Art

On Saturday, February 27, 2010, I  had the great fortune to attend The Longest Birthday, one of the most unique creative performance experiences Ive ever had the opportunity to witness.  The brainchild of  Edyta Duda-Olechowska, a prominent figure in the Polish theatrical and arts community, The Longest Birthday was a week-long event celebrating the 200th birthday of composer Fryderyk Franciszek Chopin (or Frdric Chopin, as he is more commonly known).  The concert was  hosted by the Polish Senate, the Association Wsplnota Polska and the Smolna Centre, and took place in and around Polonia House and the main offices and concert halls of  Wsplnota Polska at 64 Krakowskie Przedmiecie Street in Warsaw, Poland.

    There are a great many varying factors which contributed to making this musical event so very unique and unlike a typical concert.  First, because there have been some question as to the actual birth date of Fryderyk Chopin (some say it is February 22nd while others claim it is likely March 1st), the organizers of The Longest Birthday decided to create a concert event which ran non-stop, 24 hours a day between the two hypothesized dates of the famed composers birth.  Additionally, organizers  decided, in order to make the celebration an art experience that was accessible to all, that performances would be free and open to the public, not only as audience members, but also as participants. So, not only was this event absolutely free of charge to the masses, but there were many  performances of Chopins work presented by novice and amateur admirers of Chopin, in addition to acclaimed and renowned musical talents. And, a great many of the performers fell somewhere in between the amateur an professional ranks, being deeply gifted students and professors from the worlds most prestigious music academies and conservatories.  But, whatever their level of skill, the only true  requirement that the organizers of The Longest Birthday insisted on for their  performers was that they be able to perform at least one piece of Chopins work.

    The particular performance I attended  was on  Saturday evening, February 27, 2010,  around 10 pm.  I traveled to the old downtown concert hall in Warsaw to listen to a performance by a piano soloist. Funnily enough, I dont recall the young womans name at this time (she was not one of the major headliners, just an amateur participant) and cant locate it on any of the programming material I saved from the events.  However, I do recall that she was remarkably skilled for a amateur and played Chopins work with such heart and emotion that I didnt really miss the technical finesse and aptitude of some of the other professional performers.  It was a joy to hear someone playing just for the love of Chopin and, as she played, I was reminded of the feeling I had when I used to play some of Chopins works  myself.  In particular, I spend many hours in my youth, practicing and playing Chopins Nocturne No.2, and the composition this young woman shared had many sonic elements in common with that piece.  Her performance was elegant and emotive, and the notes she struck during her piano solo were very clear and crisp.

    In retrospect, however, I do regret not having seen a few of the more notable performers, in addition to the amateur set.  There were so many events and performances happening simultaneously that it was only later, when I looked through some of the marketing materials and brochures for the event, that I realized how many great artists I had inadvertently missed the opportunity to see and hear in person.  Andrzej Jagodzinski and his jazz trio performed, and I would have really loved to hear their interpretation of Chopins work, infused with elements of modern American jazz.  Also,  I would have liked to have seen  Janusz Olejniciak, a classical pianist and actor who actually portrayed Chopin in a film called The Blue Note.  Other noteworthy performers included Kazimierz Gierzod, a classical pianist and Maria Pomianowska, the celebrated, international cellist.

    Because of the very nature and mission of the event, there was no one particular musical style that was consistent throughout the performances.  Many, of course, were in keeping with the Romantic-era piano solos of Chopins original compositions.  However, many performers simply used Chopins work as a sort of jumping-off point for very innovative and contemporary musical forms.  The jazz performance of Andrzej Jagodzinskis trio is a perfect example of this. 

    In addition to the enriching experience of listening to the many varied and beautiful interpretations of Chopins key works, I was deeply moved by the very idea of this concert event.  In todays world, high art has become and a very erudite and exclusive concept, something just for the very rich an elite. Unless you have access to the kind of disposable income where you can spend 1000 for an evenings entertainment (tickets, attire, transportation, etcetera), you are likely to be left out of experiencing the greatest performances at places like the New York City Ballet or the Metropolitan Opera, for example.  Somehow, along the way, art that was intended to uplift the common man has come under the sole proprietorship of the very wealthy and connected.  In particular, classical music and Chopins work is not often performed in such free and open venues.  It was inspiring to see such diversity in the audiences which attended The Longest Birthday.  There were young people and old people, rich and poor, lifelong Chopin devotees and those who may have had just a passing knowledge of his work, but were curious enough to want to hear more.  To me, that is such a powerful part of what art can and should be about. Art like Chopins ultimately speaks to the human condition. Not rich peoples condition, or even poor peoples condition, for that matter - but the human condition.  It captures something about the beauty and magnificence of the common human journey which should be accessible to all, and events like The Longest Birthday go one step further in making high art more accessible on a very practical level. 

    If I have the chance to attend another event like this one, I would do so in a heartbeat. Naturally, the huge milestone of a 200th birthday celebration for a composer of Chopins stature  doesnt come along everyday.  But, the example of how an event like this could open up artistic territory that is typically out of reach to the common man is one that I think could be repeated successfully in many formats.  Ballet, classical music, opera and theatre are just some of the art forms that could take a lesson from the example of The Longest Birthday, in bringing the very enriching experience of high art to the masses. 

    One, very hopeful, thought I had about this musical experience was that modern technology may be another way that great classical music like Chopins is spread to a wider audience.  The Longest Birthday was promoted and marketed online, but coverage of the live performances, as they happened, were also being streamed all over the world to people who could not afford to travel to Warsaw.  It may not have had the same level of quality as one would experience actually being there for the performance, but as cameras and video technology becomes increasingly advanced and affordable, more and more people will have access to seeing and hearing classical music in live performance venues like this one in Warsaw.

Byzantine art is an archaistic word used more often to describe the products of artists of the Byzantine Empire. This was at around the 4th century until the fall of the Constantinople in 1453. These works were used in the early periods in the Byzantine Empire for mostly political reasons. This ended up influencing other empires that were neighboring it, for instance the eastern orthodox and other states that were contemporary with the Byzantine Empire such Bulgaria, Serbia, Rus. Other kingdoms that had close ties with the Byzantine Empire were also influences like the Republic of Venice and the kingdom of Sicily. Certain artistic customs that originated in the Byzantine empire, particularly in regard to icon painting and church architecture (Joseph, 1997). These works are still stored in the Greece, Bulgaria, Russia and other Eastern Orthodox countries till the present day.
Byzantine art developed out of the art of the Roman Empire, and so is the fact that Byzantine Empire did represent the political continuation of the Roman Empire. The Roman Empire was also influenced by the ancient Greek art. The nature and causes of this revolution which largely took place in the late ancient times, has been subject of scholarly debate for many years (Nerva, 2001). Some have attributed it to a decline in artistic skills and standards, which had in turn been reviewed by the contemporaries in the Italian Renaissance.

Some of the products produces in the Byzantine art include the enamels, jewelry, metalwork, ceramics, ivories and steatites among others. Many of these were also in the religious nature as they implied an inner meaning of religion. They had a diverse representation even politically. Others did represent the classical mythology while others widely helped in decorations of the houses (Katerina, 2002).

To begin with, Byzantine paintings were used as an educational art. Its object was by its icons to teach Christian orthodox religion even to the illiterate. Imitation alone did not seem adequately to fulfill the function of the icon since its divine visions were enriched with inscriptions which identified the persons represented, indicated the subject of the scenes which were depicted or rather dogmatic or with quotations of fragments of educational texts that were frequently use in the Byzantine periods (Sharon, 2005). Therefore, we conclude that the Byzantine paintings were meant for education, and such educational messages were meant for the students and scholars of those times.

Apart from educational purposes, the Byzantine paintings did a lot of good religiously. Indeed the church of Natives at Bethlehem has mosaics which contain full inscriptions explaining the creed. From the theological point of view, the action of adding inscriptions to the icons made it look further as a religious purpose. It helped the beholder to recognize the persons, to understand the meaning by silently reading the words of the inscription to remembering a theological text (Maria, 1995). These particular Byzantine paintings were written for the Christians to strengthen their faith at those periods.

Another purpose of the Byzantine paintings was to promote the political culture in the Byzantine Empire. Some classical paintings had political messages meant for all citizens in the empire. The messages either rebuked the poor leadership skills that were being used by the then leaders, the writings could also have meant to praise an outstanding king of that time, or even pass a political message of the existing political situation at that period. Some paintings were completely picture s of ancient kings, those that were considered as legends of those particular times (Nerva, 1997).
There were paintings of the different economic activities that were being practiced at those times. For instance, pictures of people exchanging commodities could mean they were trading, or pictures of people herding cattle could mean pastoralist. Such pictures were meant or rather drawn for everyone to promote the spirit of hard work so as to improve different working conditions of the citizens.  For instance a painting of a potter doing his thing could imply that every one should do what he or she is best in.

