Automobile and Car Essay

1. Jono Schneider †for offended party. 2. Jatinder S. Ubhoo †respondent 3. Sabatina N. Vassalli †for respondent 4. START TIME: 10:32 AM 1. hello 2.morning 1. do you review sorry whats your name.. 2. 1. 2.yes 1. do you recall roughly what tiem the.. 2.no I don’t recollect that †¦ 1. 2. it was snowing 1. was there snow on the ground 2. truly 1. did the snow on the ground†¦ 2. not certain what youre attempting to say†¦ 1.and did it 2. 1. 2.yes 1. furthermore, were only you in the vehicle 2. truly 1. furthermore, where was your.. 2. I was going to meet a companion 1. 2. social. 1:31 1.and what was your companions name 2. do I need to reveal that 3. indeed 1. your legal counselor is here†¦. 2. 1. 2. I don't converse with him that much anymore†¦ 3. we will need to give it off/on †10:35 am 1.alright and I acknowledge that†¦ 3. that’s fine 1. Also, where did ikbal like were you going.. 2. I was going to meet him .. 1. OK. Furthermore, that was simply to hang out 2. ya just to hang out in light of the fact that for me it was a borigng day I simply needed to go see my companion and that’s what I would go do. 1.and the impact happened†¦ 2. what is the day again†¦ 3. tuesday 1. 2. 1. what im inquiring as to whether you have a quite certain memory that day†¦ 2. I don’t recollect. 1. thus you went out, to what extent did it take.. 2. my home is on mcveen and castlemore 1. 2. ya its exceptionally close 1.probably not exactly.. 2. ya 1. also, in those 5 mins you were†¦ 2.yes 1. also, this is a vehicle that.. 2. indeed 1. are you mindful of †¦ 5:15 2. no 1. so there was nothing amiss with the breaks 2. no 1.nothing amiss with the tires 2. no 1. so regarding the .. 2.no. 1. what sort of the vehicle 2. it was a 2006 acura tl 1. so you’re driving along had you been on.. 2. that's right 1. furthermore, 2. 1. 2. it was a red light from far and when I was moving toward it.. 1. what's more, were there any vehicles on †¦ 2.there were cars†¦. 1. 2. go straight. 1. what's more, as youre drawing nearer goreway and youre saying tht there were.. 2. indeed 1. 2. no my path was vacant I would have been the .. 1.and there wasn’t heavy traffic as of now 2. no 1. 2.yes 1. also, those vehicles are halted at the †¦ 2. indeed 1. also, your path isn't.. 2. theres another.. no it additionally turns right and for individuals.. 1. so you have the alternative. 2. that's right 1.and as your drawing nearer †¦ 2. truly 1. the distance away from the crossing point.. 2.i would state 75 yards 1. what's more, as far as possible on that road 2. I think its 70 1. what's more, this .. 2. no reason it was snowing 8:01 1. k you’re driving the†¦ 2. indeed 1.and youre about †¦ 2. I was driving more slow than as far as possible since it was snowing.. 1. I 2.i would say†¦ 1. 2. since ive seen the red lights†¦ ive effectively removed my .. 1. is it a programmed vehicle or.. 2. programmed 1. 2. better believe it 1. 2. at the point when I saw the I would state preceding the I don’t know the separation appropriately yet .. 1. 2.straight ahead 1. so when did you actually†¦ 2. I began hindering I would state past the †¦Ã¢â‚¬ ¦ 1. alright 2. at that point I hit the gas once more 1. what's more, as youre seeing the red light in front of you are there any vehicles making †¦. 2. 1. 2. 1. the vehicles that are †¦. 2.no 1. furthermore, as your voyaging however I think I asked you this before youre in the †¦. 3. he previously addressed that he said he didn’t know.. 1. 2. yah 1. have you at any point voyaged.. 2. indeed 1.do they have a propelled green.. 2. I wouldn’t realize that yet I don’t recollect that since I never go left on †¦ 1. 2.i moved there on November first 2007 1. so at the hour of the impact you’ve lived there for.. 2. truly 1. as youre drawing closer the .. 2. indeed 1. also, do they .. 2. no 1.how come 2. since they see this vehicle coming and they needed to hurry to break 1. so the other.. 2.stop immediately in the†¦ 1. what's more, their .. 2. that's right 1. presently was there more than one vehicle that.. 2. truly two vehicles right behisde†¦ 1. 2. ya 1.and those vehicles were they .. 2. clearly they would stop†¦ 1. 2.ya ya I saw that 1. 2. I began breaking I began breaking hard I said theres something going on here and toward the end †¦. 14:06 1. alright. Also, the rear of your vehicle did it.. 2. no 1. furthermore, did your abs breaks†¦ 2. truly 1.and was your car†¦ 2. no 1. also, what part of different people vehicle.. 2.that I don’t recollect any longer 1. did u escape the vehicle and see the .. 2. ya 1. where was the †¦ 2. I think its im not suer to the extent I can remember†¦ 1. what's more, im presuming†¦ 2. ya 1.and 2. 3.ya to be reasonable for him im not certain he knows 1. 3.ya I duno.. 1. I don’t need him to†¦.. 2.no 1. did you take any photos.. 2. I snapped a photo of my vehicle 1. 2. no 1. do you despite everything have a duplicate .. 2. no 1. 2. I just took it for my motivations to be safe 1. what did the image appear 2.it just shows my vehicles .. 1. 2. the guard has tumbled off the lights have been crushed 1. 2. im not certain any longer 1. 2. im not certain. 1.okay. 2. were twisted 1. okay. Furthermore, this individual that was turning left†¦ 2.what do u mean 1. did u notice if the left had transforming vehicle had come into.. 2. no 1. what's more, those vehicles that were halted and begun to go into the crossing point did they.. 2. no 3. well I duno what do u need me to say†¦ 2. well on the grounds that the vehicle †¦ 1.you said there was two.. 2. that's right 1. 2.they both left.. 1. shouldn't something be said about the other two.. 2. im not certain. 1. so they didn’t.. 2. no there was terrible climate blanketed who might need to stay and.. 1. what's more, did u call the police or †¦ 2. I expected the police was †¦ 18:49 1. 2. that's right 1. furthermore, did you inquire as to whether she†¦ 2.never got an opportunity 1. furthermore, when you addressed the .. 2. she just began hollering at me what's happening with you 1. 2. what do u mean what am I doing attempting to make a left when u don’t have the left sign any longer 1. so your impression is†¦ 2. indeed 1. 2. since clearly she wouldn’t 1. tune in 2. 1. that's right 2. what's more, she was spared by being hit †¦ me then again my path was unfilled I was coming I saw the red light I took my foot off the pedal eased back down †¦Ã¢â‚¬ ¦ 1. so despite the fact that you saw only the break lights .. at which point†¦ 2. not certain in light of the fact that what got her was my vehicle sliding attempting to stop to spare her.. 1. was your vehicle previously slipping when that.. 2. you realize I saw her 1.okay when did u see her 2. I saw the vehicles their breaklights turn on took my foot their feet off the pedal again however when I saw her again I put my foot on the break truly hard†¦ 3. when was the first occasion when you saw her .. 2. at the point when she was before me 1. so you had †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 2.no no. 1. 2. I saw her that’s when I began breaking extremely hard 1. where was she 2. she would be on the left in the center of that crossing point . 1. also, the distance away from the crossing point were u 2. I don’t know 22:56 1.and how far.. 2. im not secure with that either 1. did u slide pass.. 2.not sure. 1. you know when you approach a †¦ 2. ya 1. 2. ya 1. do you recollect h ow far back from that †¦. 2. I don’t recollect that any longer I don’t review that particular focuses any longer 1.and how quick were u going †¦ 2. not that quick no 1. well how quick did u.. 2.yes I did. 1. what's more, whe n u began easing back down†¦. 3. I think he previously addressed that I think it was the second †¦ 1. OK well im attempting to make sense of and I am sorry in the event that I asked you this effectively 2. easing back down ya 1. easing back down †¦ 2. truly 1. furthermore, you squeezed your .. 2. truly 1.and starting there going ahead to the point that you †¦. 2. I cannot address that question since I wasn t even 1. alright 2.i wuld not speed in awful climate like that since you know you†¦.because the 26:27 1. alright. Okay. After the mishap. The effect itself would u portray it as†¦ 2. medium 1. also, after the †¦ 2. indeed 1. 2. indeed 1. 2. she had a kid at the back 1. also, the youngster was in the rearward sitting arrangement 2.yes 1. also, you disclosed to me that you †¦ 2. that’s all 1. how was the child 2. she was okay 1. also, was the woman concenred about her youngster 27:29 2. im not certain im not certain how to answer that.. 1.well did .. 2. she moved toward me first 1. also, the vehicles are not moved from the convergence 2.ya they were still in the center of.. 1. also, when the cop arrived.. 2. im not certain 1. did the police officers†¦ 2. again im not certain 1. 2. they didn’t arrive right aay†¦ 1.yep so would u be able to give me an estimate†¦ 2. 1. 2. 1.so effect happens and inside .. 2. don’t think about the planning .. 1. 2. no I never went back†¦. 1. im not discussing .. 2. I don’t recall anyting like that 1.were you†¦ 2. no 1. furthermore, did u feel any torment at the.. 2.no 1. so the mishap happens .. 2. that's right 1. btu youre not sure†¦ 2. I never let you know .. 1. sorry perhaps its my slip-up as far as 2. that's right 1.so the effect happens 2. truly 1. youre letting me know.. 2.yeah†¦ 1. 2. ya when the vehicle comes to.. 1. 2. I never approached her I approached the harm to perceive what the †¦ 1. 2. no that’s after not immediately.. 1.so youre taking a gander at 2. 3. simply mention to him what you rmember 1. ive not no issues with your answers I would tell u†¦ 2.i dotn recollect what I did I don’t recall what I did I could have gotten once more into my vehicle to plunk down to get some heat†¦. 1. did u call anybody with your mobile phone to reveal to them that ou had†¦ 2.no 1. furthermore, when that †¦ 2. no when the police arrived I was outside without anyone else 1. what's more, you hadn’t.. 2. no I talked with the toe truck driver he was ther

