Pocketpwaa 2024 Reimagining the Present PDF

Pocketpwaa! Next Update: Complete! Note 1: Writing styles in this guide will vary drastically due to having multiple authors Note 2: Sections will be assigned subjects based on the themes that they touch on most Note 3: You may gain early notes to the document by subscribing to our Patreon, or on wildcard factors based off of unreliable stuff. Or by helping us out with the study guide. Very important: Some of the articles may be missing. If they are, be sure to check the 2023 archive guide, as a lot of the missing details are there. Special Area: Lost and Font - Ethan If you walked out of your home without knowing you’d accidentally time traveled into the past, how long would it take you to realize what had happened? What if they had sent you back ten years, or thirty, or a hundred? Discuss with your team: how far into the past would you need to be to realize instantly that you were in a different era? Note: The following thoughts take into account that; the weather, temperature, humidity, etc… are exactly the same as before you time travelled; no paradoxes occur which would hinder you from interacting with your environment; you’re unable to see yourself or anyone you have a close relationship with; and that you don’t retain any items you had on you barring clothes _____________________________________________________________________________ _________ Thoughts: As a GeoGuessr player, this is the absolute easiest thing ever !!! On a more serious note, it really, really, depends. I’d imagine this whole section wants me to use fonts as an idea, but I live in a rural place so it doesn’t work. Here are my ideas: - Cars: They’re pretty odd things, and models can really tell something. If we count the cars outside my house as being different, then I only need 3 years back! We have model Ys, coming out in 2021. Otherwise it’s a little different. - Houses: Actually all of the houses in my neighborhood are like hella old - Bus: I got a bus station outside. At the bare minimum, 1998 was when the company who used that bus station was installed. - Very detailed stuff: There’s this log outside my house which only got there in 2022. And so on. Cars also look slightly dinkier in the past. So Conclusion: Personally for my house, like 2 years. I think a much more interesting question revolves around how far in the past you could identify if you were put in a random place. That comes down to the most obvious general change: Cars! (And fonts if you are super WSC centric). Cars developed incredibly quickly, so noticing you are in the past would be pretty easy on that. However, give it a threshold of like 20 years. Unless you look for teslas or something. Or are a car fanatic. Maybe if you're somewhere super remote, it’ll be hard. Give it back 200 years to when electricity was invented. If you don’t see wires or anything, you’re in the past. Or somewhere so remote that the US doesn’t even know about it. One clue to your whenabouts might be the text around you: not just the headlines on newspapers and store signs, but the fonts they’re printed in. Consider some of the history of typography, then discuss with your team: how different would the world look today if Microsoft had chosen Comic Sans instead of Calibri as its default typeface in the early 2000s—or as its successor 20 years later. The London Underground also decided to update its font in 2016 for a more modern look—did it succeed? Be sure to learn the difference between serif and sans serif fonts, and then see which ones are used more widely. Does the same distinction apply in non-Western alphabets? The Development of Fonts + The Reasons Behind Them Back in the day, books were a luxury for the high-class until Johannes Gutenberg rocked the scene with his 15th-century invention—the printing press. This game-changer opened the door to mass-producing books and also hinted at potential profits. The innovation drew inspiration from Screw-type presses in East Asia, making letter prints durable and reusable, saving loads of time. Gutenberg didn't stop there. He crafted the first-ever font, inspired by Blackletter calligraphy used in manuscripts. However, there were downsides: limited text per page and a single font type constraint. In 1470, Nicolas Jenson entered the scene, creating a simpler font for more efficient books. His smaller and easier font allowed more words on a page, based on typographic principles rather than the traditional manuscript style. In 1501, Aldus Manutius and Francesco Griffo pioneered the italic typeform to save space in books. Although initially criticized for poor readability, it's now notably used for emphasis. Fast forward to 1734, William Caslon introduced the Old Style, enhancing letter distinguishability and readability. John Baskerville joined the font evolution, developing Transitional typefaces with distinct letters. Despite improvements in type, ink, and printing, his fonts were criticized for their darkness and unorthodox appearance. A commercial failure in the 18th century, Baskerville's fonts experienced a revival in the 1900s. In the 1780s, Firmin Didot and Giambattista Bodoni created serif fonts, looking strikingly similar with one another. These fonts were better suited for headlines and titles, less readable at smaller sizes. The first slab serif template, named "Antique," emerged in 1815, designed by Vincent Figgins, grabbing attention with its indents and emphasis details. These specific fonts notably pioneered the creation of serif fonts, being fonts with notable indents in their typing. For example, fonts like this one right here are serif fonts. See the little indents in the letters? That’s what serif fonts are. However, fonts like this are sans-serif, meaning that they don’t have those special properties. The sans-serif revolution followed with William Caslon IV's “Caslon Egyptian” in 1816, influenced by block lettering from the Classical antiquity. This departure from traditional serifs marked the beginning of a font design era inspired by Egyptian writing, supported by Egyptomania - the obsession that the Western world had over Egypt. Jumping to the 20th century, Fredric Goudy became the first full-time font developer in the 1920s, creating iconic fonts like Copperplate Gothic and Goudy Old Style. Helvetica, Futura, and Optima were born in 1957, with Helvetica becoming a household name, still perhaps to this day. The digital age saw the birth of Digi Grotesk in 1968, paving the way for vector (smooth) fonts in 1974, and the revolutionary TrueType fonts in the late 1980s, easily accessible to computers and printers. Cross compatibility, anybody? Fast forward to 1997, where CSS incorporated the first font styling rules, and Internet Explorer began supporting web fonts. The Web Open Font Format (WOFF) in 2009 led to widespread use of web fonts by 2011, revolutionizing digital design. The journey continued with the introduction of variable fonts in 2016, part of the OpenType standard. These fonts proved more efficient in terms of size, with smaller file sizes and opening new possibilities for web typography. Challenges still persist in present day fonts, such as a lack of global language fonts and untapped potential in color fonts despite the OpenType SVG format allowing for such creativity. Yet we’ll just have to see what may happen later. Aptos: The New Default Font For Microsoft Office Apps In a major move, Microsoft bid farewell to “Calibri”, the default font for apps like Word and Outlook. The decision was made after testing five potential candidates in 2021, with the chosen one initially named Bierstadt but later renamed Aptos. This transition marked a significant shift, considering that Office apps contribute a quarter of Microsoft's revenue. The font switch accompanied the renewal of Microsoft 365 subscriptions, showcasing the company's commitment to refreshing its appearance, not only in design but also in font choices. Si Daniels, the principal program manager for Office design at Microsoft, announced this switch in 2023. The decision to change the default font was influenced by user surveys which would detail whether or not the general public would appreciate the change. Perhaps, however, the core reason for the switch was because of the shift from Steve Ballmer to Satya Nadella as CEO of Microsoft. Funnily, Satya was younger than the Calibri font itself. The journey to Aptos began in 2019 when Microsoft approached font designer Steve Matteson for a new font. Matteson, previously involved with Microsoft since the 1990s, contributed to the development of the iconic Segoe font used in Microsoft's logo and marketing. Unknown to him, Microsoft considered his font to replace Calibri, leading him to submit five proposal fonts (without identification). Matteson, still associated with Monotype at the time, had been actively engaged in the tech giant's endeavors, such as assisting with TrueType for Windows 3.1. His font, initially named "Grotesque No. 2," was eventually titled Bierstadt, paying tribute to a mountain in Colorado. Later, inspired by the coastal climate and feelings of California (but totally not by pressure from Microsoft), Matteson renamed it Aptos after a town in Santa Cruz. Apart from its aesthetic appeal, Matteson meticulously worked on the details of Aptos, ensuring compatibility and ease of transition from Calibri. This included adapting the font for various languages, crafting monetary symbols, and incorporating Greek and Cyrillic letters. In his final thoughts on the font and the change, Matteson highlighted Aptos' ability to distinguish between uppercase "I" and lowercase "l" easily. Despite this, he expressed his belief that Calibri did not have a significant problem. Just in general, the change to Aptos was made as a new, refreshing look to Microsoft. The London Underground Changed Their Font, Barely The original font of the London Underground, a masterpiece by calligrapher Edward Johnston in 1916, has recently undergone a barely noticeable transformation. The new adaptation, named Johnston100, was introduced in 2016 by Transport for London (TfL). Despite claims of subtle changes, some argue they're so small that they might go unnoticed by the casual observer. TfL states that these adjustments were made for a 21st-century adaptation, ensuring relevance in the modern era. The organization insists that the new style retains the soul of the original while adapting to the needs of the 2000s. Modern symbols such as # and @ have been introduced, suiting new communication needs. Jon Hunter, head of TfL design, emphasizes the font's importance in aligning with the times, particularly with the rise of social media. He notes that the inclusion of hashtags and at signs was essential in the new design, elements absent from Johnston's original work as they were unnecessary at the time. Donna Steel, curator of an exhibition about Edward Johnston, acknowledges the revolutionary nature of Johnston's original letters. The new font, Johnston100, is a delicate blend of readability, beauty, and simplicity, maintaining the essence of its predecessor. Monotype, the firm behind the adaptation, delved into the history of the font by studying old posters to preserve the soul and idiosyncrasies (Yes this is literally what the article used as the word - basically meaning distinctive behavior/feature) of the typeface. To understand the font's evolution, a brief historical journey of London Underground fonts is essential. In 1913, London transport director Frank Pick commissioned Edward Johnston, leading to the introduction of Johnston Sans in 1916, serving as the base for the text used today. A minor update occurred in 1970 when Eicchi Kono adapted the font for new printing technology, making slight adjustments like turning periods from circles to diamonds. In 2016, Johnston100 emerged, designed to be digital-friendly and to adapt to the changing needs of communication. The London Underground font change, though barely noticeable, reflects a new change in balance and need for adaptation. With this, the TfL hopes that this change will last