i want agood presntation

Question Description

please follow the same dirctaion with docment that i sent you they are an example and i have provide the person name and his picture so you will do the presntaion on this person

Provide moral course of action for a case study

Question Description

The papers will consist of a general description of the issue, factors to consider when addressing the issue, a course of action, and a discussion/argument for why this course of action is appropriate.

what is the immediate effects of covid 19 of employement

Question Description

At least 6 paragraphs: Intro, 4 body paragraphs, and conclusion

  • Works Cited Page and in-text citations
  • 1400-1800 minimum
  • MLA format (12 pt font, double spaced, 1 inch margins, etc)
  • Present Tense
  • 3rd person POV
  • At least 2 concrete examples per paragraph

A-18b: Last Essay Question – self-assessment AFTER YOU HAVE COMPLETED ALL OTHER COURSE WORK, answer this self-assessment question: What grade do you believe that you have earned in ITC 3150 this term and why that grade?

Question Description

A-18b: Last Essay Question – self-assessment

AFTER YOU HAVE COMPLETED ALL OTHER COURSE WORK, answer this self-assessment question:

What grade do you believe that you have earned in ITC 3150 this term and why that grade?

Short Response from watching a youtube video

Question Description

  1. Post a cartoon or meme that addressesthe weekly topic
  2. Introduce and summarize your mediaartifact
  3. Discuss course concepts that relate toyour media artifact
  4. Explain how it expands or builds onthe weekly course material

Write a 1-page paper on the implications and impact of a global pandemic on human development

Question Description

Write a 1-page paper on the implications and impact of a global pandemic on human development; how we change, grow, and stay the same. You will need to include at least one outside reference.

korean cultural final project

Question Description

the instruction is below here. you need to send me a short paragraph describing an initial idea for the final paper in order to get my approval to write the rest of the project.

A Comparative Analysis of Piaget and Vygotsky’s Theories of Cognitive Development

QUESTION

Comparison and Contrast of Piaget and Vygotsky’sTheoriesYu-Chia Huang11Shanghai American School, Shanghai, ChinaCorresponding author’s e-mail: Vivian.wang@cas-harbour.orgABSTRACTJean Piaget and Lev Vygotsky are the two most influential developmental psychologists. Their contributions to the fieldof developmental psychology, though different, are still similarly remarkable and unique. In spite of such resemblances,there exists a crucial, and generally unnoticed, the difference between Piaget’s and Vygotsky’s theories, and that thisdifference underlies the way each author addresses the concept of cognitive development. In short, which theory is morecorrect? Throughout this paper, we will discover what informs both psychologists’ theories, how they are similar, howthey are different, and why they have both remained so prominent throughout educational textbooks. Although never indirect competition with each other, the theories developed by Piaget and Vygotsky are often used in contrast with oneanother, since both offer learning theories with a significant difference, but still impacting on understanding cognitivedevelopment.Ultimately, discovering that neither Piaget or Vygotsky’s theory is actively correct, but both arehighly important to be aware of when education early learners.Keywords: Jean Piaget, Lev Vygotsky, Cognitive Development, Assimilation, Sociocultural1. INTRODUCTIONCognitive development is a field of study inneuroscience and psychology that focus on how humansthink, explore and solve problems. It is the developmentof knowledge, skills, problem solving and dispositions,which help children to think about and understand theworld around them. The methods and approaches to thecognitive-developmental issue in psychology have beengreatly influenced by the research of Jean Piaget and LevVygotsky. Both researchers have significantlycontributed to the field for children’s development. Theimpact of their thoughts on how a person learns led totheories on how a person should be taught. The work ofthe Swedish scientist Jean Piaget (1896-1980) of geneticepistemology concentrated on the social in learning.While the Russian psychologist Lev Vygotsky’s culturalhistorical theory concentrated on the individual inlearning. Piaget and Vygotsky both provided a distinctiveyet remarkable similar approaches to cognitivedevelopment— bringing us to the crux of this researchpaper. The development of scientific psychological ideasis determined by the aggregation of many factors, whereit has its own logic of development which is expressed inthe gradual change of scientific paradigms, approaches,and methods of research into a psychological reality. Thetopic of “Piaget vs. Vygotsky” could be categorized as“parallel discoveries” when contemporary problemsarising from the constant development of psychologicalknowledge and based on previous discoveries are addedsimultaneously by scholars representing differentscientific schools and traditions, where at times it can becontrasting to each other.Throughout this article, how both psychologists’theories are similar and different, and why they have bothremained so prominent throughout today’s educationaltextbooks will be discovered, in order to answer thequestion of who’s theory is more correct. Although neverin direct competition with each other, Piaget andVygotsky’s theories are often used in contrast with oneanother, since both offer learning theories with asignificant difference, however still impacting onunderstanding cognitive development.Advances in Social Science, Education and Humanities Research, volume 554Proceedings of the 7th International Conference on Humanities andSocial Science Research (ICHSSR 2021)Copyright © 2021 The Authors. Published by Atlantis Press SARL.This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 28

