Art + Music (PDF)

art + music 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:...

art + music 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 become 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: Eiffela! 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, s–ually 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 bloody 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?  “Write what you know,” is the first piece of advice given to most students in writing workshops. Artists, too, tend to paint that which they’ve experienced and observed; Monet spent a lot of time at his lily pond. But there have always been some artists who blend the real with the imaginary. Consider the following works, then discuss with your team: should we respond differently to art that tries to imagine what could be, art that imagines what could never be, and art that shows us what we didn’t realize already was? A Reversible Anthropomorphic Portrait of a Man Composed of Fruit | Giuseppe Arcimboldo Aerial Rotating House | Albert Robida (1883) Late Visitors to Pompeii | Carel Wilink (1931) Our Lady of the Iguanas | Graciela Iturbide (1979) The Strolling Saint | Pedro Meyer (1991) The Romantic Dollarscape | Pedro Alvarez (2003) Weirdos of Another Universe | Avery Gibbs (2023) Descriptions of Artworks 1. A Reversible Anthropomorphic Portrait of a Man Composed of Fruit | Giuseppe Arcimboldo - This artwork features a portrait of a man whose face is composed entirely of fruits and vegetables. Arcimboldo's skillful arrangement creates an optical illusion where the objects form a recognizable human visage. This piece is an example of Renaissance-era Mannerism, where the artist blends realism with imaginative elements. 2. Aerial Rotating House | Albert Robida (1883) - Robida's illustration depicts a futuristic vision of a house that can rotate and hover in the air. This concept of dynamic architecture captures the spirit of 19th-century technological optimism and the imagination of future possibilities. 3. Late Visitors to Pompeii | Carel Willink (1931) - Willink's painting shows a modern couple, dressed in contemporary clothing, standing among the ruins of ancient Pompeii. This juxtaposition of different time periods creates a surreal scene that blurs the lines between the past and the present. 4. Our Lady of the Iguanas | Graciela Iturbide (1979)  - This photograph captures a Zapotec woman with iguanas on her head, blending cultural elements with a surreal, almost mythical atmosphere. Iturbide’s work often highlights the intersection of reality and spirituality within indigenous cultures. 5. The Strolling Saint | Pedro Meyer (1991) - Meyer's digital photograph shows a saintly figure casually walking through a contemporary urban landscape. The contrast between the holy and the mundane invites viewers to reconsider the presence of the sacred in everyday life. 6. The Romantic Dollarscape | Pedro Alvarez (2003) - This artwork presents a landscape constructed from U.S. dollar bills, merging romanticism with capitalist critique. Alvarez's piece questions the influence of money on our perceptions of nature and beauty. 7. Weirdos of Another Universe | Avery Gibbs (2023) - Gibbs’ digital painting depicts a group of strange, otherworldly creatures in a vibrant, fantastical setting. This artwork pushes the boundaries of imagination, presenting beings and environments that defy the known laws of nature. Thoughts on Responding to Different Types of Art Art that imagines what could be, such as Robida's "Aerial Rotating House," invites viewers to consider the possibilities of future innovations and technological advancements. This type of art often inspires curiosity and hope, encouraging us to think beyond the constraints of our current reality. It serves as a creative blueprint for what humanity might achieve, pushing the boundaries of what is perceived as possible. Art that imagines what could never be, like Gibbs’ "Weirdos of Another Universe," transports us to entirely fantastical realms that defy logic and the natural order. This category of art challenges our understanding of reality and invites us to explore the limits of our imagination. It offers an escape from the mundane and a chance to experience the extraordinary, fostering a sense of wonder and possibility without the constraints of reality. Art that reveals what we didn’t realize already was, such as Iturbide’s "Our Lady of the Iguanas" and Meyer’s "The Strolling Saint," brings to light the overlooked or hidden aspects of our world. This type of art can be particularly impactful, as it prompts viewers to reevaluate their perceptions and understandings of their surroundings. It can uncover deeper truths about culture, spirituality, and the human experience, encouraging a more profound and reflective engagement with reality. In conclusion, each type of art serves a unique purpose and elicits different responses. Art that envisions potential futures can inspire and motivate progress, art that explores the impossible expands our imaginative horizons, and art that unveils hidden realities deepens our understanding of the present. Appreciating these distinctions allows us to fully engage with the diverse range of human creativity and the myriad ways it can influence our thoughts and emotions. Some artists choose