for the next 100 years, like Johnston Sans had. Recently, the United States Department of State changed its own default font from Times New Roman to Calibri—20 years after first switching from Courier to Times New Roman. Each move sparked at least 36 points of controversy. Discuss with your team: should governments even have standardized fonts? If so, how should they pick them, and when should they change them? U.S. Font Change For Accessibility Purposes: TNR to Calibri In a move to enhance accessibility, the US State Department made a significant font change, transitioning from the classic Times New Roman to Calibri. Secretary of State Antony Blinken communicated this change to the department via email, setting a deadline of February 6, 2023, for the adoption of Calibri. The decision aimed to better accommodate visually impaired employees and was recommended by the Secretary's office of diversity and inclusion. However, not everyone welcomed the change with open arms. Complaints arose from employees used to Times New Roman, and the announcement received criticism, particularly regarding Calibri's aesthetics. Some argue that Calibri looks "ugly", perhaps a notion on how people have different opinions on fonts. This wasn't the first time the State Department altered its default font. Previously, Courier New 12 was used before shifting to Times New Roman, driven by a desire for a fresher, more modern appearance. Courier New 12 was literally the typewriter font. In the email explaining the meaning behind the change, Blinken pointed out the angular and decorative features of Times New Roman, which could pose accessibility challenges for individuals using Optical Character Recognition (OCR) tools, screen readers, and those with learning impairments. The decision solely revolved around addressing these accessibility issues for disabled individuals. The change triggered varied reactions within the State Department. While some employees saw it as a necessary step for accessibility, others expressed dislike. A Foreign Service officer noted that a colleague deemed the shift sacrilege. Interestingly, the same officer admitted not minding the change personally, as he disliked serifs, but he was not particularly fond of Calibri either. The font transition at the US State Department highlights the difficulties between settling for an option. No matter how juicy of a peach you are, some people will not like peaches. If all these fonts confuse you—or you just want to check whether a document (such as an alternative World Scholar’s Cup outline) is a forgery—you could always hire a forensic font expert. Read about the kind of work such experts do, then discuss with your team: should some fonts be reserved for exclusive use by AIs and others for humans? Font Detective Thomas Phinney Uses Typographic Clues to Determine Forgeries Thomas Phinney, a font detective, first set on this unique career when an attorney sought his expertise on a suspected forgery. At that time, Phinney was working as a product manager in Adobe's system font groups. Intrigued by the challenge, he delved into the task, employing a digital microscope and pixel counting to analyze fonts. His first case, named "The case of the Wicked Will," involved deducing that the printer used for the document didn't exist at the suggested date. This success propelled Phinney into becoming the world's foremost forensic font expert. His passion for typography and fonts, coupled with a keen understanding of dating fonts and technology, turned his work into a blend of art, economy, history, and technology. For Phinney, fonts matter everywhere, from the digital realm to books and printing presses. He emphasizes their significance in branding and marketing, where font choices can influence the perception of a brand. His website, Sciencegothic.com, showcases a typeface creator capable of representing over 500 moods and feelings. Despite his various jobs, Phinney remains fascinated by fonts and typography. An example case, "The Reprehensible Rabbi," involved uncovering a font mismatch (Perhaps don’t use a font which only existed a decade after your date states?) that revealed a forgery. Phinney's main job eventually shifted to font forensics in 2018, proving difficult yet intriguing alongside his font design tasks. Phinney categorizes these forensic cases into two types: Nefarious, involving ill-intent forgeries, and "Stupidly Tiny," determining if documents meet specific requirements. The latter includes quirky cases, such as evaluating whether tiny, tiny, tiny, tiny typography on a Justin Timberlake CD fulfilled public notice requirements for copyrights. His dream case involves major implications affecting many people, similar to the close call with allegations against George W. Bush. While the Bush case turned out to be fake news, Phinney's dedication and passion for his work still remains evident. In offering advice, Phinney encourages mid-career switches if aligned with personal belief and passion, stating that doubt shouldn’t hinder one's pursuit or their true passion. Thomas Phinney's journey is the clear-set example of what he suggests, a career into something he truly enjoys. Time travelers often struggle to pay for things; their currency has a cancelled Marvel actor’s face on it, or they don’t know what money is, or they can’t make the self-checkout machines work. (Then again, can anyone?) If you found yourself at a supermarket in 1963, you wouldn’t have been able to pay for anything at all until the clerk typed in the price of every item you wanted to buy, one at a time. Doing so quickly was a coveted skill: there was even a competition with prizes like free trips to Hawaii. The adoption of the barcode in the 1960s was a buzzkill for such price-inputting savants. Discuss with your team: what other technologies do we take for granted when we’re at stores or shopping online? And do you support efforts to reimagine in-person shopping without any form of checkout at all? Why Do People Hate Self-checkout? There is now a growing backlash against self-checkout machines, with several retailers reevaluating their strategies. For instance, Booths, a British supermarket, recently announced the removal of self-checkout in all but two of its stores. Other major players like Walmart, Costco, and Wegmans are also adjusting their approach to self-checkout. Nigel Murray, the managing director of Booths, expressed concerns about the efficiency and reliability of self-checkout machines. He highlighted issues such as slow processing and frequent misidentifications of fruits, vegetables, and alcohol, particularly with age restrictions. The concept of self-checkout itself was introduced in the 1980s with the primary goal of reducing labor costs. However, it gained significant traction in the early 2000s as a cost-cutting measure. The expansion and usage of self-checkout machines accelerated during the pandemic because of the increased focus on minimizing spread and contact. Despite its initial appeal, retailers are now considering the removal of self-checkout machines due to various problems. One major concern is the rise in shoplifting incidents, known as "shrink," which retailers blame on the self-checkout process. Studies have indicated that shoplifting is easier with self-checkout, leading to the reported millions lost by retailers. Notably, the statistics showcase a 4% shrink cost (double the industry standard at 2%) when attributed to self-checkouts. Problems with self-checkout machines include products with multiple barcodes, the need to weigh items like fruits and meat, and customers exploiting the system. Customers avoid paying fairly with various methods, from not scanning items at all to scanning cheaper items or using fake barcodes. In response to these challenges, some retailers are opting to purge self-checkout machines. Costco, for example, is adding more staffed checkout areas, due to the self-checkout problem of accepting non-costco members. The move away from self-checkout has reportedly led to a decrease in shrink for some retailers. While specific examples abound, it’s clear that the issues surrounding self-checkout machines are leading to a new change. The Iconic Barcodes’ Origin The origin story of barcodes is a long and interesting journey that began in Troy, Miami County, Ohio. The birthplace of this revolutionary invention holds a ceremonial occasion, with the small town taking pride in their creation. The first shopper to experience the barcode was Clyde Dawson, and the cashier was Sharon Buchanan, who checked out a pack of Juicy Fruit gum. The creator of the barcode, Joe Woodland, found inspiration while on Miami Beach. Drawing with his fingers in the sand, he conceptualized a code that could be printed and scanned quickly. This inspiration and brainstorming comes from Bernard Silver, overhearing the need for a barcode system and pitching the idea to Joe. So confident in his idea, Joe left graduate school to live in an apartment in Miami. The breakthrough came from Morse code, with wide and narrow lines influencing the barcode design. In 1949, they filed a patent in Philadelphia, and it was granted in 1952. However, their crude prototype, which used a 500-watt bulb and a giant code, was lacking technology only fully developed 2 decades after their breakthrough. In 1960, the laser was unveiled in California, causing concerns about its potential applications. Theodore Maiman created the first laser, with initial thoughts about its uses for welding, cutting, or medical surgery. However, the idea of using lasers in barcodes for check-out was not foreseen to him, or anybody associated. Kroger produced a booklet in 1966 envisioning the invention of the barcode, dreaming of an optical scanner that could quickly read prices and totals. A small research team at the Radio Corporation of America (RCA) eventually landed on the barcode idea with this booklet as an inspiration, buying the patents Joe Woodland had made years before. Specifically, the patent denoted a circular bullseye barcode, rather than the conventional rectangular one today. The first automated checkstands were installed at Kroger Kenwood Plaza in Cincinnati in July 1972. Trials showed superior sales figures and efficiency with the bullseye barcode. To revolutionize the checkout experience, the barcode needed to be universal. The Ad Hoc Committee of the Universal Product Identification Code was created to find a way to introduce a universal product code system. Despite many difficulties and resistance from manufacturers, seven US companies submitted systems to the Ad Hoc Committee. IBM joined the race at the last minute, employing Joe Woodland, the patent owner. George Laurer, however, created the version of the barcode IBM used, and IBM built a prototype scanner for testing. After a spectacular demonstration, the Symbol Selection Committee voted in favor of the rectangular UPC in 1973. The rectangular barcode faced skepticism from manufacturers initially but took off when mass merchandisers like Kmart adopted the system in 1980. The barcode became a crucial tool for manufacturing transformation and easy statistical analysis. Joe Woodland received recognition for his invention in 1992 by George HW Bush, and a few months later, he received the National Medal of Technology. Woodland's coincidence was living to see his vision on Miami beach come true, with the imagined barcode becoming integral with today’s life. Amazon Go! Amazon Go convenience stores operate on a revolutionary "just walk out" concept, eliminating the need for traditional checkouts or cash registers. Customers can simply grab their desired products and leave the store without going through the typical checkout process. The technology behind Amazon Go stores draws inspiration from self-driving cars and combines various advanced features, collectively named "Just Walk Out." This technology includes computer vision, sensor fusion, deep learning, and other cutting-edge elements. These components work together to create a frictionless shopping experience. The "Just Walk Out" technology keeps track of the