life of Philadelphia. Feeling at ease with their own principles and encouraged by the master, to whom they deeply trusted, those New Women were not afraid of public hypocritical scorn. To return back to the oil canvas, it provides us with attentive, unflattering, and surgically sharp vision of a young woman, sitting near the window. Her figure is softly glowing in the daylight, while the background remains deem and dark. Salcman made an almost poetic description of the portrait’s details. A woman in her twenties sits in the armchair, as if she has suffered through a hard day and now is having an unexpected break. The model is so absorbed into her thoughts that even the atmosphere around her is pregnant with some intensive, yet joyless mental activity. The gaze of a spectator is initially attracted to Miss Van Buren’s Victorian pink dress with a standard for that time fluffy crinoline. The pink color of the upper gown that reminds of slightly dewed rose petals harmonizes with the soft, milky tint of the crinoline apron. Multiple folds on the skirt that underline the pensive, slightly tired pose of the woman, mask the body. Eyes that are literally lost in this whirl of light cloth approach the face of the model only upon spending some time on looking at minor details. The latter are the half-opened fan, lying on a thigh of the figure, and a narrow and elegant hand that is shadowed by the arm of the armchair. The rosy pale face of Miss Van Buren sharply contrasts with her gray hair that makes her look, as if she is in the late thirties or even forties. Salcman has noted that the artist is far from flattering his muse. The head of the woman rests on the left loosely fisted hand with its left temple and turned towards the light, away from spectators. The pose signifying uneasy feelings arouses hot arguments among the researchers. Salcman observed â€Å"regret,† â€Å"disappointment,† and â€Å"a loss of possibilities† in the expression of Amelia’s face as shown in the tight lips and lowered eyes that are thoughtfully gazing into the window. Kirkpatrick has noted that the model looks â€Å"unhappily lost in thought, trapped and vulnerable as a caged bird. † It is evident that each art critic tried to impose his or her own understanding of human facial mimics or the inner world of the artist. On the point, a very important observation was delivered by Henry Adams who analyzed the works of Eakins in parallel with peripetias of the artist’s life. The researcher stressed that the master â€Å"was not simply recording faces, but also exploring something about his own mental condition. † In 1891, when the portrait of Miss Van Buren was made, Eakins could not still re-discover the inner equilibrium upon the scandalous resignation from the Pennsylvania Academy. Teaching was one of the favorite activities for the master, where he could freely communicate with young like-minded people and test his innovative ideas in painting and photography. At that period, Eakins lectured at the Art Students League of Philadelphia, but the institution was about to dissolve, which happened the following year upon execution of the portrait. The painter’s canvases were constantly rejected by critics and exhibitioners, so it was rather the 47-year-old master than his model had reasons to look gloomy and caged. It really seems that both spectators and critics tend to apply their own emotions onto the canvas, while forgetting about the broader context for the artwork. Amelia Van Buren left no memoirs about the implications for her suspected depression at that period. She truly admired Eakins both as a professional and a teacher, being not afraid of exposing her soul in front of the artist’s intent eyes. Van Buren was a rare exception so far as many people, whom the painter asked to sit for their portraits, declined the invitation. As one of Eakins’ contemporaries explained, â€Å"He would bring out all those traits of my character I have been trying to conceal from the public for years. † It speaks on the fact that the master intended to excavate, so to say, the inner deposits of ideas and emotions that common members of the Victorian society were scared to reveal. The fear of self-exposure was not the case of Miss Van Buren. She agreed to sell the portrait only in 1927. Her letter to an exhibitioner who proposed to purchase the masterpiece of American Realist school contains the following lines: I accept your offer and while I shall miss the picture I shall like to think of it in your gallery where I hope to see it sometime soon. Mr. Eakins’ friends have always been sure that his work would be appreciated in time. The portrait of Miss Amelia Van Buren is now stored in the Phillips Collection, Washington, D. C. , and arouses a combination of stress under the burden of intense emotions depicted and admiration at the mastery of Eakins in showing the secret depths of human souls. Women in Pink Relying on Eakins’ memoirs, Adams has stressed that the theme of females clad in the pink gamut has been explored by the painter for almost two decades. Some well-known canvases from this series include Miss Amelia Van Buren (1891), The Concert Singer (1890-92, Philadelphia Museum of Art), ‘The Portrait of Maud Cook (1895, Yale University Art Gallery. ), and The Actress (1903, Philadelphia Museum of Art). These artworks should be examined both separately and within a group to understand the state of the artist and the dynamics of his creative potential. The 1890s was an extremely hard period for Eakins who was vulnerable to the complications of life and public reactions as every great man of arts. As it has been mentioned earlier, his teaching career collapsed, partly on the cause of his own provocative behavior and remarks. Upon the initial period of recognition among the critics and gallery owners shortly upon coming back from Europe, the master experienced challenges in regards to both selling his works to make for living and to establishing stable relationships with relatives and the broader public. Adams