What Was The Most Important Cause Of Wor Essays - Military

What Was The Most Important Cause Of Wor? Prior to World War One, a significant number of the significant European forces were associated with two vital collusions. The first of these two was the Triple Alliance or Triplice. Formed in May of 1882, it comprised of Germany, Austria-Hungary, and Italy. The second contradicting union was the Triple Entente that was a friendship between France, Britain, and Russia. In World War I, these unions turned into the centers of the two rival sides, with the Triple Alliance turning into the Central Powers and the Triple Entente turning into the Allied Powers. The explanation that the collusion framework added to the First World War was that it implied that neighborhood clashes, even minor debates, as opposed to staying nearby in nature would attract all individuals from the two partnerships. Hence, clashes between Austria-Hungary over Serbia attracted not just Russia, which had regional desire in the zone, yet in addition their western European partners. Another reason was that European countries managed littler nations, called provinces, and contended to hoard more states. Social event provinces got known as Imperialism. Both France and Britain had numerous provinces in Africa and Asia. Presently Germany and Italy chose they needed a provincial realm as well. They were desirous of the nations that had different spots where they could assemble crude materials and modest work. Along these lines, the nations would contend and battle against one another to grow their domains. This would add to World War One since it made significantly progressively strain between the two nations that must be discharged by either a full-scale war or a harmony bargain between the nations which was improbable because of the different debates between the nations. The weapons contest was additionally a factor towards the beginning of World War One, on the grounds that the countries of Europe needed to have the most grounded military should war break out, so they could have a superior possibility of winning, and to shield themselves against hostility from their neighbors. Tragically, as one nation develops their military, different nations see this, and feel compromised. Consequently, they develop their own armed forces. This continues endlessly in a heartbreaking cycle. Seeing as the significant powers in Europe presently had these gigantic armed forces developed and assembled, they had a device that they could use to take up arms. Had they not have had these huge armed forces, at that point they wouldn't have had anything to wage a war with, and regardless of whether they did, their triumph would have been unreasonably unsure for them to hazard pursuing a war. The Schlieffen Plan was a German war plan for a contention with France and Russia. It required a prompt intrusion of France in case of a contention with either country since France was viewed as the more impressive of the two countries. The Schlieffen plan added to the war since it implied that Germany entered Belgium and in this way, broke the bargain with London which said that Belgium would stay a nonpartisan nation. England at that point announced war to respect the bargain of London, which hence hauled the nations into war in light of the fact that the coalition framework implied that the Allies needed to enable their partner to out if help was required. All in all, I feel that the most significant factor to the start of World War One was the collusions. This is on the grounds that without the collusions then as I referenced in my first section it was impossible that different nations would have gotten included and the questions would have been on an a lot littler scope. Despite the fact that I accept that war was inescapable, I imagine that without the unions it would not be workable for a universal war to begin however rather there would simply be different littler wars between nations that had debates between just both of them making significantly less gore and harm the world. Daniel Akowe

Thinking Through Religions 2 Essay Example | Topics and Well Written Essays - 1500 words

Thoroughly considering Religions 2 - Essay Example These have been believed to characterize odd notion as basically being a malady that fundamentally relies upon an overabundance of strict assessment. The influenced individual is regularly observed to every now and again have an absurd degree of credulity. Strange notions were utilized in old occasions in order to impede underhanded by utilizing various ceremonies that were thought to bring good karma (Superstitions, 2000).Cunningham and Kelsay (76), characterize customs as basically being a progression of rehashed adapted signals or formal acts that are utilized for some specific given explicit events. Human life supposedly is loaded up with a lot of these motions going from the straightforward custom of shaking hands to certain signals, for example, standing to shake someone’s hand. The ceremonies have logically become so recognizable that they are currently much of the time neglected and their significance is just featured if one neglects to watch them, a case of which may incorporate somebody declining to shake another person’s hand. It is these refusals and disappointments that cause us to turn out to be intensely mindful of the general significance of these ceremonies that would some way or another be seriously darkened by the commonplace commonness of standard customs. Strange notions and customs are believed to have a natural relationship as odd notions require a person to play out some specific ceremonies in order to energize or keep away from an event. One of the customs that I frequently play out that is firmly connected to strange notion is to basically keep away from dark felines from intersection my way. If a dark feline happens to cross my way, my typical custom is to attempt to stroll around the zone crossed by the feline or in certain occasions utilize an alternate course. The eccentric conviction that is connected to this custom is that dark felines will in general reason misfortune if they cross one’s way. For what reason are Human Beings Superstitious? It can for the most part be seen that frequently on occasion, in the wake of having experienced apparently knotty issues, man will in general attempt to clarify away or maintain a strategic distance from the given circumstance by utilizing strange notions. By creating different odd manufactures, man can viably comprehend and clarify various puzzles. It is frequently consistently if all else fails that man will pick to in the long run go to himself to give a clarification and all things considered, he doesn't go to his actual self yet rather goes to some remote molecule or imperfection that acquits him and makes him not be capable (Berry 228-229). One of the more every now and again utilized scape goats in this regard is the idea of unique sin that had been developed by the people of old. (Berry 230) contends that the central righteousness of this hypothesis is that it successfully piles all the fault on the snake, a creature that man has never truly had a lot of utilization for. Man is likewise seen to be eccentric because of his moderately preservationist nature that makes him unyieldingly attempt to clutch various old knickknacks, thoughts and customs considerably after he has learned better and the first reason for these has been overlooked. Despite the fact that man has made various improvements in science and information, enlightened life to him supposedly stills be to a great extent shaky, unreliable and questionable and thus man has picked to result to odd notion to handle these difficulties. For what reason Can Superstitions be Dangerous The unfavorable impacts of strange notion can bring about dread, doubts, a general decrease in the personal satisfaction and even passing as found in an episode related by Berry (11). In this episode, in the year 1656, a young lady named Eunice Goody was suspected by her individual New Hampshire town’

SWOT analysis of HP Inc Essay Example | Topics and Well Written Essays - 500 words

SWOT investigation of HP Inc - Essay Example , the organization can without much of a stretch go into a business association with worldwide organizations, for example, on account of Starbucks as far as utilizing HP’s Wireless Connection Manager programming for the Wi-Fi access of Starbucks’ customers. (Weinschenck, 2002) Beside having great and faithful client notoriety as far as disparaging HP’s PC-related items, the organization persistently improves its worldwide dispersion arrange throughout the years. (BNET, 1998) By upgrading its worldwide appropriation organize, the organization can without much of a stretch disseminate its item and administrations over the world. In this way, reinforcing the company’s capacity to expand its yearly deals and benefit. Since 1999, HP persistently applied additional exertion in ensuring its item and administrations through the U.S. licensed innovation law. (HP, 2008a) By effectively enlisting its recently advanced items and brand name under patent and trademark, the organization is exceptionally HP’s Storage Division misses the mark regarding its client’s desires. (Maitland, 2004; Vance, 2004) For this explanation, the organization has encountered a 5% decrease in income as a result of HP’s server and capacity division. In like manner, this causes the company’s offer to tumble down from $19.10 to $16.28 in 2004. (Vance, 2004) HP constantly improve new item and innovation to fulfill the requirements and needs of its objective customers. (Hoffman, 2007) Aiming to build the business chance of HP, the organization has as of late structured and promoted an all inclusive printer driver so as to expand its upper hands over different brands. So as to defeat the company’s shortcomings, HP went into merger with Compaq so as to improve its stockpiling division. (Stammers, 2004) all the while, HP should accept it as a test to improve its Server and Storage Division by changing its current stockpiling scene. (Maitland, 2004) Disappointment of HP to quickly follow up on its shortcomings forces a huge danger over its yearly income and

