Does Mozart's achievement and patterning help math students because math is a pattern and music is a pattern and do things in the system of poetry have patterns. Do teachers think about psychological approaches in the math or the sciences?
Can I find a language that rotates?
school represents a foreign culture
the adult has to be very definitive in discipline it cannot be intimidated or concerned with what people will think about itself
what has to be emphasized is the ability to be clearly and vocabulary infused to strictly articulate the right decision based on experience.
I feel literature reduces prejudices and discrimination. cognitive flexibility
What is the color of your heart?
Who holds your heart?
everything In America takes shape
threads of being
Daniel Boornstein wrote, "One of the oldest of ma's visions was the flash of divinity in the great man," (45). Could it be, that humans are endless dreamers, wandering between imaginative possibilities and composing or defining or guessing what is real and how close they can arrive to the divine nature of being? Is there a a yearning to see humanity in a super realm in the eyes of our shared existence? If creating that vision happens by construction with tools of thread. jewels, light bulbs, and mechanics, then flashes of divinity can be man-powered, manifested and recorded as artifact.
Two photographs of Billie Burke display her representation photographically as a spectacle. The luminous goddess is a construction. Billie Burke is a woman who is visually scripted by an artistic imagination. Her work as an actress involves the adaptation of character and construction of an external identity. The way Billie Burke is celebrated and photographically recorded is spectacle. Her persona is perceived as an actress n an ethereal realm, of the dream space, transforming the masterworks of fine art into film/photographic works. Burke is a well known Hollywood actress, famously recognized for her acting appearance in the movie the Wizard of Oz as Glinda.
The vision of the great man, or woman, is performed by Burke. With respect to the figure, gesture, role playing and material interaction between herself and the objective of the overall imagery to communicate a desired essence, the otherworldly is sen. Her greatness is absorption of self into character. The way she presents herself before the lens of the camera is selective. She creates a visceral vision. There is this essence that exists in the space of her world that looks untouchable, like a place that heroines, or angels, or star travelers or spirits find havens within. She is expressively beautiful, displays a feminine and heavenly maternal fragility. She is calming and vivid, like the environmental naturalness of the exterior space of nature. When Billie Burke is photographed , the compositional framework of the films' edge translates from a rectangle to a window. Specifically her windows , invite gazes through them simultaneously opening to viewing spaces beyond interiority. Like windows, her eyes also express looking out, and admitting light inside. She is not trapped in a mirror of self reflection or vanity. She personifies windows and prisms; the rainbow operator as a great woman of visionary possibility and imagination.
The actual look of Burke is phenomenal. In the monochromatic portrait dressed in a beaded gown with her arms behind her back, leisure and embellishment coexist. Inside that picture she looks like sje is dreaming and believing in something outside of herself, while in the full color picture, taken from the Wizard of OZ, she looks like her dream believing becomes realized. Intently focused on a specific path constituted by her eyelines, the look is sharp as if she followed the line of the wand. In both photographs her look is angular and head on. The poses in relation to her look is compositionally effective by the photographs decisive placement and geometric picture-snapping decisions.
The zoom factor does not apply to looking at Billie Burke. If depth of field is understood as having shallow or long focal range, Burke's photographs are shallow focal ranges. The camera lens zoom out of focus and spans away from intimate proximity. Seeing Billie Burke is not about the up-close and personal view rendered by zooming in, sharp focus by a macro lens for scientific examinations. She is not viewed in these photographs in the under-th-microscope voyeurism stepping over-the-line boundary way. She is composed as a star in the distance, who does not come into the depth of field of an optically focused parallax from the onlooker or photographer. That soft sense of depth in space is gentle and blurry. Her space is not accessible to deconstruct, rather she is a "cynosure, the guiding stars of our interest,"(47). Billie Burke's presence is calculated for framing artistry for following eyes. Where she magically goes, in a bubble or in a iridescent array of beads and luxurious treasure, onlookers want to seee, and be guided by her rainbow jubilee reign. She is analogous to the Pied Piper.
> I'm an
> >> artist
> >>>> from the
> >>>>>> East Coast, a UC Berkeley Art
> >> class of
> >>>> 2008, and
> >>>>>> living in Berkeley.
> >>>>>>> My work is visual poetry.
> Spoken word
> >> combines
> >>>> with
> >>>>>> dance and persona. I write my
> >> and
> >>>> choreograph the
> >>>>>> pieces. The content is connected
> >> goddess
> >>>> personas,
> >>>>>> nature, self-expression and can
> >> spontaneous. On
> >>>> the flip
> >>>>>> side, sometimes the feel gets
> deep... then
> >> it's
> >>>> slamming out
> >>>>>> the blues with musicians.
> >>>>>>> I'm into making new visions
> >> approaching
> >>>> art
> >>>>>> performance from new ways.
> The title: The Seen
> Mediums: Watercolor, Dance, Visual Poetry, Ink,
> Charcoal, Glass, Weather, Energy Interaction, Light
> ** I want it to be clear for the audience to "Expect
> ** "Beware of Spectacle!" (the definition of
> spectacle is: a visually
> striking performance or display; the show is pure
> spectacle. • an event or scene regarded in terms of
> its visual impact.)
> ** Seeing is a ceaseless process.
> ** Unedited, documented and separated by a translucent
> boundary an artist will remain seen for 48Straight
> hours. The artist is living for the
> ** (An idea about the project: Who is looking at Who?)
> Some of my past performances are called "Urban down
> soul", "Pearlescent Pink," "We all have Hearts,"
> "Dream Seeds", "In the dark glow on 9/11" . The other
> mediums that will be incorporated into the performance
> are interpretive dance, watercolor painting, life
> drawings/still-life drawings, spoken word poetry
> amongst others...
> My influences are Julia Butterfly Hill, Jim Henson,
> Frank Oz, Shel Silverstein, Prince, and the Red Hot
> Chili Peppers.
> I am an Arts Mentor for an elementary school in
> Berkeley, (Oxford School), have current work on
> exhibit at the Bernal Yoga Studio in San Francisco,
> watercolor works that respond to Fredrick Douglas
> Knowles' poem "Limitless Nocturnal Void" about the
> solar system personified. I have exhibited across the
> US including the U.S. Capitol Building from 2001-2002,
> from Beverly, MA to Venice, CA.