Schizophrenia Essay Example | Topics and Well Written Essays - 1250 words - 1

Schizophrenia - Essay Example What sets the two forms of schizophrenia apart is that the person who is diagnosed with paranoid schizophrenia believes themselves to be wanted or hunted, usually by the voices that they hear in their head or the people that they believe they can see. They develop schizophrenia as well as paranoia. Schizophrenia affects at least one per cent of Americans, with the majority of them being teenagers or young adults. Schizophrenia is most common in people during their late adolescence until their mid-twenties if they are men and their late twenties if they are female. The chance of getting schizophrenia is equal between gender and ethnic groups. Schizophrenia is also a disease that can be passed down from someone who already has the disease, or has had it. This can be done genetically, or if someone, especially a child, is subjected for great lengths of time to someone who has schizophrenia. A person is more likely to get the disease themselves if they are related, even distantly, to someone who has already had it. As there is no real definable cause of schizophrenia, it is difficult to predict if somebody will get it. People are often misdiagnosed due to the lack of understanding that comes with schizophrenia; there have been many cases when someone has been diagnosed, come to later find out that it was something unrelated to schizophrenia. It is a very shaky disease to diagnose properly. With all types of schizophrenia, the majority of the symptoms remain the same. There are only one or two striking differences that set the different branches apart from each other. There are considered to be three branches of symptoms, which are positive, negative, and cognitive. Positive symptoms are considered to be the obvious behaviors that are not normal to a healthy person. These symptoms are easy to spot and are easiest to treat. Positive symptoms include unusual thoughts, hallucinations, and delusions. They are symptoms that verbally and visually pull a person

Conference And Exhibition Management Essay Example | Topics and Well Written Essays - 2000 words

Conference And Exhibition Management - Essay Example Generally, conference buyers are the event organizers or planners who purchase or employ event-related commodities or services (e.g. venues, specialist services) (Rogers 34). In the conference industry, there are two major kinds of conference buyers: the corporate buyers and the association buyers. Corporate buyers, as the name suggests, are buyers and organizers of corporate events for a financial gain (Rogers 34). The association buyers, on the contrary, work for not-for-profit organizations and merely rare are those who hold events with the purpose of benefiting financially from such events (Rogers 45). However there is also another kind of conference buyer: academic buyers. Academic buyers are those who plan for academic conferences such as the 2010 Museums and Heritage Conference. Academic conferences are usually an interaction among researchers in a specific field of study (Caroll-Clark). The 2010 Museums and Heritage Conference will mostly constitute delegates who are from universities to convene about one social and educational purpose - preserving and conserving museums and the heritage. Therefore the University of Bright People falls under the context of academic buyers. Since the conference is academic, the venue may not be luxurious however not inferior of taste to suit the varying preferences of the students, academics and industrialists. The venue is where the participants will be able to interact with each other; meet new acquaintances and/or opportunities for trade (Marx, et al. 15). The following are the criteria for selecting the conference venue. The delegates should be able to access the location without hassles so the conference site must not be hard to locate on the map. Otherwise, it is best recommended that the venue be a common knowledge to all, or in a word, popular. The conference venue should be able to accommodate at least 350

Personal Biography Essay Example | Topics and Well Written Essays - 250 words

Personal Biography - Essay Example When other girls of my age found their happiness in malls and shopping, I doodled, painted and played games with my brothers to get mine. Even though no one ever believed in me, I wanted to get into my dream school, pursue designing and aimed to become an amazing and inspirational designer someday. I never got any computer training during my school time in Jakarta but I was aware how relevant computers were today in the world of fashion and hence I self-taught myself to understand and use applications such as Photoshop from different forums and mediums such as the internet. I held onto my dream of becoming a designer and inspired myself constantly. After completing my high school, I shifted to Los Angeles to continue my degree in a community college because my parents were reluctant to let me take up art. However, my dream never left me and I was sure someday they would realize that art was the only thing that I wanted to do. Soon enough they understood the fact that designing was my sole passion and therefore allowed me to follow my dream of going to FIDM and taking up design. That was the happiest day of my life when finally my dreams were given wings and there are no words to thank my parents who gave me the much needed support. Every day that I spend at FIDM energizes me to reach my goal of becoming successful and inspiring others to become creative and finally making my parents proud without whom it would have been impossible to be the person that I am

Toyota outsourcing and offshoring analysis Essay