to reimagine popular brands and fictional characters in ways that shine a new light on them and on society. Consider the following works, then discuss with your team: should these artists be required to secure permission from—or even pay—the companies whose brands or characters they are borrowing? Does it depend on how widely the work is distributed, or whether the work is positive or negative? Campbell’s Soup Cans | Andy Warhol (1962) Liberation of Aunt Jemima & Liberation of Aunt Jemima: Cocktail | Betye Saar (1973) Kawsbob | Kaws (2010) Charlie Brown Firestarter | Banksy (2010) Life, Miracle Whip and Premium | Brendan O'Connell (2013) Descriptions of the Works 1. Campbell’s Soup Cans | Andy Warhol (1962): - Andy Warhol’s “Campbell’s Soup Cans” consists of 32 canvases, each depicting a different variety of Campbell’s Soup. This series is a hallmark of the Pop Art movement, showcasing everyday consumer goods as art and challenging the boundaries between high art and commercial culture. 2. Liberation of Aunt Jemima & Liberation of Aunt Jemima: Cocktail | Betye Saar (1973): - Betye Saar’s “Liberation of Aunt Jemima” is an assemblage that reimagines the racist stereotype of Aunt Jemima. The work critiques the derogatory depiction of African American women and reclaims the image as a symbol of empowerment and resistance. “Liberation of Aunt Jemima: Cocktail” extends this critique by further confronting the commercialization of these stereotypes.  3. Kawsbob | Kaws (2010): - Kaws, a contemporary artist known for his cartoon-inspired characters, reimagined the popular character Spongebob Squarepants in his distinctive style. “Kawsbob” combines elements of pop culture and street art, creating a commentary on consumerism and the pervasive influence of media. 4. Charlie Brown Firestarter | Banksy (2010): - Banksy, the anonymous street artist, created “Charlie Brown Firestarter,” depicting the beloved Peanuts character as an arsonist. This piece, like much of Banksy’s work, uses familiar imagery to provoke thought and critique societal issues, in this case, possibly commenting on the subversion of innocence. 5. Life, Miracle Whip and Premium | Brendan O'Connell (2013): - Brendan O'Connell’s paintings feature everyday supermarket products like Miracle Whip and Life cereal. His work highlights the mundane yet ubiquitous nature of consumer goods, transforming them into subjects worthy of artistic exploration and reflection. Discussion on Permissions and Compensation When artists reimagine popular brands and fictional characters, they navigate a complex intersection of intellectual property, artistic freedom, and cultural commentary. The question of whether these artists should secure permission from or pay the companies whose brands or characters they are borrowing is multifaceted. Intellectual Property and Artistic Freedom From an intellectual property standpoint, companies often have legal rights to their brands and characters, which are protected under trademark and copyright laws. Requiring artists to secure permission or pay fees can help maintain the integrity of the brand and prevent unauthorized commercial exploitation. However, this requirement can also stifle artistic expression, particularly when the work is intended as social or cultural commentary rather than commercial gain. Distribution and Impact The extent to which the work is distributed and its impact on the brand can also influence whether permission or payment is warranted. For example, a widely distributed artwork that significantly impacts public perception of a brand might necessitate some form of compensation or legal agreement. Conversely, a piece with limited distribution, particularly if it is intended for personal or small-scale exhibitions, might not pose a significant threat to the brand’s image or profits. Positive vs. Negative Depictions The nature of the depiction—whether positive or negative—can further complicate the issue. Positive portrayals might be seen as free advertising or brand reinforcement, whereas negative or critical portrayals could harm the brand’s reputation. While companies might be more lenient towards positive depictions, they might seek to control or mitigate negative ones, raising questions about censorship and the suppression of critical voices in art. Conclusion Ultimately, whether artists should secure permission or pay for reimagining popular brands and characters depends on a balance between protecting intellectual property rights and preserving artistic freedom. Context, intent, and impact should be considered on a case-by-case basis, ensuring that both creative expression and legal rights are respected. American president Franklin Delano Roosevelt (FDR) was almost never photographed in a wheelchair, despite being paralyzed from the waist down by polio. Journalists honored his wishes, as did the original designers of the FDR Memorial. Only in 2001 did they add a statue of him in a wheelchair. Discuss with your team: should portrayals of FDR continue to honor his preferences and hide his disability? And should only actors who are experiencing a similar kind of paralysis play him in historical films? Franklin Roosevelt, renowned for his leadership during two of the greatest crises of the 20th century—World War II and the Great Depression—also faced a personal