treats the series of female portraits that were executed in the late 1880s and throughout the 1890s as manifestation of depressive feelings and unsettled creative quests. The portrait of Van Buren demonstrates a perfect harmony between the complex inner state of the painter and the concealed disharmony of the model who suffered from emotional illness. The slumped pose of the model, the eyes diverted from spectators, the sharp contrast between the warm pink-milky gamut of the figure in the foreground and the rich, brown and mahogany color of the background – all these feature the mood of tension that abruptly mutilates into the deep exhaustion. The depiction of a â€Å"small woman with a large brooding spirit† is the first step on the ladder of self-discovery for the painter, and the next is The Concert Singer. The model for the portrait – a famous opera performer Weda Cook – started sitting or better say standing for Eakins in 1890. Cook debuted at the Pennsylvanian Academy of Music when she was only sixteen years old, and since then often pleased the demanding Philadelphian public. The painter depicted his model as dressed in a radiant pink dress, singing on the stage. It should be stressed here that Eakins was particularly accurate in depicting the specifics of his model’s profession or emotional state. He asked Weda Cook to sing â€Å"O Rest in the Lord† from Mendelssohn’s Elijah to convey intensity of her artistic manner and carved the opening notes of the musical piece on the frame. Another interesting detail is that for the sake of better rendering of body, Eakins asked the model to undress to her underwear. Cook strongly opposed the idea but finally gave up and agreed. There is a similarity between the two portraits of Van Buren and Cook in regards to the pyramidal composition, but the general gamut and mood of the canvases contrast each other. While the choice of colors for Van Burens depiction aims to reveal the models delicacy, fragility, even exhaustion, the gamut for Cooks portrayal manifests a greater extent of energy and self-assuredness. Such effect takes place due to the background: in case of Van Buren it is intense and dim (in a manner similar to Diego Velazquez and Jusepe de Ribera, Eakins’ favorite Spanish painters), and in case of Cook the olive smoky backstage is rather light, and the whole pose of the full-length figure of the model altogether with decorations of the scene remind of some European masters such as Edgar Degas and James Whistler. To continue about composition, the body of Van Buren is framed by the chair, as if the only thing that provides her with some kind of support is the furnitures arm. Her slumped pose and bended head create the atmosphere of misbalance and awkwardness. On the opposite, the erect pose of the singer and her hands that are elegantly and somewhat affectively placed in front of the waist remind of a bird that is ready to fly upwards. However, this is not a triumphant gesture but a movement of â€Å"flight and loss. † The opera performer is placed in the center of the composition. It seems that minor details – such as the conductors hand in the lower left corner of the canvas, the bunch of roses on the floor in the lower right corner, and the palms branch in the upper left section of the picture – do not constrain the freedom of the heroine. However, similarly to Van Buren, Cook diverts her eyes from spectators and looks upfront and above peoples heads. The very pose underlines the model’s concealed isolation and loneliness. Her eyes are surrounded with red rims and shades so that there is an effect of hastily wiped tears or insomnia. There is a difference also between the tints of models’ gowns: the one of Van Buren looks like slightly frosted, the effect is unlined by the pearl color of her grayish hair; the dress of Cook is radiant and festive, decorated with olive inserts and a long trail. One might also note that the flesh is almost totally absent on the portrait of Van Buren, whereas Cook demonstrates bare neck, shoulders, and hands. The contrast in regards to body exposure between the two females emphasize their attitude to public attention: while the first model attempts to conceal her internal state from spectators, the latter derives her energy from the outer world. Eakins does not want to portray women as more beautiful that they are. Van Buren looks older than other women of her age, and the features of her face are not harmonious. Cook cannot either be called young and pretty. Her hands are plump and reddish, her open mouth and a wrinkle on the neck makes one think that she is doing a hard job instead of executing a beautiful song. Werbel has commented on the specifics of Eakins’ treatment of women’s beauty. The artist conceptualized it as â€Å"faithful, undistorted attention to the individual anatomy and attributes of each person. Due to his original technique the painter was often thought of as â€Å"a rebel† as he transferred onto the canvas all defects of the sitters’ physical appearance. Both Van Burens and Weda Cooks faces are sculpturally expressive and anatomically true. Some of Eakins’ followers and many representatives of that time society got scared of such preciseness and sharpness. The physically attentive dissection of women’s features that are perceived by Eakins as a combination of bones, muscles, and soft tissues became less intense by the mid-1980s. The thesis can be illustrated by the portrait of Maud Cook (1895) that concludes the first half of the series depicting women in pink. We see the tenderly dimmed face and upper part of torso belonging to a young, dark-haired woman with large eyes that are glowing from inside. Her delicate long neck streaming down softly to get lost in the gaze material of her light pink dress. In his usual manner, Eakins shows the model gazing away from the artist and the public. Her concentration on her emotions speaks of melancholy rather than of depression. In comparison to the portraits of Van Buren and Weda Cook, this particular