Toyota outsourcing and offshoring analysis - Essay Example India and many other countries and has recreated its management philosophy, work methods and adherence to productivity. This paper examines the methodology behind the off shoring and outsourcing that the company has introduced and also discusses how these practices follow the theories of Dunning and Hymer. Fang (2003) has suggested that the famed Toyota Production System (TPS) that was established by the famous Taiichi Ohno has been applied to all aspects of the outsourcing model. The authors have defined Off shoring as the relocation or creating afresh, the infrastructure and processes from one country to another. Off shoring may be utilized for the transplanting of production, services, backend services, call centre operations, help desk support and other business functions. Outsourcing is the process of procuring core and non core business function and services from suitable vendors. The term outsourcing includes parts ad spares manufacturing, procurement of raw materials, finished goods, apparel, automobile components, outsourcing of intellectual work such as market research and others. According to the Paul (et all, 2005), when Toyota decides to offshore manufacturing base in another country, it either opens a fully owned company if the rules of the foreign country permit or it may decide to take a partnership with a like minded partner who values the principles of Toyota manufacturing company. Other than recreating the manufacturing process by buying machines and testing equipment, the company extends the TPS model to cover other areas such as maintaining a flat corporate structure that empowers individuals to strive for excellence, hiring practices that favour the young and inexperience but who can be moulded to easily adapt to new trends, teamwork where each member helps the other in achieving goals, establishing two way open communications where people are urged to speak about their problems; non-monetary awards

Organic food Essay Example for Free

Organic food Essay We asked Food Scientists a simple question: â€Å"What foods do you avoid? Experts from different areas of specialty explain why they won’t eat these eight foods. Food scientists are shedding light on items loaded with toxins and chemicals–and simple swaps for a cleaner diet and supersized health. Experts from different areas of specialty explain why they won’t eat these eight foods. Clean eating means choosing fruits, vegetables, and meats that are raised, grown, and sold with minimal processing. Often they’re organic, and rarely (if ever) should they contain additives. But in some cases, the methods of today’s food producers are neither clean nor sustainable. The result is damage to our health, the environment, or both. So we decided to take a fresh look at food through the eyes of the people who spend their lives uncovering what’s safe–or not–to eat. † Their answers don’t necessarily make up a â€Å"banned foods† list. But reaching for the suggested alternatives might bring you better health–and peace of mind. 1. The Endocrinologist Won’t Eat: Canned Tomatoes Fredrick Vom Saal, is an endocrinologist at the University of Missouri who studies bisphenol-A. The problem: The resin linings of tin cans contain bisphenol-A, a synthetic estrogen that has been linked to ailments ranging from reproductive problems to heart disease, diabetes, and obesity. Unfortunately, acidity (a prominent characteristic of tomatoes) causes BPA to leach into your food. Studies show that the BPA in most people’s body exceeds the amount that suppresses sperm production or causes chromosomal damage to the eggs of animals. â€Å"You can get 50 mcg of BPA per liter out of a tomato can, and that’s a level that is going to impact people, particularly the young,† says vom Saal. â€Å"I won’t go near canned tomatoes. † The solution: Choose tomatoes in glass bottles (which do not need resin linings), such as the brands Bionaturae and Coluccio. You can also get several types in Tetra Pak boxes, likeTrader Joe’s and Pomi. Exposure to BPA Causes Permanent Damage In OffSpring 2. The Farmer Won’t Eat: Corn-Fed Beef Joel Salatin is co-owner of Polyface Farms and author of half a dozen books on sustainable farming. The problem: Cattle evolved to eat grass, not grains. But farmers today feed their animals corn and soybeans, which fatten up the animals faster for slaughter. But more money for cattle farmers (and lower prices at the grocery store) means a lot less nutrition for us. A recent comprehensive study conducted by the USDA and researchers from Clemson University found that compared with corn-fed beef, grass-fed beef is higher in beta-carotene, vitamin E, omega-3s, conjugated linoleic acid (CLA), calcium, magnesium, and potassium; lower in inflammatory omega-6s; and lower in saturated fats that have been linked to heart disease. â€Å"We need to respect the fact that cows are herbivores, and that does not mean feeding them corn and chicken manure,† says Salatin. The solution: Buy grass-fed beef, which can be found at specialty grocers, farmers markets, and nationally at Whole Foods. It’s usually labeled because it demands a premium, but if you don’t see it, ask your butcher. 