2. ANALYSIS2.1. Jean Piaget’s Cognitive DevelopmentTheoryJean Piaget definition of the cognitive development isdependent on how the child interacts with theenvironment, in other words, the constructivist approachof the child. Children will actively construct and createschemas (cognitive frameworks that organize andinterpret information) which strive in order to make senseof the world around us. As the child goes through its life,it will incorporate the experiences it had encountered intoits existing schemas [4]. However, sometimes the newinformation and experiences do not ‘neatly fit’ or violatea schema, thus the children must change their way ofthinking to accommodate the new knowledge or to makesense of their environment. Disequilibrium occurs whennew knowledge does not fit with the children’saccumulated knowledge [1]. Therefore, when a childattains assimilation, accommodation, and equilibrium,the child creates a new stage of cognitive development.Humans essentially change their way of thinking toaccommodate the new knowledge.2.1.1. Four Distinct Cognitive Stages:SensorimotorJean Piaget also proposed that the human minddeveloped through the four distinct universal series ofstages from infant to young adult: sensorimotor,preoperational, concrete operations, and formaloperations. Between the ages of zero and two years of age,the infant is in the sensorimotor stage. During this stage,babies experience his or her world mostly throughsensory impressions and motor activities. Around the ageof 8 months old, the child begins to develop a sense ofobject permanence, which is a realization that objectscontinue to exist even when the object is not within thefield of vision. Moreover, the child begins to develop agoal- directed behavior, where a child essentially beginsto understand that his or her actions could cause anotheraction. For example, kicking an object would result in amovement in the object. Children in the sensorimotorstage are able to reverse actions, however, still unable toreverse thinking.2.1.2. Four Distinct Cognitive Stages: Pre-OperationalA child in the pre-operational stage, between the ageof two and seven years old, they will begin to masterlanguage, however still unable to perform mentaloperations; which refers to the irreversibility concept ofmentally reversing a sequence of events. Children earlyin this stage are egocentric, as they view the worldthrough their own viewpoints and are unable to view asituation from another person’s point of view. However,Piaget asserted that since a child acts on his ownenvironment for learning, the social interaction will movea child away from egocentrism. While later in this stage,children begin to develop the theory of mind, which is theability to infer other people’s intentions, they can beginto understand why somebody did something, and ho thefeelings, perceptions, and thoughts of others may resultin another’s behavior. This is because they canincreasingly understand and formulate expectationsabout what will happen in a situation.2.1.3. Four Distinct Cognitive Stages:Concrete OperationalConcrete operational occurs between the ages ofseven to twelve years old. Reasoning processes begin totake shape during this stage, as they can thinkoperationally and can understand conservation. However,children in this stage cannot think in abstract, as they arestill just concrete thinkers. Take a child learning math, forexample, a child here will often use his or her fingers(physical properties or tangible items) to add or subtract,since they struggle to make the jump to an abstractalgebraic question. In addition, reasoning processes alsobegin in the concrete operational stage, as we gain theability to think about the way we think, or in other words,children begin to develop metacognition. Piaget claimsthat there are three basic reasoning skills that are acquiredduring this stage: identity, compensation, and alsoreversibility. A child will learn that a “person or objectremains the same over time” (identity) and one actioncould cause changes in another (compensation) [7].2.1.4. Four Distinct Cognitive Stages: FormalOperationalThe final stage of Piaget’s cognitive development isthe formal operational, which occurs between the age ofeleven years old to adulthood. This is when an adolescentbegins to think in a different manner, as the thinkingprocess starts to change from being confined to the abilityto think abstractly. Children in this stage now acquiresystematic or logical reasoning abilities. Throughhypothetico-deductive reasoning, one has achieved theability to think scientifically through generatingpredictions, or hypotheses, about the world to answerquestions [4]. Thus, people have the ability of systematicreasoning to conceive the best possible solution to avoidconsequences.2.1.5. The Validity of Piaget’s TheoryResearch supports Piaget’s basic construct of humancognition unfolds basically in the sequence he described.Infants, young children, and older children do use distinctcognitive abilities to construct their understanding of theworld. However, Piaget underestimated the cognitiveAdvances in Social Science, Education and Humanities Research, volume 55429