Prisons and Jails Free Essays

The legislature has forced discipline as a way to control wrongdoing. There are four key legitimizations for rebuffing lawbreakers: requital, crippling, discouragement, and restoration (Seiter, R. P. We will compose a custom article test on Detainment facilities and Jails or on the other hand any comparative subject just for you Request Now , 2005). These four avocations fill in as the objectives of the United States restorative framework. The opposite side of requital can be basically expressed that when a guilty party carries out a wrongdoing, he should be rebuffed for his activities. Reprisal fills in as a way to keep the overall population safe. (Seiter, R. P. , 2005). From various perspectives wrongdoers are rebuffed because of the wrongdoings they submit, you are secured up a cell and you remain there until you go before the pass judgment and get a sentence whenever saw as blameworthy. Presently there are fines you should pay for specific wrongdoings, network administration is another ramification for a wrongdoing you have submitted. Regardless of what the wrongdoing you should languish the results over them. Imprisonment is the most widely recognized case of discipline in the remedial framework, however capital punishment and lesser punishments, for example, probation are additionally intended to be reformatory. Maybe the most clear objectives of the remedial framework is to rebuff the individuals who are seen as blameworthy of violations. In principle this is assume to fill in as an obstacle against one rehashing crime and for instance to others of why crime ought to be maintained a strategic distance from. It is hazy how well the cutting edge U. S. restorative framework accomplishes these objectives and whether the cash put resources into the remedial framework may be better spent. The principle question is does discipline dissuade wrongdoing by any stretch of the imagination? Reprisal is a demonstration of good retribution which society causes the guilty party to endure as much as the enduring brought about by the wrongdoing submitted (Macionis, 2006). Individuals have a decision whether to do a wrongdoing. How Does Our Correctional System Rehabilitate Offenders? In the mid 1900’s restoration had risen as the essential hypothesis of rectifications and formed each part of remedial approach and practice. At that point in the 1960’s and 1970’s restoration was assaulted for not having evidentiary standing and in the subsequent strife. Recovery has been appeared to push wrongdoers to not re-irritate where as different speculations have appeared to have next to zero impact on the reoccurring crime percentage and some in certainty have been appeared to have the contrary impact in expanding the reoccurring crime percentage. On some random day there are in excess of 7,000,000 Americans under the oversight of the remedial framework which incorporates roughly 1. 5 million detainees incarceratedin prison, 4. 2 million waiting on the post trial process and more than 828,000 on parole as indicated by the Bureau of Justice Statistics. The measurements are faltering considering as indicated by the U. S. Evaluation the United States populace is 307,006,550 (U. S. Statistics 2010). Along these lines, that implies that around for each one hundred individuals two are imprisoned. Likewise as per the Disaster Center in 2009 31,916,949 wrongdoings were submitted in the United States. Allowing detainees the chance to manage the explanation behind entering jail and jail life, will elevate elective approaches to deal with negative conduct issues (Hagebrook Zgoba). The additional clinical and advice care, notwithstanding requiring broad pre-discharge directing will help get ready for useful life outside of jail. Numerous detainees enter jail with a psychological sickness and many are unconscious of the disease until they are detained (cdcr. ca. gov). It would be helpful to treat the ailment head on, by then. Which Method Is More Effective? I feel that recovery would be an increasingly powerful route in lessening wrongdoing therefore. At the point when a prisoner approaches choices to assist themselves with improving and reemerge the outside world once more, at that point they are happy to have any kind of effect. Presently Therapy is another type of restoration expected to help hinder people from carrying out future wrongdoings. A few instances of treatment incorporate medication treatment to those guilty parties dependent on drugs and mental directing to those wrongdoers who experienced childhood in a damaging family. Restoration can assist with tackling the issue of congestion in many jails. The criminal populace keeps developing, as capital punishment has been annulled, and the state would need to spend more on offices to house crooks. Instruction is one of the manners by which this positive change was influenced. Training works in two levels to effectively restore the lawbreaker. I do see that in criminal recovery, detainees are offered chances to build their substance information base. This is fundamental as studies show that numerous detainees don't have essential evaluation school instruction. Is will likewise hinder their achievement of gaining employments, in this way many needed to go to a real existence wrongdoing. Restoration additionally guarantees that prisoners are socially composed. Mental evaluations are being dispensed to test for mental or physical inabilities that prompted their imprisonment in any case. I for one do realize a couple of ex cons and from what they experienced in jail to find support for a superior life over here in the public arena was genuine ideal to see, I haven’t seen them even advance back to the old ways they had of carrying out violations, and I generally hear them disclose to me that they simply need to keep their Freedom! So I do what I can to assist them with remaining destined for success, and on the off chance that they even feel that it will make them more joyful to back track. I simply hurl what they will be passing up in this world, and how harmed their relatives will be without them every day. So I without a doubt believe that Rehabilitation is the best for our convicts nowadays. Step by step instructions to refer to Prisons and Jails, Essay models

Make Better Business Decisions with These Three Templates

Make Better Business Decisions with These Three Templates We all make dozens if not hundreds of decisions every day: what to wear, where to have lunch, which business opportunity to invest in The problem is that too many decisions can be draining and lead to decision fatigue or even decision avoidance. At the end of a long day, we’re more likely to make impulse purchases, say no to things we would have otherwise agreed to, or simply select the default option instead of a better but perhaps more difficult one. None of these are good strategies for making important business decisions. In this article, we’ll introduce you to three simple templates that reduce the mental burden of decision making and thus help you prioritize what’s really important. Each of these templates uses a type of decision matrix that visualizes ideas, tasks or other elements on a two-dimensional canvas. While you could draw such a matrix on a whiteboard or flip chart, using an online diagramming tool such as MindMeister offers a number of benefits that you’d otherwise miss out on. With MindMeister you can: Move elements around or remove them easily Share the decision matrix with all stakeholders, even remote ones Invite colleagues to collaborate with you, to come to a decision together Attach additional information to each element, such as images, videos, notes, links or entire files Comment and vote on individual elements The decision matrixes we’re going to discuss below are readily available as   templates in MindMeister. Don’t have an account yet? You can sign up for free here. Effort vs Impact Matrix The Effort vs Impact Matrix helps you decide which tasks and projects to focus on. Tasks and projects are placed into one of the four quadrants in the grid. As the name suggests, their placement depends on their estimated effort and probable impact. Major projects: Place tasks or projects with a high effort and high impact into this quadrant. Quick wins: These are tasks/projects that are expected to have a relatively high impact but require very little effort. Fill-in jobs: Tasks or projects that don’t require a lot of work but also don’t have a big impact on your business go here. Thankless tasks: This includes everything that requires a lot of work yet isn’t expected to have a big impact on your business. Copy this template BCG Matrix The BCG Matrix is also known as the “Growth Market Share Matrix” or “Product Portfolio Matrix”. This tool was designed to help businesses get an overview of their product portfolio and decide which products to invest in and which to discontinue. The placement of products inside the matrix depends on their relative market share (horizontal axis) and their market growth rate (vertical axis). Products fall into one of four categories: Dogs: These are products with low growth or market share. Since they usually generate low or even negative cash returns, dogs are usually not worth investing in. Question marks: These are products in high growth markets with low market share. These products require close consideration as they could either turn into stars (and eventually cash cows) or dogs. Stars: These are products in high growth markets with high market share. These are the products a company should look to invest in, as they are expected to turn into cash cows and generate a positive cash flow. Cash cows: These are products in low growth markets with high market share and the kind of products a company should support and ‘milk’ for cash as much as possible. Copy this template Eisenhower Matrix Developed by Dwight D. Eisenhower, the 34th President of the United States, the Eisenhower Matrix helps you to decide on and prioritize tasks by urgency and importance. The Matrix suggests a different work strategy for each quadrant and the tasks that are placed therein: Do: Tasks that are both urgent and important are the ones you should focus on first. Decide: These are tasks that are important but not extremely urgent. You can take some time to decide on what to do with them, or simply schedule them for later. Delegate: Tasks that are urgent but not important should be delegated to others, so you can focus on the things that really matter. Delete: Most of us have a hard time following through on this one, but the truth is that it’s usually best to let go of tasks that are neither urgent nor important. Copy this template Next time you need to decide which task, project or product to prioritize, simply select the template that best fits your needs and fill it out, either alone or with your team. The resulting diagram will show you at a glance which items deserve your attention and which ones you can safely ignore or delegate. Make Better Decisions