3. The Toxicologist Won’t Eat: Microwave Popcorn Olga Naidenko, is a senior scientist for the Environmental Working Group. The problem: Chemicals, including perfluorooctanoic acid (PFOA), in the lining of the bag, are part of a class of compounds that may be linked to infertility in humans, according to a recent study from UCLA. In animal testing, the chemicals cause liver, testicular, and pancreatic cancer. Studies show that microwaving causes the chemicals to vaporize–and migrate into your popcorn. â€Å"They stay in your body for years and accumulate there,† says Naidenko, which is why researchers worry that levels in humans could approach the amounts causing cancers in laboratory animals. DuPont and other manufacturers have promised to phase out PFOA by 2015 under a voluntary EPA plan, but millions of bags of popcorn will be sold between now and then. The solution: Pop organic kernels the old-fashioned way: in a skillet. For flavorings, you can add real butter or dried seasonings, such as dillweed, vegetable flakes, or soup mix. Make it organic and use coconut oil. If You’re Still Eating Microwave Popcorn, You’re Not Fully Grasping The Health Consequences 4. The Farm Director Won’t Eat: Nonorganic Potatoes Jeffrey Moyer is the chair of the National Organic Standards Board. The problem: Root vegetables absorb herbicides, pesticides, and fungicides that wind up in soil. In the case of potatoes–the nation’s most popular vegetable–they’re treated with fungicides during the growing season, then sprayed with herbicides to kill off the fibrous vines before harvesting. After they’re dug up, the potatoes are treated yet again to prevent them from sprouting. â€Å"Try this experiment: Buy a conventional potato in a store, and try to get it to sprout. It won’t,† says Moyer, who is also farm director of the Rodale Institute (also owned by Rodale Inc. , the publisher of Prevention). â€Å"I’ve talked with potato growers who say point-blank they would never eat the potatoes they sell. They have separate plots where they grow potatoes for themselves without all the chemicals. † The solution: Buy organic potatoes. Washing isn’t good enough if you’re trying to remove chemicals that have been absorbed into the flesh. Budget tip: Organic potatoes are only $1 to $2 a pound, slightly more expensive than conventional spuds. 5. The Fisheries Expert Won’t Eat: Farmed Salmon Dr. David Carpenter, director of the Institute for Health and the Environment at the University at Albany, published a major study in the journal Science on contamination in fish. The problem: Nature didn’t intend for salmon to be crammed into pens and fed soy, poultry litter, and hydrolyzed chicken feathers. As a result, farmed salmon is lower in vitamin D and higher in contaminants, including carcinogens, PCBs, brominated flame retardants, and pesticides such as dioxin and DDT. According to Carpenter, the most contaminated fish come from Northern Europe, which can be found on American menus. â€Å"You could eat one of these salmon dinners every 5 months without increasing your risk of cancer,† says Carpenter, whose 2004 fish contamination study got broad media attention. â€Å"It’s that bad. † Preliminary science has also linked DDT to diabetes and obesity, but some nutritionists believe the benefits of omega-3s outweigh the risks. There is also concern about the high level of antibiotics and pesticides used to treat these fish. When you eat farmed salmon, you get dosed with the same drugs and chemicals. The solution: Switch to wild-caught Alaska salmon. If the package says fresh Atlantic, it’s farmed. There are no commercial fisheries left for wild Atlantic salmon. Farmed Fish vs. Wild Fish: How Healthy Is The Fish At Your Favorite Grocery? 6. The Cancer Researcher Won’t Drink: Milk Produced With Artificial Hormones Rick North is project director of the Campaign for Safe Food at the Oregon Physicians for Social Responsibility and former CEO of the Oregon division of the American Cancer Society. The problem: Milk producers treat their dairy cattle with recombinant bovine growth hormone (rBGH or rBST, as it is also known) to boost milk production. But rBGH also increases udder infections and even pus in the milk. It also leads to higher levels of a hormone called insulin-like growth factor in milk. In people, high levels of IGF-1 may contribute to breast, prostate, and colon cancers. â€Å"When the government approved rBGH, it was thought that IGF-1 from milk would be broken down in the human digestive tract,† says North. â€Å"There’s not 100 percent proof that this is increasing cancer in humans,† admits North. â€Å"However, it’s banned in most industrialized countries. † The solution: Buy raw milk or check labels for rBGH-free, rBST-free, produced without artificial hormones, or organic milk. These phrases indicate rBGH-free products. Why Do Humans Still Drink Milk? 7. The Biotech Specialist Who Won’t Eat Conventional Soy: GMO Unfermented Soy Michael Harris is biotech specialist who has directed several projects within the biotech sector including those for genetically engineered food. He has been a consultant, manager and director for companies such as Xenon Pharmaceuticals and Genon Corporation. The problem: Genetically engineered food is a cause of great concern due to the manipulation of DNA and genetic code including transfers from one species to another. Fermented Soy Is The Only Soy Food Fit for Human Consumption and since almost 90% of soy in the world is genetically modified, if you are not ensuring sources are organic, long-term health problems are inevitable, especially since soy has been found to affect hormonal balance and even cause cancer. The solution: Check labels to ensure soy is Non-GMO or organic and never consume unfermented sources. If possible contact the company to find out exactly where the Non-GMO soy was obtained. 8. The Organic-Foods Expert Won’t Eat: Conventional Apples Mark Kastel, a former executive for agribusiness, is codirector of the Cornucopia Institute, a farm-policy research group that supports organic foods. The problem: If fall fruits held a â€Å"most doused in pesticides contest,† apples would win. Why? They are individually grafted (descended from a single tree) so that each variety maintains its distinctive flavor. As such, apples don’t develop resistance to pests and are sprayed frequently. The industry maintains that these residues are not harmful. But Kastel counters that it’s just common sense to minimize exposure by avoiding the most doused produce, like apples. â€Å"Farm workers have higher rates of many cancers,† he says. And increasing numbers of studies are starting to link a higher body burden of pesticides (from all sources) with Parkinson’s disease. The solution:Buy organic apples or apples from a farmer that you trust!