Byzantine paintings were also used to improve language in the Byzantine period. Not only language, but also other good behaviors in the kingdom. Often the paintings could rebuke poor characters such as theft or witch crafty. Paintings could be painted and places in public places so as to pass the required message (John, 2003). Like in churches, some of the pictures displayed there could mean silence in church, or good characters cited in the creed. The paintings helped in language development in that the inscriptions that used to be in the paintings had a language that was unique and purposely meant for emulation. It was a language of worth it was mostly in sayings and parables.
The main materials used in the Byzantine paintings included ivories and bones. Ivories of elephants and hippos. Other materials included the woods and icons, wall paintings, pottery and glass, paper and parchment, metal objects, mosaic and stone and marbles. The ivories were not available in the Byzantine Empire, but they were being traded in from Africa (Sharon, 2005). It was called ivory carvings, but in other times to make the metal products, metals like silver, bronze were used to make products like the silver plates, or other products. Ivories could be shaped into desired shapes, and then carved to become a picture words could then be engraved in the picture, which would be painted to make the final product. These products could also be used in the houses for decoration purposes.
The Byzantine art had a scale or rather the range that it used to cover in the society, in terms o purposes. The representation of the Byzantine art is the crowning of an ambitious research program that attempts to open new paths in the study of Byzantine art. The program aimed at a better understanding the importance of architectural depiction in Byzantine art.

There were exhibitions then and now about the post Byzantine paintings and culture. Some exhibitions show case aspects such as the spirituality that marks the Byzantine architecture, the richness in understandings of architectural forms and space, the two dimensional representations of the certainty and the importance on the imaginary or symbolic ideas such as the celestial hierarchy and the relation between man and power. At the same time it shows the diachronic importance of many precise basics in the formation and representations of the structural design in Byzantine art (Maria, 1995).

Apart from the existence of exhibitions, where the Byzantine art is kept, there are workshops, each specializing in the conservation of the archeological material or rather materials with similar conservation requirements. The workshops also contain temporary holding rooms, where the archeological materials undergoes cleaning and initial stages before proceeding to the specialized workshops (Nerva, 2001). The treatment the objects receive during the conservation process not only protects them from further ravages of time, but also restores them as closely as possible to their original form.

Generally, there was a notable diverse reaction or rather perceptions to the Byzantine arts, as some regarded them highly and decided to build museums for them to keep them inside some never even bothered to see their significance. But from researches, most people considered the Byzantine paintings as educational, religious and inspiring works of man. They even painted their walls as such to promote the Byzantine paintings.

There was a hiss - the hiss was from the stereo followed by an almost inaudible click.  The hiss became a voice  a male voice, tender, and soft, gentle, sleepy

Today when you purchased this tape you have decided to change your life forever.  No more worries, no more hang-ups, no more messed-up life.  You are the only one who can change your life

Lay back.  Dim the lights.  Adjust the stereo sound so that it is comfortable - like soft, gentle, whispers.  Feel your body slowly relax.  Feel a comfortable warmth move over your toes, your legs, your thighs.  Feel it slowly sliding over your torso, like a warm blanket, moving up to your fingertips, then your arms, then over your shoulders.  Feel this warm blanket of comfort enfold you.  You are relaxed now, you want to close your eyes, your lids have become heavy you want to sleep a deep, comforting, relaxing sleep.  Gently, now, close your eyes, sleep.

You are now asleep alone, safe.  It is dark.  The darkness comforts you.  Look into the darkness.  Gently, slowly, see faces emerge from the darkness - faces of people who have put you down, those who told you that you are worthless, that you are useless, that you are bad and lazy, that you are good for nothing.  Slowly, watch their faces materialize from the darkness. See their taunting eyes, their sneers, hear them.  Hear their insults, how they giggle at you, how they laugh at you, how they call you names.  Hear their voices.  You are safe.  The darkness has enveloped you.  They cannot touch you or come near you.   You are safe.  Watch their faces vanish into puffs of smoke.  Listen to their voices fade into a whisper.  Feel how the darkness swallows them and how the darkness comforts you.

See a light flicker into view.  Watch its warm glow swell out of the darkness.  Feel the air in your room, warm, enfolding.  Feel the gentle, slow caresses of the air on your skin.  Feel it growing warm like the light.  Listen carefully.  Listen to the voices, the whispers.  Listen to what they are saying  You are beautiful, you are good, you are perfect.  Listen to the quiet brushing of the wind against your curtains.  They are telling you to let go of the pain, the worry - let go.   Feel the darkness lifting you.  Feel yourself reaching for the light, the warm comforting light.  Float towards the light, the warm glow, fly free - free of everything.  Float to the beautiful place, the world beyond the light.  Fly into the light.

When I count to three you will feel yourself slowly awaken.  When you wake up, you will feel how it was in the light and you will want to stay in the light...three.  When I finish you will stand and look at yourself in the mirror and you will know what to do, how it felt in the light, and how it really feels to be the real you...two.  You are slowly opening your eyes now, you can now feel your chest growing heavy with pain, with worry, you are now waking up, gently coming back to the real world, slowly, gently...one... 
(Hisssssssssssssss)

He stood and looked at the mirror.  He turned away.

He kicked the stool it cart-wheeled across the floor.  The boom box that was on the stool slammed onto the wooden planks of the room.  The stereo hissed.   
He clawed at the rope that tightened around his neck.  He flailed he reached for the rope that hung from the rafters.  The rope was straining, taut against his weight.  His legs thrashed in mid-air blindly locating the stool that was meters away.  He jerked, quivered, and was limp  he jerked - quivered.
His eyes were open, the whites profuse with fine red blood vessels that had popped at certain places.  Bloody tears formed at the rims and corners of his eyes.    Saliva tinged with blood streamed from the right corner of his mouth, falling to the floor, one viscous drop after the other.  The rafters chuckled.  He jerked.  He was in the beautiful place  beyond the light.


Explanation for choosing this medium

    I chose fiction to express myself creatively because I feel I am more articulate with words.  I am able to convey and express my emotions more creatively using words because I know that with words I can paint images in the minds of my readers.  Unlike the visual arts that limit the viewers imagination to what is shown in a painting or a photograph, I believe words can allow the readers imagination to go wild because of this, the reader is able to identify himselfherself with me, the writer, who, through the creative effort of writing a piece of fiction attempts to convey my emotions to the reader.  I feel that words have a more malleable quality and have a power greater than that of visual arts.  The power of words, for me, lies in the fact that with words I can create worlds, character, and situations, and all these creations come alive in the mind of the reader.

The picture was taken by Dorothea Lange on 1935, it is called Resettled Farm Child from Taos junction to Bosque farms project, New Mexico. She has used a Medium-format nitrate negative for the Resettlement Administration. Dorothea Lange (1895 - 1965) was a prominent Depression era photojournalist. Her Great Depression photos were produced during employment by the FSA. With her camera, she turned national attention on migrant families. Featured works provide an archival look at the early-mid 20th century. As a photographer, Dorothea Lange was influential in detailing migrant living.She has exerted a profound influence on the development of modern documentary photography. Langes concern for people, her appreciation of the ordinary, and the striking empathy she showed for her subjects make her unique among photographers of her day.

Langes work as a portrait photographer enhanced her ability to see striking images in the field and endowed her photographs with a special personal and emotional quality. Even her method of using large, fixed-tripod cameras, instead of the smaller, lighter 35mm cameras favored by other field photographers, distinguished her field work. These cameras, which were more stationary and personal than 35mm, created a polite space between Lange and her subjects, and allowed her to establish direct contact until the last moment when she bowed her head over the viewfinder and snapped the photo. The cameras allowed shots to be composed in a careful, unrushed manner. She only used natural lighting, again less intrusive, more nuanced, and more authentic in documenting the scene. Some critics have attributed her method as critical to the effectiveness of her work.

Photograph Description
    There is this young girl sitting on a bench between a fireplace and a bed, looking sad or bored, staring aimlessly at the fireplace. The photo taken at that time on Bosque farms,
New Mexico. Bosque Farms is just south of the Isleta Pueblo in Valencia County, New Mexico. Today it is part of the Albuquerque metro area, and has mostly upscale homes with enough room for folks to have horses if they choose. It had been part of early Spanish land grants, and a number of different owners had rancheros in the area. In 1935 the Federal Resettlement Administration bought a large tract there from the state and divided it into 42 parcels which were settled by Dust Bowl refugees from Taos and Harding counties in New Mexico. Small adobe homes were constructed for those resettled, and a number of those homes are still in use today. The original intent was for agricultural livelihoods for those resettled, and that held true for a number of years. However, today it is primarily a bedroom community for Albuquerque.