inventory of items customers pick up, ensuring they are charged accurately upon leaving the store. While the system is highly sophisticated, it is not completely accurate, with occasional errors occuring. To use Amazon Go stores, customers need an Amazon Go account, which involves setting up a QR code as an entry ticket. Once inside the store, customers can begin shopping immediately, and as they pick up items, they are automatically added to a virtual cart within the Amazon Go app. Upon completion of the shopping experience, customers can simply leave the store, and the technology calculates the total price based on the items in their virtual cart. Digital receipts are provided through the app, an efficient checkout process. Amazon Go stores have gained popularity, and the company has plans to expand this innovative shopping concept to more locations. While still waiting for success, with a few spread locations in the US and UK, it shows a possible new idea we could see further implemented in the future. Just as barcodes transformed checkout, QR codes have changed many other everyday experiences, from debate tree distribution (sometimes) to accessing restaurant menus. But a change that seemed inevitable during the pandemic has run into resistance since. Discuss with your team: is this pushback a classic example of society resisting technological progress, only to eventually succumb? Are there any technologies that were supposed to change the world which were rejected and stayed rejected? Why QR Code Menus Are Far From Pleasing Anne Thériault's complaint about QR code menus is based on the idea that traditional menus possess a unique literary quality, offering a soulful experience. The weight of the menu, the texture of the paper, and the descriptions of food contribute to a luxurious dining experience. In contrast, QR code menus, popularized during the pandemic for safety reasons, are criticized for providing a less engaging and sensory experience. Thériault and others express a preference for the physicality of traditional menus, emphasizing their role in enhancing the overall dining ambiance. Despite their cost-effectiveness, they are frowned upon by many consumers. The rise of QR codes dates back to 1994, primarily used in Asian countries. However, their widespread adoption surged during the pandemic due to safety regulations. Even though the pandemic has dwindled, QR code menus have persisted due to their cost efficiency. Critics of QR code menus, including Conor Friedersdorf for The Atlantic, argue that physical menus serve as more than just tools for ordering food. They also act as historical documents, offering insight into cultural, culinary, and societal trends. For example, the New York Public Library's "What’s on the Menu?" project preserves and organizes over 45,000 menus from the 1840s. L. Sasha Gora, leading a research group at the University of Augsburg focused on culinary and natural history, asserts that menus serve as archival traces of diets and demand. They reflect changes in ingredients, including instances of extinction, such as the passenger pigeon. Despite their extinction, restaurant menus continued to offer passenger pigeon pie, illustrating a perception of abundance that contradicted reality. Menus also play a role in gender studies. Historical menus sometimes featured a separate "ladies" menu without prices, a practice which disappeared after a Californian woman threatened a restaurant on discrimination. Additionally, the wording of food items on menus can be gender-oriented, revealing societal norms and expectations. (An example could be the “Dirty Brunch” and the “Clean Brunch” in a restaurant Sasha used to work at) Furthermore, menus offer glimpses into the nature of many restaurants. They document the appearance and disappearance of them, providing a tangible link to their past which otherwise wouldn’t exist with QR codes. In preserving physical menus, one can “actualize the food and immortalize the essence of a restaurant”, leading to the preservation of a piece of our history. Which is always good, apparently according to WSC. Art & Music + Special Area: The Stuff that Dreams Are Remade Of - Ethan, Sonic Artists sometimes rethink what materials can even be used to make art. Consider the butter sculptures of Caroline Brooks, or the cassette tape sculptures of Erika Iris Simmons, in which the artist crafted portraits of famous musicians out of their own recordings. Discuss with your team: should more portraits be made of materials related to their subjects? Do works such as Dominique Blain’s Missa—an assemblage of one hundred army boots—force us to reconsider old topics in new ways, or do they rely too much on novelty instead of skill? Butter Sculpting?: The tradition of using butter as a sculpting material traces its roots back to banquet art, particularly associated with the Renaissance and Baroque periods. Similar to sugar art, butter sculptures were created for entertainment and as symbols of special occasions. The earliest recorded reference to butter art dates back to 1536, where Bartolomeo Scappi, the cook of Pope Pius V, created a variety of sculptures using this medium such as an elephant and a Tableau of Hercules fighting a lion. Caroline Shawk Brooks, an American sculptor born in 1840, gained prominence for her butter sculptures, whose lives were extended by being cased in ice. She regularly employed traditional tools such as butter paddles, broom straws, and a "camel's-hair pencil," rather than “lazier” molds and shapes, allowing her to craft extremely detailed sculptures which earned her widespread praise. One of Brooks' most notable butter sculptures is her 1873 creation, "Dreaming Iolanthe" which depicts, as one would expect, Iolanthe - the blind princess from the drama "King Rene’s Daughter”. This sculpture was exhibited in Cincinnati in 1874 for two weeks, drawing in over 2,000 visitors. In 1876, Brooks crafted a bas-relief (shallow) of Iolanthe for the Centennial Exhibition in Philadelphia. Additionally, she also made a full-sized butter sculpture of Iolanthe, which was shipped to Paris for the 1878 World’s Fair. After studying art in Paris and Florence, Brooks transitioned to using marble as her primary medium, but continued to incorporate butter into her creations on occasion. Another notable butter sculptor is John Karl Daniels, a Norwegian-American whose creations were featured in the Louisiana Purchase Exposition in 1904 and the Minnesota State Fair in 1910. The Art of Reusing via Cassette Tapes: Erika Iris Simmons has carved her own niche in the art world by working with unconventional materials such as old books, cassette tapes, cards, and magazines. Her preference for using older, past-their-prime materials brings a sense of nostalgia and perhaps themes of renewal, suggesting that even when past its good point, something still matters. The particular focus of Simmons' work with cassette tapes and reel tapes is highlighted in her series titled "Ghost in the Machine." In this series, she uniquely portrays famous celebrities using the magnetic ribbons from cassette tapes. Notable figures such as Marilyn Monroe, Bob Dylan, and Robert De Niro are portrayed using this technique. What adds an interesting twist to her creations is the choice of tape based on the profession of the individuals portrayed. Actors are represented with film tape, while songwriters and composers are brought to life using audio tapes. This clever use of different tape mediums adds layers of meaning to her artworks, emphasizing the connection between material and artist. Erika Iris Simmons' ability to transform discarded materials into works of art not only showcases her artistic talent but also allows viewers to reconsider the value and potential of items that have surpassed their usage. Through her innovative approach, Simmons breathes new life into these materials, creating a visual dialogue between the past and the present. MISSA: One of the More Cryptic Art Pieces in the Curriculum. "MISSA (1992-2012)" is a striking piece that consists of 100 pairs of army boots, created using mono-filament and a metal grid. This piece is part of the Musee des beaux-arts de Montreal collection, housed in the Montreal Museum of Fine Arts. The piece’s title, "MISSA" has Latin origins, in which it means "to be sent". It also serves as the origin for the word "mass". The arrangement of the 100 pairs of army boots is meticulously uniform, with all the right shoes lifted in unison. This positioning may carry connotations of the mindlessness and treachery often associated with war. The artwork seems to treat the soldiers as identical entities, emphasizing their sameness and perhaps portraying them as puppets serving a totalitarian regime. The careful arrangement of the boots evokes a sense of order, prompting a viewer’s reflection on the dehumanizing and solemn aspects of war. The negative spaces in the composition contribute to the ominous feeling, creating a mood that suggests a historical context of war and conflict. The grayscale presentation adds to the atmosphere, another addition letting people who view this artwork reflect on war. The eerie quality of "MISSA" invites viewers to engage with the artwork on a deeper level, encouraging newfound reflection on the past and its history of the dehumanizing aspects of war. The uniformity of the boots serves as a metaphor emphasizing the lack of individualization in the cold reality which is conflict. A scholar from New Zealand once revealed that her artistic talent also involved an unusual medium: she painted on pizza dough—with tomato sauce. (This approach works less well on existing paintings.) If she had been born 40,000 years ago—and to an egalitarian society with access to foreign fruits—she might have painted on cave walls instead. While tomato-based pigment wouldn’t have survived to the modern era, some ancient cave art has. Consider recent efforts to reconstruct the earliest cave art, including this 35,000 year-old illustration of a babirusa deep in the Maros-Pangkep caves of Indonesia. Then, discuss with your team: were these early cave dwellers artists? Is there a difference between painting and documentation—or between drawing and doodling? Are Charles Darwin’s surviving sketches of finches in the Galapagos fit to be called works of art? Cave Art 1.0! The reconstruction of ancient arts has experienced a leap with the usage of new technologies, revealing previously unseen details and artworks from the past. One notable example is the digital analysis of rock surfaces, uncovering ancient art dating back over 2000 years. This revelation, published in the Antiquity Journal by Jan Simek at the University of Tennessee, showcases giant glyphs carved into the mud of a low-ceiling cave in Alabama. The specific cave, the 19th unnamed discovery since the first North American one in 1979, presented a unique challenge due to its inaccessible 60cm height. The solution was photogrammetry, a technique involving thousands of photos digitally combined in 3D to "lower" the ground by 4 meters and provide a better view of the paintings. Radiocarbon dating placed the artworks depicting human and animal forms between 133-433 AD, believed to represent spirits of the underworld, a significant aspect of the Indigenous culture. The use of new technologies extends beyond the Alabama cave, with the earliest rock art found being at least 64,000 years old. However, the challenge lies in the fact that we likely know only a small percentage of total rock art, as pigments can disappear, and rock arts may crumble over time. Digital manipulation of images, including enhancements and the use of technologies like Reflectance Transformation Imaging (RTI), aids in the discovery of ancient stencil art and light engravings that are notoriously difficult to otherwise discover and perceive. In the case of El Castillo, Spain, an engraved Bison was revealed using RTI, emphasizing its potential for further archaeological exploration. The application of infrared frequency light technology, similar to that used in full-body scanners for airport