En caso de que necesitarí¡ recursos sobre eficiente sin embargo no posee un genial historial crediticio, existe ciertas opciones de préstamos disponibles. Pero, las préstamos de toda la vida sin demostración sobre reputación acostumbran a existir tasas de consideración elevadas y no ha transpirado plazos de gratitud cortos, lo cual las torna acerca de la elección riesgosa con el fin de muchos prestatarios. Continue reading “Superior Préstamo Fiesta credito Personal Desprovisto Nómina Domiciliaria”
I wasn’t quite sure what to expect after looking at their website yesterday, but I wish they gave us more details on their exact creative process. I guess I wanted specific things I could try and mimic on an individual scale.
I was very happy with their response to Jackie’s question regarding using generative AI. Since this was a passionate topic for me, I was a little skeptical when they introduced their studio with generative AI being the first in their list of things they specialize on, but I suspended my judgment and I’m very glad I did.
They basically agree with the stance I’ve also taken regarding embracing the technology. The tech is definitely not going away so we should embrace it and use it as ethically as we can. I appreciate their sentiment with using it to do what was truly previously impossible before.
I think a lot of AI bros act like making a quality illustration was impossible before, which is complete BS because they literally just don’t know how to. Field can do the work they’re using AI for, just not to the scale in which they expect a big impact like that one project in Euston station in the UK.
All in all, I really liked all the projects they showed but wished they would go deeper into the technical aspects of their work.
I relate more to the second family of fear; fears about your reception to others, which “prevent you from doing your own work.” It’s interesting because the art I create for myself looks different to the art I create knowing I will be showing or displaying it to someone. Not really about the outcome but the process of creating which is very different. I think when I’m creating for myself I’m more likely to take risks and experiment similar to the quantity group, while when creating for others, the fear of judgement can lead to a more limited and cautious approach, like the quality group. It’s insightful to see the results of the two groups aswell.
I liked the aesthetic of their work, it’s clean organized and the colors are cool. Also it is impressive how their work has the same essence/style throughout what they do.
Their perspective of the use of ai with art is interesting. His answer comparing photography to portraits is valid. Also how ai can be used as a tool rather than as an art making thing, as long as the artist themselves are involved in every step.
I agree that education creates some type of conformity where everyone agrees with each other and believes the same things to be true. I don’t think education teaches us that we need to be right all the time, but it limits what we learn and how. The head of my high school history/geography department was from England, and every year, all year, we would learn about the United Kingdom—its history, its geography, everything. We got tired of this and created our own mini-revolution, and it worked. What I mean to explain from this is that education limits our knowledge more than it makes us think one way. In the sense that it restricts what we learn, it shapes what we consider to be “right.”
The nature of the problem
This reading was much more easier to comprehend and understand. I liked the idea that if perfection existed, it wouldn’t need to create art. That the concept of a perfect artist is not realistic. Art is made by regular, everyday people, so the “ideal” artist is also just an ordinary person. Which i think is a very interesting view. Also the suggestion that linking art directly with self-expression is a modern way of thinking, rather than a fundamental truth about art itself. I agree. Since personally, I don’t feel like the way I dress or the art i make is a way of expressing myself at all.
The thing that I found the most resonating is that don’t do anything that you don’t like but will “Look good on your CV.” I had the exact same experience when I was in high school. My mother wanted me to get into good universities, and she thought that computer science combined with economics suits me as a direction to apply. To make my experiences look better, she got me into an internship (more like a training program) in that direction, and every hour of it was torture to me. It was after that I promised myself that I would never do something I don’t like just to make my resume look better.
I really loved her energy, and even more so her outfit. As I have started thinking about my Capstone, I will definitely pay heed to her advice to do what I love and not worry about the grades. While I do not have much knowledge about her fields: projection design and video jockeying, I enjoyed every piece that she presented for us. My favorite of those is Ophelia.
Saturn devouring his son – Francisco Goya, 1819-23
What is the scariest painting in art history? Among several contenders like “The Judgement of Cambyses” by Gerard David, or Henry Fuseli’s “Nightmare” none compare to Francisco Goya’s “Saturn Devouring His Son.” This haunting work leaves me with a sense of visceral horror and disquiet, provoking a range of intense emotions that linger long after I view it.
On a surface level, the painting’s subject matter alone is deeply unsettling to me – the Greek myth of the Titan Cronus consuming his children to prevent being overthrown. However, Goya’s interpretation takes the myth to a truly nightmarish extreme that shakes me to my core. Rather than the symbolic swallowing depicted in other artistic renderings, Goya presents a shockingly graphic scene of cannibalism.
The image assaults my senses with its dimly lit, cavernous setting and the monstrous figure of Saturn hunched over, his gaping maw clenched around the lifeless body of his child. The vivid hue of the victim’s blood stands in stark contrast to the haunting shadows, amplifying the brutality of the act in a way that disturbs me deeply. Every agonizing detail – the torn flesh, the desperate struggle of the helpless victim – is laid bare, leaving nothing to my imagination.