Poseidon Essay Example for Free

Poseidon Essay God of the sea, protector of all waters. Poseidon is the brother of Zeus. After the overthrow of their Father Cronus he drew lots with Zeus and Hades, another brother, for shares of the world. His prize was to become lord of the sea. He was widely worshiped by seamen. He married Amphitrite, a granddaughter of the Titan Oceanus.At one point he desired Demeter. To put him off Demeter asked him to make the most beautiful animal that the world had ever seen. So to impress her Poseidon created the first horse. In some accounts his first attempts were unsuccessful and created a variety of other animals in his quest. By the time the horse was created his passion for Demeter had cooled. His weapon is a trident, which can shake the earth, and shatter any object. He is second only to Zeus in power amongst the gods. He has a difficult quarrelsome personality. He was greedy. He had a series of disputes with other gods when he tried to take over their cities. Poseidon was the second son of Cronus and Rhea. In most accounts he is swallowed by Cronus at birth but later saved, with his other brothers and sisters, by Zeus. However in some versions of the story, he, like his brother Zeus, did not share the fate of his other brother and sisters who were eaten by Cronus. He was saved by his mother Rhea, who concealed him among a flock of lambs and pretended to have given birth to a colt, which she gave to Cronus to devour.[3] According to John Tzetzes[23] the kourotrophos, or nurse of Poseidon was Arne, who denied knowing where he was, when Cronus came searching; according to Diodorus Siculus[24] Poseidon was raised by the Telchines on Rhodes, just as Zeus was raised by the Korybantes on Crete. According to a single reference in the Iliad, when the world was divided by lot in three, Zeus received the sky, Hades the underworld and Poseidon the sea. In the Odyssey (v.398), Poseidon has a home in Aegae. The foundation of Athens Athena became the patron goddess of the city of Athens after a competition  with Poseidon. Yet Poseidon remained a numinous presence on the Acropolis in the form of his surrogate, Erechtheus.[2] At the dissolution festival at the end of the year in the Athenian calendar, the Skira, the priests of Athena and the priest of Poseidon would process under canopies to Eleusis.[25] They agreed that each would give the Athenians one gift and the Athenians would choose whichever gift they preferred. Poseidon struck the ground with his trident and a spring sprang up; the water was salty and not very useful,[26] whereas Athena offered them an olive tree. Temple of Poseidon at Cape Sounion, ca 440 BC The Athenians or their king, Cecrops, accepted the olive tree and along with it Athena as their patron, for the olive tree brought wood, oil and food. After the fight, infuriated at his loss, Poseidon sent a monstrous flood to the Attic Plain, to punish the Athenians for not choosing him. The depression made by Poseidons trident and filled with salt water was surrounded by the northern hall of the Erechtheum, remaining open to the air. In cult, Poseidon was identified with Erechtheus, Walter Burkert noted; the myth turns this into a temporal-causal sequence: in his anger at losing, Poseidon led his son Eumolpus against Athens and killed Erectheus.[27] The contest of Athena and Poseidon was the subject of the reliefs on the western pediment of the Parthenon, the first sight that greeted the arriving visitor. This myth is construed by Robert Graves and others as reflecting a clash between the inhabitants during Mycenaean times and newer immigrants. It is interesting to note that Athens at its height was a significant sea power, at one point defeating the Persian fleet at Salamis Island in a sea battle. The walls of Troy Poseidon and Apollo, having offended Zeus by their rebellion in Heras scheme, were temporarily stripped of their divine authority and sent to serve King Laomedon of Troy. He had them build huge walls around the city and promised to reward them well, a promise he then refused to fulfill. In  vengeance, before the Trojan War, Poseidon sent a sea monster to attack Troy. The monster was later killed by Heracles. Consorts and children Poseidon on an Attic kalyx krater (detail), first half of the 5th century BC. Poseidon was said to have had many lovers of both sexes (see expandable list below). His consort was Amphitrite, a nymph and ancient sea-goddess, daughter of Nereus and Doris. Poseidon was the father of many heroes. He is thought to have fathered the famed Theseus. A mortal woman named Tyro was married to Cretheus (with whom she had one son, Aeson) but loved Enipeus, a river god. She pursued Enipeus, who refused her advances. One day, Poseidon, filled with lust for Tyro, disguised himself as Enipeus, and from their union were born the heroes Pelias and Neleus, twin boys. Poseidon also had an affair with Alope, his granddaughter through Cercyon, his son and King of Eleusis, begetting the Attic hero Hippothoon. Cercyon had his daughter buried alive but Poseidon turned her into the spring, Alope, near Eleusis. Poseidon rescued Amymone from a lecherous satyr and then fathered a child, Nauplius, by her. After having raped Caeneus, Poseidon fulfilled her request and changed her into a male warrior. A mortal woman named Cleito once lived on an isolated island; Poseidon fell in love with the human mortal and created a dwelling sanctuary at the top of a hill near the middle of the island and surrounded the dwelling with rings of water and land to protect her. She gave birth to five sets of twin boys(the firstborn who being named Atlas) became the first rulers of Atlantis.[28][5][6][7] Not all of Poseidons children were human. In an archaic myth, Poseidon once pursued Demeter. She spurned his advances, turning herself into a mare so that she could hide in a herd of horses; he saw through the deception and became a stallion and captured her. Their child was a horse, Arion, which was capable of human speech. Poseidon also had sexual intercourse with Medusa on the floor of a temple to Athena.[29] Medusa was then changed into a monster by Athena. When she was later beheaded by the hero Perseus, Chrysaor and Pegasus emerged from her neck. There is also Triton (the merman), Polyphemus (the cyclops) and, finally, Alebion and Bergion and Otos and Ephialtae (the giants).[29]