image is less intense in feelings and is remarkable for restoration from frustration. According to Adams, the portrait of Maud Cook signifies the improvement in the artist’s fight with his demons. His works of the mid-1890s manifest recovery from the previous depression and self-disagreement. However, the stability was ruined by the suicide of Eakins’ niece Ella Crowell, after which grievous facts the painter’s sister and her husband broke relationships with Thomas. The master returns to the theme of female portraits only within a decade. The canvas titled ‘The Actress’ (1903) that depicts Suzanne Santje looks completely different from the earlier examples of the same series. In the foreground we see a woman in her thirties. The model sits in the pose that is usual for Eakins’ female portraits – the head is diverted towards the source of light and away from observers. The narrow face with high cheekbones looks slightly emaciated. Even a tender radiance that evaporates like a gaze from the middle facial part cannot conceal the paleness of the skin. Thick dark hair are in the artistic disorder as well as the festive bright pink gown. Suzanne Santje is portrayed full-length, and her body reminds in its graciousness of a mermaid who has just appeared from waters to brood over her tragic destiny. The model’s hands rest on the chair’s arms, demonstrating fatigue and grieve. It seems that the actress has just left the stage where she demonstrated luxurious and self-conscious hedonism, but here, in the artist’s studio she can be herself – tired, ageing, concentrated on the shallowness of life. The series under the collective title â€Å"Women in Pink† reveals Eakins’ progression between various artistic styles under the impact of his inner state. The earlier â€Å"clinical approach to the body† as evident in previously made portraits of Van Buren and Weda Cook gives place to the more merciful treatment of the sitter’s appearance as in the portrait of Maud Cook and finally resolves into the sympathetic, yet intense observation of the model soul as in ‘The Actress. ’ Regardless of Eakins’ experiments with composition and gamut, representations of a series from different periods demonstrate the same â€Å"blood and bone authenticity,† for which the painter was severely criticized throughout life and for which he is praised nowadays. These female portraits provide an attentive, brilliant account of women living in the Victorian or Early Modernism age and were constrained in their emotions and behavior by rigid standards of the broader, pro-masculine society. As Ratcliff has observed, the painter gave a chance to his female sitters, sitting in dim and small rooms, to look through the window into the sunlit world of freedom, self-discovery, and harmony. Clark argues that women’s portraits are part of â€Å"a poignant and pointed critique of woman’s place in the ‘heroic’ modern world. † Despite the merciless accurateness and realism of the painter in revealing physical drawbacks of the models, they look really feminine and attractive. What adds real gorgeousness to the images of both females is their passionate absorption by their rich inner world and the courageous flexibility, with which they face the unwelcoming, prison-like environment. The series demonstrates also the continuous struggle of Eakins himself to freely express his creative potential and to overcome all challenges imposed by the society and the family. Thomas Eakins: Blood and Bone Authenticity Art critic Lloyd Goodrich referred to the artistic manner of Thomas Eakins as follows: Seldom has there been so consistent a realist as Eakins – one whose art was such a direct outgrowth of reality†¦ Every figure be painted was a portrait, every scene or object a real one†¦ the actual rather than the ideal. Each Eakins’ model is not isolated in its anatomical validity but becomes a mirror for the surrounding contexts so that the inner and outer realities are colliding, mixing up, confrontating and intermingling between each other just in front of observers’ eyes. Due to Eakins’ mastery people turn into iconographic symbols that express both their own value and convey the atmosphere of the social period. The specifics of Eakins’s style tackles the portrait genre as treated flexibly both in the interiors and outdoors – in the offices, streets, parks, water basins, arenas, and hospitals of his hometown, Philadelphia. As a painter and photographer, Eakins admired the beautiful human bodies – either completely nude or lightly dressed so that to reveal motion – demonstrating energy altogether with harmony between the inner and outer sides of person’s nature. Bibliography Adams, Henry, and Thomas Eakins. Eakins revealed: The secret life of an American artist. New York City: Oxford University Press, 2005. Boyer, Paul S. â€Å"Eakins, Thomas. † The Oxford Companion to United States History. Oxford University Press. 2001. Encyclopedia. com. (April 21, 2009). http://www. encyclopedia. com/doc/1O119-EakinsThomas. html. Clark, William J. â€Å"The Iconography of Gender in Thomas Eakins Portraiture. † American Studies 32, no. 2 (1991): 5-28. Craven, Wayne. American art: History and culture. Boston: McGraw-Hill, 2003. Kirkpatrick, Sidney. The revenge of Thomas Eakins. New Haven: Yale University Press, 2006. MacCoubrey, John. American tradition in painting. Philadelphia: Philadelphia University of Pennsylvania Press, 2000. Ratcliff, Carter. â€Å"Thomas Eakins: Pictured lives. † Art in America, no. 6 (June 2002), http://findarticles. com/p/articles/mi_m1248/is_6_90/ai_87022989/. Salcman, Michael. The clock made of confetti. Alexandria, Va. : Orchises, 2007. Shi, David E. Facing facts realism in American thought and culture, 1850 – 1920. New York: Oxford University Press, 1996. Simpson, Marc. â€Å"Thomas Eakins and His Arcadian Works. † Smithsonian Studies in American Art 1, no. 2 (1987): 71-95. Werbel, Beth. Thomas Eakins: Art, medicine, and sexuality in nineteenth-century Philadelphia. New Haven: Yale University Press, 2007.