security, has also played a role in uncovering obscured paintings. By "seeing through" calcium deposits and layers of wear, this technology has bec ome a useful tool in revealing the hidden status of ancient art. Leang Timpuseng Cave and its Paintings: The Leang Timpuseng Cave in Maros Pangkep, Sulawesi, Indonesia, has become the site of a revolutionary archaeological discovery, as cave paintings within it are among the oldest recorded in the world. Led by Dr. Anthony Dosseto, a team of scientists from the University of Wollongong, Australia, revealed that the earliest art found inside Leang Timpuseng dates back to an astonishing 37,900 BC, making it the second oldest in the world, just behind the El Castillo paintings dating to 39,000 BC. The dating of these images utilized Uranium and Thorium techniques applied to overlaying calcite and mineral deposits within the cave. Leang Timpuseng is one of 90 caves at Maros Pangkep with stone art, and the paintings were not created by Homo Erectus but by the modern Homo Sapiens, likely Aboriginal migrants on their way to Australia. The discovery of the cave paintings has a rich historical context. British naturalist Alfred Wallace (who served a vital role in getting Charles Darwin to publish “On The Origin of Species”) first discovered and visited Leang Timpuseng in July 1857, during his trip to the East Indies, but he did not mention any cave paintings in his published results. It was only in 1905-6 that Fritz and Paul Sarasin led an exhibition to Indonesia, returning with vivid accounts of the cave paintings but providing few specifics regarding caves and locations. The first detailed account of the Maros Pangkep cave paintings emerged in 1950 when H.R. van Heereken reported hundreds of hand stencils and animal depictions. Despite Indonesian researchers conducting excavations in the cave, detailed reports were limited, assuming the art to be only 12,000 years old. Recently, an Australian-Indonesian team re-examined 14 pieces of art, dating 12 human hands and two animal images using the "Uranium Decay Technique." The results were shocking, indicating that most of the artwork is 25,000 years old, making it some of the oldest dated works of art in Southeast Asia. The significance of these cave paintings extends beyond their age. Previously, it was believed that humans lacked art skills before leaving Africa, and the clash between modern humans and Neanderthals in Europe around 40,000 BC was thought to have created a major cognitive advance. However, the Sulawesi cave paintings challenge this belief, suggesting that artistic abilities existed in Africa before the migration. The evidence of prehistoric art in Sulawesi, supported by new discoveries in South Africa, hints at arts which might extend to Aboriginal art in Australia - yet, none have been found to support the extension yet. Just in general, the significance of the discovery leads into reshaping our understanding of how we evolved. Finches & Evolution? Charles Darwin's journey aboard the HMS Beagle marked a critical moment in the history of science, laying the foundation for the theory of evolution. The HMS Beagle set sail on a voyage of exploration, and Charles Darwin, serving as the ship's naturalist, embarked on a mission to study the diverse flora and fauna of the places they visited. The crew reached South America after a stop in the Canary Islands, where Darwin spent the majority of his time on land collecting data. One of the most significant stops on the journey was the Galapagos Islands, located in Ecuador. Although the HMS Beagle crew and Darwin spent relatively little time on the islands, the research conducted there had a profound impact on the development of the theory of evolution we still know today. Darwin's observations on the Galapagos Islands, particularly his study of the diverse finches inhabiting the region, played a crucial role in the formulation of his theory. Darwin was unfamiliar with birds, so he killed and preserved specimens for later study, consulting with an ornithologist, John Gould, for additional insights. Upon returning to England in 1836, Darwin collaborated with John Gould to examine the collected specimens. Gould identified the 14 birds as different species, with 12 being entirely new. The distinct beaks of the finches were a particularly noteworthy adaptation, and it was concluded that these birds were native to the Galapagos Islands. Darwin's observations of the finches and their unique adaptations, especially in relation to their beaks, became a key piece of evidence supporting the theory of evolution. The finches on the Galapagos Islands showed variations in beak shapes adapted to different types of food available on the islands. This observation allowed Darwin to challenge the ideas of emerging species at his time, particularly those put forth by Jean-Baptiste Lamarck, who suggested that species could spontaneously appear. Charles Darwin did not formulate the theory of evolution during his voyage, however, but gathered the evidence and insights that would later contribute to it. His grandfather, Erasmus Darwin, had previously proposed the concept of evolution, and Charles used his observations and ideas to prove such an idea. If it were a Starbucks, they’d just build another one across the street. It’s harder to know what to do when a historical site is overcrowded. Some governments impose quotas, as Peru did in 2019 on visitors to the Incan city of Machu Picchu. Facing a similar situation when tourists swamped its Lascaux Caves to see the art on their walls, France—built another one across the street. Is it misleading to present such recreations to tourists as worthwhile destinations? Does it matter whether the duplicates were made by human hands or a 3D printer, or how far they are from the original? Lascaux IV: The Lascaux caves, discovered in 1940 in Southern France, became a popular tourist attraction after World War II. However, due to the presence of visitors and the potential damage caused by carbon dioxide and sweat, the caves were sealed off in 1963. To preserve the ancient artworks, the French government invested 64 million euros in creating a near-perfect replica known as Lascaux IV. The discovery of the caves occurred when four teenagers and a dog were exploring a forest, and the dog fell down a hole leading to the caves. Following the closure of the original cave, the replica was meticulously crafted to provide an authentic experience for visitors. Dina Casson, involved in the project, emphasized the importance of recreating the impression of going underground and coming out of the cave, capturing the powerful sense of transitioning between these spaces. The process of viewing the replica involves starting outside, on top of the underground museum, and walking down to the cave entrance. The careful design aims to mimic the feeling of entering the original caves. Over 600 paintings and 1000 engravings, created over 20,000 years ago, are replicated within Lascaux IV. Archaeologist Jean-Pierre Chadelle, who used to give tours of the original cave, discusses the advanced nature of the prehistoric art. Using a laser light to point out details, Chadelle provides insights into the construction and significance of the artworks. Guillaume Colombo, the director of the new cave, also notes that the replica is almost more real than the original. The original cave's durability is notably due to specific conditions, including a lack of temperature changes, a dry environment, and the layer of clay in the soil that made the cave air and water tight. The absence of stalactites or stalagmites, formed by water, further contributed to the preservation of the art. The notorious layers of calcite could not form either, specifically under these conditions. Prehistorian Jean Clottes suggests that the paintings may not represent the animals eaten but played a significant spiritual role in early cultures. Lascaux IV, known as the third and most costly attempt to replicate the famous cave, is precise to 3mm thanks to 3D digital scanning. Francis Ringenbach led the team of 34 artists who reconstructed the cave. The painstaking process involved tracing the art onto the wall, copying it pixel by pixel. The team gained a real appreciation for the ancient skills, realizing the level of advancement required to use the surface of the cave effectively. The replica, referred to as Lascaux IV, now provides an interactive experience for visitors, offering personalized tablets in multiple languages. It serves as a link between the past and present, with visitors exploring questions about the creation of the art and the mysteries surrounding the circumstances of the cave paintings. Consider this proposal to build another Egyptian pyramid in Detroit or this second Eiffel Tower, named Eiffela by creator Phillipe Maindron. The world is full of such efforts: learn more about these other Eiffel tower replicas, including those in Texas, Pakistan, and China, then discuss with your team: what other historical landmark would you want to duplicate? Where would you put it, and would you make it exactly like the original or would you reimagine it in some way? How Many Pyramids Could Thy Build? In 1908, engineer E.S. Wheeler entertained the idea of building a pyramid in Detroit, showcasing a comedic, unserious take on the requirements for such a project. The concept, presented in a somewhat-comedic paper although in an actual formal document, was largely based on imagination and speculation rather than concrete facts. The proposed location for the pyramid was a 12-acre site in Detroit, specifically in Cadillac's village. Wheeler estimated the cost of constructing the pyramid to be almost 1 billion in today's money. Despite the apparent comedic tone, he expressed optimism about the speed and vast resources available in America. The paper included supposed facts and figures to support the idea. Wheeler suggested that the construction would require 24 million days of work. If one-fifth of the population could contribute to the project, involving 16 million people, the pyramid could theoretically be built in just a day and a half. Using today's population figures, with over 300 million people, Wheeler whimsically suggested that 2.5 pyramids could be constructed daily*. What I personally add to this is that, funnily, Egypt’s tourism industry is around 30 billion (rough estimate) today. Imagine if the US reconstructed the pyramid and got that return as well! *With how bureaucratic the American legal system is, inevitable disagreements, little-no design work (all specifications would have to be completed within hours), crowd-crushing issues (25 million people per acre) and safety hazards among other things, this estimate is ridiculously inaccurate. The Eiffel Tower’s Little Sister: Eifella! In a playful tribute to the iconic Eiffel Tower in Paris, Phillipe Maindron constructed a scaled-down replica named the "Eifella." The Eifella, also located in Paris and standing at around 1/10th the size of the original, reaches a height of 32 meters. Despite its smaller scale, it serves as a carefree and funny tribute to the famous landmark. The Eifella was not just an intrusive idea but a tangible creation, standing proudly from April 1 to 10, 2023. The project, which could initially have been mistaken for an April Fools joke, demonstrated Maindron's creative expression and appreciation for the historical significance of the Eiffel Tower. As for the original Eiffel Tower, construction commenced in 1887 and was completed in 1889 in time for the 1889 Paris Exposition. Initially intended to be a temporary structure, it has lasted as a symbol of Paris, serving various functions over the years, including as a radio tower and television broadcast point. Today, its main purpose is simply being a tourist attraction. A List of Other Eiffel Towers. Lyon, France: "The Metallic Tower of Fourvière" Built: 1892-1894 Height: 101 meters Note: Article falsely claims it was built 3 years before the Eiffel Tower Paris, Texas, USA: Built: 1993 Height: 20 meters Note: Features a distinctive Cowboy