Geocaching

Geocaching is a fun and unique way of exploring the city. Not only are you involved in a worldwide scavenger hunt, but you get to learn the story behind the cache and visit some wonderful places that may be missed otherwise. I thought that geocaching really helped the class to bond more as a group since we were constantly working together to seek and solve the many caches. Geocaching has led me on some fun, exciting, crazy, sometimes even frustrating explorations but no matter what the outcome, I have walked away from each cache with great memories.

Philosophy of Art

While it remains purely subjective, art is a form of creative expression. How a piece is viewed and interpreted varies with each individual, though many have created guidelines in order to be able to analyze and classify forms of art. During this course I have learn at great deal about aesthetics and was able to gain a better perspective in regards to my own aesthetic. After taking this course, I am able to make a case why I like one piece over another and what makes it better. I really enjoy visiting the different galleries and have developed a better appreciation for art, in its many forms.

Master - Pupil Evaluation

Given the two sketches above, which one is better? Applying the Rosenberg criteria of line and tone, form, space and composition, I have deduced that the picture on the left is superior. In terms of form, the subject on left appears to be more realistic than that of the one to the right. The face is more expressive and appears more natural. The expression is softer and the hair flows down to her side. On the other hand, the woman to the right looks stiff and flat.The picture to the left is more balanced. The positioning of the mother and child is balanced out by the potted plant which reduces the amount of negative space. The use of lines and shading gives more texture and dimension to the piece. In the picture to the left, the position of the subject creates a great deal of negative space that fails to be balanced out by any part of the picture. The lines appear too rigid and the skirt of the dress looks overworked. I am unsure of how the material is flowing; it looks as if it’s just crumpled mess at the bottom whereas on the left, it is obvious how the outfit is draped.

Yo-Yo Ma and Rostropovich

Ludwig van Beethoven was a German composer and pianist. He was a musical genius and remains one of the most acclaimed and influential of all composers. He wrote Cello Sonatas No. 4 at the period of time in which he experience ailments and difficulties including his deafness. The composition belonged to Beethoven’s last creative period and was composed seven years after his sonata no. 3 for cello and piano. (wiki)

Since then, there have been many variations of the composition piece. Two of which have been by Russian cellist and conductor Rostropovich and French-born Chinese-American virtuoso cellist and composer Yo yo ma. Each version is an interpretation of the original piece by the artist. There is no way to determine which variation is better; that part is purely up to the listen to decide. Each individual has their own preference of what sounds “better.” Personally, I like both versions. Each piece has its own unique attributes. It is obvious (by its construction) that each version tells a different story and I like both for that exact reason.

In the Yo-Yo Ma version, it starts out with both instruments playing softly. The cello then begins to grow stronger and more dramatic in sound. This creates a feeling of somberness and mystery as if wandering into the depths of the unknown. There is a darker mood as the sounds grow heavier, then the pieces changes again into a more gentle melody. The notes converse with each other and give off an air of curiosity as if suddenly stumbling onto something peculiar. The piece continues in a softer melody with occasional deeper sound cello excerpts.

The Rostropovich version starts out heavier, with deeper notes which build up the tension. It sounds as if the cello and piano are having a conversation with one another. The construction of the piece is reminiscent to that of a battle between the two instruments. It sounds as if the piano is trying to outdo the cello and vice versa. The rivalry starts off in a playful manner and builds up to be a fierce battle between the two to see which will top the other.

Romeo & Juliet at the Globe

Romeo and Juliet is a tragic tale of two young “star-cross’d lovers” whose untimely death ultimately united their feuding families. The play is one of Shakespeare most popular plays and has been known to be one of the greatest tragedies of all time, but who knew it could be so comical as well? Throughout history there have been various renditions of this classic tale, the 2009 production of Romeo and Juliet at the Globe Theatre adds, yet, another twist to an old favorite. Past productions have, typically, been more on the serious and dramatic side. This version, however, was much happier and incorporated more comedy in its scenes than many have in the past. The entire play had lighter tone to it; even the most intense and dramatic scenes, such as the final death scene, felt more lighthearted than tragic. I, personally, enjoyed the production (aside from the standing part). The addition of comedy gave the play an interesting new twist – something I did not expect from the tragic tale of Romeo and Juliet. This creative new rendition, however, has gotten mixed review from the critics. Some loved every aspect of it while others found that the play was miscast.