Reviews
    There were a couple of books published, reviewing Dorothea Langes work. One of them was written by Linda Gordon. She concluded on that book

    Yet her photographs have had an extraordinary impact even in the most prosperous of times they may well live forever. There will always be a need to be reminded that beauty can be found in unlikely places, that we must learn to see beyond the limits of the conventional and the expected. Such indelible images mean more, not less, if we understand how they came to exist. They were produced not by a faultless genius who could remain about the wounds, failings and sins that afflict the rest of us, but by a fallible and hardworking woman. They were produced also by historical times she lived in, times optimistic and pessimistic, times that honored generous, compassionate, and respectful impulses of Americans and time that encouraged the closed, fearful, and intolerant. Langes photographs will always evoke the best of American democracy. (Gordon 2009)
    And also on Unshuttered lens by Carol Conrad  she stated

Langes work for both the FSABAE and the WRAOWI created powerful images that helped drive public policy through a critical period in American history. Raising artistry in the field to new levels, her work had a lasting impact on the field of documentary photography. Her unshuttered lens helped millions of Americans to see history, both then and today. (Conrad 2010)
But probably the most renowned work of photography done by Lange was called the Migrant mother series.The five photos now archived in the Library of Congress are the creations of an artist while at the top of her talent. Dorothea Lange took them on 45 film with a Graflex camera. They show the mother, a baby, and up to three older children. The mother sits with a common posture throughout. She leans forward and to her right, toward the photographer but sideways into the tent, with her lower legs pulled slightly back. Her childrens postures are slumped, as if to convey defeat and resignation. Their faces (where visible) show no expression. The iconic image is a close-up. Two of Florences children are behind her and back-on, leaving little doubt about who is the central figure. She looks away from the camera, her face thoughtful, worried, her body inclined toward the flimsy dwelling, a baby on her lap. Her right hand, placed prominently against the face, pulling down the corner of a lip, shows a delicacy of manner that contrasts with the dirt under its nails.

The mission given to Dorothea Lange by her boss Roy Emerson Stryker was to take pictures that would support the New Deal agenda of the Resettlement Administrations (later known as the Farm Security Administrations) documentary project. This agenda aimed to improve conditions for poor farmers and sharecroppers brought to poverty by the economic Depression. Stryker believed in scripting his photographers to capture in pictures the human side of pressing social and economic concerns of the day. With one exception, the Migrant Mother series seems to accord with this mandate. The clothing, faces, and postures depict the mother and children as ragged, broke, uneasy, resigned. Nobody departs from this profile. Nobody smiles. Only one photograph, 4 in the Library of Congress archive, depicts Florence Owen Thompson in a manner that looks unplanned rather than arranged.

The humanistic documentary genre that Strykers photographers began has not been without reappraisal during the past seventy years. With the Migrant Mother, Dorothea Lange created an image that became iconic not only of the Depression years but of the genre itself. That photograph furthered the mandate that led to its creation beyond the dreams of any photographer of the time.

Observations about the Photograph
    The mood that the image conveys is really sad. It shows this young girl being placed on such a gloomy environment. The photograph has a dramatic composition, lighting which is fitting to the environment the young girl is living in. This is just one of the photographs that moves you in deep emotion and thought, which is basically one of the great things about photography. What we see is what we get, and provides us with a lot of theories that could happen on this particular still photo. As we can see here that the focus is on the girl and the background is her surroundings. The suns light aimed directly at the girl emphasizes its exposure on the main subject, the lighting here is just right not too overexposed to probably not create a wrong impression,  As such can be interpreted as a rather normal scene instead of a somewhat sad one. The effect of the lighting also created shadows of the other objects of the background. That explained or can be assumed as hope for this sad, or lonely or even bored girl. The environment in contrast seems that it is eclipsing the hope, stating that this is her reality on this current time and she may better live with it. 
The composition also of this photo has captured my attention, the particular camera angle on the girl as she was placed on the lower part of the frame added meaning to the image, as the subject looked more submissive and also more mysterious.

Based on my observation, it can be assumed that this girl or her family have none of any objects of leisure on their daily life, the absence of toy for example conveys the message that the girl here is living a tough life. Also we can see here on left part of the photograph, that there is a bunch of newspapers stacked up on the window, it can be interpreted that the family reads and monitoring the daily news. (Which in fact the photo taken here is part of the series of photographs taken by Lange about the Great Depression period.)

This photo can stir emotions, even making the viewers create their own perception on what may be the image portrays. It could be the truth, but it could be otherwise. The stillness of its nature only captures the moment but not the entire truth, much can be said if this was revealed as a motion picture, which can easily justify any assumptions. But all things said, the photography here is really wonderful, it has reached the photographers goal of capturing ones heart through images and expressed the nostalgia of the moment.

The Metropolitan Museum of Arts in New York has a collection of millions of art works from around the world. In this fabulous museum, there are more than 5300 historic pieces from 900 B.C. to early 4th century A.D. The historic pieces of art include monuments, sculptures, paintings and historical items, etc from Greek Hellenistic period to Roman Empire and Golden Age of Augustus (Djibnet, 2007). In the Metropolitan Museum of New York, one can explore through the vast expanse of history and find several pieces dating back to antiquity. One of these time-old memorabilia is the Marble Head of Athena. It is the figure of the head of Greek goddess Athena and date backs to late third and early 2nd century B.C. The Marble Head of Athena has a height of nine inches about 48.3 cm and is an example of ancient Greek and Roman art.

The colossus head is of a female of almost twice the life-size of probable statues of Athena. The marble head seems to be representing Greek goddess Athena because of the characteristic helmet that Athena goddess used to wear. The helmet enjoyed the status of her unique symbol and portrayed her as patron of wisdome, handicraft, and disciplined aspects of war (Sacks, Murray and Bunson, 1997). The Corinthian-shaped helmet that Athena wore, consists of bronze, not of marble, and became the part in separation on this figure. However, on this figure, the top part of the helmet is not complete. One can find small holes at the back and top of the marble head. It is an assumption that these holes were for the utilization of holding the helmet securely and fixing it at one place through metal pins.
On examining the sculpture, one can see that the hairs are pulled back from either side of the face.

This was the ancient style of tying the hair and is again associated with style of the Greek goddess Athena. The pulled back hair is tied into a chignon behind. There are small holes for putting the metal earrings on the ears of the sculpture. The lower edge of the neck is in complete form, with no damages whatsoever. The surface of the sculpture is also very smooth. This shows that the Greek technique of making sculptures has been used. The sculpture is classic in character and proportionate in design and shape. The lower edge of the neck from where it would have been attached to the body is equally very smooth. The material used is marble the ancient Greek technique for marble carvings has been used, as the surface is smooth and very well proportioned without any signs of damage.
The sculpture has parted lips and eyes wide-open, depicting alertness and readiness. The head is turning towards the right sharply and gives an impression of the figure striding forward. This is indicative of the complete statue, portraying an abrupt movement. The theme of the sculpture is derived from here as the figure striding forward represents votive impression of the Greek goddess Athena. According to findings, the Greek goddess Athena was not just a patron of wisdom and art but also a warrior and a guardian. She typically appeared in complete armor in different statues, wearing helmet and spears. This Marble Head of Athena shows and communicates her role as a guardian of Athens and not just a religious statue in the temple. These diverse attributes make the goddess unique and distinctive in many ways.

If we look at it from chronological point of view, the marble figure through its expression appears to be in dynamic action. The passionate expression that the sculpture has points its origin to high Hellenistic baroque (Pollitt, 1986).The style of this head mark is said to belong to the baroque style that previously prevailed in the Mediterranean region. This historic perspective also lends the goddess a new shade of character. The figurehead belongs to the Hellenistic period that was known for the rich variety of art with diverse subject matters. Making sculptures of the well-known personalities and the Greek gods was famous styles of art in that particular era. The Greek gods were represented in different forms, having different symbols (The Metropolitan Museum of Art, 2010).
From 480 to 340 B.C, the neo Attics evolved. It is an observation that sculptures in Athens made close imitations of Classical models. The head of Athena is said to be a work of Perganmmmene neoclassicism. The beautiful heads are said to be the masterpieces of neoclassicism and the marble head of Athena is said to be one. This can be said because of the characteristic features like narrow and longer faces, typical of the periods history. The helmet design, the hair, the sharp edges of the face, all gives a feeling of fifth century prototype. The figurehead has features of both the neoclassic time as well as the Hellenistic baroque, which implicates that it belongs to a period intervening the second and third century B.C (Pollitt, 1986).

Gothic art flourished in Europe in the mid-12th century and drew significant inspiration from religion.  One of the earliest Gothic structures was made by Abbot Suger of the monastery of Saint-Denis in the region of Ile-de-France near Paris (Gunderson 11).  Suger wanted Saint-Denis to be the center of religion of France so he decided to remodel the church in Saint-Denis.  Suger, a lover of architecture, incorporated all the elements of architecture he had seen during his travels to other continents such as sculpted, arched doorways and  decorated front and sides (Gunderson 11).  Suger also incorporated a major change, marking a big difference between Gothic and Romanesque architecture. Suger had windows installed ribbed vaults that support the roof of the building to allow placement of more windows.  The reason for this is to allow more light to enter inside the church.  Suger believed that  light was of holy origin and was the link between the spirit and body and heaven and earth  (Gunderson 12).  This was in contrast to Romanesque architecture, where darkness and gloominess are pervasive.