abilities of infants and young children. At around 8months old, babies have developed schemas for familiarfaces. When given over to someone who does not fit theschema (an unfamiliar person) they often grow upset andreach out to the familiar person, which this concept isknown as stranger anxiety. Babies also seem to be awareof numbers. If shown 5 toys, then shown only 4, theyseem surprised and shocked. Thus, Piaget underestimatedthe impact of the social and cultural environment oncognitive development.2.1.6. Final Thoughts on Piaget’s TheoryConclusively, Jean Piaget’s theory of cognitivedevelopment essentially suggests that children progressthrough a series of four distinct stages of cognitivedevelopment from an infant to a young adult. Each stageincludes certain milestones where the child begins todemonstrate a more sophisticated comprehension of theenvironment, as well as the children’s continuous drive todevelop and adapt schemas, or understandings about theworld.2.2. Lev Vygotsky’s Cognitive DevelopmentTheoryMeanwhile, another psychologist offered his beliefsregarding the cognitive development theory. As analternative to Piaget’s universal stages of cognitivedevelopment, Lev Vygotsky proposed the SocioculturalTheory of Development, which became a major influencein the field of psychology. Lev Vygotsky’s SocioculturalTheory of Development theory describes student learningas a social process, which facilitates a child’s potential forlearning through social interactions and their culture [3].Clearly, Vygotsky’s theory is much different compared toPiaget’s cognitive development theory— children act ontheir environment to learn, while Vygotsky emphasizeson how children learn through social interactions andtheir ability to communicate with their peers to acquirethe cultural values in society. While both Piaget andVygotsky agreed that children actively constructknowledge. Vygotsky claimed that most of what childrenlearn comes from the culture in which they live in. Thisindicates that language is the primary tool for socialmentoring, as it provides the building blocks for thinkingand, as the child grows older, it comes to serves as themost important tool of learning.2.2.1. Impact of “Dialogues”Through the social interactions of “dialogues”,people begin to move toward a more individualizedthinking. This learning process involves peopleinteracting with each other during shared activities,usually to resolve a problem; when a child receives help,he or she may be able to utilize the strategy from previousexperiences in the future. This social interaction of“dialogues” will lead to internalization, which in turnleads one to independent thinking.2.2.2. Impact of ScaffoldingScaffolding is another of Vygotsky’s principle of thesociocultural perspective. This education teaching stylefacilitates the student as he or she learns a new skill orconcept, with the ultimate goal of the student becomingself- reliant [8]. Derived from Vygotsky’s theories, inpractice, it involves teaching material just beyond thelevel at which the student can learn independently. Thus,scaffolding involves providing the learner with hints orclues, in order to allow the student to better approach theproblem. In this case, Piaget would assume that thestudent does not yet have the mental structures to solvethe problem, Vygotsky would rather offer strategies, inthe form of scaffolding, for the student to attempt to solvethe problem.2.2.3. Impact of Private SpeechPrivate speech also provides an aspect of languagedevelopment [2]. Vygotsky considered private speech asa major transition point between social and inner speech.Private speech is a type of speech addressed to the self(not others) for the purpose of self-regulation. Thus,Vygotsky understood the significance of self-directedspeech, while Piaget may view the private speech asegocentric or immature.2.2.4. Cultural ToolsVygotsky also recognized the importance of culturaltools in cognition. Cultural tools in cognition can bereferred to as any tool that supports communication [9].For instance, the media or television are just a handful ofall the tools that are available for problem solving andlearning. Therefore, children can utilize the cultural toolsto help support their own learning.2.2.5. Final Thoughts on Vygotsky’s TheoryVygotsky stated that “learning is a necessary anduniversal aspect of the process of developing culturallyorganized, the specifically human psychologicalfunction” [5]. This demonstrates that social learningtends to precede cognitive development. Just like Piaget,Vygotsky believed that there were problems regardingchildren’s range of learning. Thus, Vygotsky proposed theprinciple of the zone of proximal development. Incontrast with Piaget, Vygotsky believed that throughproper assistance and encouragement, children are ableto perform a task that Piaget would consider to be out ofthe child’s mental capabilities. The zone of proximaldevelopment refers to what the child can perform whengiven proper assistance. Therefore, the term “proximal””indicates those skills that the learner is “close” toAdvances in Social Science, Education and Humanities Research, volume 55430