challenge: polio, which struck him in 1921, leaving him paralyzed from the waist down during a vacation. Despite this disability, which he kept out of the public eye, Roosevelt persevered and returned to politics after years of intensive rehabilitation and training with leg braces. Remarkably, he went on to become governor of New York in 1928 and was elected president in 1932, serving an unprecedented four terms. FDR's disability was largely concealed from the public eye, as he was determined to project an image of strength and capability. Secret Service agents would block anyone attempting to capture images of him in a wheelchair, and he developed methods to appear as if he were walking, such as holding onto an advisor or a lectern while swinging his legs forward. Historians have debated why Roosevelt chose to conceal his disability, with some suggesting it was out of shame, while others argue it was a display of his refusal to let polio define his limitations. It wasn't until 2013 that the first photo of Roosevelt in a wheelchair emerged, showcasing him being transported down a ramp after visiting the USS Baltimore. Despite his efforts to keep his disability hidden, Roosevelt's legacy has since been embraced, with a statue of him in a wheelchair unveiled in Washington, D.C., in 2001. The statue bears inscriptions reflecting his wife's words about his condition and his perseverance, serving as a testament to his strength and determination in the face of adversity. The realization that Franklin D. Roosevelt had a physical disability, diagnosed as polio when he was 39, is now widely known. Despite this, Roosevelt went to great lengths to keep his disability hidden from the public eye, employing various techniques such as using leg braces, boarding trains out of view, and using podiums for stability during public appearances. He even pressured the press not to take photos, resulting in only four images of his disability existing. In 1974, the FDR Memorial Commission selected Lawrence Halprin to design a memorial for Roosevelt. Initially, the decision was made to include only small signs of his disability. However, the memorial was designed to be accessible to individuals with disabilities. Over time, there was a growing awareness of disability issues, spurred on by campaigns such as the one led by the National Organization of Disability. By the early 2000s, there was a significant push to represent Roosevelt's disability more prominently. In 2001, the Prologue Room of the memorial was dedicated, featuring a life-sized statue of Roosevelt sitting in a wheelchair, which he designed himself—a simple kitchen chair with tricycle wheels. Accompanying the statue was a quote from Roosevelt's wife, highlighting his strength and courage in the face of adversity. This marked a significant shift in the memorial's portrayal of Roosevelt's disability, reflecting a growing recognition of its importance in understanding his legacy.  Even after color photos became possible—first with potato dye, later with longer-lasting pigments—newspapers avoided using them until they could be reprinted cheaply enough. Reputable photojournalists kept taking black-and-white photos. But artists can now use AI to transform those photos into color ones. Consider the work of digital artists such as Stuart Humphryes; their results may not be perfect, but they could help people see the past as people saw it then. Discuss with your team: is there value in sharing colorized historical photos with students, or would doing so present something reimagined as something real? Stuart Humphryes started their project called "The Colors of Life," aimed at recolorizing images taken in the 1900s. Recognizing that black and white images can sometimes feel distant and disconnected from reality, Humphryes sought to use color technology to restore these historical photos. The project's goal was to connect modern audiences with the past by bringing these images to life in vibrant color. Each image in the album required several hours of meticulous work to clean up, repair, and adjust light levels and exposure. To aid in the recolorization process, Humphryes utilized AI technology, enhancing the vibrancy of early color photos captured on Lippmann plates, Paget plates, and Autochromes. Through "The Colors of Life," Humphryes aimed to challenge people's assumptions about the past, inviting viewers to see historical moments as they truly were. By adding color to these images, the project sought to bridge the gap between past and present, offering a fresh perspective on history. Now, on one who may not support Stuart’s act: Jordan Lloyd is a dedicated individual who specializes in manually recolorizing images, devoting extensive time and effort to each project. Unlike AI colorizers, which aim to automatically add color to grayscale images, Lloyd relies on archival searches, Google searches, and consultations with experts to determine the true colors of historical photographs. He believes that achieving accurate colors is a moral imperative and argues that AI technology cannot match the precision and attention to detail required for this task. Despite the convenience and speed offered by AI colorization tools such as DeOldify, DeepAI, and Algorithmia, Lloyd asserts that they often produce inaccurate results. Examples include coloring a waterfall brown or the Golden Gate Bridge white, highlighting the limitations of AI's understanding of context and object recognition. While AI algorithms can recognize basic objects like fruits and vegetables, they may struggle with more complex aspects of colorization, such as identifying historical motifs or accurately representing specific details in photographs.  