    At the time when Gothic art was flourishing, religious wars brought Europeans in contact with other cultures, such as those of the Byzantine Empire and Islamic Arabia.  Constant contact with the Muslims impacted Gothic architecture significantly.  According to Christopher Wren, one of the most prominent architects in English history, the origins of Gothic architecture can be traced back to the Crusaders, largely through intermediary action of Moorish Spain (Saglia 259). 

He established the Saracenic theory, which holds that both historical facts and physical characteristics of Gothic architecture are of Muslim origins (Muslim Heritage).  Wren said

        Modern Gothic, as it is called, is deduced from a different quarter it is     distinguished by the lightness of its work, by the excessive boldness of its elevations,     and of its sections by the delicacy, profusion, and extravagant fancy of its     ornaments. The pillars of this kind are as slender as those of the ancient Gothic are     massive such productions, so airy, cannot admit the heavy Goths for their author how     can be attributed to them a style of architecture, which was only introduced in the tenth century of our era (Muslim Heritage)
   
    Mudejar Architecture, an amalgam of Spanish and Moorish architecture, was a popular style in Spain from the thirteenth to fifteenth century.  The cathedral in Seville, the largest Gothic structure in the planet and the third largest cathedral in Europe, is one of the last to be built in Gothic fashion (Porter  Prince 9).  The facade is ornately decorated and like many Gothic cathedrals, has a large nave. 

    It was natural for the English to spread their culture in India, when they set foot in the country as conquerors. The English adapted the Neo-Gothic style in India.  It is manifested in Victoria Terminus, conceived as a cathedral to modernization.  Victoria Terminus has  groin-vaulted ceilings and stained-glass windows, and resembles a Western Church with a gabled facade and flanking towers (Kleiner 713).       

    One of the few Gothic structures built in Southeast Asia is the San Sebastian Church. Don Bernardino Castillo, a generous Spanish patron in the Philippines who was also a devotee of San Sebastian, had a dream of building the first steel church in Asia (De Jesus).  Spanish architect Genero Palacios and two Belgian engineers supervised the construction of the church (De Jesus).  The abundance of windows and the pointed arches of the entryways of San Sebastian are very characteristic of Gothic architecture.

    Like many styles, Gothic art is a combination of styles and influences from different culture.  As it is introduced to a new place, the style is altered to fit the culture of that place.

    The role of women in the field of arts had been evident throughout the years despite of the difficulties associated with training and the recognition given to their fields. In the early period of the Medieval age, women are seen to be working together with the men in the various areas of arts like carved capitals, embroideries and manuscript illuminations. Historical documents also showcased that women were also involved as butchers, brewers, iron mongers and wool merchants. In particular, manuscript illumination produced a number of artists in this era like Ende, a Spanish nun of the 10th century, Guda, a German nun of the 12th century and Claricia, a laywoman of the Bavarian scriptorium in the 12th century. Meanwhile, in the Ottoman controlled Germany, Hildegard of Bingen rose as the excellent example of the intellectual genius of the Middle Ages. She wrote a number of works like The Meritorious Life, The Divine Works of a Simple Man, Scivias, a miracle play, 65 hymns and a long dissertation composing of nine books on the different accounts of nature like animals, trees, plants, minerals, fish, birds and metals (Grinstein, Biermann and Rose, p. 237).

    The Renaissance is also famed with the number of gifted women artists of the era. Christine de Pizan is a French woman who was remarkable for her work as a writer, critic and rhetorician with her magnificent piece entitled City of Women published in 1405 which talked about the symbolic city wherein women exist freely from the travesty of men. In the same manner, both Catarina van Hemessen and Lavinia Fontana were able to depict their own self with their self-portraits paintings. The two were not only considered as painters but also scholars and musicians of their time. In these times, women are considered inferior than men as their works portrayed the discrimination they got from the society. Different cultures like that of India and Britain have almost the same situations since slavery is rampant at that time. As a result, many women depicted their work through the arts without any direct indictment against the inequality they faced in the society. Meanwhile, our ancestors were definitely responsible for the spread of information about the culture of women in those ages.

    The Lindisfarne Gospels is a gospel book which was created at the Northumbrian monastery found on Lindisfarne at  the end of the seventh century or the beginning of the eighth  (Herren and Brown 217). It is stated that the Lindisfarne Gospels is one of the earliest biblical documents in Britain its language is the Latin Vulgate Version, and its pages are decorated with  the finest Anglo-Keltic art  (Boulton 32).

    The Lindisfarne Gospels contains  cross carpet pages, evangelist portrait pages which were based on Mediterranean models  (Herren and Brown 217), and its text is highly decorated with intrinsic designs. While the pages of the Lindisfarne Gospels do not contain a representation of Jesus Christ, they exhibit a very  elaborated devotion  (Herren and Brown 217) to a symbol which signifies Jesus Christ the cross.

The Celtic Design of the Cross
    All the books of the Lindisfarne Gospels are prefaced by a portrait of its evangelist, followed by an intricate page which features a cross, and then the Incipit printed in very elaborate and intricate letters. The Lindisfarne Gospels also has a  great Latin cross with six rectangular expansions floating against a background of band interlace differentially colored to create a pattern of repeated squares two squares with cross centers and step-patterns float about the arms of the cross while two vertical rectangles of similar design stand below the arms  (Herren and Brown 217).

    It is stated that this depiction of the cross  reflects Insular crucifixion compositions  (Herren and Brown 217) which can also be seen on the Athlone plaque wherein two seraphs are hovering over the cross as Stephaton and Longinus stand on either side. The cross also has colored borders, as well as angular decorations which create an image that seemingly floats above the background (Herren and Brown 217). 

    The design of the cross also includes checkered diagonal patterns which cover its body. This design gives the impression that the cross is a jeweled metalwork (Herren and Brown 218). Apart from the cross, it is also stated that the Lindisfarne Gospels is a combination of intricate Celtic scroll designs and  Germanic-derived interlace  (Koch 104) which are all said to appeal to the conflicting and varying aspects of Northumbrias culture.

    Also, it is necessary to note that while the aforementioned cross design can be found on the beginning pages of the Lindisfarne Gospels, this is not the only area where intricate representations of the cross could be found. In fact, the cross could also be found in every carpet page preceding the gospels, all of which were done in different designs. Indeed, it could be said that even though the Lindisfarne Gospels did not symbolically represent Christ, the intricate depictions of the cross could not be lightly stated as something that is merely a decoration (Herren and Brown 218). 

The Lindisfarne Gospels and the Celtic Hanging Bowls
    One of the most prominent Celtic designs which can be found in the Lindisfarne Gospels is the designs of the Celtic hanging bowls (Bruce-Mitford and Raven 37). Hanging bowls are  thin-walled bronze vessels, rendered capable of suspension by the provision of either three or four hooks mounted round the circumference of the bowl at equal intervals  (Bruce-Mitford and Raven 3).

    These Celtic artifacts generate a large interest among scholars because it is unclear how such handsome and rather  extravagantly embellished  (Bruce-Mitford and Raven 3) items are to be utilized. Apart from this, much mystery clouds the origins of the these Celtic hanging bowls although most of the artifacts have been retrieved from Viking or Anglo-Saxon graves, it is established that they are of Celtic origin. It is suggested that these artifacts may have been acquired by the Vikings through trading and even through force (Bruce-Mitford and Raven 3).

    These Celtic hanging bowls are decorated with escutcheons and other motifs such as scrolls, key patterns, leaflets, or perhaps linked loops. These designs eventually evolved into  more elaborate trumpet-spiral pattern designs  (Bruce-Mitford and Raven 4). Also, there are bowls decorated with inlays of various colored glass, or inlays which were cut off from millefiori rods (Bruce-Mitford and Raven 4).

    The Lindisfarne Gospels, along with the Book of Durrow (found in the Trinity College library), is vital in determining the chronology of the Celtic hanging bowls. Since the manuscript of the Lindasfarne Gospels contains the same artistic symbols as those found in the Celtic hanging bowls, it is assumed that the Lindasfarne Gospels can help historians and scholars trace the origins as well as the period when the artifacts were introduced (Bruce-Mitford and Raven 38).

    The manuscript of the Lindasfarne Gospels reflects the various art styles that can be seen in the Celtic hanging bowls such as the Hawnby escutcheons  rambling lines of dots outlining shapes and framing spaces, with clusters of three dots sprinkled about in the middle  (Bruce-Mitford and Raven 38). Since such symbols are found on two different artifacts, scholars have come to the conclusion that there must be an interrelation between two artifacts which, in turn, can be used to enlighten the shrouded origins of the Celtic hanging bowls (Bruce-Mitford and Raven 38).

In the competitive environment of the modern fashion industry, a relatively new and surprising trend seems to be emerging as an opportunity for the major firms to display their genius in design and, of course, to attract more luxury customers to their already profitable business.

Taking advantage of the reputation acquired through the years and their exclusive client portfolio, fashion designers are now in a position where they can diversify their traditional activities and move a little bit further from the core business of haute couture and explore new horizons by not just providing the most elegant fabrics and designs to dress travelers worldwide but also to delight them with a completely different accommodation experience after all, there is no better way to enjoy a trip to any top destination of the world than staying in a designer brand hotel.