ArtsHub:
“There is simply no reason to spend a night at the Globe this summer…”
“It is very difficult not to fall in love with Adetomiwa Edun’s Charismatic, glowing Romeo…”

The londonist:
“We missed the bubbling tribal tensions that fuel this play. We missed the Queen Mab speech: good as he is, Philip Cumbus' Mercutio didn't use the whole stage, and vocal projection remains a perennial Globe problem. We missed any tragedy. Worst of all, we missed a suitable Juliet.”

British Museum

The year 2000 marked the completion of the reconstruction of the Great Court of the British Museum. The formal opening of the Queen Elizabeth II Great court was conducted by Her Majesty the Queen on December 6, 2000. The Reading room stands at the center of the courtyard encircled by two grand staircases leading to the Joseph Hotung Great Court Gallery and the Court Restaurant. The inner courtyard is enclosed by a magnificent glass and steel roof which transforms the space and adds a contemporary twist to the Roman-inspired architecture. Upon entering the Great Court, my eyes were automatically drawn upwards to the glass roof. The combination of steel framing, glass panels and geometric shapes reminded me of the Pyramids at the Louvre, though the Pyramids had diamond-shaped glass panels while these were triangular. From the eggshell walls to the glass ceiling, all these different design elements come together to create a space that is both light and airy.


Displayed in the Asia room is the Shiva Nataraja. In Hindu belief, Shiva manifests five aspects of eternal energy: creation, preservation, destruction, concealment, favor. The bronze figure illustrates the Hindu god Shiva appearing as the Lord of the Dance in a ring of fire (representing cosmic activity), lifting his leg and balancing over the dwarf of ignorance, Apasmara. His long hair flows out as he performs his dance and nestled within it is the goddess Ganga. In his upper right hand he holds a double sided drum representing the primordial sound of creation. The upper left hand holds a flame, which signifies destruction. The opposing concepts in upper hands show the counterpoise of creation and destruction. He makes the gesture ‘have no fear’ and points to his raised left foot, symbolizing liberation.

The Bloomsbury group is a loose collection of writers, artists, and intellectuals that made the Bloomsbury area of London the center of its activities during the first half of the twentieth century. Their work deeply influenced literature, aesthetics, criticism, and economics as well as modern attitudes towards feminism, pacifism, and sexuality (wiki). The membership of the group is not clearly defined and members vary from source to source.

Members of the Bloomsbury group included:

• Adrian Stephen: Author and psychoanalyst. Married to Karin Castelloe. Brother of Virginia Woolf, Vanessa Bell and Thoby Stephen.
• Bertrand Russell: Philosopher and campaigner for peace.
• Clive Bell: Art critic. Married to Vanessa Bell.
• David Garnett: Writer. Lover of Duncan Grant, husband of Anelica Garnett.
• Desmond MacCarthy: Journalist and editor.
• Dora Carrington: Artist.
• Duncan Grant: Artist.
• E.M. Forster: Writer (novelist).
• Gerald Brenan: Writer.
• Helen Anrep: Bloomsbury supporter. Long-term partner of Roger Fry.
• John Maynard Keynes: Economist. Key Bloomsbury supporter.
• Karin Costelloe Stephen: Philosophy graduate and expert on Bergson. Married to Adrian Stephen.
• Katherine Mansfield: Writer.
• Lady Ottoline Morrell: Literary hostess and patron of the arts. Lover of Bertrand Russell.
• Leonard Woolf: Writer and political figure. Founded Hogarth Press with Virginia Woolf. Married to Virginia Woolf.
• Lytton Strachey: Writer (biographer and essayist) and critic. Cousin of Ducan Grant.
• Mary Hutchinson: Writer and devoted patron of the arts. Clive Bell's lover.
• Molly MacCarthy: Writer.
• Roger Fry: Artist and critic.
• Saxon Sydney-Turner: Civil Servant.
• T.S.Eliot: Poet.
• Thoby Stephen: The Cambridge connection. Brother of Virginia Woolf, Vanessa Bell and Adrian Stephen.
• Vanessa (Stephen) Bell: Artist. Sister of Virginia Woolf, married to Clive Bell.
• Virginia (Stephan) Woolf: Novelist, essayist, biographer and critic. Founded Hogarth Press with Leonard Woolf. Sister of Vanessa Bell, married to Leonard Woolf.
• Vita Sackville-West: Writer (author and poet). Long time lover of Virginia Woolf.
• Wyndham Lewis: Painter and writer. Early associate of Roger Fry and Clive Bell.

