232_s3 본문읽기 40
카테고리 없음2023. 5. 12. 00:43
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23수특-2402
If part of the attraction of the community to outsiders is its cultural heritage and traditions, that will likely change over time and frequently not for the better. Symbols of a historic culture may be pervasive, but only in a make-believe form. Tourist shops on small Pacific islands may sell replicas of native art ─ all turned out in huge quantities by manufacturers in other parts of the world. Plastic Black Forest clocks and Swiss music boxes are offered to tourists that are mass-produced in Taiwan or China. A commitment to craftsmanship and true local heritage vanishes. These false symbols of earlier times contribute to an overly commercial feeling at destinations and a sense that nothing seems real now, and perhaps never was. A danger lies in the loss of a sense of personal identity by residents and a feeling of being disconnected from their past. Their heritage and culture now seem less significant or important. It serves primarily as a commercial front for visitors who buy cheap trinkets and watch professionally staged shows that attempt to recreate cultural practices or historic events.
23수특-2403
Physical contests and games in Greek culture influenced art, philosophy and the everyday lives of people wealthy enough to train, hire professionals and travel to events. However, Greek contests and games were different from the organized competitive sports of today. First, they were grounded in religion; second, they lacked complex administrative structures; third, they did not involve measurements and record keeping from event to event. However, there is one major similarity: they often reproduced dominant patterns of social relations in society as a whole. The power and advantages that went with being wealthy, male, young and able-bodied in Greek society shaped the games and contests in ways that limited the participation of most people. Even the definitions of excellence used to evaluate performance reflected the abilities of young males. This meant that the abilities of others were substandard by definition ― if you could not do it as a young, able-bodied Greek man did it, you were doing it the wrong way. This legitimized and preserved the privilege enjoyed by a select group of men in Greek society.
23수특-25Gateway
Young contemporary artists who employ digital technologies in their practice rarely make reference to computers. For example, Wade Guyton, an abstractionist who uses a word processing program and inkjet printers, does not call himself a computer artist. Moreover, some critics, who admire his work, are little concerned about his extensive use of computers in the art-making process. This is a marked contrast from three decades ago when artists who utilized computers were labeled by critics ― often disapprovingly ― as computer artists. For the present generation of artists, the computer, or more appropriately, the laptop, is one in a collection of integrated, portable digital technologies that link their social and working life. With tablets and cell phones surpassing personal computers in Internet usage, and as slim digital devices resemble nothing like the room-sized mainframes and bulky desktop computers of previous decades, it now appears that the computer artist is finally extinct.
23수특-2501
In the field of musical expertise, there is a dichotomy of thinking. On the one hand, there is a widespread perception in the general population that expert musicians have innate talent, or giftedness, beyond ordinary abilities. Talent, as part of the vernacular in the field of music, is usually assumed to be a stable trait ― one is either born with musical talent or not. Music aptitude tests popular in the early to mid-twentieth century, such as the Seashore Tests of Musical Talent and the Music Aptitude Profile, attempted to find children who had this musical talent. On the other hand, there is a very real feeling that ability in music comes from a disciplined work ethic. It would be unacceptable, even for those considered talented, not to practice. In fact, those who are considered talented are expected to practice all the more.
23수특-2502
For a long time photographs were understood to be visible traces, as irrefutable evidence of the existence of the presented, its "it has been." Therefore, photographs were initially classified as documents, whether used in the media, in the family album, in books, archives or collections. As digitization began to feed into the realm of photography, and the end of the photographic era was proclaimed, it was its documentary qualities, its "ontology" as a chemical-physical symbol, that suddenly lost its persuasive powers. But even if the sting of digital doubt seems deeply ingrained within the photographic authenticity and evidence, many of its tasks and uses have hardly changed. When we look at a family album created with digital images, closely inspect the X-rays of a broken foot together with the doctor, or view the image of the finish of the 100-meter finals at the Olympic Games, our trust in photography remains. If we trust the use of the images, or more precisely, if we assign them persuasive powers via their use, it does not matter whether they are analog or digital. In other words: We doubt photography, but still use certain photographs to dispel doubt and produce evidence.