mastering [6]. Vygotsky believed the role of education toprovide children with experiences to socially interactwith each other will allow the children to acquire thecultural values in society, thereby encouraging theirindividual learning through his theory of the zone ofproximal development.3. DISCUSSIONBoth psychologist, Jean Piaget and Lev Vygotskyoffered distinctive approaches to the cognitive-developmental issue in the field of psychology. WhilePiaget and Vygotsky both agreed that children activelyconstruct knowledge through the acquisition of speech.Vygotsky claimed that most of what the children learncomes from the culture in which they live. Thefundamental difference between Piaget and Vygotsky isthat Piaget believed in the constructivist approach ofchildren, or in other words, how the child interacts withthe environment, whereas Vygotsky stated that learningis taught through socially and culturally. Piaget believedchildren should be given the ability to understandschemas on their own. While Vygotsky believes thatchildren will be able to reach a higher cognitive levelthrough instruction from a more knowledgeableindividual.In addition, Piaget believed children will only learnwhen they attain assimilation, accommodation, andequilibrium. For example, when a child encounters ahorse, they might assimilate this information and call thisanimal a dog. The process of accommodation will allowthe child to adapt to the existing schema in order toincorporate the knowledge that some four-legged animalsare horses. Whereas Vygotsky believed that thedevelopment could be taught with correct scaffoldingthat is within the zone of proximal development. Forinstance, if students are not at the reading level requiredto understand a text, the teacher might usescaffolding to incrementally improve the students’reading ability until they are able to read the textindependently without assistance.4. CONCLUSIONUltimately, both psychologists have significantlycontributed to the field for children’s cognitivedevelopment. Piaget proposed that children progressthrough a universal stage of cognitive developmentthrough maturation, discovery practices, and some socialtransmissions of assimilation and accommodation.Vygotsky’s theory emphasized the importance of cultureand language of one’s cognitive development. While bothPiaget and Vygotsky may provide a distinctive approachto cognitive development theory that differs from eachother, both theories offer reasonable approaches on howto teach certain material, concerning the ways in whichchildren’s process of thinking develops into adulthood.When both theories are used in conjunction to oneanother, there is an endless scope to help children developcritical thinking skills as well as cognitive awareness fora well-rounded method to learn. In the final analysis, it isclear that neither theory is actively correct to answer thequestion whether Piaget or Vygotsky’s theory is correct,however both psychologists are highly critical to thediscussion of cognitive development.ACKNOWLEDGMENTFirst and foremost, words are powerless to expressmy gratitude towards my mentor, Professor Li. I thankyou from the bottom of my heart for all you have done. Itruly appreciate the fact that you sacrificed your own timeto spread your knowledge and wisdom regarding thesubjects that you prepared: brain, behavior, andpsychopathology; where you could have rather spentyour precious time being around your family and friends,especially during the time of a COVID-19 pandemic.REFERENCES[1] S. D’Mello. Cognitive Disequilibrium Theory.ResearchGate, Jan. 2010,www.researchgate.net/figure/Cognitive-Disequilibrium- Theory_fig1_215835874.[2] P. Feigenbaum. Private Speech: Cornerstone ofVygotsky’s Theory of the Development of HigherPsychological Processes.lchc.ucsd.edu/MCA/Mail/xmcamail.2009_11.dir/pdf1Gp XwFkltX.pdf.[3] M. Lally, and S.Valentine-French. LifespanDevelopment. Vygotsky’s Sociocultural Theory ofCognitive Development | Lifespan Development,courses.lumenlearning.com/suny-lifespandevelopment/chapter/vygotskys-sociocultural-theory-of-cognitive-development/.[4] S. Mcleod. Jean Piaget’s Theory of CognitiveDevelopment. Simply Psychology, SimplyPsychology, 6 June 2018,www.simplypsychology.org/piaget.html.[5] S. Mcleod. Lev Vygotsky. Vygotsky | SimplyPsychology, 2018,www.simplypsychology.org/vygotsky.html.[6] S. Mcleod. What Is the Zone of ProximalDevelopment? Zone of Proximal Development andScaffolding | Simply Psychology, SimplyPsychology, 2019,www.simplypsychology.org/Zone-of-Proximal-Development.html.[7] A.N. Meltzoff, and M.K. Moore. OBJECTREPRESENTATION, IDENTITY, AND THEPARADOX OF EARLY PERMANENCE: StepsAdvances in Social Science, Education and Humanities Research, volume 55431

