Hello! This threw me for a complete loop and Pomona's supplement essay is definitely one of the hardest I've ever written. Any mechanical errors, or even the entire essay subject itself, is up for criticism. I kind of wrote it in a hurry, so please excuse redundancy (but actually point it out!)
Prompt 1: Pomona's Critical Inquiry course is required of all first-year students, and is designed to be highly interdisciplinary and engaging. Recent class titles include: ''The Politics of Classical Art,'' ''Seeing Science,'' and ''The Theatre and Environmental Activism.'' Imagine you were hired to design and teach a Critical Inquiry course. Describe the title of the class, its contents, and why you chose it.
We live in a paradoxical society. Individualism, while revered, is held at arm's length, while collectivism is the one everyone shuns, but embrace tightly; we are an increasingly ideologically homogeneous population - a human robot population programmed identically by the society we live in. While the recent millennium has seen a surge in the Arts, the skepticism of whether it is "true" work of art still remains. In this class "The Human Robots and Art," an exploration into the social; psychology of people and our changing ideals of the Arts throughout time.
Why is it that ink on canvas is regarded as artwork, but the same work inked upon skin is considered harmful and juvenile? Why is modern art so belittled despite the meaningful complexity behind each piece while beautiful landscape portraits are considered "true" art instead? Or, in cases of literature, how did storytelling change? The Ancient Greeks who wrote plays only wrote in fixed time frames with no acts of violence shown on stage. In hand with plays, the hero's quest also evolved from this era from many of the Greek myths that told tales of brave conquests of what was thought to be insurmountable challenges. However, the more modernized version of the hero's test feature that of the femme fatale, or an antihero, and violence is now glorified (much to the Ancient Greeks' horror) on both the small and large screen.
When did such drastic changes occur, and why did the human robot brain accept such differences? When did we decide to divert from one set path of creation to another?
I chose to create "The Human Robots and Art" in response to my observation of the similarity in tastes and preferences people have to the Arts. Aesthetics, historically, have also come from similar roots: attractive, bright, a strict criterion that differs only slightly from population to population. In an ever increasing world of people growing number of ways to connect to those miles away, the idea of what a "good" work of art has been shifting constantly.
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Also, I would love to know a good closure statement.
Prompt 1: Pomona's Critical Inquiry course is required of all first-year students, and is designed to be highly interdisciplinary and engaging. Recent class titles include: ''The Politics of Classical Art,'' ''Seeing Science,'' and ''The Theatre and Environmental Activism.'' Imagine you were hired to design and teach a Critical Inquiry course. Describe the title of the class, its contents, and why you chose it.
We live in a paradoxical society. Individualism, while revered, is held at arm's length, while collectivism is the one everyone shuns, but embrace tightly; we are an increasingly ideologically homogeneous population - a human robot population programmed identically by the society we live in. While the recent millennium has seen a surge in the Arts, the skepticism of whether it is "true" work of art still remains. In this class "The Human Robots and Art," an exploration into the social; psychology of people and our changing ideals of the Arts throughout time.
Why is it that ink on canvas is regarded as artwork, but the same work inked upon skin is considered harmful and juvenile? Why is modern art so belittled despite the meaningful complexity behind each piece while beautiful landscape portraits are considered "true" art instead? Or, in cases of literature, how did storytelling change? The Ancient Greeks who wrote plays only wrote in fixed time frames with no acts of violence shown on stage. In hand with plays, the hero's quest also evolved from this era from many of the Greek myths that told tales of brave conquests of what was thought to be insurmountable challenges. However, the more modernized version of the hero's test feature that of the femme fatale, or an antihero, and violence is now glorified (much to the Ancient Greeks' horror) on both the small and large screen.
When did such drastic changes occur, and why did the human robot brain accept such differences? When did we decide to divert from one set path of creation to another?
I chose to create "The Human Robots and Art" in response to my observation of the similarity in tastes and preferences people have to the Arts. Aesthetics, historically, have also come from similar roots: attractive, bright, a strict criterion that differs only slightly from population to population. In an ever increasing world of people growing number of ways to connect to those miles away, the idea of what a "good" work of art has been shifting constantly.
--
Also, I would love to know a good closure statement.