Formal Analysis: Due 3/18/19 500 words
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Peer Responses 100 word min (2)
Peer 1: The stoic portrait of Hidatsa Warrior Pehriska-Ruhpa (Two Ravens) embodies the Great Plains era of Native American dress and art. Artist Karl Bodmer of Switzerland created this recognition in 1833. The Hidatsa Warrior Pehriska-Ruhpa was crafted using watercolor as its medium. It is considered small, measuring at 1’ 3⅞” by 11½”.
The portrayal of the Native American is a two-dimensional piece. Bodmer used several irregular triangles to develop his work. The shape of a large triangle emphasizes the warrior standing tall, his feet are spread apart from each other creating a triangle, and the mountains that loom behind him are in the shape of a triangle.
In the painting, light appears to be coming from the left side. The light behind the warrior does not change. Even though the warrior is facing towards the light, the artist did not distinguish any form of light on his body. The only clue to which direction the light coming from is the soft shadow of darkness to the right of the painting beside his feet.
Bodmer used very rustic hues to tell his story. He utilized different values of brown depicted on the ground his subject stood on, the skin color of the warrior, and the traditional attire. Values of red were portrayed in varied intensities throughout the long pipe being held, and along parts of the warrior’s clothing. The analogous colors worked in unity together to create the realistic portrait.
The true texture of the watercolor painting is smooth and soft. The artist was able to create the illusion of authentic texture in his painting by depicting the the leathers of the warrior to look worn and tough. The feather on the top of his head is delicately painted to appear soft and feather-like. The tassel hanging from the pipe looks like it could be the coarse hair of a horse.
The positive space where the primary objects stands occupies most of the painting, which gives you a feeling of being close to the object. Behind the primary object, the artist creates a deep negative space. The mountains in the background produce an atmospheric perspective, giving the illusion that they are far away.
In this painting there are several lines implemented. There are two horizontal lines showing the change from ground to mountains, and from mountains to sky. The artist clearly defined vertical lines to delineate the weight and gravity of the clothing and the object the warrior is holding.
Karl Bodmer respectfully depicted the Hidatsa warrior as proud and strong. He used natural complimentary hues that produced a lifelike portrait. The illusionistic textures of the warrior, his clothing, and objects showed appreciation of Native American traditions. Putting the warrior in the middle of the portrait, facing the light, and consuming a majority of the positive space gives the warrior a sense of power.
Works Cited
Kleiner, Fred S. Gardner’s Art Through the Ages. Cengage, 2017. Figure 20-26. Page 546. Print.
Peer 2:
Raphael’s Philosophy (also known as School of Athens) is representative of the artistic and Humanistic tendencies in Italy during the High Renaissance, circa 1509-1511. This mighty 19 feet long and 27 feet tall fresco graces the Stanza della Signatura – meaning Room of the Signatura, where an old papal council authored, authorized and signed many important edicts – inside the Vatican Palace; it depicts a congregation of Greco-Roman philosophers, whose works pervaded Western culture for centuries and were now becoming one with Christian theology.
This is a two-dimensional painting that captures a three-dimensional space to the minutest detail; a vast hall fashioned out of vaults and geometric shapes such as arches, semi-circles, squares and triangles, evoking the Roman architecture most of Raphael’s contemporaries held in high regard. It is important to note that all the patterns found in the mural had to complement one another, otherwise the balance and beauty of Philosophy and Humanism wouldn’t be displayed. In other words, not only is Raphael making a formal statement regarding the elements of art, but is also manifesting the spirit of his age.
Due to the fresco’s tableau-vivant quality, all of its surface is well-lit so as to make all Philosophers visible and recognizable. Sources of light are discernable by the direction of the few shadows pressed onto the marble floor; one is hidden behind the foreground vaults, and showers light upon the clique of Philosophers at the bottom right corner, possibly at a high angle. Another seems to be directly above Aristotle and Plato in the very center of the image.
A variety of colors makes the scene vibrant and vivid, as though one could just enter the knowledgeable assembly and stroll amongst these celebrated men, and listen to their debates and conversations. The walls are awash in muted whites to give the impression of marble, while the characters moving to and fro wear idiosyncratic garments, cloaks and robes for the most part, which no doubt serve the purpose of identifying them. Most significantly, analogous and complementary colors coexist within reach of one another, thereby creating a complex, but harmonious, composition.
Raphael had the gargantuan task of convincingly recreating the textures of a myriad surfaces onto the rough, coarse wall of the Stanza della Signatura. The representation of a fresco inside a fresco is almost postmodernist, yet Raphael did it without pretense or pomp; the grace of marble statuary is evoked by the portraits of Apollo and Athena on either side of the mural, while the texture of silk and cotton in cloaks and robes intermingles with that of facial hair, wrinkled skin, stone reliefs, baby-blue skies and distant clouds. Even the ephemeral nature of a shadow dissolving upon the floor is preserved for posterity.