hat on top, possibly included to beat a similar Indiana tower Blackpool, England: Built: 1894 Height: 158 meters Las Vegas, USA: Height: Approximately half the size of the original (around 115 meters) Location: Paris Las Vegas Hotel & Casino, next to replicas of the Arc de Triomphe and Louvre Tokyo, Japan: "Tokyo Tower" Height: 333 meters Note: Taller than the original Eiffel Tower, second tallest structure in Japan Tianducheng, China: Height: 108 meters Note: A small town designed to replicate parts of Paris, functioning as a tourist city Slobozia, Romania: Height: 60 meters Note: Commissioned by a Romanian billionaire, standing in a field. Sydney, Australia: "AWA Tower" Built: 1939 Height: 46 meters above a 55-meter, 15-storey building Note: Functions as a radio transmission tower Lahore, Pakistan: Height: 80 meters Note: Constructed as a focal point for a housing estate Filiatria, Greece: "Little Paris" Height: 26 meters Note: The Eiffel tower replica is a main attraction in this small Greek town Even if these sites weren’t overcrowded—more Baku than Kuala Lumpur—they would still require us to travel to them. Not everyone has the means. But, at least in theory, far more people could visit reconstructions of them in virtual reality, or VR. (VR was the last trendy two-letter acronym before AI.) Explore the offerings of the Australian company Lithodomos, then discuss with your team: would you support this technology being used in classrooms? Should more real-world tourism be replaced with VR visits? Check out the following VR implementations at museums, then discuss with your team: are these VR interpretations of past works themselves new works of art? The Ochre Atelier | London Tate Museum The Opening of the Diet 1863 | National Museum of Finland Lithodomos, Pompeii, and the Colosseum; Archaeologist Andrew Goldman now introduced VR technology to his class, delving into the ancient wonders of Pompeii. Students, with smartphones and VR gear, embark on a journey through colorful 360-degree views of Pompeii's various spaces, from the House of the Faun's atrium to a Bakery. With Lithodomos, a VR experience creator for tourists, Goldman tests classroom applications to revolutionize education. Students like Will Georges actively engaged with the program, answering questions about Pompeii's daily life, its living spaces, and water sources. This interactive learning experience challenges the initial thought and belief of the class of Pompeii being a small town. Goldman, eager to captivate students, collaborates with Simon Young, Lithodomos's founder. Thanks to a grant from Gonzaga University, the project began, leveraging VR's potential for education. Goldman envisions a future where the powerful VR technology in smartphones becomes natural in classrooms. The approach, with a $20 app offering VR images for coursework, opens possibilities for widespread adoption. Assigning coursework based on various VR viewpoints, Goldman additionally immerses students in the Colosseum, stating that such was his favourite example for a lesson. This trip in the Colosseum encompasses 12 locations, from where the most wealthy would sit to the nosebleed sections. This would not only strengthen historical accuracy but also offer insights into the lives of the less-fortunate. By exploring how structures were built and understanding historical viewpoints, students can immerse themselves in a closer reality to the past. In general, it put VR in a pseudo-point of both being used for educational purposes and also the less-amicable idea of using it for other brain rot. Social Media has gone down the drain - what’s next? Modigliani, That One Surreal Caricature Painter, & His Studio: In 1919, Modigliani returned to Paris after the first world war, where Léopold Zborowski secured a modest studio for him and his partner. Today, a century after the last instance of usage, his studio still stands, though transformed and artistically worn over time. The immersive VR experience hosted by the Tate art museum meticulously recreates Modigliani's final studio, where he spent his last months of his life from 1919 to 1920. Through over 60 artifacts and painstaking research on his paintings, the space is brought to life. However, with no existing photos from the 1910s, the process of recreating the studio was certainly a large challenge. The main form of recreation was based on first-hand accounts and the studio's actual empty space as clues, taking over five months of rigorous research to reconstruct the environment. Every detail, from the lighting through the window to the placement of specific artifacts, was meticulously studied and pieced together. The collaborative effort involved various sectors of Tate Museum, including their AV, Conservation, Curatorial, and Digital teams. Research trips to the studio, along with collaborations with colleagues at art museums in Sao Paulo and the Metropolitan, provided valuable aid for the unguided project. This attention to detail extends to Modigliani's artworks, including notable pieces like "Self Portrait" and "Jeanne Hébuterne" (1919). Through extensive research, the team ensured that the artworks are portrayed with meticulous accuracy within the studio. In summary, the new experience is a showcase of the concept that art doesn’t form from complacence, rather it arises from the environment an artist creates and lives in. The Non-food-related Diet of Finland: We’re now introduced to the National Museum of Finland's new exhibit centered around R.W. Ekman's painting "The Opening of the Diet 1863." The experience offers visitors unique perspectives on the Diet of Finland, allowing viewers to interact with the Emperor, representatives from various social classes, and even visit the Hall of Mirrors in the former Imperial Palace. The exhibit is part of a broader exploration of 1860s Finland as a Duchy of Russia, aiming to showcase artefacts and present people with a view of a part of Finland’s past. Zoan Oy, the largest Finnish VR studio, created the virtual experience to transport visitors to a crucial moment in Finland's legislative history. The Diet of Finland served as the main legislative assembly from 1809 to 1906, a period when Finland, while a duchy of Russia, maintained a degree of independence. The virtual experience specifically focuses on "The Opening of the Diet," a historic event that took place in 1863 after the Crimean War. This marked the first time the Diet had opened in 54 years. During this assembly, Emperor Alexander II called representatives of the social hierarchy to discuss vital matters. The Emperor made declarations promising constitutional changes and emphasized the need for the Diet to discuss at least every five years. Through this VR experience, visitors can step into this crucial moment in history, learning more about the old legislative environment of Finland. Artists have been experimenting with integrating VR directly into their work. Consider the pieces below, then discuss with your team: would they still have as much artistic value without the VR elements? How soon do you think AI will be integrated into art in the same way, or is this integration already happening? I Came and Went as a Ghost Hand | Rachel Rossin (2016) La Camera Insabbiata | Laurie Anderson & Hsin-Chien Huang (2017) Cryptic Artwork 1: ICAWAAGH The Center for Contemporary Art has recently opened, now the UK's first dedicated VR showcase space. Tucked away in a tiny room, this anechoic chamber minimizes light and sound penetration, creating an immersive environment that transports users to a completely different reality. (Anechoic meaning, er, minimizing light and sound.) The “currently” featured artwork, "I Came and Went as a Ghost Hand," is a creation of Rachel Rossin from 2015 during her research and development in VR in New York City - in reality the artwork was the one hosted on the website. Users are led to explore a strange and surreal world, distinctly separate from reality. With a pale yellow background extending in all directions, the artwork presents a depthless surface later uncovering a random assortment of both recognizable and nonsensical objects. As users explore this virtual space, they do so as ghosts, hence the name of the exhibit. This entails being unable to interact with this dream world. Over time, a clearer sense of location emerges, revealing the space as a modern-day representation of a studio – a depiction of Rossin's own environment. The intentional shattering and mis-organization of the rendering - the picture in general - serves as a metaphor for entropy, symbolizing the compression, distortion, or loss of data over time. The exhibition not only showcases the potential of VR but also challenges its limitations with the artist’s statement being about compression and entropy. As VR technology continues to advance, it can reimagine our understanding of how we interact with the world. However, a current drawback of this VR experience is its limitation of participants, with only 1 person at a time. It is said such limitations will be addressed by the industry eventually. The exhibit, in total, leads to creative interpretations of the possibilities in the future. Cryptic Artwork 2: La Camera Insabbiata "La Camera Insabbiata" is a unique VR experience showcased in the outdoor plaza of the Taipei Fine Arts Museum. Created by the collaborative geniuses of Laurie Anderson and Hsin-Chien Huang, this exhibit takes inspiration and expands on their previous work, "Chalkroom," originally featured at the Massachusetts Museum. "La Camera Insabbiata" delves into the creation of exclusive worlds, drawing inspiration from personal experiences and memories. Laurie Anderson added a site-specific painting to the exhibit, enhancing the nature of the artwork to reality, yet its non-euclidian thread separating it from such.. Huang emphasizes that VR breaks the limitations of reality, opening the door a world where the possibilities are endless. This VR masterpiece offers participants a calming, yet abstract experience, inviting them into virtual thinking spaces that defies the conventions of physics and reason. With four participants at a time, the virtual journey goes through eight rooms: The Cloud, Anagram, Dog, Water, Sound, Dance, Writing, and Tree rooms. As participants move through these virtual spaces, the fabric of reality seems to unravel. The rooms, constructed from blackboards, chalk, and writing, provide a surreal and thought-provoking experience throughout the exhibition. "La Camera Insabbiata" in all is a symbol of VRs possibilities, contrary to the above listed exhibit. Sometimes, a work isn’t copied as much as it is reinterpreted. In the 1980s, two Soviet artists-in-exile, Vitaly Komar and Alexander Melamid, painted the head of Josef Stalin perched on a woman's hand. Judith on the Red Square was just one of many takes on a historical moment that may never even have happened. Compare their version with those below, then discuss with your team: how do their styles and meanings vary? If, as critics argue, they celebrate “female rage”, should we still be studying any of them? Pay special attention to the Mannerist style of Giorgio Vasari, in which artists abandon the pursuit of realism in favor of imagined ideals. When is it better to make something less realistic? Judith with the Head of Holofernes | Michael Wolgemut & Wilhelm Pleydenwurff (1493) Judith and Holofernes | Giorgio Vasari (1554) Judith Slaying Holofernes | Artemisia Gentileschi (1612-13) Judith and Holofernes | Pedro Americo (1880) Judith and Holofernes | Kehinde Wiley (2012) The History of Judith, After The Biblical Story: The story first unfolds with Judith, a young widow, becoming a liberating heroine as she saves her people by cunningly slaying the Assyrian general Holofernes, sent by King Nebuchadnezzar to besiege Bethulia. Judith's heroic act is not unique in this manner, as biblical heroines like Jael also display courage against oppressors - in this case, being Canaanite general Sisera in a similar position. What sets Judith apart is her blend of strength and "womanly virtues," making