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The Art of Seeing

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Using patterns in your photographs help create rhythm. Patterns appear everywhere in nature, try and photograph a pattern that has a repeated shape as in the image below of lines in the dunes, these repeated patterns will add rhythm that the viewer will easily follow. In this image, I used a low angle of view and tilted the wide angle lens to create diagonal lines and exaggerated the stormy sky which adds mood. It was during hard times like these that I turned to the most important tools in the anthropologist's toolkit: Communication, Empathy, and Thoughtfulness. We have to keep talking to people (communication), work toward understanding them in their own terms (empathy), using and revising our knowledge and models as we go (thoughtfulness). As we improve in each one of these areas, the others improve as well. Communicating helps us understand their perspective (empathy) and revise our analytical models (thoughtfulness). In 2003, she studied at the Royal Drawing School, where she engaged in life drawing and the study of contemporary and historic artist’s drawings as part of the Drawing Year. In 2017 she engaged in post-graduate study with Bob and Roberta Smith (RA) and has exhibited solo and in a variety of group shows throughout the UK. You can see her work at www.cbarton-harvey.co.uk. In a passage originally published in the exhibition catalog An American Place— which also gave us O’Keeffe’s serenade to blue— and later cited in Georgia O’Keeffe: The Poetry of Things ( public library), she writes: If our value on individualism waned, capitalism would change as well. If capitalism changes, so do our individualistic values.

You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information, and will be invited to take part in group discussion. You should be able to use numbers and be able to do simple measurements and calculations. Framing your subject is a very nice way to lead the viewers to your subject, in wildlife especially with adults and young, the young will always try and shelter underneath the parents for protection, giving us opportunities to use the adults as frames as we focus on the young. In 1920 a doctor in America released a book that induced a hail of vituperation. The bad reception was not the reaction of a public. It came from his own ranks – the ophthalmological and optometrical professions. His peers who treated ills of the eye, the ophthalmologists, joined the prescribers of glasses, the optometrists, in saying that the claims of Dr W H Bates were preposterously and infuriatingly wrong. Offending the good and the great, the book was “Perfect Sight Without Glasses.”

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So I said to myself — I’ll paint what I see — what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it — I will make even busy New-Yorkers take time to see what I see of flowers. In the 1930s Huxley left for America, buying a house in the Hollywood Hills. The writer was enchanted by the Californian desert, its restful light, by the absence of humans from the immaculate dunes. But a living had to be earned, and, putting aside the sweating out of novels and essays, he looked to writing screenplays for the American film industry. Walt Disney, a recipient of his scripts, was overawed by the literariness of the Englishman, complaining “I can only understand every third word he writes.” And finally, at the level of infrastructure, we can say that witchcraft beliefs are ecological. They make sense for the environment. As villages grow to over fifty people, they tend to break up and split apart due to witchcraft accusations. This is ecologically sound, because it keeps people spread out and well within the total carrying capacity of their land. Rather than suffering massive ecological collapse and starvation during a drought, their low population density spread over many miles of land is sustained even through hard times.

Culture is like water to us. We're so immersed in our own ideas and assumptions that we can't see them. It can be useful to jump out of the water now and then. This is one of the great virtues of encountering someone or some place that is radically different from what we know. We see the contrast between how we do things and how they do things, and we can then see ourselves in a new light. And yet we humans don't do this well. All around us are people who feel invisible, unseen, misunderstood. In How to Know a Person, Brooks sets out to help us to do better, posing questions that are essential for all of us. If you want to know a person, what kind of attention should you cast on them? What kind of conversations should you have? What parts of a person's story should you pay attention to? To cure the optical defect of an eye––whether it has existed since youth or acquired in the course of a lifetime––he had a set of eye exercises. Included in the Bates Method was “sunning,” exposing the eyes to the sun. Also advised was “exclusion of mental strain” by covering the eyes with the palms, and then uncovering to focus on a target, whereupon any optically-defective eyes should note a flash of visual clarity. With practice such flashes should, supposedly, merge into a continuum of sharp eyesight. Not only could the Bates Method treat optical failures of the eye but his regime, said Dr Bates, could also cure many pernicious diseases of the eye. He wrote, in 1920, with adamantine conviction. Yes, that Thoreau. Forget what you may have read by or about the “hermit Concord.” He is misunderstood. His experiment on Walden Pond was about seeing. All the rest — the solitude, the simplicity — were means to this end. Learning to see in this way is the essence of learning. As Neil Postman points out, "The ability to learn turns out to be a function of the extent to which one is capable of perception change. If a student goes through four years of school and comes out 'seeing' things in the way he did when he started … he learned nothing."What was apparent as an insider was that our choice to pay or not pay the compensation would have life and death consequences for the village. We could pay the compensation, thereby reconnecting two family networks and saving the village, or we could simply choose to move out and start a new village. It turns out that witchcraft, more than the depletion of nutrients in the soil, is the engine that keeps people moving. Most villages trace their origin to a witchcraft accusation. If you stand on a high peak and look at the villages dotting the landscape, you are looking at a history of accusations, deaths, and failed compensations.

I was about to find out that the most interesting difference I encountered on that basketball court that day was not the tie game or the interesting method of counting. It was that last thing Kodenim said to me: “ People might be jealous.”Second, at the level of social structure, we can say that it is socio-logical. It makes sense socially. Witchcraft beliefs encourage people to be kind to each other and take care of their relationships in the absence of formal rules and laws. Furthermore, if a relationship does sour, there are rituals such as the washings described earlier that heal relationships.

During the day we will investigate a range of sources of inspiration for drawing, including our physical senses, the world around us, the imagination, and artists drawings. Look for interesting patterns in clouds and include them with your wildlife subjects. Clouds give you shapes and textures which create a sense of depth, a three-dimensional feel. Given the complexity of culture, it can be useful to have a model. Anthropologists have devised many models and metaphors for understanding culture. Many of them refer in some way to the idea that culture can be divided into three levels: infrastructure, social structure, and superstructure. Here we will use the "barrel model" developed by anthropologist Harald Prins to demonstrate what these levels refer to and how they are interrelated. We value and nurture individualism in our schools when we give out individual grades or champion a student's unique creativity. We celebrate and elevate sports and movie stars for their unique individual talents. We seek individual salvation or enlightenment. The values of independence, individualism, choice and freedom permeate our lives, from infrastructure, to social structure, to superstructure. We can try to tease apart the culture and find causal relationships . Does capitalism cause individualism? Or does individualism cause capitalism? Or more broadly, does infrastructure cause superstructure or vice versa?

This shapes and is shaped by a worldview with a powerful sense of independence and individualism. I earned my money. I bought these things. They are mine now. Choices are abundant, and we can demonstrate to others who we are by the choices we make. What eventually emerged from these close and careful observations was an entirely different understanding of health and well-being. They understand themselves to be physically made up of their relationships. It starts from the basic recognition that the food they eat becomes who they are. This is, of course, actually true. We process the food we eat and its energy fuels our growth. For them, every piece of food they ever consume from the time they are a small child is a gift, and they are taught to know where it came from and all of the people that helped bring it into their hands and into their bodies. We must pay close attention not only to what is said, but also who said it, how they said it, who they said it to, when, where, and if at all possible to decipher, why. Long-term fieldwork of many months or even several years is a must for this kind of seeing. It takes time not only to learn the language but also to tune your senses and start to see what matters and what does not. Taking simple everyday objects as our starting point, you will be introduced to ways of exploring how your perception can change when you involve different aspects of your sensory experience, which can lead to more appreciation of your subject matter, as well as renewed meaning and purpose in drawing.

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