Researchers like Jason Antic, the founder of DeOldify, acknowledge the challenges of colorization, noting that greyscale images lack essential data about color and that AI models may struggle to accurately interpret historical context. While some believe that AI technology may eventually improve to achieve more accurate colorization results, others, like Emil Wallner, argue that the complexity of historical motifs makes it difficult for AI models to replicate the nuanced understanding of human historians. Lloyd's approach to recolorization involves meticulous research and attention to detail, such as identifying the exact locations depicted in historical photographs using tools like Google Street View. By uncovering the stories behind these images and paying close attention to details like trees and electric poles, Lloyd adds depth and authenticity to his colorized images that AI algorithms may struggle to replicate. Ultimately, while AI technology may offer convenience and efficiency in certain tasks, human historians (legends) like Jordan Lloyd possess a unique ability to uncover the stories and details hidden within historical photographs, showcasing the value of manual recolorization methods in preserving and interpreting the past. In your own lifetime, you might have noticed the streets you walk (or drive) down every day changing. New 7-11s pop up; old homes turn into McMansions; beloved restaurants fade away. Those looking to reconstruct a cityscape from decades or even centuries ago need as much data as possible about what it looked like at the time. Consider the following records, then discuss: would they suffice to reconstruct the world as it once existed? What advice would you give to someone trying to photograph our world today for future reconstruction? Sunset Boulevard | Ed Ruscha Ottoman Panorama | Sébah & Joaillier Pre-1906 San Francisco | William M. McCarthy Images of the Late Qing Dynasty Images of Meiji-Era Japan Descriptions Sunset Boulevard | Ed Ruscha Ed Ruscha's "Sunset Boulevard" is a photographic series capturing the entirety of Los Angeles' iconic Sunset Boulevard. Taken in 1966, these images present a linear, almost documentary-style record of the street, showing buildings, signage, and the urban landscape of mid-20th-century Los Angeles. Ottoman Panorama | Sébah & Joaillier Sébah & Joaillier, a photographic studio established in the late 19th century, produced extensive photographic records of the Ottoman Empire. Their works often included panoramic views of Istanbul and other significant locations, capturing the architectural, cultural, and everyday life scenes of the Ottoman period. Pre-1906 San Francisco | William M. McCarthy William M. McCarthy's photographs of pre-1906 San Francisco provide a visual record of the city before the devastating earthquake and fire. These images showcase the city's architecture, street scenes, and bustling urban life, offering a glimpse into San Francisco's history before its transformation. Images of the Late Qing Dynasty The images of the Late Qing Dynasty (1644-1912) encompass a wide array of photographs capturing the final years of imperial China. These photographs document various aspects of Chinese life, including portraits of people from different social strata, architectural wonders, and significant historical events. Images of Meiji-Era Japan Photographs from Meiji-era Japan (1868-1912) illustrate the nation's rapid modernization and Westernization. These images capture a transitional period in Japanese history, depicting traditional customs, clothing, and architecture alongside emerging industrial and urban developments. Discussion These photographic records offer invaluable snapshots of specific times and places, capturing the essence of their respective eras. However, reconstructing the world as it once existed based solely on these images presents significant challenges. Photographs provide visual details, but they lack the comprehensive contextual information necessary to fully understand the socio-economic, cultural, and political nuances of the times they depict. Additionally, photographs are selective; they capture moments and perspectives chosen by the photographer, which may not represent the entirety of a society or landscape.  Sunset Boulevard by Ed Ruscha offers a detailed look at a single street, reflecting mid-20th-century urban life in Los Angeles. While it gives a rich visual account, it is limited to one city and one aspect of life. Sébah & Joaillier’s Ottoman Panorama similarly provides a detailed visual of the Ottoman Empire but lacks the broader context needed to understand the empire's diverse cultures and complexities. William M. McCarthy’s Pre-1906 San Francisco captures the city before its drastic transformation post-earthquake, offering a visual reference for historians. However, it does not convey the lived experiences of its inhabitants or the socio-economic factors influencing the city’s development. Images of the Late Qing Dynasty and Meiji-Era Japan offer insights into periods of significant transition, yet they too are limited by their scope and the perspectives of the photographers. For someone aiming to photograph our world today for future reconstruction, here is some advice: 1. Diverse Perspectives: Capture a wide range of subjects, including urban and rural settings, different social classes, various cultural practices, and everyday life. Ensure diversity in perspectives to provide a more comprehensive view of society. 