Joseph Cornell Box

Introduction My dissertation explores the power of engagement exerted on the viewer by the boxed constructions of Joseph Cornell. These boxes have fascinated me for many years, giving me an irresistible urge to satisfy my curiosity. I feel compelled to respond to the invitation to look into each boxed frame, and I am lured into the world within Cornells boxes. When I look into a Cornell box it is like seeing things again, but for the first time. I am forced to interact, to reassess what I see, yet I do so willingly. The lure feels like magic. I have chosen this subject for my dissertation because I am intent on discovering where the power in Cornells boxes originates. Two basic questions arise about the power of curiosity that Cornells boxes evoke in the viewer: does the power come from the box, the device that Cornell used, or does the power come from what is in the box? What part does the viewer play in the equation? These are the main questions in my mind as I begin this study. I am also curious to discover other artists who have used the device of the box to contain their work, as I myself have done, and so I will look at a selection of other artists who frame their work in a box, Betye Saar, Mariko Kusumoto, and Joseph Bennett. I will compare the motivation and intention of these artists, and look at the nature of the message that their work delivers. By looking at the work of these artists in comparison with the work of Joseph Cornell, I hope to find answers to my questions. I will explore these issues in five chapters. In order to find out more about the power that comes from Cornells boxes, I believe that it is essential to look closely at the mind behind the work. The first chapter will look at Cornells formative years, and I will offer my view of the gradual coming together of seven particular circumstances in his life. The next will consider the effect of these special circumstances on Cornells work, seeking to identify the layers of meaning that Cornell displays in his boxes. I will look at the power of the box as a containing device in chapter three, and will consider the effects that it creates. The fourth chapter will look at three other artists who have used the box as a device for containing their work. I will identify the intentions, the motivation, the content, and the message of these artists. My concluding chapter will draw together all the main threads of the enquiry, and will present the results. All questions will be answered, and I will summarise the findings. I have drawn my research from a variety of sources, electronic as well as published, from interviews, CD and DVDs, from my visits to galleries and exhibitions, and from correspondence. Chapter 1: The Mind behind the Boxed Constructions: Seven Phases. This chapter sets the foundation for understanding more about the power that comes from Cornells boxes. In order to discover the mind behind the work, I will examine the significant aspects of Cornells life, highlighting the particular circumstances that have shaped his ideas, and I will set this in the context of his time. It is not within the scope of this study to describe Cornells life in minute detail, but nonetheless I consider it essential to look carefully at his formative childhood experiences. I will show that these experiences have a direct bearing on the enquiry, agreeing with Arthur Danto that:- The life and art are reciprocal in that it is hard to imagine Cornells art made by someone with a life greatly different from his. This makes biography unusually relevant to critical appreciation in his case, one of the rare examples in which someones art is almost a transcription of lived experiencetransfigured, to be sure, by a kind of magic that biography would have no way of accounting for. Should it bet in Italic? (Little Boxes the cloistered life and fantastic art of Joseph Cornell. By Arthur Danto) page, book details? Born in 1903, into an artistic and prosperous family in Nyack, New York, Joseph Cornell enjoyed a close-knit, affectionate family life. There were servants and nurse maids to help run an idyllic home life for the Cornell family, in a stylish area on the edge of the Hudson River. Josephs energetic young parents, of Dutch origin, were musical and artistic. His well-educated mother had planned to become a kindergarten teacher before marriage, she wrote film scripts as a diversion, was an avid reader, and a pianist. Her husband was a textile designer, with a hobby of carving wooden toys and making furniture. (McShine, 1990: 92) The impressionable Joseph would have absorbed much from this rich, artistic, and secure atmosphere. He was the first of four children: two sisters, Elizabeth and Helen, followed in the next two years, and then a brother, Robert, who arrived when Joseph was six. Robert, who was later diagnosed with cerebral palsy, was to become a central part of Josephs life. These early days would later be recalled with affection and nostalgia by Joseph, who particularly remembered family holidays, trips to nearby Coney Island, the penny arcades, theatre visits, vaudeville shows, seeing Houdini at the Hippodrome, museum visits, family celebrations, listening to music with the family at home on Sundays, and numerous other happy family scenes. Like his mother, young Joseph was an avid and inquisitive reader, enjoying fairy stories, the tales of Grimm and Hans Anderson, poetry, essays, and information books on a wide range of subjects. In the next chapter I will show how these early experiences, the first phase in the journey of the artist, have strong echoes in Cornells work. Josephs world was badly disrupted at the age of thirteen when his father died of leukaemia. This must have been a horrific nightmare for Joseph, for as well as the grief and ongoing feelings of loss, his mother was soon compelled to relocate with her young family, to a vastly different and reduced lifestyle. Five months later, Joseph became a scholarship boarder at Phillips Academy in Andover, Massachusetts, with yet another massive emotional adjustment to cope with. His curriculum choices were biased towards science yet also included four languages and literature. Records indicate that Joseph was nervous, sensitive and he experienced nightmares and stomach ailments, which may well be attributed to the feelings of loneliness and loss that he was forced to bear. His headmaster suggested that Joseph should repeat a year since he needed increased maturity, but he left after four years and did not manage to gain his diploma. There can be no doubt that Joseph retreated into an internal world at this time to escape from his torments, to a spiritual place that would become more and more real to him. Already a strong duality of feeling had set in, an inner spiritual world that was quite separate from the physical earthbound world. These lonesome experiences, in contrast to Josephs earlier happiness, set the foundation for the art that was to follow. I see this period as the second significant phase in the artists development. Joseph left school in 1921 and took on the responsibility of supporting the family, and also of caring for Robert, whom he adored. Being extremely shy, Joseph did not enjoy his first post as a textile salesman in Lower Manhattan, the place of wondrous amusements (ref)(little blue book?). (Schaffner, 2003: page) However, the city life seems to have been the catalyst to his development as an artist. Between appointments, Joseph could visit bookstores and galleries, or sit in cafeterias just thinking, reading, watching, and jotting down his many ideas. All forms of art and knowledge captured Josephs imagination, particularly ballet, literature, theatre, science, art, astronomy, history, cinema, and almost everything French. (McShine, 1990: 96) His multifaceted curiosity was innate, Hartigan writes. (artblogbybob.blogspot.com) Here was the third phase in Cornells preparation for artistic expression, Josephs introduction into the rich artistic life of Manhattan. Joseph Cornell has been described as an extraordinary artist yet he had no formal instruction in art. How could this be? Some clues from Josephs early years have already been identified, and now another indication emerges, for it was during these years, while working in Manhattan, that Joseph started his legendary collecting of ephemera, prints, books, postcards, records, calendars, photographs, and found objects and items from thrift shops. At the same time, his interest in theatre, film, music, art, dance, and especially the movies, took off. Joseph had immersed himself in every possible cultural experience that he could afford, and had become familiar with the contemporary American art scene. (McShine, 1990: 96) I see this period of avid collecting as the fourth phase, leading Cornell onwards to his unique artistic and poetic expression. In the mid 1920s, Joseph was introduced to Christian Science. Part of the appeal to him was its belief in the healing power of goodness, which later cured his own stomach problems. Josephs enthusiasm as a new and devout member caused his sister, Elizabeth, to convert, and she later remarked that it was Christian Science that led to Josephs striking art work. (Hartigan, Hopps, Vine, Lehrman, 2003: 37) Richard Vine describes the central belief of harmony and completeness in Christian Science as a vital link to Cornells work, which was about to make its entrance. (Hartigan, Hopps, Vine, Lehrman, 2003: 38) Mary Baker Eddy, Discoverer and Founder of Christian Science, stated that This scientific sense of being, forsaking matter for spirit, by no means suggests mans absorption into Deity and the loss of identity, but confers upon man enlarged individuality, a wider sphere of thought and action, a more expansive love, a higher and more permanent peace. (McShine, 1990: 97) Joseph was a devout member of the Christian Science movement until the end of his life, which required daily prayer and meditation, lecture and church attendance, and a belief in the healing power of God. This became an integral part of Cornells life, extending his interest into metaphysical thoughts and the world beyond. An element of Christian Science belief is to uplift others, to emphasise the completeness of Gods plan. The idea of unity is an abiding element of Cornells work, and I see this as a crucial fifth stage in his awakening, to inspire others to pursue uplifting voyages into the imagination. (https://www.pem.org) In May 1929, the family moved again, buying the home where Joseph, his mother and brother would live for the rest of their lives. It was fittingly referred to as a small frame house in Utopia Parkway, Flushing, the Queens area of New York. Soon after 1930, both of Cornells sisters married, and the next year, as the Depression set in, Joseph was one of the fifteen million people to lose his job. Was this was a lucky break for Cornell, who now had time on his hands? It is possible that he started making his early collages at this time, but there is no way of knowing. The period of unemployment could be seen as a sixth stage of opportunity, for now Cornell had time to further explore Manhattan, Brooklyn, and Long Island, with its galleries and museums, his beloved sanctuary and retreat of infinite pleasures. (https://artblogbybob.blogspot.com) Although New Yorks art scene did not have many galleries exhibiting modern art during the 1920s, when Paris was the fashionable art capital, the famous Julien Levy Gallery opened in November 1931. It very soon became the headquarters for Surrealism in America and it was here that Cornell first discovered Surrealist art and literature. A short time after his first memorable visit, Cornell returned to the gallery with some of his own work, early montages made from illustrations that were scissored out of nineteenth century books. Levy was thrilled and accepted Cornells work straightaway for the forthcoming exhibition, Surrealisme, in January 1932. This was a life-changing event for Cornell, and could be seen as the seventh phase, his launch as a young artist. (McShine,1990: 99) ..his is a slow process, a gradual accumulation of artistry mirroring his gradual accumulation of artistic material. (htpp://www.artblogbybob.blogspot.com) The artistic material that Joseph was accumulating came from a variety of sources. After the First World War, theatre, art, exhibition, and cinema were all popular distractions. The silent film industry was very popular in New York City with the first talking picture premiered in Broadway in 1926. There was great enthusiasm for the new technology cars, air travel, and the telephone. Cornells intense admiration of the French symbolist poet, Stephane Mallarme, and his growing love for the music of Claude Debussy, ranked highly among other influences. Both these artists, in their own field, attempted to catch the fleeting moment in word, sound, or image, and this would be soon be Cornells quest, as the next chapter will show. This chapter has looked at Cornells formative years, and I have interpreted Cornells life up to this point as a seven phase journey, a route where unique elements are gathering power together, soon to find expression. The next chapter will show how the memories, experiences and ideas of Cornell come together in his innovative boxed constructions. (1712 including quotes) Chapter 2: There is no Impression without Reflection This chapter will identify the particular way that Cornell expressed his memories, experiences and ideas in his boxed constructions. The title of this chapter is taken from a quote about personality types. It suggests: Introverts find energy in the inner world of ideas, concepts, and abstractions. They can be sociable but need quiet to recharge their batteries. Introverts want to understand the world. Introverts are concentrators and reflective thinkers. For the introvert, there is no impression without reflection. (www.masterteacherprogram.com) This appears to exactly describe Cornell, a shy and reflective person from childhood onwards. Although he did not enjoy this description of himself, all accounts of his lifestyle declare it to be accurate. Introverts want to develop frameworks that integrate or connect the subject matter. To an introvert, disconnected chunks are not knowledge, merely information. Knowledge means interconnecting material and seeing the big picture. (www.masterteacherprogram.com) I believe that the seven