formating my document to MLA style

QUESTION

MLA Style

First of all, what does MLA mean? The Modern Language Association is an organization that focuses on the study of language, literature, and the humanities. They produce a style guide that governs how to standardize the format of written works in these subjects. This guides both professionals and students as a means of being able to standardize how to document their sources and format their papers.

General Formatting Guidelines

• Double-space your entire paper using the paragraph line spacing options (do not attempt to do this manually)

• Always choose an easily readable typeface (Times New Roman is just one example)

• Use size 12 font

• Set all margins to 1 inch

• Indent the first line of each new paragraph. Use the tab key to indent, rather than the space bar.

• Use a header that numbers all pages in the upper right corner, one-half inch from the top, and flush with the right margin.

• Italicize the titles of artworks. (More information on the next page)

First Page Format Guidelines

• Do not make a title page

• On the upper left-hand side list your full name, your instructor’s name, the title of the course, and the date.

• In the center of the paper write your title in the same font, without any bolding, italics, quotes, or changing the size of the text.

• The only italics or quotes added to the title would be in reference to other works that require it.

• Examples- Sanity and Setting in Wide Sargasso Sea; A Woman’s Place in History: “Did Women Have a Renaissance?”

• Here is how to format your first page in MLA style, be sure that your papers are structured this way:

Citing Art

In this course, the Modern Language Association (MLA) format is used as the style guide for citation. Use the following information to help you in the proper citation of the various art forms we will encounter in this course.

• Remember that in an MLA works cited list, you will always list your sources in alphabetical order by artist’s (author’s, architect’s, etc.) last name.

• For each citation entry, the first line will begin all the way left-justified and any subsequent lines will be indented once.

• Be sure to double-space your citations.

How to Cite Two-Dimensional and Three-Dimensional Art

• You will typically begin an artwork citation with the artist’s name, the title of the work, and the date of creation.

• If the work is ancient and no artist’s name is given, you will simply state “Unknown” in the space given.

• If no true title is given, you will give a simple descriptive title in its place.

• You must provide the artist’s name, the title of the work in italics, and the date of the composition (as best as possible).

• You must also provide where the work is stored and the name of that institution.

• If the material(s) of the work is important, you should list that as well at the end of the citation.

• You may also list the size of the work after the materials if applicable, but it is not required.

van Gogh, Vincent. Starry Night. 1889, Museum of Modern Art, New York. Oil on Canvas, 29 x36 1/2″.

• If you found the artwork in a book or website, you must also cite the location of where the image was found.

Image in a Book

• For a book, you must list the title of the text first (in italics), then the contributors/author(s), followed by the page number where the image was found.

van Gogh, Vincent. Starry Night. 1889, Museum of Modern Art, New York. Oil on Canvas, 29 x36 1/2″. Gateways

to Art: Understanding Visual Arts, 3rd Ed., by Debra J. DeWitte, Ralph M. Larmann, and M. Kathyrn Shields, p.

515.

Image on a Website

• For a website, you must list the title of the website first (in italics), then paste in the URL of the page you found the image.

van Gogh, Vincent. Starry Night. 1889, Museum of Modern Art, https://www.moma.org/collection/works/79802.