Analysis the admission policy of primary and secondary schools in the U

1. Introduction The value and role of â€Å"knowledge† is different in every culture but good basic education is essential in every culture. Primary and secondary education in UK (up to 16) is compulsory for all children. However, there were a limited number of high quality schools and these are oversubscribed application. That created problem of â€Å"distributing† pupils between schools (Hurst and Sugden, 2011). So a practical and effective admission policy has great influence on the quality of basic education. The purpose of writing this report is to argue for the reliability and effectiveness of current enrolment policy. According to this report, it will help admission policy designer to solve the problems and prove the benefits of this policy to parents. This report includes four parts. First of all, there is a brief introduction of evolution of the basic education admission policy. After that, the status of current selection process will be discussed. Thirdly, the advantage and the problems will be evaluated. The last part of this report will show some suggestion for solving the problems, like improving the quality of local schools and punishing â€Å"address cheats†. 2. History Admission policy has undergone a series of changes and developments since Butler’s 1944 Education Act set up compulsory primary (5-11 years) and secondary (11-15 years) schools. At that time, the selection process is 11-plus examination (Mcnay and Ozga, 1985). In the United Kingdom, the 11-plus is an examination administered to some students in their last year of primary education, governing admission to various types of secondary school. The name derives from the age group for secondary entry: 11–12 years. The 11-plus examination usually consisted of three pa... ...dren who study in a local area school will have a better quality of the school and family education owing to the connection between schools and communities. In addition, it also gives equally opportunity access to the good school and good solution for preventing childhood obesity. On the contrary, it leads to a fierce competition for the good quality schools which is recognized as the primary cause of the high house price near good schools. Another fact is that increasing number of parents cheat in the application to the secondary schools. According to the analysis above, improve the quality of the local schools can be an effective way to substantial lessening of competition for good schools. To some extent, strong policy and strict supervision can prevent cheating in application. There recommendations can help the enrollment policy be more effective and fair.

Crossing the West and Unite Essay

Is Pan- Africanism merely an ideology of beliefs that belongs to a past?   Historically it can be traced that Africans in their country of origin have a great civilization but why in the world would this great people need to walk a crusade like one of its forerunner’s Du Bois when he said that: â€Å"The Last Battle of the West† in liberation of the Africans.   This was reechoed to the world when racial ideologies become severe in the West, in Latin America, and under the British Colony.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the paper written by Araia it was mentioned in detail how Pan-africanism followed throughout history how the Africans were discriminated from repatriation towards the movement of the Diaspora.   Some of them are also the black slaves who are treated well and given freedom by some of their masters.   This loyalty taught the Diaspora to adapt the ways their masters taught them. The Africans and Diaspora experienced the same discrimination and both have adjusted to their present environs.     It was also proven that one color is not a proof of unity since man seeks to have different clichà ©s or the need to belong to a certain group.   In some cases, adoption to a certain laws and culture makes a person get antagonized by two identities especially if the one being introduced is exactly opposed to his or her tradition.   And with that, instead of unification a person has the guilt of having adulterated ones culture or we may say to experience a culture shock.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   That shock divides, and Pan-African organizations have travelled a long way to reunite its brood. An issue that goes with identity crises is repatriation which has bad and good consequences like founding its way for a new black republic in the western hemisphere.   That beginnings fostered confidence to the Diaspora and to the Africans in the continent.   These are somehow, providential that the Africans scatter the world like someone says that from evil there is an abundance of good.   In this scenario, we can conclude that those early Africans who crossed the continent have struggled, though some may loose their birth right marks, many have hold on to his true identity.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In one of the conferences, African’s echoed the need to be respected like all other humans as Malcolm X stated that â€Å"†¦, so that Africa too becomes respected as other huge continents are respected, then, wherever people of African origin, African heritage or African blood go, they will be respected – but only when and because they have something much larger that looks like them behind them (GAraia).†Ã‚   His words explained the impact of Pan-Africanism ideology towards the African experience and the Black Diaspora. To him, the proof of a good race is the good examples that will be left behind by that color and creed.   Malcolm X words mean to say, the need for the Africans to show to the world that the race came from a good and descent stock while explaining that respect begets respect.   But first and foremost respect for oneself should come first.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The elevation of the human nature is based on its dignity, and for this reason it is necessary to look back to where this race belongs.   It is important to see how the older ones have struggled and how did they fought squarely the battle of searching for one’s identity.   Thus when it is found, is it an experience of neither dismay nor courage.   The integral part of this soul searching is whether it is accepted or not but the most important thing is to gain confidence and repair whatever damage is done.