her story a rich template for exploring power dynamics. Artists over the years have used Judith's character for gender identity work, with her portrayed in two main categories: the strong, virtuous woman (femme forte) and the dangerous, sexually aggressive woman (femme fatale). During the Middle Ages, Judith became a popular figure, often aligned with the Virgin Mary for her personality. Renaissance depictions showcased her evolving role, transitioning from a warrior to a symbol of a small population overpowering a tyrant, as seen in Donatello's statue representing Florence. The Renaissance in North Europe had Judith portrayed with nudity, with artists like Hans Baldung Grien and Vincent Sellaer introducing provocative elements. The Baroque era embraced a gory depiction of the Judith and Holofernes scene, notably by Caravaggio, illustrating the moment of slaying in explicit detail. Moving into the Belle Epoque, Judith transformed into a femme fatale, gaining popularity during the late 1800s Romantic period. Gustav Klimt's sensual depiction emphasized this, with a moment of bliss. Judith's portrayal however took political meaning in the 1900s, symbolizing resistance against totalitarian regimes, most specifically Vitaly Komar and Alexander Melamid’s “Judith on the Red Square” depiction. In a more modern contemporary twist, artists like Kenhinde Wiley in 2012 present Judith with a racial narrative, depicting her as a Black woman overcoming a white oppressor, depicted with a white woman’s head. It most notably symbolizes the overcoming of white superiority. The story of Judith may continue to evolve now, still a template to discuss discrimination and oppression in art. - Judith on the Red Square - Vitaly Komar and Alexander Melamid - Created in 1981-1983, this is an image depicting a young girl holding an enlarged head of Stalin, where the young girl hosts the shadow of Judith and Stalin is in the position of Holofernes. - Judith and Holofernes - The Liber Chronicarum, Wolgemut and Pleydenwurff - A medieval-style art depiction of the Judith and Holofernes scene created originally in 1493 from the account of the Liber Chronicarum (Book of Chronicles). Designed by Michael Wolgemut and Wilhelm Pleydenwurff. - Judith and Holofernes - Giorgio Vasari - An oil painting created in 1554, in the late renaissance period when the depictions of Judith were shown as seductive, aggressive, and assertive. Portraying Judith as a confident and physically powerful woman, the indication of her inner courage. - Judith Beheading Holofernes - Artemisia Gentileschi - A painting made in 1620 with a gory depiction of the Judith and Holofernes scene made in the Baroque era, co-painted with Caravaggio. When painting was hosted and created in Florence, it sparked strong reactions and criticism. - Judith Thanks God For Having Liberated Her Country From Nebuchadnezzar - A painting by Pedro Américo, the Brazilian artist, made in 1880. Depicts the scene after Judith killed Holofernes, where Judith is giving thanks to god. Shows her in majestic and rich-like attire standing while Holofernes’ head is laying next to her. - Judith and Holofernes - Kehinde Wiley - Made in 2012, an oil painting of an African American depiction of Judith with a White woman’s head in her hand, the version of Holofernes standing in a flowered background. Meant as a representation of the goal to tackle racial problems. In 2023, when the Mauritshuis Museum in the Hague lent out one of its most famous works—Johannes Vermeer’s The Girl with the Pearl Earring (1665)—it launched a competition, titled “My Girl with a Pearl”, for something to hang in its place. Over 3500 artists submitted their reimaginings of the original Vermeer. The winner was a lovely work titled A Girl with Glowing Earrings—which turned out to have been made using AI. The museum was criticized, even as the German-based artist Julian van Dieken behind it pointed out that he had been upfront about his methods. Discuss with your team: should museums be allowed to display art generated using AI tools? AI Art Wins A Competition: Judges Regret Their Decision Later (Dhar Mann Video Idea?!) The Mauritshuis Museum, in a semi-recent example, stirred up controversy with its "My Girl With a Pearl" contest, inviting re-imaginings of Vermeer's iconic "Girl with a Pearl Earring." Among the 170 finalists, an AI-generated piece titled "A Girl with Glowing Earrings" by AI artist Julian van Dieken became one of the five winners, sparking outrage in the art community. Over 3,500 submissions were whittled down, but critics “decried” (complained about) the use of AI-generated art, raising ethical concerns and questioning the museum's understanding of such technology. Taylor Dafoe labeled the decision as "shameful," citing legal and ethical issues, while Eva Toorenent argued that the museum failed to grasp the technology's implications. Mauritshuis defended its choice, emphasizing their judging process solely based on visual appeal, creativity, and simply whether or not the judges liked the artwork. Van Dieken acknowledged the AI generation in his work, highlighting the experimental nature of AI tools in the creative process and citing that AI can be used as a tool in the right form. Other critics, including artist Iris Compiet, expressed their disdain of the choice, considering the allowed entry of AI-generated entries as an insult. Meanwhile, in similar news, Midjourney and Deviantart face a class-action lawsuit in California for alleged intellectual property violations - the “stealing art” topic is pretty serious. Despite the uproar, the museum has chosen to retain the controversial installation, continuing to fuel ongoing debates about the ethics of AI arts. An added bit of detail: AI’s generate art based off of its feed of information, meaning that it has to be trained on data to generate art. This is the origin of its controversy, being that AI art is never original, and thus never “art”. If you’re an artist who doesn’t want to have your art fed into AI, you could use Nightshade or something. Sitting astride a gallant white steed in Jacques-Louis David’s Napoleon Crossing the Alps (1801) is purportedly Napoleon, but Napoleon didn’t want to pose for the work—despite having given David very specific instructions on what to paint. “Calme sur un cheval fougueux,” he requested. Calm on a fiery horse. For a model, David resorted to his own son—who stood calmly on a fiery ladder. To achieve more drama, he replaced the mule from Napoleon’s actual journey (on a fair summer day) with a stallion (battling a blistering storm). The most accurate thing about the painting was the uniform. It had only been a year since the actual event happened; surely some people knew how inaccurate the work was, and his own face in it was bland and undetailed—but Napoleon reputedly loved the finished product. “Nobody knows if the portraits of the great men resemble them [anyway],” the victorious general offered, by way of justification. Discuss with your team: was Napoleon right in recognizing that history would remember how David had portrayed him? You should also take a look at this piece by Paul Delaroche in 1853, which tried to reconstruct the past more accurately than it had been reimagined in the present—should an AI be used to transplant some of the details from this version into the original piece? When One Wants A Painting of Themselves Yet Refuses To Pose For It!: "Napoleon Crossing the Alps," painted by Jacques-Louis David in 1801, is the most renowned depiction of Napoleon Bonaparte. David, a political artist and supporter of the French Revolution, became an enthusiastic follower of Napoleon in his rise to power after the revolution. The painting notably commemorates Napoleon's journey across the Alps in 1800. Napoleon chose the specific scene and instructed the details, although he refused to even pose for the artwork. David's son, thus, served as a placeholder. The painting, portraying Napoleon on horseback, exudes a sense of grandeur, highlighted by the majestic clothing and the mane of the horse. Interestingly, the outfit Napoleon is depicted with is the most accurate portion of the artwork, being a uniform he wore in a previous war. The composition incorporates subtle nods to other historical generals, such as Hannibal and Charlemagne, who also led their armies through the Alps. However, the truth of the scenario differs from the depiction, as Napoleon actually made the journey in favorable weather conditions, riding a mule instead of a stallion. Despite the divergence from reality, the painting serves as an iconic piece of majesty and was used as propaganda during Napoleon's reign. "Napoleon Crossing the Alps," completed within four months from October 1800 to January 1801, again stands as the most successful portrait of Napoleon Bonaparte. It notably serves as a symbolic representation of the dawn of a new century following France's brutal revolution. The painting, again, commemorates Napoleon's military success during his journey through the Alps against the Austrian army in May 1800. Despite Napoleon providing little support in the creation of the painting, still refusing to sit for it, and relying on an old portrait and his previous uniform, David managed to capture the essence of Napoleon's authority. The portrait depicts Napoleon as calm, riding a fiery and strong horse, showcasing his composure and power while leading his army. In reality, Napoleon rode a mule and followed his army a few days later, but the portrait emphasizes the heroism and authority associated with his royalty. The background of the painting features French soldiers carrying a large cannon, while Napoleon's raised arm, the lines on his cloak, and the mountains in the background connect him to the scenery, creating a stabilized and powerful figure. David's painting techniques, such as the treatment of the landscape as a setting for the hero, contribute to the general feeling of the painting. Note the soldiers in the background were also an inaccurate feature, as described before - Napoleon traversed the alps after his army had gone through with a local guide. Following the completion of the painting, David was awarded the position of First Painter to Napoleon, a source of pride that led to subsequent large commissions, including "The Coronation of Napoleon." A More Accurate Napoleon: In an intriguing turn of events after his defeat, Queen Victoria of England and other prominent figures found themselves commemorating Napoleon during the period of 1830-1848. This era witnessed Napoleon's reputation growing again, portraying him as a symbol of military expertise rather than defeat or dictatorship. The shift in perception led to a fascination among royalty figures, who even visited Napoleon's tomb. Notably, in 1853, artist Hippolyte Paul Delaroche created a new and more accurate depiction of Napoleon crossing the Alps. Drawing inspiration from Adolphe Thiers' 1845 account, this portrayal showcased a stark contrast to Jacques-Louis David's propagandist painting. Delaroche's painting is a more subdued, undertoned, and realistic representation. It depicted Napoleon riding a mule, led by a local guide, during the calm summer and after the army had already passed through. Strikingly, this accurate rendition was created over 20 years after Napoleon's death and was then purchased by Queen Victoria in 1853. Napoleon rode his white “horse”; George Washington rode a raft. Emanuel Leutze's Washington Crossing the Delaware (1851) captures a key moment in America's founding myth: the future first president leading his men against the British. As paintings go, it is iconic; it is also inaccurate. In 2011, Mort Kunstler reimagined the scene more realistically. Compare his take to Leutze's, then consider a version that critiques the myth behind all of it: Robert Colescott's “George Washington Carver Crossing the Delaware: Page from an American History Textbook (1975). If you could print only one of these three works in a history textbook, which would you choose? Did Leutze become the most iconic only because it was first? Majesticity