Key Locations

ELIOT, T.S., OM (1888-1965),
Poet, lived and died here.
3 Kensington Court Gardens, W8
Kensington and Chelsea 1986

FORSTER, E.M. (1879-1970),
Novelist, lived here.
Arlington Park Mansions, Sutton Lane, Turnham Green, W4
Hounslow 1983

KEYNES, John Maynard (1883-1946),
Economist, lived here 1916-1946.
46 Gordon Square, Bloomsbury, WC1
Camden 1975

MANSFIELD, Katherine (1888-1923),
Writer, and her husband John Middleton MURRY (1889-1957), Critic, lived here.
17 East Heath Road, NW3
Camden 1969

MORRELL, Lady Ottoline (1873-1938),
Literary Hostess and Patron of the Arts, lived here.
10 Gower Street, WC1
Westminster 1984

RUSSELL, Bertrand (1872-1970)
Philosopher and Campaigner for Peace, lived here in flat no.34, 1911-1916
34 Russell Chambers, Bury Place, WC1
Camden 2002

SACKVLLE-WEST, Vita (1892-1962),
Writers and Gardeners, lived here.
182 Ebury Street, Belgravia, SW1
Westminster 1993

STEPHEN, Virginia (Virginia Woolf) (1882-1941),
Novelist and Critic, lived here 1907-1911.
29 Fitzroy Square, W1
Camden 1974

STRACHEY, Lytton (1880-1932),
Critic and Biographer, lived here.
51 Gordon Square, WC1
Camden 1971

WOOLF, Leonard and Virginia
lived in this house 1915-1924 and founded the Hogarth Press in 1917.
Hogath House, 34 Paradise Road
Richmond Upon Thames 1976

The Photographers' Gallery

I found Maurizio Anzeri’s collection to be rather fascinating, both technically and symbolically. In his pieces, Anazeri stitches intricate color patterns into the surface of black and white portraits adding physical and psychological layers to the portraits. The layer of weaving threads is a technique in which I have not seen before. The patterns form a sort of image or pattern that I believe is meant to portray an alternative side to the individual in the portrait. It is possible that the portrait aspect represents the outer surface of their personality and how they present themselves to the public whereas the thread pattern overlay illustrates their true self.

Alina Szapocznikow’s collection was very interesting as well. She produced her ‘Photosculpters’ by molding chewing gum in her mouth and photographing the results. At first I wasn’t aware of what the subject was in the photographs. Only upon closer inspection did I discover that it was chewing gum. The black and white film strengthens the piece by limiting the different attributes that can distract the eye. Instead the pieces play with light, shadow and depth to emphasize the sculptures.

Catherine Yass’ series Damage also caught my eyes. She treats her film transparencies according to their subject matter. She drowns, burns, and scratches the negatives of urban scenes using the subject as the inspiration for its destruction. I find that her work plays around with the concept of irony; specifically, the idea of the subject’s purpose as the cause of its downfall. For example, scenes of waterways are drowned or representations of gas towers are burnt.

