Review the module resources and overview, and select a popular-culture example (television show,
commercial, game, movie, etc.). Analyze how technology is represented and the social message conveyed by
the example. In your initial post, briefly describe the popular-culture example you selected and address the
following:
How does your example portray or reflect technology?
What is the social message or commentary about technology reflected by your example?
How does a study of technology illuminate or enhance your experience of the example?
In responding to your peers, provide feedback about the example utilized and the message/commentary about
technology being provided. What would you add to their analysis?
Sample Solution
In this paper, I will take a gander at two distinct works. ‘The Protector’ (figure 1) by Paul Klee, made with ink paper ready (Support: 300x487mm) in 1962, and ‘Drawing for Whamm!’ (figure 2) by Roy Lichtenstein made with graphite on paper (Support: 149x350mm, Framed:198x352x19mm) in 1963. Klee made The Protector’ during his time educating at the Bauhaus in Germany. It portrays two subjects. On the left, a man with his hands held by his head, and his mouth open wide depicting a stunned articulation. On the right, a canine like animal looking savage and forceful towards something outside the drawing. The two subjects are associated by a drain. ‘Drawing for ‘Whamm!’ was made during pop expressions top in America during the 1960’s. It likewise contains two subjects. On the left an animation plane taking shots at another plane on the right. The left plane appears to have been fruitful as the different goes up on fire and smoke, with the notorious ‘WHAMM!’ text style rising up out of the destruction. I have chosen these two attempts to look at in light of the fact that I accept they have comparative characteristics as far as their visual appearance. They are both scene, have two principle subjects and utilize comparable materials. Nonetheless, they were delivered right around 40 years separated, utilize altogether different characteristics of line and drawing methods and were both affected by altogether different workmanship developments. This implies there is an immense add up to look into with, making the contention that I will lead⦠By contrasting these works I will address 4 primary concerns. Right off the bat, how the two drawings are made by considering the nature of line and how this imparts various encounters and sentiments inside the group of spectators. Besides, how the specialists demeanors contrast with thought with their interests for the craft of drawing and painting. Next, how authentic segments at the time will have changed the reason and importance of the drawings. In conclusion, considering more extensive settings, for example, how the two specialists were affected by different craftsmen and workmanship developments inside their time period. Examination 1 Drawing procedures + symbolizations The utilization of various drawing procedures is clear when taking a gander at these two works of art. ‘The Protector’ shows the utilization of snappy, scrappy, spontaneous lines to make a basic yet bustling drawing. The site ‘Paul Klee and Surrealism’ have portrayed the nature of line utilized in ‘The Protector’ as innocent. “Paul Klee has utilized basic and practically honest lines that make solid and dynamic structure” [1] this isn’t the main time Klee has been alluded to as untainted, when J Thwaites in the article ‘Paul Klee and the Object’ clarified that “Individuals are not off-base to contrast it with the symbolism of a youngster” [2] when portraying Klee’s work. This shows there is a style to Klee’s work that is fundamentally the same as that of a child’s. In any case, this doesn’t make his work of art any less persuasive or intriguing. The mistake of his line may symbolize the feelings inside the drawing, how the man is demonstrated looking surprised by what the pooch is yelping at. The canine looking furious and bearing his teeth. This makes a climate of frenzy and dread in the drawing. These feelings compliment the fast lines, as though he was racing to complete it, since he was terrifying or terrified. Oskar Schlemmer, owned the expression about Klee-“With at least line he can uncover the majority of his astuteness.” [3] Showing that to make feeling and air inside and around the drawing he shouldn’t be excessive and over the top with the line he creates. This is extremely clear in ‘The Protector’ with his ‘virtuous lines we can see the basic feelings and sentiments with almost no to take from. Another statement from J Thwaites article summarizes this idea splendidly with the statement. “he gives the image which liberates your creative mind to supply the entire” [4]. With the basic lines going about as the image, they open your creative mind to have the option to finish the picture with your very own understanding. Which means the innocent lines may have been intentional when making this drawing as he needs his group of spectators to “supply the entire” themselves. ‘Drawing for ‘Whaam!’ is a colossal differentiation to Klee’s work as far as the nature of line and how it is delivered. Inside ‘Whaam!’, we see unmistakably arranged and thoroughly considered lines that appear as though they may have been drawn utilizing ruler and have been painstakingly considered in the sythesis of the drawing. This accuracy and arranging may have been because of the way that this drawing was an arrangement for a greater painting, along these lines time has been placed in to guarantee all arranging is right. “He likewise adjusted the fatal rocket, and consequently the whole scene, on the even pivot, and adjusted the compositional loads of the two planes-an impact strengthened by his arrangement of the planes on isolated, similarly measured boards.” [5] This statement from the book ‘Current Romance: Lichtenstein’s Comic Book Paintings’ shows the thorough arranging that Lichtenstein has placed in to his work to ensure the creation and the weightings of the two planes on the different canvases are flawless. This shows Klee and Lichtenstein have altogether different methodologies regarding the arranging and exactness. This is additionally appeared by Klee’s popular portrayal of drawing as “taking a line for a walk” [6] from the Tate Modern site on the display ‘Paul Klee â Making Visible’ this shows how loosened up Klee is towards drawing, he just draws and sees where the line takes him. ‘Drawing for Whaam!’ could likewise be viewed as having less basic importance than ‘The Protector’ as it isn’t such a great amount to incite a feeling however to request the eye, with the last painting being wealthy in shading and intense lines. Lichtenstein thinks about his group of spectators when utilizing creation in his works of art. “by stripping the location of all episodic and physical detail and setting the opponents on isolated boards, Lichtenstein gives the watcher of Whaam! with the substance of the war comic sort.” [7] Quote from Modern Romance: Lichtenstein’s Comic Book Paintings. This statement suggests that Lichtenstein needs to show a crude and straight forward painting with little to peruse in to as he has striped back all narrative detail, which means he doesn’t need anything pointless or false in his drawings. Examination 2 Enthusiasm for painting Klee and Lichtenstein both appear to have a similar energy and love for painting as each other. Klee’s energy is found in a video on the Paul Klee presentation, in the Tate Modern, in 2014 “Shading has claimed me⦠I realize it has a hold of me perpetually, shading and I are one, I am a painter” [8]. He has drenched himself in to the universe of painting and feels like he is really one with his fine arts. Close by his affection for painting he was likewise “interested by the connection among man and brute as much as that among man and nature” [9] This is what was thought to have driven Klee to draw ‘The Protector. Inside this statement we can see progressively about the capacity of the picture; it might have been to express Klee’s interest and explain his emotions towards the man and the mammoth. We see Lichtenstein’s commitment to his work of art in the video-‘Roy Lichtenstein: Diagram of an Artist’ where a colleague to Lichtenstein cites, in reference to painting “it was his bliss, it was his pleasure, it was everything” [10]. He likewise keeps on saying, “I’d watch him work and he was simply centered, nothing was an interruption” this shows how nothing could separate Lichtenstein and his artistic creations. In this manner, there is a reasonable comparability in the two specialists way to deal with drawing and painting, as they are both genuinely energetic about what they do and the craftsmanships they produce. Correlation 3 Recorded conditions + parts CBS news expressed, that for America, 1963 was “the year everything occurred” [11]. With an online picture display including, Martin Luther King’s opportunity discourse, the death of JFK and pictures from the Vietnam war. These occasions may have been over whelming for Lichtenstein and we see the consequences for him through different works he painted in 1963 including “Suffocating Girl” (1963) and “Crying Girl” (1963) these two canvases both incorporate upsetting pictures of a young ladies crying, one looking bothered and another suffocating. These variables, including the Vietnam war could have impacted his decision when painting these upsetting pictures. Nonetheless, the pictures seen in ‘Whaam!’ are ones of war and battling, yet a statement from Modern Romance: Lichtenstein’s Comic Book Paintings shows that the Vietnam war might not have been his fundamental motivation for the sketch “he started deal with the subject in 1962, at a moment that U.S. inclusion in Vietnam was as yet restricted and not yet a basic issue” [12]. Implying that different elements or simply unadulterated motivation from American comic books at the time drove him to make ‘Whaam!’. As we find in another statement from Modern Romance: Lichtenstein’s Comic Book Paintings-“Lichtenstein started taking a shot at scenes from war funnies in 1962. An agent case of the class is Whaam! which depended on a scene from “Star Jockey” in All American Men of War.” [13] The scene in ‘star racer’ is practically indistinguishable from ‘Whaam!’ persuading that he duplicated this funny cartoon. This might be another factor in the reason behind Lichtenstein’s artistic creations; he loves the appearance of the picture and reproduces it himself, implying that it might simply be plain stylish behind the genuine importance of his sketches, as he may not be bringing issues to light for the Americans in the Vietnam war on the grounds that their association was as yet restricted. Klee was in Germany instructing at the Bauhaus somewhere in the range of 1921 and 1931, in this time, he created “The Protector’. He showed classes, for example, bookbinding and painting on glass. An online article about Klee’s ‘Bau>