Conflicts with Accuracy (perhaps): Emanuel Gottlieb Leutze's famous painting, "Washington Crossing the Delaware," created in 1850, has long been celebrated, but its historical inaccuracies have recently been discussed. Painted in Germany, far from the actual event, Leutze took liberties within the depiction. He showcased inaccuracies including the portrayal of Washington in a reckless pose that would have tipped the boat over in reality. The boats were also inaccurately portrayed as hollow instead of flat, and Washington's age and the sunlight were also misrepresented. The American flag used in the painting didn't exist at the time of the crossing, and the length of the crossing was also exaggerated. The original painting emerged from the European revolutions of 1848, with Leutze, a liberal, finding inspiration in Washington with relation to the revolutions. Despite historical inaccuracies, the painting became a significant success in America, drawing over 50,000 viewers in New York. During the Civil War, it was used to raise money for the Union antislavery movement - a movement Leutze is likely to have supported if he were there. In 2011, artist Mort Kunstler was commissioned to address and re-represent the famous depiction. Known for his historically accurate paintings, Kunstler meticulously researched the Washington Crossing site, consulting historians and even visiting the location. The result was a painting that corrected many inaccuracies, depicting the event with a focus on historical precision yet also keeping its valiant appearance. Despite the challenges, Kunstler's commitment to accuracy extended to using a torch for the light source, as historical reports suggested a blizzard at the location. Notably, Kunstler completed this process without relying on modern tools like Google. Parody Time! Let’s make George Washington black. (Totally Real Explanation): In 1975, Robert Colescott created a parody of the famous George Washington painting, which later gained prominence in the 1978 Art about Art exhibition at the Whitney Museum. Colescott, known for his satirical genius, used outrageous political content, appropriated art history, and satirical cartoon imagery to create a masterpiece that exhibited formal rigor and graphic excellence, according to Lowery Stokes Sims. This parody is of course the “George Washington Carver Crossing the Delaware”, an again inaccurate and hilarious depiction of the event, instead with notable black figures. Colescott's parody served as a powerful tool to describe America's self-mythology, exposing the structural and racial issues within the nation. Sandra Jackson-Dumont, the CEO and Director of the Lucas Museum, discussed their appreciation of the painting's narrative art quality. She emphasized its role in facilitating learning and discussions about racially, socially, and historically charged figures like George Washington Carver, Aunt Jemima, and Uncle Ben. Jackson-Dumont also expressed hope that the public would recognize how artists can reshape complex stories and histories through their work. In Puerto Rico, tourists can visit an old fort, the Castillo (Castle) San Felipe del Morro, which is now a museum with grand views of the sea. Those of us who grew up watching Disney might think of castles as places from which princesses emerge to build snowmen, but in real life they more often served as military bases and seats of regional power. Explore some of the techniques used to reconstruct castles that have lost the battle with time, such as LED lights, 3D models, and VR — then discuss with your team: should they be rebuilt in real life instead? El Morro: El Morro, officially known as Castillo San Felipe del Morro, stands as a historical fortress in San Juan, Puerto Rico, symbolizing the city's colonial past. Constructed between the 1500s and 1700s, the structure served as a vital military outpost for Spain and later for the United States. It played a crucial role in numerous conflicts, successfully defending Puerto Rico against British and Dutch invasions. San Juan itself, founded by Spanish settlers in 1521, developed over 250 years as a fortified city, with El Morro and El Cañuelo across the bay securing its defense. The fortress changed hands when Puerto Rico, during the Spanish-American War of 1898, was handed to the US in a peace treaty. Retiring from military service in 1961, El Morro transitioned into a museum, offering visitors a glimpse into its defensive history. It stands as a note of the strategic importance of Puerto Rico throughout different periods, including its use by the U.S. during World War I and II. Today, as a museum, El Morro provides various sections open to the public, offering insights into the fortress's history, strategic positions, and military tactics. Visitors can explore different facilities, with the most impressive views found on the lowest level, close to the ocean waters overlooking El Cañuelo. Funai Castle Lightshow! Funai Castle, a historical symbol of the spread of Christianity in Japan, was built in 1607 and stands as a symbol of the complicated history of the region. In the 16th century, Otomo Sorin, a powerful feudal lord ruling Oita, ordered the construction of Funai Castle in the 1560s. The castle, situated in Kyushu, was part of a region owned by the Otomo clan. During this time, Christianity made its way to Japan through Portuguese sailors who arrived in 1543. Missionaries, including Francis Xavier, met Otomo Sorin, who later was converted to Christianity, sparking controversy among his allies and criticism from enemies. Over the centuries, Funai Castle changed hands due to wars, and by the mid-1700s, it lay in ruins. However, reconstruction projects have allowed visitors to witness both the stone foundation and a “recreation” of the castle. The recreated project features an array of LED lights, totaling over 70,000, which mimic the original tower, creating a "hologram" of the castle. This lighting display is best experienced at night, offering a stunning visual experience, especially during the springtime. Animated Castles?: In response to the challenges posed by the Covid pandemic, NeoMam Studios collaborated with Budget Direct to bring seven European castles back to life through virtual recreations, providing a fascinating glimpse into their rich histories. Samobor Castle (Croatia): Built in the mid-11th century by Bohemian King Otakar II. Overlooks a small town near Zagreb, Croatia. Remains only showcase the foundation and guardhouse. Used and expanded until the 1500s but eventually fell into ruin. Menlo Castle (Ireland): Built in the 16th century for the Blake noble family. Not used as a fortress, despite having cannons. Destroyed by fire in 1910, leading to its present-day ivy-covered ruins. Located near Galway’s National University of Ireland. Olsztyn Castle (Poland): Built in the 1300s to protect against Bohemia and Silesia. Swedish army destroyed the castle in the mid-1600s. Ruins demolished in 1729 to build a new church. Spis Castle (Slovakia): Built in the 1100s, now a UNESCO World Heritage site. Marked the edge of the Hungarian Kingdom. Handed over to brothers in the mid-1400s, leading to a revival in architecture. Destroyed by fire in 1780, resulting in its current state of ruin. Poenari Castle (Romania): Located on a Romanian cliff, home of Vlad the Impaler. Vlad forced boyars to renovate the castle after funding denial. Impressive cliffside fortress with historical ties to Count Dracula. Dunnottar Castle (UK): Foundations built from 400s-600s AD; castle constructed in the 1300s. Known for William Wallace reclaiming it from English occupation in 1297. Seized by the British government in 1715 after the Earl Keith's treason conviction. Stripped of valuables by the York Mining Company. Château Gaillard (France): Built in just two years by Richard I, known as Richard the Lionheart. Constructed to challenge the French, protecting Normandy. Captured by French Philip II six years after construction. Left in ruin by the late 1500s and eventually demolished by Henry IV of France. These virtual recreations not only showcase the architectural beauty of these castles but also provide insights into the historical events that shaped them. When rebuilding castles in real life, should we update them to reflect modern values such as sustainability, inclusiveness, and indoor plumbing? Consider the controversy in Japan over adding elevators to Nagoya Castle for guests experiencing limited mobility, then discuss with your team: at what point does rebuilding something become reimagining it? Attempts to restore the Notre-Dame Cathedral in Paris also raised similar questions. Should these rebuilt structures still be considered as UNESCO World Heritage Sites? 1. A plan to restore Nagoya Castle in Japan has sparked controversy due to the exclusion of elevators in the new design. While Mayor Kawamura aims for historical accuracy by replicating the 17th century structure without elevators, critics argue this creates safety hazards and an exclusion of disabled people. Rebuild the main tower of Nagoya Castle using wood, replicating its original 1612 design. This requires demolition of the current concrete tower with elevators. Mayor's focus on historical accuracy excludes accessibility features like elevators, raising concerns from disability rights groups and advocates for a barrier-free society. The city proposes "new technologies" as an alternative to the elevator, but lacks specific detail, leaving doubts about the effectiveness of accessibility solutions without elevators. The group, Aichi Disability Forum, has also requested the Cultural Affairs Agency not to approve the city's plan, which the group says could violate human rights. The agency has oversight on national historic sites. "I felt helpless before the stairs many times," said a member of a wheelchair users' group. "Does he (Kawamura) mean to give priority to accurate restoration over availability for all people to have fun visiting the castle safely?" The elevator issue emerged in late 2017, and the restoration began in 2022 with a completion date yet to be announced. 2. After the devastating fire at Notre Dame Cathedral in 2019, French President Emmanuel Macron promised to rebuild the church, followed by an outpouring of pledges of money from everywhere. While reconstruction is still underway, this is a reminder that only tragedies are able to elicit such funding, only accidents remind people that it’s important to save historic monuments. Equally troubling is Macron’s implication that such a cultural monument could be replaced or cloned. But what has burned at Notre Dame is now lost to history and cannot simply be recovered or replicated. So, after the damage is assessed, what is next? First, they made sure there was no further degradation. The 19th Century interventions of Eugène-Emmanuel Viollet-le-Duc and Jean‑Baptiste Lassus were causing damage. In short, the whole building was barely holding up so measures were taken to prevent that. The restoration ahead raises questions about what history to preserve. There are many designs that were added in the 19th Century and while they could be reproduced today, why should it? This quickly divulged into a line of possibilities, any of which would constitute a false reproduction of history, for they would nevertheless be done with contemporary techniques and bear the date of the year in which they were made. While some cultures prioritise endurance over authenticity, Western culture typically does the opposite. This is why people paid dollars for an authentic da Vinci rather than a good copy of the Mona Lisa. Concerning Notre Dame, we must preserve its past as it is to carry its value forward transparently to the future. The 1964 “Venice Charter,” established guidelines for conservation and restoration, “The intention in conserving and restoring monuments is to safeguard them no less as works of art than as historical evidence. … Replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence.” Thus, if a spire is to be replaced, it should be built in a contemporary style that