2. Contextual Information: Accompany photographs with detailed metadata, including dates, locations, descriptions, and the context in which they were taken. This additional information will help future historians understand the images better. 3. Technological Documentation: Document technological aspects of our time, from everyday gadgets to advanced machinery. This will help future generations understand the technological landscape of today. 4. Cultural Significance: Focus on capturing cultural events, traditions, and practices that define the current era. This includes festivals, rituals, and artistic expressions. 5. Environmental and Ecological Changes: Photograph natural landscapes, ecosystems, and changes in the environment. These images will provide valuable records of ecological conditions and transformations. By following these guidelines, photographers can create a more comprehensive and accurate visual record of our world, aiding future historians in reconstructing our era with greater fidelity.  Explore the Japanese art of kintsugi—the repair of broken pottery using lacquers that leave visible the original fractures. Those who practice kintsugi see an object’s breakage and repair as important to its history. Discuss with your team: should this same principle be applied to other forms of reconstructing the past—such as repairing old ruins, or treating people who have suffered disfiguring injuries? Kintsugi What is it?: The repair of broken pottery using lacquers that do nothing to conceal the object’s original fractures. Philosophy: The breakage and repair of an object is treated as part of the object’s history rather than something to disguise. Origin: The art was created in the late 15th century by Japanese craftsmen who were looking for a more aesthetically pleasing way of repairing items. This issue may have been brought to attention after shõgun Ashikaga Yoshimasa sent a damaged tea bowl to China for repairs and it was repaired with ugly metal staples. Techniques: - Crack: The use of gold dust and resin to attach broken pieces with minimal overlap or fill-in from missing pieces. - Piece Method: The entirety of the addition is gold or lacquer compound. This is usually used when no replacement fragment is available. - Joint Call: The use of a similarly shaped but non-matching fragment to replace a missing piece to create a patchwork effect. Process: 1. Repair of the pottery using one of the three aforementioned techniques.  2. Placement inside a storage compartment, called a furo, where mended pottery hardens for 2-14 days. The mended pottery is usually submerged in a substance (ex. beans) while in the furo for temperature control and preservation. If kintsugi is about putting the past back together without hiding its imperfections, yobitsugi is about accepting that you may not have enough of the original left to work with. All the monarch’s hoofed animals and all the monarch’s people couldn’t put Humpty Dumpty back together again; it would be extra hard if some of Humpty Dumpty had been tossed out. Practitioners of yobigutsi would graft in pieces from other broken works to fill in the gaps. Discuss with your team: would it be better to hide that these works have been combined or to present them as a single unified piece? Should the same approach be taken in other fields—such as music, literature, and medicine? Yobitsugi is a technique closely associated with kintsugi but possesses some distinctions that can be confusing. It involves repairing broken items using pieces from other vessels, such as plates, to create an original work of art. The joints of these pieces are meticulously sanded down and glued together. While yobitsugi can be a part of kintsugi, it differs in that it does not always use natural lacquer and gold powder. The history of yobitsugi dates back to the Muromachi period, deriving from the admiration for the technique of kintsugi. Tea masters intentionally broke plates to craft and recreate them, finding beauty in the process. The oldest surviving yobitsugi pieces are attributed to Oda Yurakusai, and the Mino region of Japan associates yobitsugi with good luck. In modern times, yobitsugi can be done using synthetic adhesives for quick repairs, although they may not be safe for items in contact with the mouth or prolonged exposure to water. Traditional yobitsugi, on the other hand, utilizes natural lacquer, which offers antibacterial, heat insulation, water-resistant, and durable properties. However, the use of natural lacquer has declined due to the lengthy process required to extract sap from lacquer trees. Examples of yobitsugi pieces include works by artists like Tomomi Kamoshita and exhibits from Robert Yelling Yakimono Gallery. Overall, yobitsugi serves as a restorative process suitable for gifts and the preservation of artifacts, blending traditional craftsmanship with contemporary techniques.  