A perfect example is the G Hotel in Galway, Ireland designed by Philip Treacy, renowned milliner and native of the city in which is creation adorns the landscape and welcomes the most demanding guests in the world.

Its excellence has been awarded by the Cond Nast Traveller magazine, ranking it as one of the top three hotels in the world for ambience and design  (Gold List, 2009) and by the selected guests that according to the Living In Magazine leave feeling completely relaxed and vowing to return soon (OConnor, 2009), so if what you are looking for is a totally different experience from the regular chains, any designer brand hotel of your choice promises to provide an exciting and pleasant experience, after all, this designers usually know what their guests want.

Pasadena is in the north east of Los Angeles and is a city in California. In 1923 the people of Pasadena decided to pass a bond issue of 3.5 dollars so as to establish a civic center. Plans to build it started. The City Hall was designed by Arthur Brown and John Bake well. It is located at 100 North Garfield Avenue. Its construction was completed on 27th, December 1927.It is rectangular and it measures 242 feet West and East and 351 feet South and North (Cecilia 6).

The East side is one storey while the other sides are tree stories high. It also has small towers and a main dome on the west entrance. This circular structure has six stories where the fifth story is 41 feet high. It is pierced with four large round arches and four other small ones.  The next story is set back a little and is 30 feet and is also pierced with arches. Above this story, there rises the dome which is 26 feet high and 54 feet across. On top of the dome there is a lantern which is a cupola which is column supported and is 41 feet high. This cupola is surmounted by a ball and urn. 206 feet above the ground is the height of the highest point. The stair ways have a trend of Alaskan marble which have balustrades of wrought iron. The wall ornaments and the fountain are made of cast stone while the dome has a fish-scale covering and the roof is made of red Cardova clay tile. The lanterns of the big dome and the stair towers a copper sheath. Padre tiles are used for the corridors and the main lobby floor. Wood work on the interior side is vertically grained with white oak. This hall was built at a cost of 1.3 million dollars (Cecilia 7).

Pasadena City Hall was listed on the National Register of Historic places on 28th July, 1980.As I can quote from the National register of historic places Inventory-Nomination form The district, a civic Center designed by Bennett, Frost and Parsons, is a nationally significant example of civic art in the City Beautiful style of the 1920s. The main features of the plan were all executed and the main buildings especially the City Hall was built by recognized architects in a homogeneous style.

It has been chosen by many film makers as a favorite location for shooting. For example it was used in 1995 in A walk in the clouds a movie that was used to show a Napa Valley town square. It was also used in Mission Impossible and The Great Dictator It currently serves as the city hall for   fictional Pawnee in the show Parks and Recreation. This is a television show.

Some of the major and famous buildings related to Pasadena city hall include The hotel des Invalides in Paris, The Santa Maria Della Salute church in Venice and St. Pauls cathedral in London. They are some of the European domed structures.

Bakewell and Brown graced the walls with some amounts of ornamentation which included garlands and lion heads. This was a symbol of abundance and strength. The scrolls had an official crown and key. The Dome was made solidly and commanding yet graceful and looks airy. The two designers thought of a sun warmed buff against the blue skies and greenery and showing red tiles and shady walks. They also thought of a garden with a splashing fountain. There was also a plan for rooms that would be used by a busy administration of the city in the years that followed (Cecilia 8).

From outside, the city hall always looked as if it could withstand the test of time but in the late 20th Century, the hall had started showing signs of age. Studies in the 1990s showed that if major earthquakes occurred, the Pasadena City Hall would be destroyed and this could lead to loss of life and also the destruction of some parts of the building.

This is because it didnt meet the modern building codes. This was the major reason for the seismic retrofit. The exterior of the building remained as it was since 1927. Portions of the interior though had been modified over the years. Some of the offices and the primary public spaces still had their historic character. In the 1980s, one cupola and the two stair towers had been restored. After the 1991 Sierra Madre earthquake, the finial on top of the large dome was repaired.

By this time deep cracks could be seen on the walls and damage by water could be seen. Up to this time no repair had be done on the building but in the late 1990s the Architectural Resources Group began to rehabilitate it.

In 2004 July, people were told to vacate the building so as to allow for its rehabilitation. This process would take 3 years. The faade was restored and all the council members and offices were renovated. They made sure that the building met ADA standards and its Heating, Ventilating and Air conditioning systems (HVAC) were modernized and changed. Architectural lighting was installed and new landscaping was done around the hall. The building was also lifted above its foundation and structural base isolators were put and a new foundation was finally put in place. This was done to so that the City Hall could withstand any future earthquakes. The renovation made the Pasadena city hall to look very beautiful and since it had met all the modern requirements, it earned
LEED Gold Certificate. People started to move in the building after the renovations in 2007, April and in July all was back to normal (Cecilia 9).

Though the renovation costed a lot of money, the city officials said they couldnt risk losing their land mark in any of the earthquakes in the following years. Just like any other object or environment can undergo change the Pasadena City Hall underwent such renovations so that the appearance could change to a more appealing one. As we are told the Pasadena City Hall was   is literally an important symbol of the Pasadena City which citizens talk of a lot of pride and warm interest. They highly value it and considering the renovations that were done, it has it became more beautiful and a site location for shooting films.

The ornamentation done inside the building, the beautiful landscape that was created, the designs inside the building i.e. that of a lion and ensuring that the building met ADA standards and ensuring that HVAC systems were installed led to victory in that the building earned a LEED Gold certificate. As they created a landscape they ensured it was sprinkled with water to ensure a green appearance. All these were tailored to achieving success and maintaining the landmark of the city.

    In the course of human history, there were several efforts made in line with social transformation  some of it shall be categorized in passive or violent form.  Social transformation appears to be a continuing need of man since there is also a continuous saga of poverty, hunger, war, and cultural differences.  By social transformation, we mean to empower individuals in order to remake or to reconstruct the society (Goldbard, 2001, p. 128).  And if politicians way to remake the society is through their provisions of laws and policies, the artists ways are quite different.  It is through their collective effort to produce shows and acts that suggests cultural meetings.  In one of her statement, Goldbard (2001) recognize the duty of the artists to take part in social transformation by means of
(Goldbard, 2001) constantly improve our artwork in content and function, to reconstruct in light of heightened political understandings, and to assume full responsibility for the meaning and message of our work (p. 128).

    Even in the early years, in the time of former President Reagan, for example, theater artists already feel that they belong to the arena of political conflicts and social distress, thus, realizing that theater is not just a mere form of art, rather a catalyst, an expression of independence and rebellion against distresses in the society  for theater is a drama of social reality, at least in the perception for those who live for it and within it.

    Goldbard (2001) believed, since her membership in various theater movements in the past decades, which they key for social transformation, is the desire within every individuals inner being (p. 129).  And upon her experiential being, people are becoming tired of the usual movements for social transformation  that s inclined with politics.  As for the new generation, change shall be from within oneself, and one thing that can flourish such inner change is to express it without inhibitions.  In that part, theater should have been a better medium.  Goldbard (2001) also recognized the role of art in foreshadowing every peoples sentiments, from songs to personal stories, all of which have catalyzed change (if not for majority, at least in the intrapersonal context) because of the expression of emotions.

    The idea is, when theater is utilized as a form for social transformation, it creates civic dialogue (Goldbard, 2001, p. 130), wherein the uncompromised parts of the society are given the opportunity to make linkage, more like an understanding, to settle matters whether in verbal or non verbal means.  However, despite its efforts to take part in social transformation, theater has continuously receiving critiques of dismissal or withdrawal from sectors of the society.   In terms of linkage or connection, there is one thing that theater and people have in common  and that is the proliferation of cultural diversity.  Because it is an undeniable fact that theater is an expression and perhaps a revolution of certain cultures, it directly appeals to the mind and inner beings of people.  Theater cannot transform society, that is for sure, but its influence and connection to individuals diminished the boundaries.  It is more like coordination between theater as an art and people to do the mechanical tasks.

    One validation that theater has indeed taken its importance in social transformation is during the time of Reagan wherein public arts received so many attacks.  But definitely, it was also during this time that theater has been recognized as an effective tool in religious-right organizations using direct-mail campaigns.

    For Tony Kusher (2001), it is not only the political theaters that can reinforce social change, although it is a fact that majority of recognized art to transform social acts are in the political theme.  To think, there are various forms and representations of theater arts, but not all of them can aid in social transformation.  That is because, is not enough for someone to make a good art (Kushner, 2001, p. 63).  Rather, it is important than the maker shall consider that the world has a need for that art and in finality, it has to be presented in a manner that is responsive to the call of the society.  The world has variations of presentations theaters and representations of art but notice that not all of them are potential catalysts for social change.  Perhaps, one reason that theater continues to receive criticisms and attacks from some sectors of the society is because not all of its forms are intended for social change.  And maybe, since not all of its forms are for social transformation solely, theater is not able to maximize its capacity to change and alter distresses in the society.  Among the most common forms of theater in line with social transformation are presented in ways of activism, resistance, and liberations.  Personally, I think I might agree that every endeavor of an artist, particularly in theater, is an act of activism.  There is a spirit of rebellion in every theater artist that seeks to be foreshadowed in a broader and more intellectual form, and that is in the ways of theatrical art.  Even though that theater cannot be perceived as  a tool for social transformation, one thing is certain, and that is there is an entity within every carrier of art that seeks to attain self improvement and more importantly, social transformation.