How to Cite Architecture

• When discussing buildings specifically, you must cite the architect as the artist of that work. This works as though the architect is the artist in a typical art citation, followed by the name of the building as the “title” of the work.

• Unlike artworks, the title of architectural works are not italicized.

• Next will be when the structure was built, which may be a range of years over which it was constructed.

• Finally, you will put where the building is located, both city and state/country.

• When discussing a piece of architecture you will cite the building as seen in the example below:

Wright, Frank Lloyd. Fallingwater. 1935, Mill Run, Pennsylvania.

• If you obtain an image of a work of architecture you must use the citation format above and then add the information about where you found the image. This follows the same structure as a two-dimensional or three-dimensional citation for images found in a book or online. For example:

Wright, Frank Lloyd. Fallingwater. 1935, Mill Run, Pennsylvania. Fallingwater, https://fallingwater.org/visit

/tours/.

How to Cite Music

• Music citations will vary depending on where you found the music and whether it is a single song or a whole album. Typically, a citation will begin with the artist’s name who created the work, that could be the composer or performer.

• Individual song names are styled in quotes, while whole album names are styled in italics.

• The name of the record manufacturer should come next, with the date at the end.

• If the source you are using does not list the record label or album name, do not research it to include in your citation.

Physical Copy (CD, Record, Tape, etc)

Nirvana. “Smells Like Teen Spirit.” Nevermind, Geffen, 1991.

Online Album

Beyoncé. “Pray You Catch Me.” Lemonade, Parkwood Entertainment, 2016, www.beyonce.com/album

/lemonade-visual-album/.

Streaming Service (Spotify, Pandora, etc.)

Morris, Rae. “Skin.” Cold, Atlantic Records, 2014. Spotify, open.spotify.com/track/0OPES3Tw5r86O6fudK8gxi

Music Database

• When citing a work from an online database, you must begin the citation just like the physical copy of the work. All the information should be readily accessible from a reputable database.

• Follow the basic citation with the name of the database (in italics), the modality of the database (web, print, etc.), and finish with the date you accessed the information.

Guerra, Ely. “Lontano.” Hombre Invisible. Homey Company, 2010. Alexander Street: A ProQuest Company. Web.

19 Nov 2020.

How to Cite Theatrical Works

• Each theatrical work will cite the author at the beginning with the last name followed by the first name. The title of the work will come next (in italics). The rest will vary depending on the format of the presentation.

Stand Alone Book of a Play

• A printed book of a play is cited the same way any other book is cited in MLA format with the author’s last name followed by first name, the title of the play (in italics), the publisher of that copy, and the year of publication.

Hansberry, Lorraine. A Raisin in the Sun. Modern Library, 1995.

Anthology

• A play that is printed as part of an anthology must reference the larger text and the specific pages within that house the work.

Shakespeare, William. The Tragedy of Macbeth. The Oxford Shakespeare: The Complete Works, edited by John

Jowett et al., 2nd ed., Oxford University Press, 1998, pp. 2501-2565.

Live Performance

• A live performance citation must cite the director of the specific performance, the date of the performance, the performance hall, and the location of the performance.

Parker, Trey, et al. The Book of Mormon. Directed by Casey Nicholaw and Trey Parker, 20 Feb. 2019, The Prince

of Wales Theatre, London. Performance.

Recorded Live Performance

• Cite a recorded live performance the same way as a live performance but add in the information about where the performance is housed. If the date and place of the performance is not listed on the site do not research it for the citation. List the name of the site’s publisher, or the Website’s name (in italics), and the website’s URL.

Morisseau, Dominique. Pipeline. Directed by Lileana Blain-Cruz and Habib Azar. Digital Theatre +. https://www-

digitaltheatreplus-com.eu1.proxy.openathens.net/education/collections/broadway-hd/pipeline#production-

videos-key-speech

How to Cite Films

• For the citation of films you will start with the name of the film (in italics), follow that with the director(s) name(s), the stars of the film (if particularly relevant), the film’s producer or distributor, and end with the year the film was released.

The Revenant. Directed by Alejandro G. Iñárritu, performances by Leonardo DiCaprio, Tom Hardy, and

Domnhall Gleeson, 20th Century Fox, 2015.

• It is also appropriate, to begin with, the director’s name if the director(s) is especially important, be sure to list their title after their name.