Some art requires not replication but reconstruction every time people want to exhibit it. The Japanese Mono-Ha art movement was inspired by the collision of the natural and the mechanical worlds; many of its works were designed to deteriorate over time. Consider Phase - Mother Earth 1, by Nobuo Sekine, along with this recent recreation, then discuss: why would artists create works that aren’t meant to last as long as possible? If new technology allows us to make permanent versions of them, should we? Mono-ha has become more popular ever since the group’s emergence in the late 1960. Now, organized by Mika Yoshitake, the first substantial collection of Mono-ha works expanded upon the Hirshhorn Museum and Sculpture garden in Washington, DC. In a conscientious manner, the exhibition chose some of the most celebrated works from the Mono-ha group, including Nobuo Sekine’s iconic Phase-Mother Earth, the cylinder and hole duo of dirt and concrete having supposedly triggered the formation of the Mono-ha movement. Not bound by a formal association, the group is notable for their portrayals of the world as it is, without interference from an artist's ability nor viewer expectation. With laying out 63 works, Yoshitake left enough space between each piece to convey Lee’s mandate, by stressing both autonomy and dependence on the artworks - leading to a number of interesting resonances between them (Truly conveying the ideas of mono-ha!). basically, this movement and the artists involved aimed to simply bring ‘things; together, as far as possible in an unaltered state, allowing the juxtaposed materials to speak for themselves. Haragushi’s I-Beam and Wire Rope (1970/2012), a response to the expansion of Tokyo after the 1964 olympics, also raises questions about the arts and city relationship. It also seems that many other notable images from the mono-ha movement were also not included, and the some which were were, so to speak, domesticated. Also criticized was the absence of tensions between spontaneity and control, a sense which initially made Mono-ha so provocative in the late 1960s. Even Kishio Suga’s “Soft Concepts, 1970” was so wrongly portrayed it started to show the presence of a singular authority figure. While it was attempted in the end to resolve the issue with an inclusion of two interesting paintings, more research in illusionism could be helpful. Also notable were works by Takamatsu, including “Light and Shadow, 1973-2012”, which made him one of Mono-ha’s figures.  What initially made mono-ha very interesting was the contrast to other arts at the time. The showcase, named Requiem for the Sun, however focused more on its relevance as contemporary art. Yet, the refusal or prioritizing works over others is still questioned in regards to the group’s dynamics. In the way it did, Requiem for the Sun still reminds us that history might be told in anticipation of the still-uninformed present, in addition to its important narrative about mono-ha. In more detail about Sekine Nobuo and Phase - Mother Earth 1, Sekine completed the Graduate program at Tama Art University in 1968, studying under Yoshishige Saito and creating works questioning relationships between visuals and cognition afterwards. Submitting the piece in 1968 to the Contemporary Sculpture Exhibition at the Suma palace garden, it is a highly known representative of post-war Japanese art. Sekine later founded Environment Art Studio in 1973. In 1968, Mother Earth was presented - a work where a cylindrical hole stood next to a heap of soil the same shape - 2.7 meters in height and 2.2 in diameter. It links to the Oriental philosophy that the amount of Earth doesn’t change, despite its unevenness and fluctuation. The artwork is still widely known today in Japan, having a giant impact on art at the time of release. The print of the artwork does not only contain the odd, cylindrical sculpture. No, it also has drawings of the plan, and black and white photos of the work in progress. The drawings with notes reveal the work was intended as the process of an experiment in thought - where, by making this sculpture, it would become an anti-Earth / inverted Earth. Now, celebrating the 40th anniversary of the work, for the Tama Art Line Project, a recreation of the sculpture was created in 2008. Interestingly, it was shown from November 1-9, so if ToC existed back then and took place in Kobe - Sumarikyu park, we would be able to see it. In 1968, Sekine as well as other mono-ha artists made Mother Earth themselves manually, but now, the recreation is done with construction workers and tools - on a grassy plain, in contrast to the total soil in the original art. The construction began with a white circle on the ground, then coming the excavation process. The soil is mixed with a small amount of concrete powder to stand firm, like the original process did. After, the Earth which was excavated was dropped into a cylindrical mold - wooden and exactly the same size as the original. A different, steel mold was also added to make the excavation hole more exact. The extruding part of the dirt is left to dry out for two days. Finally, the molds are removed leaving a sculpture with the same dimensions as the original.  