    Doug Paterson, as cited by Kushner (2001), agree that theaters ways of inducing social change is just so implied that oftentimes, it cannot be seen or felt by people are who already drowned by the impurities of the society.  Surely, theater is just like anything that aspires to inflict change in everybody, but its techniques are so silent, glamorous perhaps, and that is the main problem.  What must be done is here is that the makers of theater shall continue to make theater and reinforce it in a manner that will be explicitly available and be seen by everyone. Theater shall continue to establish dialogue and transgress from the old-school monologue style.  This means to say, although that theaters technique are somehow in abstract form, it shall not fail to communicate its message effectively with the audience.  Because whether people will deny it or not, theater inflicts great appeal to the minds and emotions of people, only that, such message must be accompanied by the will and strength to create change, thus resulting to social transformation.

    Jessica Winegar (2008), on the other hand, used art (and theater) to set distinctions of humans apart from the animals.  Because art is an expression of the whole being, then, it is made available solely for the utilization of mankind.  It is the representation of the suppressed desire of people to experience change and to create the everlasting need for social transformation.  And with this, as long as man exists and he continues to desire for his needs and wants, theater and art will always be present.  And it can always be used as catalysts for social transformation, of course, with the real-life personification of people.

This paper intends to analyze the Qantas Airline annual report in terms of emotional and rational responses to the images and the text provided in the report. The report is full of graphical images about the company taken at different place and events throughout the year.

The images explicitly describe one or many aspects of the companys values and missions and are intended to attract the potential investors and retain the existing investors.

The report is also useful to general customers and media who can take advantage of the pictures and they can actually relate to the company if they have travelled with the Qantas ever. We would now try to answer the questions asked earlier to explain fully our study of the Annual report of Qantas in terms of rational analysis of the text and images.

1. Is the early material in the report substantial in that it allows potential stakeholders (stake seekers) or shareholders to feel that they have relationships with the corporation (Keep in mind that the aim of corporate communication should be to build two-way symmetrical relationships with stakeholders (publics) - hence the origin of the term public relations).

    The report does a good job on public relations.  The earlier pages mentions about the revenue of 14.6 billion profit before tax and earnings per share 5.6 cents , mentioning of 334,000 flights over 520 million kilometer, 38 million passengers and overall 36 million meals prepared  this information gives the overall idea of the company aggressiveness and gives a very bright picture to the investors and  gives the impression that the company is very passionate about its travelers and actually the travelers also like the company even though the company has pass through some rough times recently.

Later in report the message from the chairman indicates that Qantas has been badly hurt by the economic recession just like any other airline for the similar causes such as H1N1 and overall global aviation downturn and hence reports losses of US 9 billion dollars. The losses, profits and overall all summary of the airlines on the first few pages indicate that the company greatly thinks about the stakeholders and shareholders as they are sharing the good and the bad information about the company with them.

The Qantas group has informed the stakeholders and shareholder of their response to the losses with the liquidity of 3.4 billion dollars of new funding and 514 million capitals rising, and introduction of techniques to increase sales and decrease operational cost and which again is a good public relation policy.
The several pictures including picture on pg 28, 6 and 50 also help the stakeholders and shareholders think they are with the company and their opinion is important since the problems as well as good things are shared with them in detail.

At many times during the report extra information is given which probably would help the stakeholders and shareholders feel that they actually own the company and leave them with the sense of belonging. Such examples are given on page 38 and 42 in text.

The figure on page 20 about the aircrafts shows how big this giant is and the kind of airplanes it has. I am impressed at the fact that Qantas operates 24 B747 apart from other which is a big deal. A380 is top of the line aircraft and it would hugely impress any investor. Maybe some people wouldnt know the difference about these aircrafts but the people who actually travel in the business class and are actual investors really know the difference. This is good for stakeholder as they can be proud of having their stake and share.

2. Is there a balance between negative and positive in the text

There is negative and positive points included in the report but it is not very well balanced, not at least for every aspect. For example products and services on page 25 mentions about moving to new place on the Heathrow airport but it could have been talked about in a more convincing way, right now it seems as if they are moving because of some other technical difficulty on part of the Qantas group.

Catering at Qantas is a very well balanced paragraph on page 26 where it has been detailed that they serve a huge number of travelers with fresh food, although there is no mentioning of any negative view but it is evident that the Qantas is up for only fresh and healthy food.

The picture on 36 gives the opinion that travelers are well served by the Qantas, we would say it is balanced in a way that although there are no customer representatives on the pictures on the first page (air hostess ) but later there is one that is shown talking to traveler in a pleasant way.

The picture on page 30 where an aircraft is being washed gives the impression that Qantas wastes a huge amount of water on washing but the column on the side explains that it is actually to reduce fuel consumption and to increase life of the aircraft, moreover it says that Qantas would try to reduce the water consumption by 25 this is indeed a balanced amount of positive and negative information and would probably help an investor decide more in terms of investing in the company.

The mentioning of the removal of 590 management position gives a negative impression but the way it has been expressed actually turns it the other way.


3. Does the text provides evidence of two-way symmetrical communication, or is it asymmetrical

There is definitely two way symmetrical communication, for example when the report explains the operations and details of the Jet star on pages 31-34 , it actually is trying to do two way communication that the Qantas is committed to providing additional benefit to the customers by reducing cost  while improving the service.

Mentioning of twitter and other social networking sites and then the paragraph about the Qantas.com translates to the two way communication.

4. Is there evidence that some parts of the text are symmetrical while others may be asymmetrical

There are definitely parts on the report which are asymmetrical, one example is of page 43 on sustainable transformation, although the companys commitment is discussed but there is actually no input on this issue from the customer side.

Very little information that relates to the customers, like survey or customer response to the service or shareholders input has been given.

5. Does the text appear to be written for specific, rather than general stakeholders, for example, shareholders, employees or suppliers, rather than customers, media or governments

Well the report is certainly not written specifically for the stakeholders as there have been explanations of several things which a stakeholder should already have know.  Also the report is not only for the shareholders who dont need this much information, they are more interested in figures like how much was the total revenue and the total profit earned by the company and by each share.
Share holders arent necessarily interested in environmental and climate change mentioned and depicted in the picture on page 48, they would also not be interested in safety and security mentioned on page 43-44 but this certainly is a big deal for the travelers and the government 

The route map on page 18 and the details below show how extensive Qantas operations are and they are able to reach the whole world this information is needed by the media and travelers.

The information about Qantas commitment to the pilgrimage and the Pope by flying him with a charter plane shows the QANTAS commitment to the people and the human side of it and is great marketing information for media.

Picture on page 16 shows some beautiful women and other people but the text on the next page (right hand side) explains that that the Qantas is an equal opportunity employer so the picture is not included just as an eye candy but it had some important meaning attached to it.

The text overall is written for a specific class in mind the shareholders but part of the reports can actually help the customers, media and governments to know about the Qantas and may help them in deciding their trip, long term business plan or planning a report about the airline company

A customer would hugely be impressed with the pictures mentioned of an excellent service on page 25 and 38.

The last pages from 50 to 64 may only be interest to the shareholders and stakeholders but not others.

In this paper we have analyzed and commented on the annual report of the Qantas airline, the annual report is of 164 pages but we were required to study only the first 64 pages, the first 64 pages are fully of meaningful pictures describing lots of important things about Qantas and shows why and how Qantas operated in the last year.

The report is an excellent piece of information for the shareholders, stakeholders, travelers media and government agencies looking after the matters of the airlines.

    Since the end of the Civil War, schooling became more practical when business and industrial drawing became the initial step.  The idea was to provide an equal education to all citizens regardless of their birth or future vocation in life (Amburgy, year, p.103). 

    Through education, there is development of the character and of the intellect, as well as the construction of individuality, of self-discipline, as well as the importance of reasoning (Kant, 2008, p.36).  This character development leads to the commitment to duty, which Kant stresses would lead to the discipline of having the reasonableness of which he is able to see for himself (Kant, 2008, p.37).  This insight of what is right or wrong establishes morality, which should be the basis of moral education in the formation of character.  Subjective rules should reflect these maxims that form the characters of the students through discipline.  Obedience is being shaped in this reason, and the necessity to follow rules and instruction is being formed despite some exceptions, especially when it comes to the special child.

In the formation of character, inclination is being insisted, with physical and moral punishment set out to ensure that the child learns to obey and is inclined to obey certain rules and laws of necessity, such as the time of sleep, the time to wake up, the time to work, and the time to enjoy and play.  This creates a sound body and a sound mind, which according to Locke is a full description of a happy state in this world (Locke, 2008, p.76). 