If part of the attraction of the community to outsiders is its cultural heritage and traditions, that will likely change over time and frequently not for the better. Symbols of a historic culture may be pervasive, but only in a make-believe form. Tourist shops on small Pacific islands may sell replicas of native art ─ all turned out in huge quantities by manufacturers in other parts of the world. Plastic Black Forest clocks and Swiss music boxes are offered to tourists that are mass-produced in Taiwan or China. A commitment to craftsmanship and true local heritage vanishes. These false symbols of earlier times contribute to an overly commercial feeling at destinations and a sense that nothing seems real now, and perhaps never was. A danger lies in the loss of a sense of personal identity by residents and a feeling of being disconnected from their past. Their heritage and culture now seem less significant or important. It serves primarily as a commercial front for visitors who buy cheap trinkets and watch professionally staged shows that attempt to recreate cultural practices or historic events.
23수특-2403
Physical contests and games in Greek culture influenced art, philosophy and the everyday lives of people wealthy enough to train, hire professionals and travel to events. However, Greek contests and games were different from the organized competitive sports of today. First, they were grounded in religion; second, they lacked complex administrative structures; third, they did not involve measurements and record keeping from event to event. However, there is one major similarity: they often reproduced dominant patterns of social relations in society as a whole. The power and advantages that went with being wealthy, male, young and able-bodied in Greek society shaped the games and contests in ways that limited the participation of most people. Even the definitions of excellence used to evaluate performance reflected the abilities of young males. This meant that the abilities of others were substandard by definition ― if you could not do it as a young, able-bodied Greek man did it, you were doing it the wrong way. This legitimized and preserved the privilege enjoyed by a select group of men in Greek society.
23수특-25Gateway
Young contemporary artists who employ digital technologies in their practice rarely make reference to computers. For example, Wade Guyton, an abstractionist who uses a word processing program and inkjet printers, does not call himself a computer artist. Moreover, some critics, who admire his work, are little concerned about his extensive use of computers in the art-making process. This is a marked contrast from three decades ago when artists who utilized computers were labeled by critics ― often disapprovingly ― as computer artists. For the present generation of artists, the computer, or more appropriately, the laptop, is one in a collection of integrated, portable digital technologies that link their social and working life. With tablets and cell phones surpassing personal computers in Internet usage, and as slim digital devices resemble nothing like the room-sized mainframes and bulky desktop computers of previous decades, it now appears that the computer artist is finally extinct.
23수특-2501
In the field of musical expertise, there is a dichotomy of thinking. On the one hand, there is a widespread perception in the general population that expert musicians have innate talent, or giftedness, beyond ordinary abilities. Talent, as part of the vernacular in the field of music, is usually assumed to be a stable trait ― one is either born with musical talent or not. Music aptitude tests popular in the early to mid-twentieth century, such as the Seashore Tests of Musical Talent and the Music Aptitude Profile, attempted to find children who had this musical talent. On the other hand, there is a very real feeling that ability in music comes from a disciplined work ethic. It would be unacceptable, even for those considered talented, not to practice. In fact, those who are considered talented are expected to practice all the more.
23수특-2502
For a long time photographs were understood to be visible traces, as irrefutable evidence of the existence of the presented, its "it has been." Therefore, photographs were initially classified as documents, whether used in the media, in the family album, in books, archives or collections. As digitization began to feed into the realm of photography, and the end of the photographic era was proclaimed, it was its documentary qualities, its "ontology" as a chemical-physical symbol, that suddenly lost its persuasive powers. But even if the sting of digital doubt seems deeply ingrained within the photographic authenticity and evidence, many of its tasks and uses have hardly changed. When we look at a family album created with digital images, closely inspect the X-rays of a broken foot together with the doctor, or view the image of the finish of the 100-meter finals at the Olympic Games, our trust in photography remains. If we trust the use of the images, or more precisely, if we assign them persuasive powers via their use, it does not matter whether they are analog or digital. In other words: We doubt photography, but still use certain photographs to dispel doubt and produce evidence.
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