Lana Wachowski and Lilly Wachowski,

Art Question

QUESTION

This is your first AHIS 1 Exam! You will write a 3 to 4 page formal/visual analysis paper on an ancient work from Gardner’s textbook. You get to choose which one to write on. The Format is detailed below.

What to choose: Select ONE WORK (painting, pottery/vase painting, 3-d sculpture, or 2-d relief sculpture) from the Dropbox Homework assignments. The images come from Gardner’s textbook. Make sure that the work dates to the date parameters of our course: ca. 9000 BCE to 100 CE. This includes: Prehistoric, Mesopotamia/Near Eastern, Egypt, or Aegean

A formal analysis contains the following:  

1] WHATS:  

(This information is on the caption label.)          

Title of work            

Artist’s name (if listed)           

Country of origin/location            

Date            

Medium            

Dimensions  

2] HOWS:

This is a detailed formal analysis from careful observation and QUESTION. Explain how the elements you observe are achieved and why you think the artist chose to use them in that way.              

A] PURPOSE (if known)

Painting or sculpture: Did the work once serve a functional purpose, and if so, is that function still evident from looking at the work today? Was the work meant to stand alone or be part of a larger piece or ritual? Was it intended for private or public viewing?              

B] SHAPE

Painting or sculpture: What geometric shapes make up the composition? Are shapes used geometric or biomorphic?  

Sculpture only: Is the work representational or geometrically stylized/abstract? Simple or complex? Two-dimensional relief or three-dimensional volume? Are any geometric shapes emphasized (i.e., cone, sphere, pyramid, square, rectangle, circle, etc.)? What do the shapes and/or pose imply?              

C] SURFACE TEXTURE

For sculpture, discuss: What is the tactile quality of the work, and how is this affected by the material it is made from? Does the surface appear rough or smooth, shiny or dull, subtle or noticeable, etc.? Does it make you want to touch it? What are the associations with the material? Does the finished surface still show the “touch” of the artist or the tools used?

For painting, discuss: Is the work an example of tactile texture or visual texture? Is the surface rough or smooth, shiny or dull? Is this a result of the medium chosen? Are the brushstrokes noticeable and sketchy or smooth and hard to detect? Does that affect its mood or your response?              

D] COMPOSITION:

How the parts are arranged Painting or sculpture: Formal (symmetrical, centered, balanced, orderly, stable), or informal (asymmetrical, active, off-balanced)? Are the shapes and forms arranged in the picture space in a crowded or open way? Directional focus: Where does your eye first look and why? What are the dominant compositional or organizational lines used (horizontal, vertical, diagonal, circular?) What is the effect of this orientation? Are objects in proportion and correct scale to one another?              

E] COLOR

Painting or sculpture: (If a sculpture, first discuss where and how color is added to the sculpture, then answer the following:) What are the Hues used (name of color)? What are the Values used (lightness or darkness, brightness or intensity)? What Saturation is used (strength of the hues)? Is the color imitative of appearances in nature or more expressive of emotion (or both)? Is color used to focus your attention on any specific area of the painting/sculpture? Does color seem to be emphasized more than line? Is color a major factor in creating the mood of the piece? How? Describe the colors: bright, dim, saturated, pale, deep, dark, obscure?              

F] LINE

Painting only: Is the overall emphasis on line (drawing) or color? Are the lines that define the shapes and contours crisp and precise or blurred and irregular? Does the line help to define the mood? Describe the line(s) used: sinuous, curving, angular, acute, perpendicular, parallel, straight? Steep, slanted, diagonal, angled, tapering, block, bulky?              

G] LIGHT Painting only: Does the effect of light seem natural or unnatural? Are there sharp contrasts of light and shadow or gentle gradations? Is the light even overall or focused (drawing your eye to one area)? Is the source of light clear and bright or dark and mysterious? What is the effect of this? Is the painting’s mood affected by the lighting (dramatic, disturbing, comforting, etc.)? Describe the way light appears: opaque, transparent, translucent, layered, glazed, reflective? How about: blended, blurred, softly lit, harshly lit, bright daylight, glowing?              