Education has the power to shape the human character through what Kant identifies as the maxims or the enduring principles for human activity (Kant, 2008, p.36).  However, the question here revolves around the different types and levels of health and culture in which the use of physical and moral punishment is to be adhered.  Education, therefore, should never be equal, since children are never born the same and equal.

    The history of fashion design is generally considered to have started in the 19th century when the industrial revolution was at its peak and the invention of the mechanical sewing machine. Many women adapted to the revolutionary politics, social culture and philosophy for fashion as French Revolution progressed in the late 1700s. Plain dresses in plain color took over fashion in clothing especially in women. Thus, fashion design according to scholars was started by an English fashion designer Charles Worth who is considered to be the father of Haute Couture and the first one to have garments sewn into the label. Before businessmen could set up their own fashion house in Paris, closing design was handled by large seamstresses. High fashion slide down was considered a matter of royal affairs. Although clothing was considered as a costume design, by 1858 it was considered as fashion design. It was during this period that many individuals hired designers to sketch or design their garments. Thus, the practice of designers of sketching out fashion design instead of presenting the finished garments to customers began as a business.

    During the first two decades of nineteenth century, women clothes were generally tight against the torso from the neutral waist upwards like hoops-skits, crinolines, panniers, bustles and others. The high waistline took attention away from natural waist so that there was no point to the wasp-waist corseting. This period was inspired by neoclassical tastes which were easily washed and draped loosely garments like flowing skirts and muslin. Middle and upper classes women somewhat distinct their dress between morning and evening dress. There are also further gradations such as afternoon dress, travelling dress, riding dress and others for women. As the century progressed the importance of proper dressing was emphasized. At the end of the 1870, there was a general shift of consumer preference - from corset, padding and petticoats to fabrics that exposed the shaped of women body  in American and European societies. Also, the aesthetic importances appeared on various literary articles like Mary Hawei (Art of Decoration), With Grace (1878) and others who created a new genre of fashion in Western Europe. Consequently, Aestheticism stimulated performers and authors in the arts field, leading to the increased acknowledgment of aesthetic styles of trend in the Western world. Moreover, during the late years of 19th century new style of clothing denoted class status of an individual. The dark suit for example expressed authority, respectability and responsibility. Neo-classicism influenced middle-class womens styles of dress during this period (middle class woman did not expose her breasts).

    Fashion and technology evolved as the century progressed and the continued advancement in technology led to increase in production of textiles particularly in Europe and America. American shoppers for example traveled to Paris and return to their home with many fashionable clothes like Casaquin robe a Anglaise, Clog sacque and others. Also, the rising ability for transatlantic roaming in the nineteenth century permitted for the fashion trends of France and England to be seen in America. Thus, as the American economy improved with the development of markets like the fur and cotton industries.

People need to be critical of the various visual images that are marketed to them by both private and public organizations, and the beliefs, values, and behavior that these visual images project and promote, as well as the stereotypes they reinforce, so that they can actively resist images of oppression and discrimination, and the same time, people can also find that visual consumption can be more pleasurable, if combined with critical analysis, because it is through analysis that they can uncover the underlying meanings of common and uncommon art works and their impact on human thinking, attitudes, and behavior, so that they can be more empowered in forming the right responses to such visual projections. Visual consumption should not make us as passive consumers, but as active consumers using art as praxis, wherein we can also shape how images should be produced and consumed (Cary 1998, 38).

I spend around four hours a day watching TVmovies and two hours in the Internet. During this time, I also find myself, at times, asking what these images online and on the TVmovies tell me and ask me. I come to think of corrupt and legitimate governments that use artwork to oppress people or to discriminate against them. For instance, graphic video games about the American government or Americans waging war against Russia, North Korea, and other developing countries espouse aggression and stereotypes of these nations as hotbeds of barbarism, terrorism, and anti-democratic principles and ideas. These video games are sending the message that waging war is always just, when these countries are anti-American, which also connects to ideas of American hegemony.  These games are also sending the message that violence is acceptable in modern society and that the best and easiest option to settle disputes are through physical aggression and death of the enemy. These games no longer ask its players How about thinking of alternatives to violence How about giving chance to peace In this example, a legitimate government can also make use of video games to support its dominant thinking and attitude toward American-led wars and serve to justify the Iraq War and Afghanistan War, which in my opinion, are all wars that are losing public support momentum because of their costs to human lives and taxpayers. Another example is when a corrupt government uses artwork to promote elitism and subjugate the masses, through support high art that differentiates the masses from the ruling elite. This is the kind of art that promotes social inequities through demarcating the poor from the rich and the middle class, so that they would not be united in criticizing the governments corrupt practices. Hence, people should be critical of their visual consumption, and they should also analyze the underlying beliefs, values, and behavior that these visual images project and promote, as well as the stereotypes they support, so that they can actively resist images of oppression and discrimination. They can resist such oppressive images by gaining a better understanding of art and providing responses that condemn these meanings.

Artwork can also send specific values, beliefs, and attitudes that can be better appreciated through critical analysis, because it is through analysis that people can uncover the underlying meanings of common and uncommon art works and their impact on human thinking, attitudes, and behavior. Critical analysis can lead to the empowerment of forming the right responses to such visual projections. There is pleasure in critical thinking and its outcomes because people are enlightened of reality in these artworks and are now in a better position to respond to them properly. An example is Jasper Johns Three Flags (1958). It shows three flags that are imposed on one another, with the smallest version on the top. My analysis of this is that it asks viewers What do you think of the United States now, after two World Wars and the Vietnam War, and after its rise to global political and economic power Did the U.S. start small and went big through the past one hundred years or did it collapse to a smaller country, wherein individualism, material prosperity, and the increasing gap between the rich and the poor fractured the social and moral fabric My response to these questions is that for the past one hundred years, the U.S. has both developed and underdeveloped as a global power. It has developed because it amassed economic and political power. On the other hand, it is largely underdeveloped for its lack of understanding on the contextual factors that make the current wars, such as in Afghanistan, unsustainable, when its people have their own local beliefs and viewpoints on politics, economics, religion, and ethnicity, which all impact their need for and reaction to international military, economic, and political aid.

    Another example is Lumumba by Luc Tuymans (Belgian, born 1958), and this painting comes from The Museum of Modern Art in New York. See Figure 2. This painting both challenges and satirizes racial stereotypes. By presenting an African with glasses and coat and tie, Tuymans challenges the notions of the savage and uneducated stereotype of blacks. In addition, since the darkness of the person has been decreased, for me this can mean that the painter is also suggesting that perhaps, it will be more acceptable for people to see a black man as an educated person, if he is whiter than usual. In doing so, Luc Tuymans also challenges the thinking about color and educational attainment through his art. For me, these paintings also ask people to see art as praxis, so that they can also form reactions that challenge existing social inequalities and so that they can also produce or call for the production of art that eradicates social oppression and discrimination. Thus, these examples of artworks provide questions that only critical thinking can yield multilayered and contextual answers to. It will be more pleasurable to pursue visual consumption through critical thinking, because the process of critical thinking sharpens our mind and its outcomes provide a deeper understanding of art and even of visual consumption as a practice of praxis.

Source The Museum of Modern Art
    Common artwork also tells something about social values, attitudes, assimilation, and oppression (Schroeder 2002, 14).  I am referring to a doll house that I played as a girl, and I look at it now and see its Western values and ideologies. This is the dollhouse that symbolizes traditional American values and attitudes. It has a white fence, a red car, and an all-American family, wherein the mother stays at home to take care of her family, while the father is busy earning a leaving. The white fence espoused the symbol of perfection, wherein property rights are greatly promoted versus collective rights to land. The family roles are stereotypes that impress gender roles and caricatures of what a woman and man should be as they grow up. This dollhouse sends the message that assimilation means being this family and holding the same traditional American values, and that being different from the norm leads to different forms of oppression. For instance, if you belong to a minority race, you tend to face more discrimination at school and at the workplace. At the same time, the picture of a beautiful mother is an affront to the real life mother who must have increased weight and stressed out from juggling career and family obligations, as her multiple burdens. This perfect model also shows the beauty that is marketed by dominant businesses- white, sexy, and seductive. This is the marketing of beauty that also sends the message of women to be this kind of beauty, and so they are forced to fit physical and sexualized packages that the dominant marketing relays as the ideal beauty. Thus, a common artwork, through critical analysis, provides for a more insightful visual consumption and a self-awareness to not support values of subjugation and discrimination.

    Visual consumption can be an empowering and pleasurable process through critical analysis. Critical analysis serves as the magnifying glass that helps people look into these artwork and the images they project. Critical analysis helps people untangle the convoluted meanings that impose certain ways of thinking, values, and attitudes in life. Finally, critical analysis creates a whole new way of consumption through praxis, wherein consumers recreate new meanings that question and dispel images of subjugation and discrimination. Critical visual consumption, hence, pushes people to pursue and develop higher thinking levels, wherein they can free themselves from the artwork that serve to subjugate them or other disadvantaged groups.