In this paper, I will take a gander at two distinct works. ‘The Protector’ (figure 1) by Paul Klee, made with ink paper ready (Support: 300x487mm) in 1962, and ‘Drawing for Whamm!’ (figure 2) by Roy Lichtenstein made with graphite on paper (Support: 149x350mm, Framed:198x352x19mm) in 1963. Klee made The Protector’ during his time educating at the Bauhaus in Germany. It portrays two subjects. On the left, a man with his hands held by his head, and his mouth open wide depicting a stunned articulation. On the right, a canine like animal looking savage and forceful towards something outside the drawing. The two subjects are associated by a drain. ‘Drawing for ‘Whamm!’ was made during pop expressions top in America during the 1960’s. It likewise contains two subjects. On the left an animation plane taking shots at another plane on the right. The left plane appears to have been fruitful as the different goes up on fire and smoke, with the notorious ‘WHAMM!’ text style rising up out of the destruction. I have chosen these two attempts to look at in light of the fact that I accept they have comparative characteristics as far as their visual appearance. They are both scene, have two principle subjects and utilize comparable materials. Nonetheless, they were delivered right around 40 years separated, utilize altogether different characteristics of line and drawing methods and were both affected by altogether different workmanship developments. This implies there is an immense add up to look into with, making the contention that I will lead⦠By contrasting these works I will address 4 primary concerns. Right off the bat, how the two drawings are made by considering the nature of line and how this imparts various encounters and sentiments inside the group of spectators. Besides, how the specialists demeanors contrast with thought with their interests for the craft of drawing and painting. Next, how authentic segments at the time will have changed the reason and importance of the drawings. In conclusion, considering more extensive settings, for example, how the two specialists were affected by different craftsmen and workmanship developments inside their time period. Examination 1 Drawing procedures + symbolizations The utilization of various drawing procedures is clear when taking a gander at these two works of art. ‘The Protector’ shows the utilization of snappy, scrappy, spontaneous lines to make a basic yet bustling drawing. The site ‘Paul Klee and Surrealism’ have portrayed the nature of line utilized in ‘The Protector’ as innocent. “Paul Klee has utilized basic and practically honest lines that make solid and dynamic structure” [1] this isn’t the main time Klee has been alluded to as untainted, when J Thwaites in the article ‘Paul Klee and the Object’ clarified that “Individuals are not off-base to contrast it with the symbolism of a youngster” [2] when portraying Klee’s work. This shows there is a style to Klee’s work that is fundamentally the same as that of a child’s. In any case, this doesn’t make his work of art any less persuasive or intriguing. The mistake of his line may symbolize the feelings inside the drawing, how the man is demonstrated looking surprised by what the pooch is yelping at. The canine looking furious and bearing his teeth. This makes a climate of frenzy and dread in the drawing. These feelings compliment the fast lines, as though he was racing to complete it, since he was terrifying or terrified. Oskar Schlemmer, owned the expression about Klee-“With at least line he can uncover the majority of his astuteness.” [3] Showing that to make feeling and air inside and around the drawing he shouldn’t be excessive and over the top with the line he creates. This is extremely clear in ‘The Protector’ with his ‘virtuous lines we can see the basic feelings and sentiments with almost no to take from. Another statement from J Thwaites article summarizes this idea splendidly with the statement. “he gives the image which liberates your creative mind to supply the entire” [4]. With the basic lines going about as the image, they open your creative mind to have the option to finish the picture with your very own understanding. Which means the innocent lines may have been intentional when making this drawing as he needs his group of spectators to “supply the entire” themselves. ‘Drawing for ‘Whaam!’ is a colossal differentiation to Klee’s work as far as the nature of line and how it is delivered. Inside ‘Whaam!’, we see unmistakably arranged and thoroughly considered lines that appear as though they may have been drawn utilizing ruler and have been painstakingly considered in the sythesis of the drawing. This accuracy and arranging may have been because of the way that this drawing was an arrangement for a greater painting, along these lines time has been placed in to guarantee all arranging is right. “He likewise adjusted the fatal rocket, and consequently the whole scene, on the even pivot, and adjusted the compositional loads of the two planes-an impact strengthened by his arrangement of the planes on isolated, similarly measured boards.” [5] This statement from the book ‘Current Romance: Lichtenstein’s Comic Book Paintings’ shows the thorough arranging that Lichtenstein has placed in to his work to ensure the creation and the weightings of the two planes on the different canvases are flawless. This shows Klee and Lichtenstein have altogether different methodologies regarding the arranging and exactness. This is additionally appeared by Klee’s popular portrayal of drawing as “taking a line for a walk” [6] from the Tate Modern site on the display ‘Paul Klee â Making Visible’ this shows how loosened up Klee is towards drawing, he just draws and sees where the line takes him. ‘Drawing for Whaam!’ could likewise be viewed as having less basic importance than ‘The Protector’ as it isn’t such a great amount to incite a feeling however to request the eye, with the last painting being wealthy in shading and intense lines. Lichtenstein thinks about his group of spectators when utilizing creation in his works of art. “by stripping the location of all episodic and physical detail and setting the opponents on isolated boards, Lichtenstein gives the watcher of Whaam! with the substance of the war comic sort.” [7] Quote from Modern Romance: Lichtenstein’s Comic Book Paintings. This statement suggests that Lichtenstein needs to show a crude and straight forward painting with little to peruse in to as he has striped back all narrative detail, which means he doesn’t need anything pointless or false in his drawings. Examination 2 Enthusiasm for painting Klee and Lichtenstein both appear to have a similar energy and love for painting as each other. Klee’s energy is found in a video on the Paul Klee presentation, in the Tate Modern, in 2014 “Shading has claimed me⦠I realize it has a hold of me perpetually, shading and I are one, I am a painter” [8]. He has drenched himself in to the universe of painting and feels like he is really one with his fine arts. Close by his affection for painting he was likewise “interested by the connection among man and brute as much as that among man and nature” [9] This is what was thought to have driven Klee to draw ‘The Protector. Inside this statement we can see progressively about the capacity of the picture; it might have been to express Klee’s interest and explain his emotions towards the man and the mammoth. We see Lichtenstein’s commitment to his work of art in the video-‘Roy Lichtenstein: Diagram of an Artist’ where a colleague to Lichtenstein cites, in reference to painting “it was his bliss, it was his pleasure, it was everything” [10]. He likewise keeps on saying, “I’d watch him work and he was simply centered, nothing was an interruption” this shows how nothing could separate Lichtenstein and his artistic creations. In this manner, there is a reasonable comparability in the two specialists way to deal with drawing and painting, as they are both genuinely energetic about what they do and the craftsmanships they produce. Correlation 3 Recorded conditions + parts CBS news expressed, that for America, 1963 was “the year everything occurred” [11]. With an online picture display including, Martin Luther King’s opportunity discourse, the death of JFK and pictures from the Vietnam war. These occasions may have been over whelming for Lichtenstein and we see the consequences for him through different works he painted in 1963 including “Suffocating Girl” (1963) and “Crying Girl” (1963) these two canvases both incorporate upsetting pictures of a young ladies crying, one looking bothered and another suffocating. These variables, including the Vietnam war could have impacted his decision when painting these upsetting pictures. Nonetheless, the pictures seen in ‘Whaam!’ are ones of war and battling, yet a statement from Modern Romance: Lichtenstein’s Comic Book Paintings shows that the Vietnam war might not have been his fundamental motivation for the sketch “he started deal with the subject in 1962, at a moment that U.S. inclusion in Vietnam was as yet restricted and not yet a basic issue” [12]. Implying that different elements or simply unadulterated motivation from American comic books at the time drove him to make ‘Whaam!’. As we find in another statement from Modern Romance: Lichtenstein’s Comic Book Paintings-“Lichtenstein started taking a shot at scenes from war funnies in 1962. An agent case of the class is Whaam! which depended on a scene from “Star Jockey” in All American Men of War.” [13] The scene in ‘star racer’ is practically indistinguishable from ‘Whaam!’ persuading that he duplicated this funny cartoon. This might be another factor in the reason behind Lichtenstein’s artistic creations; he loves the appearance of the picture and reproduces it himself, implying that it might simply be plain stylish behind the genuine importance of his sketches, as he may not be bringing issues to light for the Americans in the Vietnam war on the grounds that their association was as yet restricted. Klee was in Germany instructing at the Bauhaus somewhere in the range of 1921 and 1931, in this time, he created “The Protector’. He showed classes, for example, bookbinding and painting on glass. An online article about Klee’s ‘Bau>