H] SPACE: The illusion of depth in the picture

Painting or sculptural reliefs: Is it more 3-dimensional (the illusion of a natural recession into space) or more 2-dimensional (shallow and limited). Describe how this is achieved by indicating the use of any of the various ways to indicate depth:            

Overlapping            

Foreshortening            

Shading/modeling            

Linear Perspective (parallel lines converge in the distance)            

Aerial or atmospheric Perspective (remote objects are less clear than near objects)  

For 3-Dimensional Sculpture – discuss instead: How does the figure interact with the space around it, e.g., active or self-contained? Was it originally meant to be seen from only one point of view or from all around? Does the pose imply rest? movement? emotion? authority. etc.? What effect does the size of the work have on you? Does the sculpture encourage you to look at it close up or from afar? Why?  

I] CONTENT: Subject matter and Iconography

Painting or sculpture: What is the subject matter? (describe figures, poses, actions if representational; also if the human body is the most important form in the work.) Does it tell a story (narrative) or is it more symbolic? If symbolic, what do you think the symbols mean, and are you able to interpret them? Does the work express any specific mood or emotions to you? What is the deeper iconography — the meaning and symbolism of the subject matter?  

3] WHYS:      

BIOGRAPHY

What, if anything, is important to know about the artist and his/her career? Can this help you understand the artwork better?

ADD YOUR PERSONAL EVALUATION

What is your opinion of the work? Why did you select it to discuss (what qualities appealed to you)? Do you feel the artist successfully achieve what he/she set out to accomplish (and can we know what that was)?  

*****FORMAT: Papers should be typed, double-spaced, and about 3-4 pages in length. Use Times New Roman font AND 1” margins. This paper is primarily your observations so do not consult any sources for the formal analysis part. Important: Please insert a photo of the work you chose onto your Word doc. You can put it on the last page, or include it on a cover or title page. Give your paper a nifty title! The photo and title page do not count towards the number of written pages. Submit your paper to the Exam #1 link on Canvas (.pdf or .doc, .docx only) by March 22nd, 11:59 pm Pacific Time)   (You are not expected to consult outside sources, but if you do consult any research sources or websites, then you must include a Bibliography.  Your textbook must be on this list.)                          

A RANDOM LIST OF WORDS THAT CONVEY VISUAL QUALITIES IN PICTURES (talk to me about words you do not understand):  

Questions... Ask questions and remember that every quality is relative: How many figures are there? How large are the shapes? How varied are the shapes? the colors? How dark or brightly lit is the scene? How deep does the space seem? How thick do the figures look? Do things resemble one another or differ from one another? (For example, is there a resemblance of shapes, forms, persons, things, colors or a great deal of difference among them? Does the scene seem empty, crowded? concentrated, dispersed?  

Formal elements… space, light, color, composition, texture, illumination, lighting, drawing, line, shading, detail, contour, edge, plane, frame, size (literally 2 inches tall), scale (seems monumental), hue (color), value (relative brightness or darkness of a color), form (implies a 3-dimensional volume, not simply a 2-dimensional shape), volume (the implied space occupied), mass (sense of weight of volume), gesture, movement  

Use Descriptive Words in your Analysis... foreground, middle ground, background rising, falling, elevated, lowered, descending, diminishing, enlarged, stacked, level high, low, central, center, close, far, distant, marginal, peripheral, contrasting large, small, tall, short, squat, narrow, wide, thick, slim, slender, miniature, diminished,     

diminutive, monumental, imposing, grand, stiff, flexible, schematic crowded, empty, dense, reduced, simple, minimal, busy symmetry, asymmetry (symmetrical, asymmetrical) projecting, receding, sloping, foreshortened, protruding intersection, overlap, contiguous, continuous, next to, beside, behind, before, in front of contrasting, complementary, juxtaposition, opposition, rhyming, mirroring sinuous, curving, angular, acute, perpendicular, parallel, straight steep, slant, diagonal, angled, tapering, block, bulky variety, pattern, ornament, ornate, complex, complicated simple, minimal, bare, empty, delicate, bold rhythm, rhythmic, spiral, curve, undulation, serpentine, staccato repetition, parallel, mirroring, doubling unique, singular, solitary, isolated circle, cylinder, cylindrical, column, cone, pyramid matte, flat, dry, dull, shiny, reflective, reflection, illumination, illuminated, brilliant, glossy,