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The reformist Du Boisian pan-Africanism had more influence and ideological impact on Africans in the Continent during the early part of reunification but on the later part the transatlantic Pan-Africanism focused on nationalist ideologies thru Nkrumah.     Ã‚  Ã‚  Ã‚   However, the vision of Garvey became relevant until today because it has promoted unity and well-being among Africans, re-examination of public policy against racism and other forms of discrimination which has resulted to security and equality, and provision of sovereignty and respect towards individual culture.   Identity crisis was changed into acceptance in spite that points of view can not always be the same.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Brazzaville and Casablanca could have been fueled by the so called identity crisis too which could have gotten down to the marrow of the new generations of the Africans in the middle of the 19th Century. The former against the bearing of a socialist mentality and the other gets intimidated of begging or having dependence on the Western aid.   Those are two opposing ideological differences that have affected the political and economic perspectives of that time.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   However, in the course of time different Africans groups learned to focus on their similarities to bridge the gap that has existed due to various groupings.   This meeting of the minds ended in the formation of the African Unity which led by Nkrumah created the UNIA under the influence of the philosophy of Marcus Garvey to the Negritude of Cesaire and Senghor.   This movement led to the search of the African identity till it is known today as African Union (AU) which was previously called Organization of African Unity (OAU).   Today, we may say that the Pan-Africanism movement has matured and was able to handle whatever difficulties they would get entangled within their individual principles and personal circumstances.   Through viable global communications brought by new technology, a connection was built between Africa and its Diasporas which forge Pan-African unity transcending all unproductive dichotomies. Today’s relevance of the Pan-African   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Pan-Africanism will remain the instrument of fostering unity and empowerment as long as there is marginalized Africans and Diaspora that has been continually growing in numbers.   It will be the voice to call and unite, and to remind wherever this colored men are, telling each one is his brother’s keeper.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   With the growing world spearheading towards globalization, there is a great need for Pan-Africanism to be a state led project in the emancipation of its great role in the 21st Century. There will be new challenges facing the Africa and the Diaspora despite of its historical achievements of decolonization and civil rights.   The ideology of collective empowerment can provide a great leap for Pan-African states and societies who are merely pawns in the world arena.   According to Nkrumah there is a need to pull all resources like the socio-cultural, eco-political aspects and demographic capitals to attain the Pan-African vision of the socio-economic development of all its civil societies namely the Africans and the Diasporas.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   It is very striking to know that African migrants (Diaspora) today are very much educated as compared to people of its country’s origin.   Making the brain drain problem severe in Africa but these international migrants who are skilled are assets for the developing countries in terms of remittances and brain mobility.   Those who migrated towards the north are very much educated however they only comprise of the minority.   Majority migrated to other African countries.   In other words, the Diaspora represents a growing mighty force for the development of Pan-Africanism today.   The African Diasporas because of their dual identities acquired from their host countries became more flexible and at the same time equipped with enormous social capital that could defend the future of Africa.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   However, the government only views the Diasporas as an economic resource or by way a dollar remittance arm.   They do not only exceed foreign investments cash capital but with their civic and cultural awareness could access global markets, create a more vigorous democracy that could strengthen a society that encourages growth of new philanthropic cultures.   Diasporas are regarded as people with multiple identities but with commitments firmly rooted to their country of origin.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The new generation of the African Diasporas will surely bridged the gap of the Atlantic and Africa and the African American created by prejudices and the racist media.   One can perceived today the growing awareness in the Pan-American consciousness for instance the assertiveness of the blacks in Brazil, the affirmation of Afrocentric culture in the US, and Afropolitan identities of the diasporas in European Countries.   They are collective struggles that show the world that these African migrants are reconstructing their identities by renegotiating their place in wherever host societies they belong which is in congruent that they will attain full democratic citizenship and status, a dream that has been long awaited by their peers and fore parents.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the long run, this presence of the Diaspora will be felt by the whole world and in order to facilitate their presence, African policy makers and Pan-Africanism should take the Diaspora options seriously.   This requires networks that facilitate brain mobility, formation of diverse knowledge, and the defense to Africa which have been defamed in Euro-America.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   AU with its 20 councils, promoted social and cultural contexts towards its civic organizations in order to unify and integrate Africa, an enduring dream for Pan-Africanism derived from the rising of the Diaspora’s homogenization from one’s host country.   The AU is more robust organization, and is more people friendly.   The OAU was preoccupied with politics, sovereignty and elite’s camaraderie. However, both are achievers in the vision of Pan-Africanism.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In its present trend, AU launched the â€Å"African Union-African Diaspora Summit at all levels of the State and Governments, with a theme â€Å"Towards the realization of a united and integrated Africa and its Diaspora† in short, after crossing the West – the African will be united.   