both harmonizes with the extant monument and also clearly distinguishes itself as a product of our time. Unfortunately, things get complicated since Notre Dame is a functioning monument that requires constant maintenance, even under ordinary circumstances. Notre Dame receives up to 50,000 visitors on a daily basis, while also being an integral part of the city of Paris and its inhabitants that holds daily services for Catholics. Constantly overcrowded, the heat and humidity generated by the crowds in the building were not good for the building’s structure, either. So this moment could be the opportunity to reconcile the different needs of the devout and of the tourists in a better way. More importantly, the past should not be fabricated to align with people’s imaginations or expectations of it, which is what some call “creative iconoclasm.” Notre Dame was the first building constructed entirely in the Gothic style, displaying architecture from the 12th - 14th centuries relatively unaltered and legible as such. Its 19th-century restoration should be preserved as examples of that period’s values and practices. Because there are so few examples like Notre Dame left in the very city that generated this architecture in the Middle Ages. 3. In late 2019, a massive fire tore through the UNESCO World Heritage site of Shuri Castle in Okinawa, sparking a global reaction and comparisons with the devastating fire at Notre Dame, another World Heritage site. Over the past several years, threats to World Heritage sites from conflict and environmental changes have received internation, sometimes controversial, responses. In Notre Dame’s case, the fact that it was edited in the 19th Cen made it less of a “medieval” heritage. In Japan, the destruction of Shuri Castle sparks some similar issues. Like Notre Dame, there were no casualties and many wanted Shuri Castle rebuilt. Also, even though many headlines call Shuri Castle over 500 years old, they also mentioned that the castle had been rebuilt in 1992 before being made a World Heritage site in 2000. Most talked about the role of Shuri Castle as a symbol of the former Ryukyu Kingdom, which conquered various parts of the Ryukyu Islands in ~15th Cen. All in all, Shuri Castle held immense meaning to Okinawans and so over $10mil was raised in the first month after the fire. After Shuri took over the surrounding islands, it was in turn conquered by Japanese forces, who controlled the Ryukyu Kingdom from early 17th Cen and formally added it to Okinawa Prefecture in 1879. Shuri had a difficult relationship with Japan, the Okinawans being discriminated against often. The Okinawan identity is argued to have formed from late 19th Cen as a response to Japan’s efforts to integrate the islands. Sadly, Japan repossessed Shuri Castle and it became their headquarters bunker, making it one of the main Okinawa Battle sites. During the 1945 Battle of Okinawa, the castle was almost destroyed and hundreds of thousands of people were killed at the hands of Japanese troops enforcing a policy of “compulsory mass suicide”. With Okinawa in ruins, Japan surrendered before the WWI Allies could advance to the main islands. After the war, Okinawa was occupied by the United States until 1971, building up resentment towards being sacrificed by Tokyo. Even after Okinawa reverted back to Japan, the U.S. kept half of the 54,000 troops at the island. Unsurprisingly, the close proximity of soldiers and civilians built tension, causing accidents, crime, and sexual assaults by Americans against Okinawans. Like many other Japanese castles, Shuri castle became a military site in late 19th Cen, then later turned into a shrine in the 1920s in an effort to preserve decaying buildings. Shuri Castle was demilitarized after the war and was transformed to sites of culture and education, hosting universities, museums, parks, and sports facilities. There was a strong desire to erase the modern military past and recover pre-imperial heritage and its reconstruction completed in 1992. But now, people are conflicted. So on one hand, rebuilding Shuri Castle meant it was recognized by UNESCO and on the other hand it erased much of the problematic history of Shuri Castle and Okinawa as a whole. Sure, authenticity is important but it’s compounded by the fraught modern history. The recent burning of Shuri Castle sparked reminders of Notre Dame abroad, but in Japan it also brought memories of images of the wartime destruction of Shuri Castle, Nagoya Castle, and other important heritage sites you should read about. **At what point does rebuilding become reimagining? When there are too many alterations, leaving it unrecognizable from the old version. A rebuilding sticks close to authenticity, while reimaginations encourage creativity. Should these rebuilt structures still be considered as UNESCO World Heritage Sites? Yes. The reconstructions of these only add to its deep history, as long as it doesn’t turn into a reimagining of the Site. The Queen King of England doesn’t live in a castle; Buckingham Palace has neither a moat nor a drawbridge. Castles and palaces are often confused—unsurprising, as both are large structures with no real purpose in the year 2024. Research the following castles and palaces that have found ways to open their doors to modern visitors, then discuss with your team: would their original residents have liked “what we’ve done with the place”? While most renovated castles and palaces are converted into hotels or museums, what else could be done with them? Should they be converted into low-cost housing for those in need? The Winter Palace (Russia) | Rambagh Palace (India) Parador Alcaniz (Spain) | St Donats Castle (Wales) Alnwick Castle (England) | Doune Castle (Scotland) 1. The article discussed the difference of castles and palaces: Castles - were built throughout Europe and the Middle East mainly for protection of the king and his people. Some common features of castles include: thick walls, heavy gates, high towers, parapets/slits on the walls for archers, gatehouses for allies, moats…Castles were (and sometimes still are, like Windsor Castle) residences for royalty. But they were also intended as defensive seats. They are used to hold the staff of soldiers and ministers to defend conquered territory and ensure it remains part of the kingdom. Palaces - The term comes from Palatine Hill, where the 1st palaces were built to display wealth. Palaces were meant for showing off, big time, where the spoils of war might be displayed, with elaborate architecture, golden thrones, massive banquet halls, gilded table settings and dozens — hundreds — of sumptuously decorated rooms. While royalty certainly took up residence in both palaces and castles, nonmilitary royals might also live in palaces. Bishops and ministers could live in castles to showcase the power of their immense riches rather than their nonexistent military power. Take the example of Buckingham Palace, which is built to impress rather than defend against raiding hordes that make it past Trafalgar Square. **Would the original residents like the new versions? Considering that most became tourist attractions and hotels, I don’t think so. They were built with the intention of housing royalty, now it is debased into someone’s list of places to visit. **What else could be done with them? Most of these are impressively massive so they are suitable for housing multiple people. Like St Donats, they could be turned into schools. **Should they become into low-cost housing? This is rather controversial, seeing how many of these buildings hold ancient artifacts and historic value. Allowing people to simply live in them without any supervision can lead to accidents or theft. Of course, it won’t be much of a problem if those artifacts are guarded and stored safely. The Winter Palace (Russia) The Winter Palace is a palace in Saint Petersburg that served as the official residence of the House of Romanov, previous emperors, from 1732 to 1917. The palace and its precincts now house the Hermitage Museum. It sits next to the site of Peter the Great's original Winter Palace, the current and 4th Winter Palace was rebuilt and altered numerously from 1730s to 1837. Being a palace, it was built to show off the might and power of Imperial Russia. After a serious fire, it was replicated in 1837 with everything unchanged except the interior being redesigned in the Rococo (Late Baroque) style. In 1917, the storming of the palace took place and made it a symbol of the October Revolution where people overthrew the Provisional Gov. In 1698, Peter I of Russia embarked on a policy of Westernization to transform the Tsardom of Russia into the Russian Empire and a major European power. This led to the creation of a new city, Saint Petersburg, in 1703. The culture and design of the new city was inspired by architecture prevailing in the great cities of Europe, being designed in a Flemish renaissance style (Petrine Baroque). The first Winter Palace, built in 1711, was designed in this style by Domenico Trezzini and was a rather modest building. Peter soon tired of this palace, and in 1721 the 2nd version was built by architect Georg Mattarnovy. Mattarnovy's palace, still rather modest, was where Peter the Great died in 1725. Two years later, the palace was enlarged by order of Peter’s grandson, Peter II. That in turn became the 3rd version, designed by Trezzini in the Petrine Baroque style. In 1732, Tsaritsa Anna commissioned Italian architect Rastrelli to build the 4th version and was ongoing after her death. In 1753, Rastelli completely renewed his plan to a more grand, ambitious one. Empress Catherine II then went to make history in the finished palace, and her son Nicholas I was responsible for its current appearance, affecting many changes in the rebuilding after the 1837 fire. The white-green palace now contains 1,500 rooms, built in an Elizabethen Baroque style, the interior designed with Baroque and Neoclassical. Rambagh Palace (India) The Rambagh Palace in Jaipur, Rajasthan is the former residence of the Maharaja of Jaipur. It went from a garden house in 1835, to a modest hunting lodge in 1887, then expanded into a palace to the designs of Sir Samuel Swinton Jacob in early 20th Cen. Maharajah Sawai Man Singh II made Rambagh his principal residence and added a number of royal suites in 1931. It is now operated as a five-star hotel by the Taj Hotels Group. Parador Alcaniz (Spain) The Castle of the Calatravos is a castle in Alcañiz (Teruel), Spain, that belonged to the Order of Calatrava. This military order played an important role in the reconquest of the town in 1157; the oldest rooms in the building date back to the twelfth and thirteenth centuries. During the fourteenth and fifteenth centuries, elements of Mudéjar ornamentation were added both to the castle itself and to the walls that surrounded it. The late-Renaissance main façade was added in the eighteenth century. Since 1968 it has housed a Parador hotel designed by the Spanish architect José Luis Picardo. St Donats Castle (Wales) St Donat's Castle (Welsh: Castell Sain Dunwyd) is a medieval castle that has been occupied since the Iron Age, and was by tradition the home of the Celtic chieftain Caradog. The present castle's origins date from the 12th century when the de Haweys and later Peter de Stradling began its development. The Stradlings held the castle for four hundred years, until the death of Sir Thomas Stradling in a duel in 1738. Afterwards, its condition began to decline, becoming only partially habitable. It was purchased by John Whitlock Nicholl Carne in 1852, but no one really cared about that guy's reconstruction efforts. The castle's transformation occurred after its purchase in 1925 by William Randolph Hearst, the American newspaper tycoon. A “brutal” expansion took place, his architectural approach was controversial and was vigoriously opposed by the Society for the Protection of Ancient Buildings. Bernard Shaw described it as "what God would have built if he had had the money". Despite wasting so much money on it, H

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