Concept of Drawing as a Medium

Concept of Drawing as a Medium This essay will address the subject of drawing. The main starting point will be the ideas of John Berger on Drawing. These ideas can be summed up into three main concepts: Drawing as observation, drawing as memory and drawing as expressing ideas. Although drawing from observation was of fundamental importance in the past today we see more and more an engagement of drawing with memory and as expression of ideas. This doesnt mean that people dont deal with observational drawing, it means that its practice as it was in the past has become obsolete in the sense of drawing is a starting point as study for a final painting. The introduction of photography and the end of old art academies accelerated this change. This essay will deal mainly with drawing as memory and drawing as ideas. It will first look at artists who use drawing in a more conventional way for ideas and memory. Then it will move on to consider artists who challenge the medium itself (pencil, paper and so on) to push the ide a of drawing to express drawing as memory and drawing as observation. The essay will discuss the distinctions between painting, sculpture and performance as a way of discovering the possibilities of drawing and also to discuss the new expectations of drawing as a medium. The art practice of drawing in the late twentieth century has achieved the status of art in its own right. The approach to drawing is also changing in ways that reflect trends within the art world at large. Many artworks in association with drawing challenge traditional boundaries among media. Secondly, there is self-consciousness about the nature of art and what is involved in the creation of art. I see drawing now at a primarily end of its tradition it can be argued that it no longer stands as drawing to represent. It seems that we are on the verge of anther paradigm shift in drawing, now reflecting an altered view of its nature as a skilled activity, what we now perceive as drawing has been obliterated. By this I mean change for instance, Rauschenbergs Erased De Kooning, an example of change by removal of the drawing. Rauschenberg proved to be going backwards in drawing traditions. The drawing was there and now it is not. This was a kind of rebellion going against traditions, alth ough the drawing may have gone backwards drawing was to go forwards i.e., modernism. The process of change will be discussed. Drawing is discovery John Berger, Berger on drawing, had enabled me to begin research and analyse in depth both the physical and the metaphysical act of drawing. What we draw is not only the subject observed but also what we already know about it. In fact the past experience of the subject affects the way we draw it. Berger further raises the point that will be discussed in this essay; the differences between the actions of drawing and painting. According to Berger the audience can identify with the subject illustrated when confronted with a painting. I will attempt to establish a dialogue on the possibilities of drawing with reference to artistic process. Firstly I will analyse the work of Jackson Pollock as a link to contemporary practice. I have also found it important to research literary theory on the grounds of the process of mark making and the social connotations it has created. The reading of Berger on drawing helped me to begin thinking about some key terms such as drawing as memory, drawing as a way to express or show forth ideas and drawing as observation. It was useful to reflect on the idea of truth in drawing. How truthful can we be when we draw? Do we draw what we see or what we know? Can we overcome our set knowledge of things? I will try to find out more about these issues studying the work of other artists. Artists such as Jackson Pollock, CY Twombly, Susan Collis, Louise Bourgeois and Yves Klein whom will be discussed in this essay distinguish their mark making to be somewhat unknown and less predictable. Their works all would free all external impurities. This essay will examine a process of where drawing stands to date in relation to the past. It seems that drawing is everything it is not just the stimulators of the pencil it is in fact the motif and creation of exploring possibilities within the concept. I want to question that without these familiarities then what is known, as drawing could never have happened. Drawing is a continuous action, commonly known as the before of something. Now drawing is the beginning and the end of concepts. Drawing, when perceived as truth or good is the act of line. This is the common factor that persuades all subject matter to fall in the same category as writing, in the relation to text and image. Conversely, bad drawing is lining by the means of lines, a fact lamentably patent in things as widely divergent. This point permits me to repeat that drawing specifically means to visualize ideas by means of lines. Drawing is discovery; drawing is a way of seeing what is hiding under the surface. If the artist observes what is in front of him then dissects in his minds eye this demonstrates that the artist relies on memory and past observations to draw the subject before him rather than simply examining what lies before him. What we draw is not only the subject observed but must also be what we already know about it. It is the difference between the actions of drawing and painting that need to be explored further, for instance in abstract expressionism the line between subject and artist is subtle in distinction whereas Yves Klein paints with a figure, which will expose the difference in this relation. Drawing into painting chapter One (a discussion