Jack the Ripper & the Victorian under class

In the late 19th century, an unidentified serial killer dubbed ‘Jack the Ripper’ roamed the streets of the largely impoverished Whitechapel area (the slums) preying on women. His victims were those of the impoverished under class – specifically, women earning income as prostitutes. The rapid urbanization simulated by Industrial Revolution in combination with the large influx of people in Britain in the 19th century led to the development of a massive economic under class. The huge population increase added to the overcrowding and the already worsening work and housing conditions. This poverty drove many women to prostitution. In October 1888, there was an estimated 1,200 prostitutes “of very low class” resident in Whitechapel and about 62 brothels (wiki). The social classes can be distinguished by inequalities in areas including (but not limited to) power, wealth, working and living conditions and life-styles. Among the classes are the: upper class, middle class, working class (divided between skilled and unskilled labor), and at the bottom of the heap is the under class. Those in the Victorian under class consisted of the homeless and prostitutes. Individuals of the underclass lived in poverty and were much more susceptible to exploitation, and were therefore exploited (victorian web).

Victorian Era, Jack the Ripper, Social Class,

Aesthetic & Tate Britain

What's your aesthetic?

When it comes to my aesthetic, I find it hard to pinpoint a particular world that I can be classified as. I enjoy a variety of art styles but if I must choose one I would have to say I am closest to being a classicist. I like looking for balance and harmony within art. Whether it’s a combination of light and shadow, sharp and faded, or deep and bright tones, I enjoy pieces that have a balance of opposite features. I also find that I have a tendency to gravitate more towards pieces that focus more on nature and landscapes. Though I’m not the biggest nature person, this style of art seems to affect my mood more so than other art forms.

Turner vs. Rothko

In the Turner/Rothko exhibit, I found Turner’s work to be of greater interest. In his earlier work Turner’s style appeared to be closely related to that of Rothko. They both created very abstract pieces and their brush techniques appear to be very similar. However, I found Rothko’s pieces to be more abstract in that there isn’t any type of indication of what the pieces is suppose to be or what it is representing. On the other hand, Turner’s abstract pieces had subtle clues (such as his use of certain color combinations) that help the audience visualize what he was portraying in the pieces. It seems that Rothko’s art style remained the same while Turner went through many phases in his lifetime. As you walk through the different rooms, you can see the changes his painting style over the years, It appears that over time Turner began to incorporate the use of lighting effects and more details into his work. The techniques used are so different that it’s hard to believe that all of the pieces were created by the same artist.

Aesthetic Dinner - TAS

On Tuesday evening I headed over to Bloomsbury Square to join my classmates and professor for dinner at a Turkish restaurant called TAS. This was my first time dining at a Turkish restaurant and was rather excited to find out what the food is like. Upon arriving at the restaurant I noticed that décor had a very natural and simplistic feel to it. The color pallet was very soft and consisted of mainly earth tones which created a very organic vibe. I also noticed the use of various contrasting textures on the walls and pillars. The windows allow plenty of light to pass through, providing the room with ample natural lighting. However, I found seating arrangement to be a bit congested and it was a bit of an inconvenience when trying to get in and out of my seat. The place setting was very simple and clean; all the dishes plated in a very minimalist style.

We started out with a pre-selected set of appetizers that consisted of: Humus (pureed chickpeas with tahini, garlic and lemon juice), Zeytin Yagli Patlican (aubergine, tomatoes, garlic, peppers and chickpeas cooked in olive oil), Tabule (chopped parsley salad with tomatoes, onions, cracked wheat, olive oil and lemon juice), Manca (spinach with fresh yogurt served with garlic), Zeytin Yagli Bakla (fresh broad beans, coriander, red & green peppers, dill, garlic, olive oil served with yogurt), Sebzeli Kofte (ground chickpeas and broad beans tossed in spices, deep fried and served with tahini sauce), and Borek (filo pastry filled with feta cheese and spinach). Each of the starters had a very different flavor to it and all were enjoyable but my favorite was the Humus which has a very smooth and creamy texture that paired perfectly with the bread. The Zeytin Yagli Patlican was sweet in flavor; the Tabule was tart with a strong lemon flavor; the Manca was refreshing and minty which I found to be rather surprising since it did not have any mint in it; the Zeytin Yagli Bakla had subtle kick to it which is most likely the work of the peppers; the Sebzeli Kofte had a denser consistency compared to the others and had a crunchy outer shell; and last, but not least, the Borek was creamy and had a fairly sharp flavor. For my main course I ordered the Kariski Izgara which is an assortment of grilled meats, i.e. chicken, lamb and meatball, paired with a side of couscous. The food was delicious; the meat was grilled perfectly and was not dry at all. The addition of the chili sauce added a nice burst of heat that warms the back of the throat, but be careful when adding the sauce – it is rather spicy and can overpower the rest of the dish if too much is added (not to mention you’ll be reaching for the water as well). We had the option of pairing our meal with a choice of house wines (red or white), compliments of Dr. Manley. I’m not big on wines in general and I found the flavors to be a bit too strong for my taste but it was nice to try them. Overall, my dinning experience at TAS ended up rather pleasant. Good atmosphere…good food…good company, what more can a girl ask for?

