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Analogy

28 Feb

The analogy I chose to explain Visibility is the sense of relief felt when the airplane breaks through the clouds on decent and the ground is visible again after a flight.

 

When riding on an airplane, even though the length and relative smoothness of the ride almost allows passengers to forget that they are thousands of feet in the air, it is almost inevitable that upon descent a great sense of relief is felt when the plane breaks through the clouds and the ground is visible. In my mind, the Visibility of the ground is one of the greatest senses of relief, especially for those who have a fear of heights. Visibility in this sense provides a feeling of safety and comfort. It is something familiar and therefore welcoming.

This analogy not only represents Visibility in the literal sense because of the ability to see the ground, but also represents excitement in the span of colors that is newly visible, different from the vastness of blue, white or black that are the sole colors in sight when flying. I have previously mentioned that I feel as though Visibility can be equated in a way with excitement or stimulation and because of this, I feel the excitement of knowing that one is close to their destination and close to the ground for others is attributed to this Visibility of the ground.

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Emblem

28 Feb

The emblem I chose to explain Visibility is a rainbow.

A rainbow exemplifies Visibility because of obvious reasons having to do with color, but also because of its distinctive and circumstantial appearances.

To draw on the graphical element of color that I have chosen to represent Visibility, and simply put, there is no Visibility without color, especially in the physical world. A rainbow is characterized by color, it is what we base our color wheel on and is the presentation of our visible spectrum of light in its natural form. A rainbow is color, and that certain combination and order of colors are a rainbow.

In regards to the circumstantial appearance of rainbows, its Visibility requires specific meteorological conditions, a certain combination of precipitation or saturation in the air through which light shines to reveal the rainbow at certain angles. Rainbows are not visible unless these conditions are present, and even still a specific angle is required for Visibility of the scientific phenomenon.

While rainbows are relatively common and can be explained scientifically, they are still unique enough to be appreciated for their phenomenalism and are recognized by humans as a reminder to appreciate the beauty and Visibility of nature and all its colorful glory.

Graphics

28 Feb

The graphical element I chose to best represent Visibility is color.

Color is a part of our lives that many of us take for granted. It is how we perceive the world around us, it defines, instructs and differentiates all of the things that we use or come into contact with every day. Without color, our lives would be bland, like a neutral palate of colors- much like a black and white movie.

While color does not define the Visibility of objects, it does enhance our aesthetic experiences and vivify our individual worlds. As a generation having grown up with color TV, watching black and white movies or television creates almost a sense of anxiety, like we are deprived of something. I know personally, I can only stand to watch something black and white for a few minutes, without reaching for the remote to change the channel, no matter how engaging the story is.

Color was then a luxury, it is now a “necessity” and to imagine life without color, especially in the film entertainment sense, is to imagine life with no excitement or spontaneity. I feel as though Visibility can be equated with excitement and therefore I would like to draw a comparison to say that without color, there is no Visibility in our lives.

Calvino’s Visibility

28 Feb

The fourth quality that Calvino introduces is that of Visibility.

He begins by introducing Purgatorio in which Dante is presented with scenes that act as representations or quotations of examples of sins and virtues. First they are revealed as “bas-reliefs” that appear to move and speak, then they appear as visions projected before his eyes, then as voices in his ear and finally as purely mental images. (pg. 81)

Calvino uses this example as a representation of the imaginative process, of which he says there are two types: (pg. 83)

1) the one that starts with the word and arrives at the visual image

2) the one that starts with the visual image and arrives at its verbal expression

The first of these processes, Calvino says, is what happens when we read normally. “We are brought to witness the scene as if it were taking place before our eyes….” He calls this the “mental cinema.” He is focusing on what happens to the reader when they experience literature. It is just that, an experience. The mind works in such a way that it paints such vivid pictures, that the reader is moved in some emotional fashion, be it to action or just contemplation. It is rare that we do not watch a movie, or even television show that we are not inspired or piqued in some way that a reaction is not elicited. In a day when we have an essentially free method of communication at our fingertips through social media and the internet, we are more inclined than ever to share our thoughts, feelings and reactions to works that exercise our imaginations and emotions.

Independent of, yet relative to Calvino’s second example of Visibility, Ejercicios espirituales, the book of Revelation in the Bible is a strong example of Visibility that elicits an emotional and cognitive reaction, regardless of religious belief.

In Revelation chapter 1, verses 12-16, John is explaining his experience to the Seven Churches. He says, “When I turned to see who was speaking to me, I saw seven gold lampstands. And standing in the middle of the lampstands was someone like the Son of Man. He was wearing a long robe with a gold sash across his chest. His head and his hair were white like wool, as white as snow. And his eyes were like flames of fire. His feet were like polished bronze  refined in a furnace, and his voice thundered like mighty ocean waves. He held seven stars in his right hand, and a sharp two-edged sword came from his mouth. And his face was like the sun in all its brilliance.”