with chosen material)and chance There are distinctions between drawing and painting. It seems this became irretrievably blurred when Jackson Pollock started to paint with line in the late 1940S. Bernice rose has stated in the writings of his work that, perhaps, then it would be more precise to say that there is no real dividing line between painting and drawing in his work. Perhaps there is no divide between painting and drawing? The same is being made, the mark or as discussed the line is only been made larger and the feeling is now more intense. Pollock erased the distinctions then pertaining between drawings as a discipline. Referring to Cy Twombly cycles and seasons, reading paragraph, coincidence where Shiff talks about the pencil line as something that is happening, this means that the line is not there to describe or configure things with a narrative aim, i.e. The line is not meant to represent objects belonging to the world. The line is not linked to the act of seeing with Pollock. The line is linked to the act of investigation and drawing as idea and memory. As Pollock would push the boundaries between drawing and painting thus drawing becomes painting and vice versa. Therefore drawing loses its dependence on painting. Twombly would repeat what Pollock had started. Their work both suggests internal feelings and relate in a much deeper way to merely observation. From memory they would represent their emotions going against the conventions of traditional drawing. The line represents and describes feelings and emotions, which seems a constant flux of things that can happen at the same time. Using Twombly as a reference once again, what appears really interesting to me is the constant change in both of their works: lines are constantly erased, changed, redrawn and re-erased. Furthermore it seems to me that the past and the present are a constant dialogue. As Pollock immediately pours the paint medium onto the canvas the expression is different. The raw emotional expression allowed the drawing to become much more complex and indeed most energetic. Now, the conventional sense in his paintings is that they generally neutralize the distinction between figure and ground, a factor closely allied with the theory of the all-over. Because the image evinces no definite form but only a compact, restless texture that appears to continually advance and recede and allows the eye no point of rest, is banal.It remained, however, for Pollock to move from this to a full recognition of pictorial identity of drawing and painting. Furthermore, in his work the effort to bring painted effects into balance with those obtainable in drawings vanishes as both materials of ink and oiled pigment would operate from the same overall conception. The conception that would see the blank paper and the indrawn canvas as comparable visual fields. The aura of drawing surrounding the act of painting almost denies any difference. Looking at Pollocks earlier works contains numerous indicators of the great significance that Picassos work held for Pollock. Looking again at drawing as memory or past knowledge Picasso arouses the interest with themes of sex, beauty and young woman but also reference to the old masters in his work. In the words of Jeffery Hoffeld Picasso displays a panorama of works from the history of his own art. The Title links in with Pollocks idea of drawing as an element of memory but also through drawing as past experiences or past knowledge of a specific subject. Significance in style and development evokes the condition of drawing. The intensity of Pollocks Paintings had clearly evolved through his act of drawing, drawing from an idea in his head, creates this impulsive drawing performancei.e the body moves with every drip and every mark to be made, as though the artist would walk with the drawing he would be come part of the work. This drawing is enriched with energy and feeling that could be connected into painting almost immediately. The line scratches through the figures, the impulsive brush over of marks, and gradually discovers beneath the network of strokes a circular shadow that seems to hover in the pictorial space and yet create depth. The beholder has a sense of a hallucination. Walter Benjamin has suggested that when a drawing entirely uses or covers its supporting ground it can no longer be called a drawing. This can be added to define the characteristics of the overworked nature in his work. This definition to me seems unfair to say it is that act of drawing that relates to figure and ground what becomes of the image is unknown. If we extend the list of artists that have used a similar approach to painting and drawing that like wise experimental dripping, such as Susan Collis an artist who also experiments with accidental drips, attaches to the technique as such. Collis work would seem like careless splashes and stains upon the surface, however with careful inspection these marks would heighten the idea to mislead the viewer as these are counterfeit marks playing with our reactions and our understanding with mark making. For instance, Susan Collis, No. 2(In series), 2004, red glitter and self adhesive Vinyl are an example of the process of replacing the original mark with her own. To live is to leave traces This misleading conception that their may have never been an object or a sheet of paper there, is an argument to raise the point that drawing has been extended it has worked its way of the surface and onto a new. Furthermore, Collis works with marks left by things, the incidental and transient and lending their permanence. No matter what point we might eventually select the fundamental function of Collis work allows us to rethink past experiences in Art history and the change within art concepts. Subject is defined with false conceptions playing on the idea of what is and was may not be reality. Referring back to what Berger has said; drawing from memory , this can relate with the work of Susan Collis as the traces are of objects that where once