This unity hopefully will lead to a full cooperation and better understanding of every member of the Pan-African nations including the cooperation of the Diaspora host countries worldwide.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The self acceptance of the Diaspora rejuvenated Pan-Africanism with its contemporary dictum of being able to combine the old and new.   Their demands are no longer driven by political independence but learning the complex ties that separate and unites them to their origin.   With this knowledge, unity will not be an elusive dream to the Pan-Africanism but a way of life transcending global marginalism that has been caused by inequality of power and privileges.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The passing of time may have healed the wounds in the past; the present generations are no longer alienated to the prejudices, but men and women who are proud of their colors and traditional beliefs.   These Africans are more capable of confronting the problems of today than merely following the course of history.   These are men who see the world, fair and square but able to form kinship and friendship even with those who had inflicted wounds on them.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Pan-Africanism is not just an ideology it’s praxis, a chain that links all Africans of the world.   It has guided the race through out history and will always be a gleaming light for those who find that multiple identities seem quite confusing.   It will be a bosom for all Africans to convene, and to learn that adopting other technologies and means is not to be come inferior but teaching this race the value of genuine patriotism.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The so called ideology came from a long journey, it infiltrated the West and the Atlantic continent, and it has surrounded the world as bent on becoming a one and united dynamic race.   They will be people who will not be saddened by their past mistakes but more of a people who have stand and struggled to gain respect.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   These are people with human culture that is unique and these beliefs are needed to be upheld and preserved. The Pan-African vision will guide these beliefs through time which must be guided by wisdom.   Loving ones country does not hate the other; nationalism is not wrong as long as we do not hate or inflict wrong another nation.   Better still, we must love our own country but also loving the rest of the world and that’s what you call patriotism.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   For those who are lucky to cross the West, and the other Diaspora, and those who belong to each others continent – it is time to unite.   After all, man belongs to one single stock – the human being with a body and soul.   Diasporas from all parts of the globe or Africans alike wherever continent they belong, they are just one brother and sister who belongs to one and the same human race.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   To all Africans and Diaspora the ideology of Pan-Africanism will always be behind, until the time that this race received the respect its forerunners has long waited for.  Ã‚   It will always be the shadow that will unite every Africans and the Diaspora who has been nurtured and taught by its adoptive nation.   In turn, both will be teaching the other their ways combining new and old and giving good examples that the rest of the world will learn to admire and accept. Works Cited Ghelawdewos Araia. â€Å"The Historical and Ideological Foundations of Pan-Africanism.†Ã‚   2006.

New Weapons that Changed the Way of the Samurai

New weapons that changed the way of the samurai A Samurai Sword symbolizes and means the Samurai's prestige and his skills in battle. It is a measure of his stature in society. To all samurai it’s their prize possession and it is worn proudly by its master – until the teppo was introduced. The samurai considered it as dishonorable to tradition. This changed the way samurai fight and changed their view to samurai swords. The teppo is an example of a weapon that changed the way of samurai – it was introduced in the 16 century in Japan through Portuguese trade.They were easy to use and deadly. The teppo were produced on a large scale by Japanese gunsmiths since introduced. By the end of the 16th century, there were more firearms any European nation. [pic] (†¦picture of the traditional weapons used by the samurai before guns were introduced†¦) The Battle of Nagashino is a great example of a turning point between swords and guns. Oda Nobunaga made deadly use of the teppo at the Battle of Nagashino in 1575, leading to the end of the famous Takeda clan. Guns can wipe out a whole clan in just one battle. It was considered very deadly.In the movie ‘The Last Samurai’ it strongly relates to the concept of guns taking over traditional samurai swords and guns destroying loyal samurai clans. The film's plot is loosely based on the 1877 Satsuma Rebellion led by Saigo Takamori, and also on the story of Jules Brunet, a French army captain who fought alongside Enomoto Takeaki in the Boshin War. It also gives an enhanced and better understanding of how these weapons can be deadly to the traditions of the samurai and the changes that are happening when these weapons are introduced. Introducing these weapons to the samurai was a mistake that the Portuguese made.The samurai would have been better without the guns and weapons that were introduced by foreigners. Samurai teachings can still be found today in modern day society with the martia l art Kendo, meaning the way of the sword. Samurai Raid a Japanese  Village The lonely village on the Far East side of Japan encountered a group of vicious samurai last week that attacked the tiny village. Many possessions have been stolen from these poor villagers. These villagers were brutally beaten with a bamboo sticks in order to entertain these vicious fighters. They were left with bruises, body aches and pains.The villagers are furious and wish for revenge on these fighters. [pic] (†¦A picture drawn by one of the local villagers on what they saw and suffered in the raid†¦ ) The Chief of the village has announced a public meeting with the local villagers to discuss the actions that need to be taken in order to receive revenge on the people that brought terror and pain in the incident that has occurred last week. We interviewed one of the local villagers – he said he lost all his gold plates that were passed down from past generations and were meant to be pas t down to future generations – he cannot fulfil his ancestors wishes.He is very disappointed and angry for his loss. The villagers suffered a great loss. They have little left, not even enough to feed a family for more than one week. The villagers were suffering with food loss before the raid but now they have to suffer even more. Fake samurai swords are being sold to the public.. Beware Yesterday morning when merchants come and sell their goods a man in his late 20’s spotted samurai swords for sale. He asked the merchant the price of the swords. The merchant told the man he would sell the sword to the man for only ? 