With a parallel to Dante’s Purgatorio, John is relaying a message and describing in the greatest of detail what he has seen. Interwoven into this description are, what I feel to be, his feelings of overwhelmedness and awe. He explicitly states that he “sees” these things, and therefore this cannot but translate into the reader’s imagination as an image or picture.

No matter the piece of work, Visibility is a quality that is inherent in literature. Albeit that some provide more vividness than others, the beauty of literature is just that- its ability to vividly describe a scene and therefore project an experience upon the reader.

I feel as though I share John’s sense of overwhelmedness and awe. Both he and Dante describe their experiences in an awesome way- in the literal meaning of the word- and I cannot help, as a visual learner, having a stronger inclination for an experience when I can use all of my senses to do so because of the Visibility of the work at hand.

Analogy

28 Feb

The analogy I chose to represent Exactitude is chemistry– the act of mixing compounds for a specific and exact desired result.

Both the E-Lit work “Endemic Battle” and the process of chemistry evoke a great sense of Exactitude because of their extreme precision and specific attention to detail structurally and in terms of the results rendered. In looking at the E-Lit work and examining the chemistry process, the thought or feeling of “micro-management” comes to mind and I cannot help but feel a sense that can only be characterized by Exactitude.

Chemistry is, like other sciences, one that requires great attention to Exactitude. However, I almost feel as though the argument can be made that chemistry is the most exact science because of its necessity to be, for fear or creating harmful results. In every step of a chemist’s process there are methods of maintaining consistency and Exactitude when measuring, comparing, weighing, etc. Take pharmaceuticals, for example. If one ingredient of a drug is off by even a milliliter, it changes the purpose and effectiveness of the drug completely. It could become harmful for the patient or ineffective altogether. For this reason, there are exact methods of measuring liquids and powders.

A meniscus is the curve in the surface of liquid when held in a cylindrical container. The purpose of the term meniscus is so that across the world and scientific process, the same amounts of liquid can be measured the same, by the meniscus, and matched.

On an atomic level, the number of particles in an element, protons, neutrons and electrons, can make the difference in one element or compound and another. For example, simply adding or subtracting an electron to one atom changes its purpose and behavior completely by creating a positively or negatively charged ion. At this small of a scale, the principle of Exactitude cannot be topped.

Both the E-Lit work Endemic Battle and the process of chemistry evoke a great sense of Exactitude because of their extreme precision and specific attention to detail structurally and in terms of the results rendered. In looking at the E-Lit work and examining the chemistry process, the thought or feeling of “micro-management” comes to mind and I cannot help but feel a sense that can only be characterized by Exactitude.

Emblem

28 Feb

The emblem I chose to represent Exactitude is a Rubik’s cube.

This puzzle, invented in 1974 is the ultimate emblem of Exactitude. In order to “solve” the puzzle, one must make each side of the cube solid with one of six colors. Although there are multiple ways to solve a Rubik’s cube, all methods are algorithms- they require exact and specific steps in order to sort the colors to their appropriate sides.

The algorithms themselves are an example of Exactitude, but so is the movement required to rotate the sections of the cube. Divided into three-by-three square cubes, the entire puzzle is composed of 27 individual cubes that rotate on two axes. The algorithms require a code, and each side, direction and layer has its own letter, so a string of instructions can look like this:

middle edge case 1U R U R’ U’ F’ U’ Fmiddle edge case 2U’ F’ U’ F U R U R’

The cubes cannot be turned on diagonal axes, which is part of the challenge. Their limited ability to turn only on an X or Y axis is part of how I feel these puzzles fall under the quality of Exactitude because of their constraints and requirement to be solved a certain, or exact, way.


Graphics

28 Feb

The graphical element I chose to represent Exactitude is a grid, or the system of grids used in design.

A grid is a system of guidelines that help the designer to align elements in relation to each other. The purpose of using a grid system in design is for the creation of order, hierarchy and specificity of layout and art. A grid is a great representation of Exactitude because it serves as a type of constraining system that simultaneously allows for and enforces structure on a design. Order is important so that the viewer sees what the artist wishes for them to see first, exactly according to their plan. In other words, they employ Exactitude to ensure that their piece of work is interpreted correctly so as to evoke the desired aesthetic effect.

Grids do not always need to be strictly followed,  but they do, when used well, enhance the quality and balance of an image, further supporting the quality of Exactitude in literature. While stories are not always arranged in the most logical of fashions, they are in some sequence of order. The most understandable and sensible stories are those that do adhere to a more strict order, which is a grid in design, and this therefore enhances the reader or viewer’s ability to better comprehend what is happening in a piece of work.