Review is also available on Yelp

The Canals

Today the canals are mainly used by the tourism industry and private boat rather – most commercial traffic is now on just a few navigation. The use of canals seems obvious, it a method of travel used to transport goods as well as people. But with alternative transportation methods such as automotive vehicles, trains and airplanes, commercial transportation through the canals seems unnecessary. With this in mind, one can’t help but question the original purpose of the canals? With a little research and the help of my good buddy Google, I discovered why the canals were built in the first place.

The Industrial Revolution forever changed the manufacturing process of merchandise. During the eighteenth century commerce was bursting in England and manufacturing was moving from cottage industry to factories. This introduced the concept of mass production of low quality goods. Additional roads were being built and improved but they couldn’t handle heavy bulk materials such as coal or fragile materials like pottery. A single horse can pull fifty tons in a boat, and there were over a thousand miles of navigable rivers, but the horses were become exhausted. Canals seemed to be the answer to moving such materials across long distances. The man most associated with the early canals was Francis Egerton, the Duke of Bridgewater, who, in 1759, built a short canal that by-passed the River Irwell. His Bridgewater Canal allowed his coals to travel from his mines at Worsley directly to Manchester and Livepool, without paying tolls to the Irwell Navigation. Coal prices were halved and he became even richer as the furnaces of the Industrial Revolution roared even louder. Over the next fifty years canal mania hit London and two thousand miles of canals were built linking the Rivers Mersey, Trent, Severn and Thames together.

Source: Canal Junction

London's History

Every country has had its share misfortunes; plague, fire, and cholera are all incidents that have greatly affected London’s history. Geocaching is a great way to discover more of London’s history as people uncover the locations and learn the significance of the caches. Geocaching has led me to several fascinating places, such as The Monument and John Snow’s pub, that I would have normally bypass without realizing the significance it holds.

Disease was rampant in the 17th century. In 1665, London received a devastating blow from the plague killing some 100,000 people. The plague was a horrifying disease that stalked the streets of London. It struck swiftly and causes agonizing pain to those infected as they struggle from fevers and swelling; victims died within days of contracting the disease. With no cure, people were dying at a horrifying rate as the plague swept through the country. Theories of the cause behind the plague abounded. These included clouds of poisonous air and livestock; many simply thought it was a punishment from God for their sins. In reality, the plague was actually caused by a bacillus in the fleas that lived on black rats. Rats flourished in the towns and cities and the plague bacillus was able to thrive due to the unseasonably hot weather. There are three human types of the plague: bubonic plague, septicaemic plague, and pneumonic plague. Historically, the majority of those infected died of the bubonic plague (most common and spread through fleas).

With little time to recover from the plague epidemic, London found itself in the face of another catastrophe. In September 1666, much of London vanished in the Great Fire. The fire broke out early Sunday morning and lasted for four days and nights – the last of the fire was extinguished on Thursday night. The fire destroyed over 13,000 houses, 87 churches, St. Paul’s, and the main buildings in the city. Only about a handful of deaths were officially documented but the actual death toll figures remains unknown. The London that grew up after the Great Fire was very different from the city it replaced. The urgent need to rebuild presented an opportunity for development and served as a driving force for the city’s expansion. The London that rose from the ashes formed the basis of the modern city we see today. Designed by Sir Christopher Wren, the building simply known as “The Monument” was erected in commemoration of the Great Fire of London. The structure stands tall at 202 feet and has become a familiar London landmark.