there she has celebrated the idea of memory, drawing from her memory as a way to discover the past in relation to the present. If confronted by something that has no form, no language, or no place, a familiar analogue steps in; we use one thi ng to describe another.When the artist has no words to describe something drawing can define these lost words both the real and the unreal in visual terms. Gestures of freedom For instance, CY Twombly pushes the limits of drawing and painting with words; it is very hard to classify his work either as painting or drawing. Illustrious and Unknown is what Degas aspired to be, and what Cy Twombly has become. The boundary between drawing and painting becomes blurred into his practice as an artist. Playing on the tension between drawing and painting, Twombly was able to question and redefine what drawing is or what it can be. For instance this challenge to drawing can be seen in his experiments to drawing in the dark. In this way he denies the old principle of drawing that is drawing from observation since the act of looking is invalidated in darkness. This can question; how can the values of drawings be recognized as having reflected changes in the material conditions and technology of drawing?The condition of materials being as much unknown in the dark as his mark analysiss an exciting process with discovering his material. With these examples there is a chang e within how art can be made; Art can be made of anything firmly established, as they would work with a range of materials simultaneously. The dictionary definition of drawing suggests that it is inextricably linked with line. Its clear that drawing and painting both exist simarily in the same worlds, what I distinguish between both of them is the order of similar motifs. These artists discussed so far all relate to drawing as memory and drawing as ideas. After the breakdown of modernism, artist became less concerned with any specific properties with their chosen medium, instead selecting the medium for its compatibility with their particular thesis or proposition. There is and order to maximise the formal potential of their chosen material. We only have to study the work of Marlene Dumas to gain an understanding of the relationship drawing has to painting. Drawing is a vital part of Marlene Dumas oeuvre; by drawing with the line tools of painting her works on paper and the oil paintings echo each other. This is an opportunity to once again blow up the image as said. In this case drawing is a way of getting to understand the image, I use second hand images and first hand emotions. Her paintings differ from her contemporaries who during the 1980s revisited the figure in neo-expressionist work that favoured intoxicating colour. Dumas uses paint as a subversive, anti- conventional means of expression and the figure as a vehicle for achieving these ends. The image is created with the feeling of expressing ideas. She is an artist who works with memory and ideas to work out a dialogue with mark making and story telling. Her paintings become drawings and her drawings become paintings. These paintings make similar marks to a single line in the association with drawing. It is not drawing of an outline as the single brushstrokes acts as a drawing and a painting at the same time. Her materials that she uses obscure new possibilities and meaning the paint, the lines, the ink the drawingThus demonstrating that the line is of importance in both relationships of painting and drawing. The pre-knowledge of her feelings, memories, ideas and associations with the image revert back to the impulsive line. Her direct approach shows the power of the image, which is informed by the immediate gesture of the drawing. The tension that has seemingly been created in the image, we can recognise what is depicted and yet we are not entirely sure about its meaning. As the viewer we are compelled by the poetic nature in movements throughout the image. Other important key terms for the possibilities of drawing are: chance and the relationship child -like/childish drawing. There is an element of chance and randomness in Dumas work, also referring back to Twomblys drawings he too works with the same ideas of chance. As for the relationship child like/childish, Twomblys drawings fall into the first category. In fact as much as one tries to regain the innocent eye of the child one will never succeed because he/she is not a child anymore. In a sense this reminder me of Picassos mission in art as well, i.e. to regain playfulness in the act of drawing. In fact a child is able to create without the concern and the clichà ©s the adult artist is concerned with. It is the coloured pencil drawings of Cy Twombly that the line wonders off back and forth in the distance charming the viewer as the marks turn discreet. We can also see this parallel shift from drawing possibilities with materials into painting in the works of Louise Hopkins. Hopkins work hovers on the boundary between drawing and painting. She is and artist whom describes she will paint rather than being a specified painter. Hopkins delicate approach rejects the traditions to picture making. The result is certainly a drawing in purely technical terms, but at the same time it may represent the drastic function of line, her process of change and use of line is meticulously, one stroke at a time. She never starts with a blank canvas. That fear of being confronted with a problem before the image becomes part of the context. For example, in Untitled (the of the) 2002 Hopkins has taken a broadsheet newspaper and drawn over every single key word and image, leaving behind only the connecting words.The words then become isolated and immediately transformed into a new context. This wonderful image has the feeling of a night sky with nothing b ut stars connect with. However maintains its aim with undeniable pattern, rhythm and form. Hopkins ground has been inked out; leaving behind its signifiers, the notes, which are there, but the song has been interrupted with