    The renaissance refers to a period in history between the 14th century and 17th century characterized by widespread Cultural Revolution that began in France and spread throughout   Europe (Neal  John, 2005). The renaissance was characterized by reforms in education, classical based learning and development in linear painting the era is credited with many contributions in intellectual matters, many social and political upheavals as well as its artistic impressions. Scholars during this period employed the method called humanist in order to identify realism and emotions in art. The renaissance is also attributed to contribute to the development and the rebirth of artists and their careers exemplified by the life and works of Nichol Machiavelli.

     Machiavelli was a Frenchman who lived a life of patriotism and politics between 1469 and 1527. His writings in politics were misunderstood at the time especially his work on the prince a book he wrote in order to win back support of the Medici the ruler at the time after he fell from office (Edmund, 1999). The book didnt win him the support favor he needed after the Medici rejected it due to its support for cruel and totalizes leadership. This made Machiavelli to have a bad reputation among the general public due to his views on politics at the time and therefore even when there was a chance for reelection after the unification of France he could not be re elected. Despite his other works like discourses in livy that revealed his political genius he was attacked during his lifetime and thereafter for this bad reputation. His true personality and rebirth has only been revealed recently making people to change their views about him to that of true patriot and as a genius in politics (Neal  John, 2005).

Each year there are billion dollars spend as a celebrity endorsement contracts like Tiger Woods, Britney Spears. Using super stars well generates attention to the public, rich and poor, young and old ones. The more it appear on public the more it gets public interest and as a result it increase revenues.

It is estimated that Woods are earning over 100 million dollars from his endorsement deals alone the 90 comes from endorsements.
Nike a 30-million deal(Talmazan, 2009)

What is fashion Its a question that we need to know first, its define as

The style that mostly worn by people on a particular country it was mostly popular within 1-3 years and a new design well born. Fashion has a lot of changes and evolution.

It is now a custom to have a parade of clothing style every year and it was now handed from generation to generations.

Selling the clothing style on a lower prices or affordable made people buy more styles of clothing during  1800s as one of there strategies.

It is common if there is a new brand of fashion celebrity endorser is used because they create great impact to the viewers.  People idolized them and copy what they wear looks or how they act thats how powerful they are when they appear on screen, billboard or magazines. Even the small children mimic them. Using celebrity endorser will make their products more sales because they are using their influences to the people. Products or fashion that they are wearing are now in demand.

I do feel actors turned designers are running the image or fashion designer because they make sure that as a designer or an endorser on that particular products they are sincere to it with compassion and love and win the hearts of the public. They are being looked up as a model. They are like a white piece of paper that once it is stained it is now a trash and can be dumped to the garbage. That will happen also to the products, Endorser or designer must preserve their reputation and trust.

Roberto Cavalli is known as a flamboyant designer, he is one of the knowledgeable  what you want in terms of fashion. There are few who can compare the Italian designer he has long been a pioneer in fashion talks. He is a son of a tailor that why he was expose on the industry on its young age. Hes so artistic.

Betsey Johnson was born on August 10, 1942, at Wethersfield, Connecticut. She is known in the fashion world  for her feminine and whimsical designs.  Over the top are some of her designs. She attends dance class since child that motivates here to as a fashion designer.

The King Leopolds Ghost written by Adam Hochschild is a very interesting historical account of a voyage of a selfish king to the one of the richest countries in Africa. This voyage showed some of the cruelest treatments and forms of slavery to the natives while these inhuman actions are masked with the philanthropic disguise of King Leopold and his men.

8As King Leopold discouraged and discredited most of his opponents as shown in Chapter 7, in the succeeding chapters he continued to establish and hold his new colony. In 1888 he established a private force which he called as Force Publique which is basically a combination of guerillas, polices and mercenaries. It was composed of a single or two white officers and mostly black soldiers. As Leopold had taught, problem can arise in keeping peace and subjugation since most of the army is black in origin so he makes sure that the soldiers are not assigned to their place or tribe of origin. This makes his army impersonal in treating its subjects. Leopolds Force Publique defends him to many mutinies and revolts that arose in Congo.

In these times, different forms of maltreatment and brutality to natives can be seen such as murder, rape and tortures. As stated directly from the book, White officers were shooting villagers, sometimes to capture their women, sometimes to intimidate the survivors into working as forced laborers, and sometimes for sport (110). To keep his black subjects from revolting, Leopold spread terror in the region. To gain profits and capitals, Leopold demand the natives of ivory which he used as a payment system. Also, in this chapter, it was shown how lands were seized and taken from the natives by Leopold.

9The next chapter revolves around Konrad Korzeniowski as the title of the chapter says. He is more popularly known as Joseph Condrad who was regarded by his novels. He was born in Poland and grew in France. He spent most of his time travelling. He then travelled to Congo but returned to England because of malaria. After some years, he published the novel Heart of Darkness which is regarded as one of most wide read short novel written in English. The novel is all about a man who travelled in Congo and other parts of Africa. In the novel, the main character encountered some of the most atrocious acts of men to his fellow men. Most of the characters and events in his novel portrayed what is really happening in Congo at that time.

10In the succeeding chapters, Stanley was mentioned again. He went back to England because of his sickness and married a rich socialite painter. He totally gave up his conquests and just spent his time travelling the world and delivering lectures.

A new character was also introduced in the name of William Henry Sheppard. Sheppard is an African-American missionary who then became popular to the local tribes there due to his proactive approach and emission of good energy to people. Among the tribes, he was referred as the black-white man. He was accepted warmly by the natives and he even became the first non-native to visit the Kuba capital. In his travels and stay in the region, he was also exposed to the atrocities and crimes committed by the conquerors to the natives. Because of these perceived experiences which he found as injustice, he wrote different letters to his friends in the other parts of the world spreading the message.

In the later part of the 19th century, the cost of rubber increased making it an important commodity that is used in tires, wire shielding and other objects. This new expanding market corresponds to the dwindling supply of ivories which was formerly the bulk of the products produced in Congo.

Since Congo is rich in vines that can be processed to become rubber, it instantly became a new product to be focused on. Because of this, King Leopold demanded the people to gather rubber. He imposed stricter rules regarding the production. He abducted and seized women to serve as collaterals for men who go to the jungle to collect raw materials. His men hold the families until the men can deliver specified amount of rubber. If they dont meet the quota, their hands were cut and served as their punishments. Quoting directly from the book, In payment for rubber which I brought into the station (natives), telling me I could eat them, or kill them, or use them as slavesas I liked (164).This only shows how the natives, both women, men and children are objectified at the time. It is also important to note that as the demands for rubber in the other parts of the world grew, the maltreatment and slavery in Congo also worsen.

King Leopold continued to uphold his image in the world as someone who is concerned to natives and do a lot of humanitarian missions. He continued to proclaim his self as a benevolent leader while the people of Congo suffer under his control. Out of the massive profits he made out of ivory trade and the recent expansion of rubber market, he managed to erect buildings and private palaces. On the other hand, concerned characters such as Sheppard the missionary continuously make a way to attract the attention of the international community. However, he fails to attract attention to alleviate the situation in Congo.

11The next chapter however brings some new light in the situation in Congo. A British shipping firm in the name of Elder Demster has a contract with King Leopold. They transport goods from Belgium to Congo. During these trades and travels, Morel, a clerk in the firm noticed after months of working that the shipments from Belgium contain merely firearms and ammunitions in exchange to the shipments from Congo which are merely ivory, rubber and other important goods. After analyzing the situation, he believed that the only reason why these trades continue is because of the ongoing and widespread slavery in Congo. This became the shifting point of the story.

12After Morels discovery of the content of the crates, the next succeeding chapters became the start of the fight against the human rights violators of Congo primarily Leopold. Morel started publishing articles in the early part of the 20th century. Because of these acts, he was forced to resign out of the shipping firm and later joined the West African Mail wherein he continued his fight. However, out of bribe and pressure, he was forced out of the said paper and that leads him to dedicate all his time and efforts in informing the officials and the people to what is really happening in Congo.

13After tons of efforts, something good came up. In 1903, the British parliament passed a resolution regarding the atrocities that are happening in the said region of Africa. The governments sent an envoy in the name Roger Casement who later published the famous Casement report wherein he compiled the atrocities and corruption of the white men in Congo. As directly quoted from the book, . . .the reports accounts of sliced-off hands and penises was far more graphic and forceful than the British government had expected. (203)

As a support for Morel, a man in the name of Shanu who was a former employee of Leopald secretly sends him information that will help their fight. The communication was stopped after Shanu was exposed as an accomplice of Morel wherein he later committed suicide.

14The last part of these set of chapters however does not concern much of Leopold in his affairs and hold in Congo. This part is all about Leopold and his affair with a teen prostitute in the name of Caroline. He brought her back in Belgium wherein they continue to do their sexual escapades. This was known to the public and these became a great liability to Leopolds reputation.

To be honest before reading this book, the events in Congo roughly entered my mind. It is hard to imagine that people who consider themselves as civilized can do this to their fellow men. The atrocities and inhuman treatments committed are so shameful that you dont want to be associated with. I believe that these events should be refreshed to the memories of our people especially the youth so they will safeguard their selves against the desire to abuse other people.