Perspective is achieved by the walls and arches framing the mural, for the characters within it do not change in size in relation to their surroundings; in other words, all the human figures scattered about the scene are of equal size, conveying they’re a communal protagonist. They overlap over one another, creating the illusion of depth. Instead of conventional orthogonals, the vanishing point is created by the gallery-like structure housing the assembly. Although foreshortening is not extensively employed, its few instances are predominant in the composition, such as the arches that lead to the vanishing point behind Aristotle and Plato.
Right angles, straight lines, rectangular and square-like patterns on the walls, floors and décor, along with circumferential openings are balanced in proportion and frequency throughout the composition, creating a placid scene that reflects the order and logic brimming within the subjects’ minds. Lines are distinct and continuous in some cases, and indicate a sense of motion inward, or backward in the space of the fresco.
Humanism claimed the souls of both secular and religious men, and this grandiose piece of artistry is a manifesto of the Renaissance’s reverence for the Greco-Roman splendor of the past. As communicated by the assembly of great antique minds inquiring the nature of man, culture and religion now found the majesty of God in other aspects of life apart from the Bible and a church. And isn’t art at its best a reflection of societal beliefs and expectations? Aesthetic perfection aside – for the precise meaning thereof varies between centuries and hemispheres – art moves the heart and excites the mind. We the admirers of the School of Athens, become as its subjects: Philosophers pondering who we are.
Works Cited
“High Rennaisance and Mannerism in Europe.” Gardner’s Art through the Ages: a Concise Global History, by Helen Gardner and Fred S. Kleiner, 3rd ed., Cengage Learning, 2017, pp. 264–264.
Primary Bio Post: 3/19/10 150 Words
Attached are the articles for the Week 8 discussion. This abstract discusses gene expression changes related to e-cigarette smoking. Please focus your discussion on the biology of e-cigarette smoking (gene expression, regulation, mutation), rather than the social/cultural aspects. The abstract is short (it is a meeting abstract, rather than a full paper), so there are plenty of opportunities to bring in outside research on this topic.
Summary of effect of e-cigarettes on cells (Links to an external site.)Links to an external site..
Meeting Abstract (Links to an external site.)Links to an external site. on the effect of e-cigarettes on the gene expression in airway epithelial cells of the lung.
And a recent report in the New York Times (Links to an external site.)Links to an external site. from Jan 23 2018 explains the newest findings about the impact on vaping on health and addiction, the result of a comprehensive analysis of existing research on e-cigarettes published by the National Academies of Sciences, Engineering and Medicine (Links to an external site.)Links to an external site..
Bio Peer Response: 100 words 3/20/19
I have many friends who switched from tobacco smoking to e-cigarettes, and a lot of them would say they switched because it is supposedly harmless, smells better, cheaper, and it is just a better option overall. I have always wondered about these claims. Looks like my friends might be wrong after all because as it turns out, e-cigarette users develop some of the same cancer-related gene expression changes in oral tissues as cigarette smokers.
A research conducted by Professor Besaratinia of USC looked at gene expression in oral cells collected from 42 e-cigarette users, 24 cigarette smokers and 27 people who didn’t smoke or vape. They focused on oral epithelial cells, which line the mouth, as 90% of smoking-related cancers originate in epithelial tissue. They found out that “both smokers and vapers showed abnormal expression, or deregulation, in a large number of genes linked to cancer development. Twenty-six percent of the deregulated genes in e-cig users were identical to those found in smokers. Some deregulated genes found in e-cig users, but not in smokers, are nevertheless implicated in lung cancer, esophageal cancer, bladder cancer, ovarian cancer and leukemia”. This information agrees with the statement from this week’s article when it stated that “electronic cigarettes can change gene expression in a similar way to tobacco”. Although these changes are smaller than that of tobacco use, it showed similar patterns of gene expressions, which begs the question whether vaping can cause cancer as well.
E-cigarettes have only recently become very popular commercially so there are still a lot to be learned about it and thus more research is being done to confirm these findings. Either way, I think vaping is still harmful because of the chemicals that are mixed in the juice, and cancer is probably not the only issue to be concerned about vaping; there are probably more health issues related to it.
Resources:
https://news.usc.edu/154348/e-cigs-may-not-be-as-benign-as-many-believe/ (Links to an external site.)Links to an external site.
https://www.nature.com/news/e-cigarettes-affect-cells-1.15015 (Links to an external site.)
Problem Set Ch 9: 3/21/19
Answer the following questions:
1. What is the start codon? What are the stop codons? Do any of them code for amino acids?
2. The following segment of DNA codes for a protein. The uppercase segements represent exons. The lowercase segments represent introns. The lower strand is the template strand. Draw or write-out the sequence of the primary transcript and the mature mRNA resulting from this stretch of DNA.
3. Briefly describe the function of the following in protein synthesis:
a) rRNA, b) tRNA c) mRNA
4. Write the anticodons for the following amino acids:
a) Met b) Trp c) Ser d) Leu
5. Polypeptide folding is often mediated by other proteins called chaperones. Describe how a mutant chaperone protein might be responsible for a genetic disorder involving an enzyme.
The post Formal Analysis: Due 3/18/19 500 words
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