1,000.The man thought he was very lucky and immediately bought the sword. He took the sword home happily. [pic] (†¦the image of the sword the man bought for ? 1,000†¦) When he got home he realised the sword was a fake because it didn’t have the sharpness a true sword would have. He was very angry and decided to go and confront the merchant . When he arrived at the same place he got the sword, the merchant was nowhere to be seen. The man was very disappointed that he wasted ? 1,000 on a fake sword. He notified the local guards – they are still searching for the merchant.The Merchant was wearing a blur robe, has a long black beard and a scar on his right cheek. If you think you have found the merchant please notify the local guard. Samurai to hold meeting for the production of fake samurai swords†¦ As you know about the article about a man buying a samurai sword the other day and found it was a fake. It has been announced by the chief samurai that there would be a meeting with all the daimyo’s and discuss the action that need to be taken to catch the merchant that was selling this illegal swords to poor villagers. We interviewed the man and he said ‘†¦I am so happy that the samurai are following this merchant that has taken my money in return of a piece of metal that is useless to me†¦ ‘ So please if you have any information on this suspicious merchant, please notify your local guard. Nitobe was not the first person to document Japanese chivalry in this way According to the Japanese dictionary Shogakukan Kokugo Daijiten, â€Å"Bushido is defined as a unique philosophy (ronri) that spread through the warrior class from the Muromachi (chusei) period. † In Bushido: The Soul of Japan (1899), author Nitobe Inazo wrote: â€Å"†¦Bushido, then, is the code of moral principles which the samurai were required or instructed to observe†¦ More frequently it is a code unuttered and unwritten†¦ It was an organic growth of decades and centuries of military career. † According to the editors of Monumenta Nipponica, â€Å"Tens of thousands of documents survive from the medieval period†¦ Only a few have been translated into English, or are likely ever to appear in translation. † One of the oldest English-language academic journals in t he field of Asian studies, much of Dr.Steenstrup's significant findings were written for Monumenta Nipponica. In his text Feudal and Modern Japan (1896) Historian Arthur May Knapp wrote: â€Å"The samurai of thirty years ago had behind him a thousand years of training in the law of honor, obedience, duty, and self-sacrifice†¦.. It was not needed to create or establish them. As a child he had but to be instructed, as indeed he was from his earliest years, in the etiquette of self-immolation. The fine instinct of honor demanding it was in the very blood†¦ † Translation of documents related to bushido began in the 1970s with Dr.Carl Steenstrup, who performed a lifetime of research into the ethical codes of famous Samurai clans including Hojo Soun and Imagawa Ryoshun. Steenstrup's 1977 dissertation at Harvard University was entitled â€Å"Hojo Shigetoki (1198–1261) and his Role in the History of Political and Ethical Ideas in Japan†. The stylings of bushid o have existed in the Japanese literature from the earliest recorded literary history of Japan predating the introduction of Confucian ethic from China. The Kojiki is Japan's oldest extant book.Written in AD 712, it contains passages about Yamato Takeru, the son of the Emperor Keiko. It provides an early indication of the values and literary self-image of the Bushido ideal, including references to the use and admiration of the sword by Japanese warriors. Yamato Takeru may be considered the rough ideal of the Japanese warrior to come. He is sincere and loyal, slicing up his father's enemies â€Å"like melons†, full willing to combat the enemy single-handed, unbending and yet not unfeeling, as can be seen in his laments for lost wives and homeland.Most importantly, his portrayal in the Kojiki embodies an early example of the appeal of the warrior-poet. Published by Sephora Hidalgo and Maranie Ing BUSHIDO From the Bushido literature of the 13th to 16th Centuries, there exists an abundance of literary references to the ideals of Bushido. In his 1979 Dissertation, Dr Carl Steenstrup noted that 13th and 14th century writings (gunki) â€Å"portrayed the bushi in their natural element, war, eulogizing such virtues as reckless bravery, fierce family pride, and selfless, at times senseless devotion of master and man. Compiled in 1371, the Heike Monogatari chronicles the struggle between the Minamoto and Taira clans for control of Japan at the end of the 12th century—a conflict known as the Gempei War. Clearly depicted throughout the Heike Monogatari is the ideal of the cultivated warrior. The warriors in the Heike Monogatari served as models for the educated warriors of later generations, and the ideals depicted by them were not assumed to be beyond reach. Rather, these ideals were vigorously pursued in the upper echelons of warrior society and recommended as the proper form of the Japanese man of arms.By the time of Imagawa Ryoshun's Regulations at the b eginning of the 15th century, the bushido ideal was fairly clear, and the term itself came into widespread use. As illustrated by these various writings and house codes, bushido already encompasses loyalty to one's master, filial piety, and reverence to the Emperor. Bushido includes compassion for those of lower station, and for the preservation of one's name. Early bushido literature further enforces the requirement to conduct oneself with calmness, fairness, justice, and propriety.The relationship between learning and the way of the warrior is clearly articulated, one being a natural partner to the other. Finding a proper death in battle, for the cause of one's lord, also features strongly at this point in history. [pic]Japanese samurai in Armour,1860s. Photograph by Felice Beato ———————– Kendo lessons from ages 6 to 16 First 3 lessons free go to www. kendolessons. com phone master Shitzo and Yoda for more info: 100 200 300 I t starts at 6:00pm to 8:00pm with Master Shitzo private and non private with Master Yoda at the morning 8am to noon free food as well. [pic]Uniforms are provided when enrolled into course New weapon factory sale [pic] 28/29 Convict ST Liverfarm. Close to Toshiba’s land Call Rambo at 1234566787 for more information on the weapons available or about the factory Quick before it’s too late†¦. Join and experience war Join the army and get new swords and armour. Join now at the Red Cross tent in the middle of the field at Toshiba land. [pic] Contact Chief Yuki Monish at sunrise and sunset: 174635 26337 or at www. joinsamuraiarmy. com