particular conditions I identified in chapter one, magnified by Cornells introspective personality, produced his reflective and metaphysical view of the world. This is not to say that the seven conditions in themselves are unique. What is unique, I believe, is the combination, the foundation, the context, and the particular sensibility of Joseph Cornell, that caused the seven circumstances to lead to his unique artistic expression. His memories, experiences and ideas intermingled in his inner world, bringing a new clearer understanding of existence, that everything was connected. New associations were formed with richer deeper meanings and symbols, and a transformation occurred. Using a variety of objects from his personal vocabulary of symbols, Cornell constructed his boxes. His work became a fusion of art, literature, poetry, sculpture, science, theatre, cinema, dance, wonder, and more. All of these threads combined to form a new medium of poetic imagery. His boxes contain fragments of what he sees as perfect in the spiritual sense, reassembled and purified to become physical memorials for his subjects. The first Cornell box that I saw was Planet Set, Tte Etoile, Giuditta Pasta (ddicace) 1950 at the Tate Modern in London. It was displayed at waist height in a large cabinet painted in bright white paint and covered with a clear glass panel. From the moment I entered the room I felt drawn to the work. It really was quite an emotional experience for me. I scarcely noticed the other art works surrounding it, such was the lure of the box. The power was even greater than I had imagined with its mysterious and poetic associations. The display caption describes the work: Giuditta Pasta, a nineteenth-century Italian opera singer. Cornell idolised a number of almost-forgotten stars of the ballet and opera, who epitomised for him the ideals of the Romantic era. The box includes astronomical charts and two balls balanced on rods, which suggest planets orbiting the sun. This astronomical theme may relate to a contemporary account, which Cornell kept among his cuttings, in which Pastas voice is described as evoking the beauty of the night sky. (https://www.tate.org.uk) Pastas voice was described by her biographer, Henry Pleasants, as having the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator. ( Quoted in Five Centuries of Women Singers, 2005, Greenwood Publishing Group, By Isabelle Putnam Emerson p 114 ) The hypnotic effect upon the soul that Pastas voice induced is echoed in the hypnotic effect upon the soul that Cornells box induced in me at the Tate, London. Viewing the dreamlike arrangements of objects in Cornells boxes, it is easy to understand how his work came to be associated with Surrealism, the art of the absurd, with its links to mixing the weird and the wonderful, dream and reality, the unconscious, and the uncanny, in a shocking sort of way. Surrealism was deeply influenced by Sigmund Freuds theories of the unconscious. For the Surrealists the dream was a source of pure imagination, an expression of the marvellous and the unexpected. (https://cdhi.mala.bc.ca/jengine/index.htm) Although Cornell was inspired by the New York Surrealists, exhibited with them, and used the same sort of materials and ideas, Cornells work developed very differently. As I have shown, Cornells life was sharply focused on eternity, infinity, and another spiritual world rather than anything reckless and earth-bound. This box, a tribute to Lauren Bacall, is based on the penny arcade games that Joseph loved as a child. Many of Cornells favourite associations can be identified. There is the Manhattan skyline and the game element: a wooden ball hurtles through the box, flicking past Bacalls face, like a snippet of flickering film. As it rattles past, the viewers attention is drawn towards a snapshot review of Bacall at earlier stages of her life, perhaps signifying that film captures our childlike imagination. Bacall seems trapped in her childhood and her innocence behind the thick blue glass. Cornell was infatuated with Lauren Bacall and her looks, and, says Schaffner, reminded him of a Renaissance painting by Botticelli. (Schaffner, 2003: 95) Cornells silent fascination with a series of women is another recurring theme in his work. This particular box is based on an afternoon at the movies. Cornell saw the film, To Have and Have Not, many more times and made copious notes that he would use later. In his personal notes he wrote: the penny arcade symbolizes the whole of the city in its nocturnal illumination a sense of awe splendour overriding (its) violence in darkness. (Tashjian, 1992: 122) The Bacall Box is interactive and can be played as a game but it is silent, perhaps a reminder of the early movies. Cornell describes it as a machine reminiscent of the early peep show boxes worked with a coin by plungers with an endless variety of contraptions. (fullstops before or after .?) (Tashjian, 1992: 125) There are many layers of meaning and loaded associations in Cornells boxed constructions, generally reflecting back to his experiences. Many of his favourite themes appear in each box in one way or another his nostalgia for childhood, his reverence for life, his idealisation of women, his encyclopaedic knowledge, his fascination with astronomy, his love of the expressive arts, his devotion to his brother, his familiarity with Manhattan, and his passion for French culture, all of these elements bound together and transformed by his beliefs about the nature of life and of infinity. I believe that the unifying factor in Cornells work is his yearning to keep his memories fully present and alive. It is vitally important for him to revisit his cherished experiences and revel in the delight that they originally caused. Perhaps each box contained a vivid dream, an essential treasure, a piece of information, a remembered conversation, or a vital truth. Perhaps revisiting the work refreshed Cornells energy and insight and his relationship with his subject. I suspect that it is all of these. By capturing a fleeting thought, a memory, an idea, a portrait, or a fragment of his imagination, Cornell expanded the two dimensions of a traditional frame into something greater to contain his whole experience. Somehow, Joseph Cornell found a way to combine all these aspects into one medium, and he invented his novel frame. The box construction was Joseph Cornells innovation. He generally made the boxes as gifts for particular individuals, people who had made an impact on him, sometimes people he had never met or who were dead. The memories were very much alive to him, however, in the works created around his subjects. There is a strong aspect of entertainment in Cornells boxes. Infused with a childlike sense of wonder and fantasy, he retained his ability to see the world through the eyes of a child. Edward Skip Batcheller, a great nephew of Josephs, offers valuable insight into the Cornell home that he remembers visiting as a boy. He describes Cornell as a benign eccentric man who lived timelessly, and says that he was very spiritual, and often seemed to be in another world. Cornell would take naps as he needed, living and working through day and night with no regard for the clock. Above all, Skip says, Josephs brother, Robert, was the primary source of his inspiration. Joseph took the responsibility of amusing and entertaining his brother very seriously, as his notes show. The two brothers would sometimes work alongside each other on constructions, and playfulness or amusement was a vital ingredient. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Skip says that the Cornell house was cluttered with art, piled high with saved publications, jottings and notebooks. It was like a laboratory for boxes they were everywhere, the garage, the yard, his sisters homes, and in their sheds. I find it significant that Skip describes Cornells boxes as always being on his mind. Like special friends, it appears that Cornell needed to interact with his boxes, to refer to them as if they could communicate back to him, in a shared dialogue from another world. This helps me understand why Cornell sometimes asked for a box to be returned, as if he were going back to add an afterthought to a conversation or to include a newly discovered aspect of meaning that had since occurred to him. Because he had compiled so much information in his dossiers and collections and had worked on ideas and images long before commencing the work, Joseph was already deeply immersed in the world and ideas of his subjects. I imagine that the boxes were like meeting places for the intimate memories he had shared with his subjects, in a spiritual sense. To him, the immortalised celebrity of each box was somehow still alive and living in the miniature world that Joseph had constructed for his chosen star. Yet, despite the great benefits of the box device that Cornell invented to contain his poetic expression, he also recorded frustration with its form. Even that expanded frame was not always sufficient to contain all the threads of meaning that he wanted to convey. The disappointment was expressed as (an) intense longing to get into the boxes this overflowing, a richness and poetry felt when working with the boxes but which has often been completely extraneous in the final product. (Caws, 1993: 188-194) ( page no.?) (CAWS, M, Ed., 1993, Joseph Cornells Theater of the Mind: Selected Diaries, Letters, and Files, New York, Thames Hudson, 188-194.)/ Cornell placed great importance on dreams. Richard Feigan, an art dealer who knew Cornell well, described him as being on another planet. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Could he mean hypnagogic, a word sometimes used in regard to Cornells visionary work, or is Cornell communicating as in a whispered prayer, transformed or transported onto a different spiritual plane? The definition of hypnagogia helps us to understand this state: An individual may appear to be fully awake, but has brain waves indicating that the individual is technically sleeping. Also, the Individual may be completely aware of their state, which enables lucid dreamers to enter the dream state consciously directly from the waking state. (https://www.wikipedia.org) Cornells urge to download his feelings into his boxed constructions suggest that he had special links set up between his imagination and the unseen world, as if engaged in urgent and ongoing conversations. Leila Hadley Luce, interviewed on this subject, says He travelled in his mind. He encompassed places. He absorbed them. Its like being in a dream world, but very, very real. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Walter Hopper, a respected American artist, describes Cornells work as sublime, saying that something very special and transcendent was going on here. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) This chapter has acknowledged the huge power evoked by Cornells boxed work. I have shown that great power arises from Cornells special way of communicating his experiences, his memories, his ideas and his dreams. His work is visionary, and has a timeless quality, taking no account of whether a particular person is alive or dead for it made no difference to his appreciation of their relationship with him. Cornells unique ability to connect different branches of knowledge into one focused creation prompted the invention of his new device, the box, to contain his multi-dimensional work. The next chapter will look more closely at the device of the box. (2097 inc. quotes) Chapter 3: The Power of the Box: Free-Form Contemplation This chapter will look at the power of the box as a containing device, and will consider the effects that it creates. I will show how the box frame can separate the artists work from its surroundings into an experience within its own world. I will try to establish whether the framing box has a bearing on the way the viewer focuses upon it in a spirit of curiosity. This will take us to consider the nature of curiosity. ..by virtue of its very presence the box makes an announcement: I contain something valuable. In concealing, the box reveals. (Gunter, 2004: 6) The box, as opposed to a two dimensional frame, encloses space for storing, protecting or displaying one or more objects. Tony Lydgate calls this a contradiction, in the sense that the box reveals, by hiding. Straight away, the nature of the box sets up the enquiry, What is in here? Who has put this in here, and why? A box can usually be opened and closed, and it has depth and space, whereas a frame shows everything at once, the flat or textured visual material that it is designed to enhance and border. Everything within a two-dimensional frame is immediately evident: there are no internal walls to inspect, no surprising variation in what it may contain, no mysterious recesses to discover, no drawers to open, no room for sculpture or for a third dimension. The frame is fitting for a standard two dimensional image, but the box is innovative and exciting with its third dimension and its opportunity for interaction. It introduces novelty and is very different and separate. Curiosity is evoked by the viewer wanting to know and check what is contained within. An open question is set up in the mind, and a range of associations present themselves in the imagination. The box can instantly evoke curiosity. Containing art in a boxed frame offers the artist extra freedom, both aesthetic and creative. The box has more surfaces that can be decorated, both inside and out, the space can be used to contain fascinating three-dimensional scenes, it can be left empty, or filled with historic, nostalgic, personal, or other types of material. The artist has freedom to create intrigue and mystery by the arrangement of his objects within the space of the four walls, and the effect can be altered by using some or all of the planes. Two dimensional framed art in a gallery might be affected by neighbouring work, whereas work in a box invites the viewer to come close, excluding all neighbours while privately inspecting and interacting with its contents. There may be a sense of the voyeur peering into a private window, adding excitement to what is perceived in the box. Since Cornell, many artists have used the box form in an individual way to encase their artwork. I will look at some of this work in the next chapter. Throughout history, boxes have been a basic and necessary part of