Sekine was interestingly able to see the recreation when completed, and spent time admiring it, with him looking at the walls. It must have been an interesting experience once again, remembering the original creation of such artwork 40 years ago. It took days to make the sculpture, even with tools. Imagine how long Sekine and his group took with just shovels! Explore the following selections from the 90s—multiple 90s, in this case—then discuss with your team: do they reflect periods in which the world was in transition more than songs from other decades before and after—or would that be reading too much into them? “After the Ball” | Charles Harris (1892) “Freedom! 90” | George Michael (1990) “Losing My Religion” | REM (1991) “Brændt” | Lis Sørensen (1993) “Pink Flamingo” | Alyona Sviridova (1994) “Black Hole Sun” | Soundgarden (1994) “Singing in My Sleep” | Semisonic (1998) “I Saved the World Today” | Eurythmics (1999) Short Descriptions of the Songs 1. "After the Ball" | Charles Harris (1892) - A popular vaudeville and Tin Pan Alley song, "After the Ball" is a sentimental ballad that tells a story of love lost due to misunderstandings. It became one of the first commercially successful songs in the United States. 2. "Freedom! 90" | George Michael (1990) - A hit single from George Michael's album "Listen Without Prejudice Vol. 1," this song is known for its powerful lyrics about breaking free from constraints, especially in the music industry. Its music video, which featured supermodels lip-syncing the lyrics, became iconic. 3. "Losing My Religion" | R.E.M. (1991)  - This song, with its mandolin riff and introspective lyrics, is one of R.E.M.'s most famous tracks. It discusses themes of doubt and unrequited love, and its ambiguous meaning has led to various interpretations. 4. "Brændt" | Lis Sørensen (1993) - A Danish pop song by Lis Sørensen, "Brændt" (Burnt) deals with themes of love and emotional turmoil. It's a well-known song in Denmark and showcases Sørensen's vocal talent and emotional depth. 5. "Pink Flamingo" | Alyona Sviridova (1994) - A song by Russian pop artist Alyona Sviridova, "Pink Flamingo" blends pop and rock elements. It's characterized by its catchy melody and vibrant production, capturing the colorful and sometimes whimsical style of the era. 6. "Black Hole Sun" | Soundgarden (1994) - A major hit for the grunge band Soundgarden, this song features surreal lyrics and a haunting melody. It's often interpreted as a commentary on societal issues and the darker side of human nature. 7. "Singing in My Sleep" | Semisonic (1998) - A track from the alternative rock band Semisonic, this song is about the exhilaration and obsession that can come with new love. Its dreamy lyrics and catchy chorus make it a standout from the late 90s. 8. "I Saved the World Today" | Eurythmics (1999) - From the Eurythmics' album "Peace," this song combines melancholy and optimism. It addresses personal struggles and the sense of small victories amidst larger battles. Analysis and Discussion The selections from the 90s across different centuries provide a fascinating lens through which to view the periods in question. Transitional Themes 1. "After the Ball" (1892)  - This song emerged during a time of significant transition in America, where the country was experiencing rapid industrialization and urbanization. The sentimentality and simplicity of the song reflect a longing for emotional connection and the traditional values that were being challenged by the fast-paced changes of the era. 2. "Freedom! 90" (1990) - George Michael's song captures the spirit of personal liberation and rebellion against the confines of fame and the music industry. The early 90s were a time of transition, with the fall of the Berlin Wall and the end of the Cold War leading to a new world order. Michael's declaration of freedom resonates with the broader societal shifts towards greater individualism and change. 3. "Losing My Religion" (1991) - R.E.M.'s song, with its introspective and ambiguous lyrics, reflects the existential uncertainties of the early 90s. This period was marked by economic recession and the Gulf War, contributing to a general sense of disillusionment and questioning of traditional beliefs. 4. "Brændt" (1993) - This song mirrors the emotional intensity and introspection common in the early 90s. The themes of love and emotional pain can be seen as a response to the rapidly changing cultural and social landscape in Denmark and globally, where old certainties were being replaced by new dynamics. 5. "Pink Flamingo" (1994) - Alyona Sviridova's song captures the post-Soviet era's blend of newfound freedom and cultural exploration. The early to mid-90s in Russia were marked by significant transitions as the country moved away from its Soviet past and embraced a more open and varied cultural scene. 6. "Black Hole Sun" (1994) - Soundgarden's song is emblematic of the grunge movement, which itself was a reaction to the perceived superficiality and excess of the 80s. The song's dark and introspective nature reflects the era's grappling with deeper societal issues and a search for authenticity. 