On a deeper level, the painting evokes a profound sense of existential dread within me and an uncomfortable confrontation with the darkest aspects of human nature. The fact that the victim appears to be an adult, rather than a child, hints at a perverse inversion of the natural order – a parent’s protective role twisted into an act of monstrous betrayal. This unsettling subversion of fundamental societal norms taps into primal fears and anxieties that unsettle me, rendering the horror all the more visceral.
Furthermore, the painting’s rough, unfinished quality imbues it with a raw, unmediated quality that heightens its impact on me. Goya’s bold, uncompromising brushwork and the stark, almost crude composition convey a sense of unfiltered truth – a glimpse into the abyss of human depravity, unvarnished and undiluted, that leaves me deeply shaken.
More importantly, “Saturn Devouring His Son” moves me on multiple levels, provoking a complex combination of revulsion, fear, and a lingering sense of existential unease. Goya’s unflinching portrayal of violence and betrayal strikes at the core of my deepest fears and insecurities, leaving an indelible impression on me that transcends mere artistic appreciation.
What really gets me about this artwork and makes it so meaningful is the many different ways you can look at it. Maybe Goya was trying to get rid of his own inner demons or the demons of his country through this painting. Or maybe he was just trying to honestly show one terrifying side of human nature, using the skills and techniques he had learned over his lifetime. But the scariest part of all is that Goya didn’t seem to care how we interpret this painting. He didn’t make “Saturn Devouring His Son” for us or anyone else. This painting exists beyond any single meaning. It’s pure, unfiltered horror. A monster looking out from a dark wall in a dark room,
I feel like I can relate to Harshini J. Karunaratne as she also was once a student at NYUAD. Seeing how she has made a name for herself is incredibly inspiring. It makes me believe that I can achieve something similar as well. I also appreciate that she shared a memorable quote from her university days: “Your capstone is not your final project, but rather a stepping stone for your future works.” As a rising senior, this quote truly resonated with me and brought a sense of relief. It helped me realize that there is no such thing as a final project—it’s all about continuing to create and evolve until your very last project. This perspective has truly shifted my mindset and made me appreciate the ongoing journey of learning and creating.
There was an interactive website that I had a deep impression of, and I am very sure it exists, as I have the memory of using it for a course response. However, as sad as it is, I failed to find it again.
It is a simple website, which tells a story of something that happened in a wooden hut near the lake(not the horror game series of course). Upon entry, there is a prompt that the user can press space at any time of the video. The story I don’t clearly remember, but it was the way it displayed the story that moved me. If you don’t press space at all, the video will only be about some man going into the hut, touching things here and there, and wandering about the hut. However, the scene will change if you press space at any time. The camera is still at the same position pointing at the same angles, but it shows the story that happened years ago. The guy visiting the hut was part of the event that got the hut abandoned, and his walking through the scenes, touching things here and there, perfectly guides the camera so that the story that happened before is recorded.
This narrative technique, where past and present intertwine, profoundly moved me and made me reflect on the nature of time and memory. I was interested in the concept of time since I was very young. Time, what a fascinating thing that goes on and on and moves only forward. It slows for no one, waits for no one, and keeps moving forward as if it doesn’t care about anything or anyone. It washes away traces of what happened and blurs the memories. And there it is, memory, a word only meaningful with time but also killed by it. The storytelling of the website shows these concepts unintentionally, but it touched me so much that I remember it to this day. The man was revisiting the hut as if revisiting the already blurry memory of the history that occurred, while the observer(or the user of the website) sees the history in action, and tries to picture what the man is going through. It could never be the same, as the man revisits the place to refresh the already blurry memories, but the viewers are just watching a recorded tape. It is only after time when the memories of watching the video fade and we go back to looking at the hut replaying what happened in our heads, that we viewers can actually feel the man.
As I was writing this line, I began to feel not sad about losing the website, but relief. Remembering what was, and revisiting it are completely different experiences. For the man in the video, the thing that happened meant a lot to him, so when the memories blur, he decided to revisit the place, to reclaim his hut and his memories of it. But is it the same thing for me? Did I lose what was meaningful to me? No, I did not. I did not care the slightest about what happened in the hut. What I cared about was the feeling it gave me and the thoughts it provoked. Since these are the things I care about, am I not revisiting my hut right now when I am writing these words? Am I not refreshing the memories that actually meant something to me on the website that I have lost? Time is merciless, as it washes away both the important and the unimportant, but in another way, it is merciful, as it will leave enough information for you to replay what matters, and empties the unimportant so there is space for more.
So, back to the beginning. There was an interactive website that I had a deep impression of, and I am very sure it exists, as I have the memory of using it for a course response. However, as fortunate as it is, I failed to find it again, and it opened up a brand new world in front of me, and I got more than I could ever have if I were to review the website once more.
I really like the fact that we have a NYUAD alumni coming over. She can relate us better and we can learn from her experience. The fact that she mentioned about getting lost in university is normal and is okay not to have a plan is very touching. Although I’m not an art major, I find many of her suggestions useful. I like her works related to eyes, they look very interesting. Also, many of her projects look very fancy and cool.