Multi-Calendar Plans Manage Every Client With CoSchedule

Multi-Calendar Plans Manage Every Client With As a marketing agency, managing multiple clients used to be tough. Client A used a Google Sheet for their marketing schedule.  Bleh. Client B used  a clunky project management tool. Client C used email. #nightmare ^ You get the picture. Now that hassle, confusion, and time-suck of managing multiple clients marketing projects is over. You can finally organize every project from every client in one place. And youre doing it with multi-calendar, the newest feature in your most beloved marketing + social media project management tool, . :) Lets boost your marketing agencys efficiency + effectiveness, shall we? Manage Multiple Clients With Multi-Calendar [New Feature]Organize Every Project From  Every Client In 1  Place Imagine a life without complex spreadsheets only you (or your clients) understand. What about ditching confusing email threads altogether? Awww, the good life. ^ But it  is totally possible. has always been  the #1 marketing calendar for everything you need organized. And now you  can easily manage multiple clients in by giving each of them their own  calendar. That gives you, as the efficient marketing agency you are ;), one place to work  on all of your clients projects. Every calendar helps you plan + execute tons of different types of content  and social media campaigns. So  you can customize each clients calendar for their specific needs. That gives you incredible organizational power with a single login for you + a beautiful experience for your clients. Agencies! Organize every #marketing project from every client in 1 place.Simplify Your Team + Client Workflows And  Collaboration Process boosts efficiency. And many  clients + projects have different requirements. So use to easily customize your workflows for each client + project as much as you need. makes it easy to create  a Task Template and save it to easily apply again  later (which, lets face it, saves you a ton of time on those repeat projects). Plus, you can  customize an unlimited amount of Task Templates for every client. That gives you complete control  to  delight every client. Youll also ditch long email threads by  attaching the communication to your projects in . That gives everyone  working on a project the complete picture of your progress at a glance. (And that also means zero  digging through a busy email inbox for updates.) All of this organization keeps your clients in the loop + keeps projects moving forward + helps you hit deadlines. Stay on track. Execute faster. Avoid the busywork. +  marketing agencies #FTWCustomize To Fit Your Clients Needs Some of your clients  may be building their following on Instagram. Others focus specifically on their WordPress blog. Others are huge fans of creating their content in Google Docs. ^ You can customize each of your clients experiences within their calendars. That makes your go-to source for starting any project. And as your marketing agency grows (which, lets be honest, youre crushing it), scales with you. Customize your team + client workflows + integrations with !Improve Client Retention With Data-Driven Results Prove the ROI of the work you do with real  data everyone can understand! You  and your clients will see  the success of every social media message you share. And youll also see the success of your content as a whole. When you scale to Multi-Calendar Plus or Pro plans, youll also see the results of your entire social media strategy in one place with your Social Engagement Report. Easily show your clients your success to  maintain  long-term business for your marketing agency!

Sensory Perception essays

Sensory Perception essays Like all animals, human beings receive pertinent information about the world through sensory perception: seeing, hearing, touching, smelling, and tasting. This raw data is then analyzed and interpreted by the brain, and thus conceptions of the universe are formed. Most of our definitions and judgments about reality are dependent upon sensation and perception. In fact, science is largely based on sensory data, and science greatly informs our definitions of reality. Moreover, our definition of reality can be distorted by our senses and perceptions. For example, optical illusions create erroneous pictures. Depending on the reliability of our sense organs, the definition of reality can differ from person to person. For the most part, however, human beings share a vision of reality because of the uniformity of sensory data. We agree that the sky is blue, leaves are green, and lemons are sour. Furthermore, we make judgments based on sensations and perceptions. A foul smell will warn us that food has gone bad, for instance. An angry face can inform us of the emotional state of another human being, and often prompts us to react accordingly. Those who are deprived of one or more of the senses, such as the blind or the deaf, will perceive reality differently. A blind person, for example, will base reality on hearing, feeling, smelling, and tasting, in the absence of Most people distinguish reality from fantasy by relying on sensation and perception. That which cannot be seen, touched, heard, smelled, or tasted exists in the realm of the imagination. Reality, therefore, becomes that which is reliably and consistently perceived by the senses. We know that tables are hard and jackhammers are loud because our senses tell us so; likewise, we know that leprechauns do not exist because we have never Aesthetics are also based on sensation and perception. Some people ...