civilization. Ornate boxes were used by early man for carrying and storing a variety of valued items. In ancient Egypt, the dead were buried in highly decorated boxes. Ancient Egyptian boxes have been found containing cosmetics, jewellery, writing tools, and even slippers. One, made for an Egyptian lady in 1800 BC, was decorated with gold fittings and carnelian stones. Precious boxes are still crafted today. In the 16th and 17th centuries, Cabinets of Curiosities held strange and wonderful collections that had been gathered by explorers, the rich and the noble. Initially these were elaborate rooms where an assortment of exotic items was displayed, to inspire awe and to evoke wonder and curiosity. The collections were categorised according to the owners wishes, and reflected the collectors personal ideas of how to impose order on objects from the natural world. In time, these diverse collections developed into actual cabinets, and later the contents became the precious items now in our museums, which still inspire wonder, awe, and curiosity today. The adult Cornell vividly remembered his fascination with collections and exhibits in polished wooden cases and frames as a boy. Years later he amassed his own personal Wunderkammer in the cellar of his home in Utopia Parkway, a vast collection of objects, dossiers of information, jottings and notebooks, that chronicled his feelings and ideas. To appreciate the sense of awe and wonder that vast collections inspire, and in preparation for this study, I visited the Ashmolean Museum in Oxford, which was opened in 1683, the nearby Pitt Rivers Museum, The British Museum in London, which opened in 1759, and The Natural History Museum in Tring, Buckinghamshire. All buildings house remarkable collections that, once private, have now been gifted to the nation. The vast number of collections of so many species and artefacts evoked a deep sense of wonder in me, and I noticed people of all ages displaying intense curiosity and amazement as they gazed at the exhibits. Cornell savoured his childhood sense of awe and wonder all through his life and we see reminiscences of these nostalgic memories in many of his boxed constructions. Joseph Cornell, Untitled (a Butterfly Habitat), 1940 Religious groups use special and decorative boxes to contain their most holy objects. Catholic churches have a box containing relics of a particular saint built into the altar, known as the sepulcrum. A locked tabernacle on the altar contains the sanctified host. An air of awe, mystery, and reverence is linked to these special boxes. Our most treasured possessions, jewels, money, curios and keepsakes, are often protected in special boxes. Boxes with hidden compartments were very popular in Victorian times, fuelling the feel of mystery and concealment. It isnt just the box that can evoke feelings of excitement and curiosity but the associations that have been attached to it in earlier years. Consequently, once an animated attachment has been fixed to a box or a particular container, the magic might last indefinitely. Again in Victorian times, we learn of the Penny Arcades, the mechanical fun box machines: Curious, quaint, beautiful and bizarre: devious mechanical marvels of mahogany, oak, iron and brass occupied side shows, bars, guest houses, arcades and piers from before the turn of the century. Their attraction is broad. Diverse in form and theme; a whole social milieu is captured in lively period images and pop-art graphics, giving both historic and aesthetic appeal. (https://www.pennymachines.co.uk) After putting a penny in the slot, there was a handle to pull, a ball to shoot, or a scene to watch, and the chance to win another go or have your penny returned. The fun was in operating the machine with its many and various ingenious functions rather than winning the prize. Joseph Cornell used his memories of these fun slot machines, adding a layer of nostalgia, chance, or history to his tribute. His penny arcade pieces, like the original Victorian machines, were designed to be used as a game, adding a visual and a sound quality. It is highly likely that Cornell devised his penny arcade pieces to amuse his brother, Robert, with whom he shared a very close bond. In mythology, the popular tale of Pandoras Box suggests intrigue. Pandora was given a box by the gods and told not to open it, but her strong curiosity got the better of her. She opened the box (it was actually a jar) and out flew several illnesses and undesirable things, just leaving Hope behind. Another box that has inspired contradiction and curiosity is the telephone box. It is a private space on a public street, a box where you can be seen but not heard. It is an anonymous space yet often is used for deeply personal conversations. When researching the subject of boxes and curiosity, I discovered a humorous angle, called the Medicine Chest Caper. It is said that people feel an irresistible urge to open a bathroom cabinet when visiting anothers home. To exploit this urge, pranksters fill the cabinet with ping-pong balls to booby trap their over-curious visitors. Here is another instance of the power of curiosity with a box, when the imagination or the inquisitive mind becomes engaged with the nature of its hidden contents. But what is curiosity? To me, curiosity is a pleasant state of persistent inner questioning, along with an urge to discover possible answers. It is when my inner mind starts to contemplate and say I wonder and why? It also contains an element of wonder and excitement. Curiosity makes my mind scan through associations that already exist in my own experience, trying to find a link with what I am seeing in order to make sense. Einstein expanded this view when he said: The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvellous structure of reality. It is enough if one tries merely to comprehend a little of this mystery everyday. Never lose a holy curiosity. (https://www.personal-development.com) Einstein is suggesting that curiosity is a sacred gift, an insatiable appetite to explore creation. This fits perfectly with Cornells own Christian Science view, that life is an endless discovery of the meaning and unity of life. The allure of Cornells mysterious boxes has been well documented, and it is possible to identify some sources of his attraction to using the box frame for his work. Beyond the peep shows and shadow boxes of his youth, Cornells writing shows that he was fascinated with shop window displays. His jottings reveal that he would spend time contemplating the completeness they could offer as he absorbed the contents of the displays, sealed in their own world. (Caws, 1993: 165) The view seen from ones seat in a theatre or cinema gives the impression of looking into a box, or a window, and this is similar to Josephs experience of travelling into town on The El, the elevated railway, where he could peer into the windows and glimpse strangers private lives being played out in the public gaze. This feeling is carried over to the viewer of a Cornell box. Peering in could induce exciting, strange or disturbing feelings, even perhaps, a voyeuristic sensation. Hartigan says that (https://artblogbybob.blogspot.com) (Correct way?) Cornell equates art with the experience of life itself, as just another window upon the world. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) The objects in a Cornell box are sealed behind glass, concealed by shadows, filtered, hidden, and cropped. The glass pane acts as a fourth wall in his miniature theatre, showing the contrast between his two worlds, of chaos and of order, safety and danger. As a teenager, Cornell had shared his fear of infinite space with his sister. To young Josephs fear of large empty spaces, a defined space would have brought comfort and solace. The box conveys a sense of security, definition and order, rather than chaos or undefined space. Containment denotes safety. Whether expressed by the frame of a box or a collage, his intent was similar directing us to a highly defined space or field of vision for free-form contemplation. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) This chapter has looked at the different ways boxes have been used historically, showing how an air of mystery and wonder has often been linked to the boxs purpose. I have shown how the form of the boxed frame, coupled with a sense of curiosity, generates intrigue in the viewer. The viewer feels a need to peer inside, and an expectation of discovery and anticipation is set up in peoples minds from an early age, from memories of gifts, treasures or novelties in boxes. I have also mentioned how experiences from Cornells early life are echoed in his boxed constructions. It has become clear that the device of the box is powerful in evoking a sense of curiosity because of its general and its particular associations in every mind, from childhood onwards. Chapter 4:Enlarged Individuality (improve this title) This chapter will look at other artists who have used the box as a device to enclose their work and it will identify the intentions, the content, and the effects of this work in comparison to the work of Cornell. The three artists whose work I will explore are Betye Saar, Mariko Kusumoto, and Joseph Bennett. These artists are all living and working today and they have all used the box device to frame their work. Each artist has a different intention and different results, which I will contrast with the work of Cornell. I will first look at Betye Saar, an American artist born in 1926, who is well known for her shadow box constructions that deal with the memory of racism in her country. Betye, who comes from a mixed heritage of African, Irish and Native American, felt very angry about the way that black people were perceived. She began to focus on using derogatory images of black people in her work. A famous example of this work is The Liberation of Aunt Jemima, exhibited in 1972. This was a wooden box displaying a black smiling mammy, holding a rifle in one hand and a broom in the other. Aunt Jemima is a recognizable trademark for advertising pancake flour in America. Betye Saars message in this box was about the way African-American women were treated as sex object, as domestic soldier. And it was about this particular womans revolt to be free of that image. (https://www.npr.org) The Liberation of Aunt Jemima, 1972. Betye saw a Joseph Cornell exhibition in 1968 and was greatly influenced by his assemblages, although the beginning of her passion to create recycled art occurred when she was a young girl visiting her grandmother in Watts. She remembers seeing Simon Rodia sculpting the Watts Towers during the period of 1921-1951. Seventeen interconnected structures were built, the tallest over thirty metres high, and they were filled with found objects. Betye remembers the experience vividly, saying Ive seen corn cobs in there, Ive seen tools. Its like, the cement is wet, what can we put in here? (https://www.npr.org) Another influence on Saars work was the American artist, Romare Bearden, whose first collages appeared in the 1960s, at the time of the Civil Rights Movement. Bearden also used found materials to create collages which carried powerful messages about African-American life. Betyes motivation to create art works was anger at the racism issues: Beardens work helped her to define her message, and Cornells to find the medium and the form. The intentions of Saars boxes are about declaring her reactions to the experience of racial issues in her country. Saar uses a mixture of images and symbols from different cultures and religions, bringing a spiritual dimension to her work. The pieces speak of cultural differences, stereotypes, and the liberation of African Americans. Like Cornell, symbols and visual metaphors are a central role in Saars work, although hers are rooted in her physical environment. The content of her boxes are collections of materials such as photographs, advertisements, toys, fabrics, figurines, household objects and musical instruments, bought from flea markets and junk shops. Betye uses nostalgic bric-a-brac to portray her broad social messages, particularly in the choice of real fabrics that have been worn by the real characters she is championing. Here is a link to Cornell, who took great pains to obtain significant mementoes of his subjects to use in his tributes. Like Cornell, Betye Saar revisited her earlier themes, particularly with The Liberation of Aunt Jemima, for what the artist calls unfinished business. In the revisited work of 1998, Workers and Warriors: The Return of Aunt Jemima, Betye refines her message and expands on her previous approach. Using vintage washboards, as if each is a window, the pieces have been collaged with Black Collectibles from the 1940s to 50s - debasing images of slavery-era black women often sold to tourists in southern areas of the United States. The message is still the same, if not more muted than her original piece, aiming to shock the public and cause radical changes in the perception of black Americans. (Insert) Cant find workers and warriors image have you seen it? Betye Saar essentially wants the viewer to be seduced by the beauty and the mystery of her work, to draw her viewers closer. The frames are the perfect medium for her to gather her viewers close up to her message. Then, once she has captured the attention, the focus sharpens so that the story hiding inside the box can be discovered. Her powerful statements about race, stereotyping, and gender cannot be missed. By concentrating the viewers eye into the frame, Saar is able to hold the viewers attention while all the elements of her message are absorbed and hammered home. Betye often invites interaction by creating puzzles for her viewers to decode which, like the playful elements in Cornells boxes, is a shared similarity. Unlike Cornell, Betyes concerns are very much of this world rather than the metaphysical themes of Cornells, although her energy appears as immediate, heartfelt, and strong, and her passion is evident. The second artist I am going to look at is Mariko Kusumoto, born in Japan and brought up in a four hundred year old Buddhist temple where her father was a priest. Marikos boxes are made from old wood, polished metals and found objects, which are replicas of the materials, colours and textures in her childhood temple. Mariko creates multiple doors and compartments in her constructions, and fills them