In 1854, a severe outbreak of cholera occurred in the Soho district of London, in and around Broad Street. Poor sanitary conditions of the city’s water supply served as the source of this terrible outbreak. Due to the large influx of people and lack of proper sanitary services, the River Thames became contaminated with the waste thus leading to the chorea outbreak. Early theories blamed the infection on mist and miasmas. John Snow, however, was skeptical about these theories and performed data analysis to prove theories on the source of cholera. His analysis led him to a water pump located on Broad Street which he later proved to be the source of the contaminated water. Snow went back to remove the pump handle and the cholera outbreak ended almost instantly. In the present day, the site of the water pump is marked by red granite on the curb outside of the present day John Snow pub.

data sources: wikipedia & channel4.com

The National Gallery

For class I visited the National Gallery where I was able to see many beautiful and fascinating pieces. One that I particularly liked was “The Ambassadors” (1533) by Hans Holbein. The painting contains a still life several meticulously rendered object and is also a double portrait. However, the feature that separates this piece from other paintings is the skewed skull located towards the bottom center of the painting. It is a particularly well-known example of anamorphosis in painting. The two portraits are of two young males, one in secular attire while the other is dressed in clerical clothes. They are both situated by a table which displays open books, two globles (one terrestrial and one celestial) and other worldly objects. The objects are symbols used to link the figures to the age of exploration. The skull is meant to serve as a “memento mori,” a Latin phrase meaning remember you must die and designed to remind the viewer of their mortality. In addition to the basic memento mori (a skull), Holbein uses the “vanitas,” or still life, to explicitly remind people of the vanity of worldly pleasures and goods. Common symbols are musical instruments and books – both are present in the painting. It is possible that the painting is meant to illustrate the existence of the three different levels. The celestial globe – along with other astronomical instruments – on the upper shelf portrays the heavens. On the lower shelf down are books and a musical instrument used to represent the living world. Lastly the skull, rendered in anamorphic perspective, is designed to signify death.
When view over the shoulder from the right hand side of the paint, the image of a skull becomes unmistakable. The underlining message of this piece is that death is inevitable. Humans are mortal being, whether or not they choose to believe so. When the time comes, wealth and power can do nothing to prevent the inevitable fate of all beings.

The Saatchi & Tate Modern

Modern art has never really been of a particular interest to me, but visiting the Saatchi and TATE Modern gave has given me a new appreciation for the art form. While I remain confused and in the dark, in terms of the message in which the artists were depicting, there were several pieces that I found to be rather fascinating. The following are pieces that I liked best.

Like Everyday Series
by Shadi Ghadirian
















Ghadirian uses a variety of everyday objects as masks to cover the faces of the women in her photographs. I find this clever in the way she presents the message of stereotype that people may have in respect to gender roles in society. The photos portray an interpretation of housewives being reduced to their identities as cooks and cleaners. I find this series of artwork to be very strong and encourages women to empower themselves through the use of negative stereotyping.

Ghost
by Kader Attia
















I find this to be a very strong piece. There are a large number of figures which represent a group of Muslim women in prayer. At first site it looks like the foil is molded over some sort of material or mannequin since the pieces are able to hold its shape very well. However upon closer inspection and venturing to the opposite side of the room, I discovered that the figures are hollow and the foil itself is a freestanding material. The artist renders the bodies of these individuals as vacant shells; voided of all personhood and/or spirit. I found this piece to be of great interest. The details in each individual shell are astounding; no two are the same. The details are elaborate to the point where you can basically figure out what each individual is doing where they are looking at. If you look close enough, you can almost make out a face in one of the shells as it stares directly at you.

The Unilever Series
TH.2059
by Dominique Gonzalez-Foerster
















I found this to be very interesting and very confusing at the same time. There seems to be a plethora of messages presented in the pieces. It seems like the artist was trying to create a sense of escape from reality and into the world of science fiction. The books on the beds consist of science fiction tale, many of which involve some sort of battle or another. The beds may represent the source to where individuals come to escape to an alternate reality. The series have a multitude of fascinating pieces of work that challenge how individuals see certain objects. The audience is often left in confusing, determined to figure out the meaning behind the different pieces of work and wondering how they all connect to one another.