7. "Singing in My Sleep" (1998) - As the 90s drew to a close, there was a sense of both optimism and apprehension about the approaching new millennium. Semisonic's song, with its dreamy quality, captures the nostalgic and hopeful spirit of the late 90s, a period of relative peace and economic prosperity before the uncertainties of the 2000s.  8. "I Saved the World Today" (1999) - The Eurythmics' song reflects the duality of the late 90s—a time of both personal and global challenges but also of hope and small victories. This period was marked by a sense of culmination and anticipation, as people looked back on a decade of change and forward to a new century. Conclusion While it's tempting to read too much into these songs as reflections of transitional periods, they undeniably capture the essence of their times. The 1890s, 1990s, and the transitions each song reflects provide a rich tapestry of emotional and cultural shifts. From the industrializing world of the late 19th century to the post-Cold War and pre-digital revolution era of the 1990s, these songs offer insights into how people navigate and express the complexities of changing times. Jurassic Park, Godzilla, and The Land Before Time have all depicted dinousars as giant scaly lizards—but more recent research has suggested they didn’t look like that at all; it appears they were less Komodo dragon and more Qatari falcon. If so, the T. rex in Jurassic Park should have been a thing with animatronic feathers. The field of paleoart aims to visualize past creatures as accurately as possible despite the limited evidence. If a future paleoartist tried to reconstruct the world of 2024 using incomplete information, what would they get wrong? Would they be stumped by fossil evidence of dogs wearing sweaters? Jurassic Park Jurassic Park, later also referred to as Jurassic World, is an American science fiction media franchise created by Michael Crichton and centred on a disastrous attempt to create a theme park of cloned dinosaurs. It focuses on dinosaurs which wreak havoc on humans. The dinosaurs, created as theme park attractions, are cloned through genetic engineering. Although the films primarily take place on an island, namely Isla Nublar, located on the Pacific coast of Central Rica, Jurassic World: Fallen Kingdom sees the dinosaurs relocated throughout the world, including the US mainland. Godzilla  Godzilla is an American monster film, the 30th film in the Godzilla franchise, the first film in Legendary Pictures MonsterVerse, and the second Godzilla film to be completely produced by a Hollywood Studio. In the film, an American Sailor attempts to return to his family while caught in the crossfire of an ancient rivalry between Godzilla and two parasitic monsters known as MUTOs The Land Before Time The Land Before Time is an American animated film series and media franchise which centred on dinosaurs. The first first movie was directed by Don Bluth, with help as executive producer by George Lucas and Steven Spielberg (also the director of jurassic park) It was followed by 13-direct-to-video music sequels, a TV series, video games, soundtracks, and related merchandising. All 14 films were released as a Complete Collection DVD set on 14th June 2016 It’s about four young dinosaurs and a pterosaur. After finding the Great Valley, they raise a carnivorous baby, survive a drought and a cold snap, and witness a solar eclipse. Throughout the films, they go on adventures, learning lessons about life and friendship along the way Feathered T-Rex?? The article talks about this debate on if T-rexes had feathers. Unlike bones, feathers will eventually decompose after a few years, therefore unlike Sue’s (2023 syllabus reference, also a T-Rex) skull, we can’t find her feathers, as they disappeared in the last 67 million years One side says you need to prove they had feathers, while the other says you need to prove they didn’t have feathers. However, in China there were a lot of volcanic eruptions that buried entire ecosystems, just like Pompeii and Mount Vesuvius So as a result, you not only can find dinosaur bones, but their feathers too. In fact, many dinosaur skeletons were covered in feathers, including the Yutyrannus and Dilong, which were close relatives to the T-rex. If their ancestors had feathers, the possibility of the T-rex having feathers increased  There isn’t really a conclusion to this debate, as people are still arguing Paleoart Paleoartists translate fossil fragments, dense scientific descriptions and geological data into scenes of nature that anyone can understand. It's a balancing act between depicting species as accurately as possible, while still creating a beautiful and engaging piece of art The article then proceeds to show a lot of paleoart pictures Whether you see Edward Hopper’s Nighthawks (1942) as a homage to solitude or as a paean for a lost era of root beer floats, the odds are good that you see it often. The recent Netflix series The Sandman set an entire episode in a Nighthawks-style diner. Consider the selections below, then discuss with your team: what is the modern equivalent of the experience and feeling conveyed in the painting? Are You Using that Chair | Banksy Boulevard of Broken Dreams | Gottfried Helnwein Nighthawks Revisited | Red Grooms Nighthawks | Moebius In the Sandman's fifth episode titled "24/7," viewers are taken on a chilling journey into a diner reminiscent of Edward Hopper's iconic painting "Nighthawks." The episode reaches a terrify