with highly detailed miniature worlds that reflect her childhood memories of living in the temple. She describes her intentions: I am striving to create a world of shadows, light, silence, spirituality, and my personal memories. (https://www.mobilia-gallery.com) Another of Marikos sources comes from her fascination with the Tansu box, a tall dark wooden box found in the temple, with multiple drawers and compartments. This must have seemed a gigantic chest of drawers to a young girl and Mariko describes it as being dark with hidden secrets lurking inside the drawers that invoked a thrill for her as she set about her regular task of polishing it. It seems that Mariko wants to recreate the sense of wonder and excitement that she experienced each time she looked inside the Tansu box, her main motivation being nostalgia for what she has lost. I could never anticipate what would appear from the darkness. I had mixed feelings of excitement and fear whenever I opened it. It was a great wonder box to me. The darkness inside the tansu stirred up my imagination. (https://www.mobilia-gallery.com) When I look at Marikos boxes, I sense the same darkness and hidden secrets that I imagine her to have seen as a child, although her boxes are much smaller. Perhaps the small scale draws the viewer over to look within, to open each compartment and look inside to the magical world of memories that she has created. There is a childlike thrill in Kusumotos art, as with Cornells, with the invitation to play, touch, and cooperate. Most of my pieces are interactive the viewer must keep opening things to see the secrets inside or push, pull, or wind up something to see movement or hear sounds. (https://www.americancraftmag.org) Iroha Uta (interior), 2003 Photo: Lee Fatheree From Marikos description of her inspirations, we learn that she is recreating elements from her past for which she has a nostalgic longing. The absence of the familiar childhood home, the temple with all the curious artefacts it held, has intensified her feelings of being Japanese amongst the diverse cultures in the United States. As time goes by, my memories become stronger and more vivid. This feeling is the inspiration of my artwork today. (https://www.mobilia-gallery.com) Here are echoes of Cornells nostalgia, to recreate a poignant and happy memorial to childhood memories, although Cornells yearning for the past is part of his belief that everything is connected. Again, the three dimensional frame is the essential medium for Kusumoto, who wants to envelop her viewer in the mystery, darkness, space and atmosphere of her miniature world. By using the device of the box, the viewer can soak up the spiritual atmosphere that Mariko has designed without any outside interference. As wit h Betye Saar, the intention of Kusumotos work is planted in the physical world, reliving the sense of nostalgia for her experiences as a child in Japan and searching for new understanding in the noisy western world with its diverse cultures. My third comparison is Joseph Bennett. A self taught American artist, Bennett began his creative career in 1999 creating boxed assemblages. He uses found objects such as rusty metal, aged wood, photos, and toys. He has said that he was heavily influenced by Joseph Cornell and that the experience of seeing Cornells boxes in a 1968 exhibition changed his life. (https://www.artbybennett.com) For Bennett, the Intention of his boxes is to reinvent discarded objects, transforming them into newly discovered loved objects. He gives them a new lease of life, and falls in love with their beauty. He says I believe that this body of work began during childhood; standing in front of my fathers workbench and admiring all that lay before me tangled wire and rust, heavy metal and bits of color, dusty cabinets hiding treasures beneath faded cobwebs. (www.artbybennett.com) Unlike Cornell, Joseph Bennetts reasons for making his boxed assemblages do not seem to come from a deep inner yearning for spiritual expression. Rather, he simply finds joy in presenting discarded objects in a new light, as a purely aesthetic exercise. With his lifelong partner and inspiration, Eli Hans, Bennett is involved in the interior design and transformation of homes so as to create an aesthetically pleasing environment that supports life goals in a perfect balance of form function. (www.sublimeinteriors.com). This accords with his Artists Statement, of transforming discarded items into newly loved pieces. Configuration? Details? Configuration is an attempt to think outside the box and add color and movement to my work. This piece continues to be my lover Elis favorite piece. (ref Bennetts blog). I can see the strong influence of Cornell in this piece but I cannot detect either a development from it or a personal angle. Bennetts work is predominantly an aesthetic activity but is linked to a desire to retain discarded items. He says that he sees his work as a form of art-activism, saying Its a passive way of teaching about not consuming so much I want people to appreciate things that they would otherwise throw away. (https://pem.org) Bennett is involved in a campaign to alleviate world poverty for which exhibiting his work raises money. I notice that Bennett has dedicated some of his work to Cornell. He has also dedicated a piece of art to a famous public performer, Joseph Beuys, which is a very Cornellian thing to do. Many of the found objects used in Bennetts work are the same or very similar to those used by Cornell, as are the overall designs and compositions, although I sense a more cluttered feeling in Bennetts pieces. These are my personal responses to Bennetts work, after having a brief e-mail correspondence with him. (REF) (Joseph Bennett recently sent me an image of a new piece that has not yet been displayed, although he has made no direct comments about this piece so far. INSERT and describe?) This chapter has taken a close-up view of the work of three artists who have all used the boxed device to frame their work. Each has a different emphasis and message, with very different subject matter, materials, and intention. In every case, the artist has felt an urge to expand the space that contained their message by using the box frame. Whether an intricate metal sculpture with multiple doors and compartments like Kusumotos, or bric-a-brac, fabric and black figurines like Saars, or found objects that have been liberated into a new existence like Bennetts, the boxed frame has played its part in transforming the materials into works of art that powerfully engage the viewer. I have compared the intentions, motivations, and effects of these three artists with the work of Cornell. The final chapter will pull all the threads of this study together, and will reconsider the various elements of the power of Joseph Cornells boxed constructions. Conclusion This concluding chapter seeks to summarise the findings of the study and arrive at a new understanding of how Cornells boxed constructions exert their powers of engagement on the viewer. Throughout this study, I have kept my initial questions in mind. In my introduction I asked where the power of engaging with a Cornell box originates: does the power come from the box or from what is in the box? What part does the viewer play in the equation? As I studied each element of the enquiry, many answers began to emerge. Firstly, concerning the power of engagement with the viewer, I found that a spirit of curiosity is fundamental to making the first connection. Curiosity is a natural, energetic and active human state that seeks answers. The idea of what can be in this box? sets up a chain of expectation, priming the curious viewer to want to know the answer, and so that person is likely to accept the invitation to look inside. This willingness to engage leads the viewer to enter into a relationship with the artist by investigating the work further. Once glimpsed, some sort of connection has been made. What follows may be a brief encounter, or it may be a deep and lingering fascination for what is discovered within. A spirit of playfulness and an open mind connects the viewer with the scene inside the artists window, and the message of the artist then becomes available for free association. At this point, the interested viewer may be seeking to understand the intention of the artist, or simply enjoying the flashes of memory and the personal associations that the work induces with no interest in the artists message at all. The essential point is that an engagement has occurred. The viewer has accepted the challenge or the opportunity to find points of contact, to be reflective, or to revisit personal memories which may resonate from the contents of the box. In summary, curiosity is the key, and the inquisitive viewer feels compelled to cooperate. Concerning the power of the box itself, this study has shown that from childhood onwards, boxes are an integral part of everyday life, with associations of excitement, fun, awe, intrigue and joy. In this sense, the box as a device has an appeal all of its own. Even if the box were empty it is likely that a curious person would still need to look inside, just to be sure that nothing was being missed. The box, with its depth and space, carries the opportunity for more senses to come into play than a conventional two-dimensional frame, which is an added bonus. The more senses that are excited in the viewer, the greater will be the impact on the imagination. My conclusion about the boxed frame is that it has a special appeal of its own for all the reasons discussed, evoking the curiosity that is essential to capture the viewers interest. What is contained in the box is the third element of the enquiry. The contents of the box may have an instant appeal that transfixes the viewer, or the curiosity may be short-lived and easily satisfied by a quick uninvolved glance. The reaction of the viewer will depend on a variety of factors, such as ones interest in topical issues, ones sensory reaction to what is viewed, ones tolerance of enigmas, ones appreciation of the particular colour and form used, and other similar considerations. Clearly, some scenes will resonate more with one person than another, as with all personal preferences. A deeper understanding of a particular artists imagery and symbolism would enhance the experience of appreciating that body of work. This is especially true of Cornell, whose rich symbolism and imagery is multi-layered. The study looked at the work of three artists who have used the box as a containing frame for their work, with a range of intentions, style, and message. It was shown that Bennett uses his frames to design an aesthetic experience for the viewer, Saar wants to publicise the burning political issues of racism and gender in order to provoke reaction and social change, while Kusumoto is externalising her inner feelings of nostalgia and longing, to keep alive and savour her childhood memories of Japan. These artists have used the physical space of the frame to create an earthly message, a display that inspires their viewers with here-and-now social, personal, and political issues. Cornells work was shown to be on a different level, since he did not primarily create his constructions with a viewer in mind. Creating his pieces arose from a strong compulsion to rearrange and reinterpret earthly experiences so that they were aligned with a purpose beyond earth, almost as in a vision or a prayer. In this way of connecting to unseen things, Cornell linked in to a potent energy which, even if not comprehended by the viewer, still exerted an uncanny power over him. His work expressed mans connection with infinity, the world beyond earth which Cornell believed was an illusion. His many threads of poetic knowledge were woven together and transformed into layers of meaning that lead the viewer back to contemplate the source of creation through the elements and symbols of his work. In Cornells case, the boxed construction was surely the only possible frame that could contain all the elements of his multi-faceted vision. Summarising all the points that have emerged from the study, it is clear that there is a strong link between the attitude of the viewer and the device of the box. Curiosity is the link between the two. The box has its own power because of our associations from childhood onwards. The viewer cooperates with this power by demonstrating the human characteristic of anticipation, curiosity, and a yearning to be entertained. At the start of the study, my intuition was that Joseph Cornell exerted a unique power of engagement with his viewer because of the special nature of his poetic imagery in the boxed constructions. Now, at the end of the enquiry, my hunch has not altered but it has expanded. I now believe that the power is a shared force. I believe that the power originates from all three areas, from the box itself, from the latent curiosity and the willingness to cooperate on the part of the viewer, and also from the contents within the box. The last factor is the one that decides how long the viewer remains spellbound and connected to the work in the box. The starting point for Cornells work was his life experience, his perceptions, and his continued wonderings. I believe that the seven phases I identified in his early life are the key to his unique and powerful artistic expression, as this study has shown. Ken Johnson, writing in The Boston Globe, says: the feeling one gets with Cornell is that being boxed in whether by familial circumstances or by neurotic shyness is what led to the cultivation of an extraordinary lively and adventurous inner life. He didnt think outside the box; rather, he thought deeper into the box by transforming its interior into a space of infinitely elastic possibility. Every box sculpture he made represents the triumph of a wide-ranging imaginative vision over the deadening captivity of external, terrestrial existence. (Quoted from The Boston Globe , see print out) The trio of curiosity, the device of the box, and the unique message of Cornell, indeed exert a great power of engagement with the viewer, which I now understand to be the human quest for knowledge and understanding. I conclude with Cornells own words: All things are interrelated. As above, so below. We are fragments of an unutterable whole. Meaning is always in search of itself. Unsuspected revelations await us. (SIMIC, C) where from?

The reddit study guide - 9469 Words

The Reddit Study Guide ---------------------------------------------------------------- Good students: How do you go about getting good grades? [Serious] (self.AskReddit) submitted 1 day ago * by irollon ---------------------------------------------------------------- 18 July 14, Friday Asked by irollon Collated by Salticido Exported to Word by SailboatoMD Contents # Topic Contributor Page Remarks 1 GOAT ME Salticido 2 + Summary 2 Study/Test Environment lshdevanarchist 7 3 Feel the Teacher Hawkian 8 4 Study after Graduation The_White_Baron 9 5 Teaching/Learning Mechanics Optimismizer 10 Book 6 Group Studying Bestkind0fcorrect 10 7 Association and†¦show more content†¦This is based off the principle of encoding specificity, which states that, if you want to optimize memory, then the conditions surrounding encoding (e.g., where you are when you study, how tired you are when you study, etc.) should be the same as those surrounding retrieval (e.g., where you are when youre tested, how tired you are when youre tested, etc.). This is because the conditions themselves serve as reminders. (Have you ever walked into the kitchen for something, forgotten why you were there, and as soon as you return to the other room you suddenly remember why you went to the kitchen?) This includes your environment and your physiology, serving as reminders. Think about noise level, size of room, lighting, types of furniture, mood, intoxication, sitting position, and even the way you work with the material (remember G and A). Studies show that learning while drunk is best remembered while drunk again. Learning after exercising, a lso best remembered after exercising. The alternative to this is that you should study under MANY different conditions. This way, the information comes easily to you regardless of your surrounding conditions. Otherwise, the information will unfortunately be associated with the specific circumstances you studied under and will be difficult to remember in any other situation. If you want to remember this stuff outside of being tested in class, STUDY UNDER MANY CONDITIONS. Study in a noisy place AND a quiet place, with andShow MoreRelatedThe New Stadium: Fantasy Sport’s Effects on Sports Sociology Essay1238 Words   |  5 Pagesdual approaches would support one another and help guide my research towards a comprehensive answer. Quantitatively, I administered online surveys to online fantasy football communities on Facebook and reddit to a self-selected convenience sample over a one week period. Qualitatively, short interviews were conducted both in person and via Skype to self-s elected volunteers from Facebook and reddit, in addition to text discussions held on the reddit fantasy football community (subreddit). The surveyRead MoreStudy Habits And You May Improve Your Learning Ability792 Words   |  4 PagesExpand Your Learning-Style Study Habits and You May Improve Your Learning Ability! 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