this blocking out technique, which seems a repetitive process. White black black white explains in its title the process of repetition; Hopkins repeats her actions on the surface developing its contrasts and rhythm. This process has created a different kind of rhythm, played out but the white circles and lines framing the musical notation. This seemingly repetitive action is merely Hopkins aesthetic decision to highlight specific points within the page and thereby compose her personal and original tune. This method appears once said painting and drawing in reverse. The existing material and images are systematically covered up. What is interesting in this work is the idea of a memory the surface is a memory, and is yet to be vanished. The more ink that is added the less information she maintains of its originality. Once again this process of change rela tes to drawing as ideas and drawing as memory, Hopkins time consuming change to the image represents the processes within drawing. As disused in Hopkins work there is congruence here with Robert Rauschenberg drawing Erased de Kooning, 1953. Here the drawing has been removed as part of the progression of drawing. There is a clear conceptual starting point here with both artists. Once again this relates to memory. The initial image has been completely removed; however it is still obvious of its existence. Drawings are often created and removed by the lack of success in the drawing. This process of change is clear. The existence of the drawing has shifted from being obvious to then becoming unsure. From the title of the work we cant help but imagine what was. In relation to Hopkins work both artists are drawing attention to what they are taken away, creating possibilities for stereotypical images. There is significance in drawing then to painting or to be known in some sense the painting is once again the drawing. Although we would not understand that this was once a drawing, the title allows an understanding -Text and Image. The text and image represent a personal commentary on concerns that shape much recent art. Drawing into Sculpture chapter Two memories Drawings is analytical but its also expressive in its own right, it has duty to bear witness, nit simply by making a representation of something, but taking things apart and reassembling in a way that makes new connections, it is entirely experimental- Antony Gormley This chapter will discuss sculpture and drawing as a way to discover ideas. Joseph Beuys would have had false conceptions running through his mind if he hadnt made drawingsDrawing in this case would relate to drawing as expressing ideas. Drawing in these key terms would exist differently in real space than a sketched or painted one. With the situation of postmodernism, practice is not defined in relation to the given medium-sculpture- but rather in relation to the logical operations on a set of cultural terms for which any medium -photography, books, lines on wall, mirrors, or sculpture itself might be used. Thus the field provides both for an expanded but finite set of related positions for a given artist to occupy and explore The sculptural work is physically present and the space it exists in identical with real space. Drawing and painting for example tell stories, stories from the artist and stories that we are allowed to fabricate. Whether reality and fiction are allowed to be classified drawing does however extend into those dream dimensions that seem unattainable for sculpture.The drawing as known is not dedicated to any kind of medium, after the breakdown of modernism it seemed that artist became less concerned with the properties of a specific medium. Indeed artist would go against convention. As Stuart Morgan comments on Louise Bourgeois work, For an artist with no fixed style or material or medium, only the rule seems to apply and that there are no rules. No rules at least, which cannot be broken. Despite all gloomy prognoses of the end of freehand drawing, the strengths of drawing- being able to develop, test, and vary and idea with the greatest possible freedom and with an individual touch- have yet been obtained. When I think of Auguste Rodin this prognosis allows me to point out that Rodin thus falls into another category outlined by Berger, in this case drawing from observation and not memory. Rodins important synthesis defined the importance of the body in order to bring out purity. The artists drawing fall under different categories: drawings as preparations for sculptures; drawings as observational exercises per se and drawings from imagination. His approach to drawing as a sculpture, in his black drawings is visible in Rodin use of three dimensionality achieved by the use of chiaroscuro. It is interesting to find Rodin an artist from a traditional period within art, however Rodin felt it was necessary to go back to observation as his drawings became unknown. I realis ed my drawings where too divorced from reality, I started all over again, and worked from my life models. To summarise Rodin used drawing to work out his sculptures using observations, the artist that I will now discuss differ in terms of their practice as it seems fair to say that now drawing is used as an excursion away from reality. This past observation looks at the similarities in which contemporary artists such as Rachael Whiteread that used drawing as a way to form her compositions and as a tool of expressing the object/structure with all of its possibilities. These drawings would initially start as plans, and without these plans false conceptions of the work would appear apparent. Whiteread draws with a sculptures mind, for she follows that sense peculiar to making wood or stone sculptures. The drawing is seen as a field as co-extensive with real space, no longer subject to the illusion of an object marked off from the rest of the world. The space of illusionism can change and connect with the space within the world, in doing so it loses its objective and would become more subjective and accessible only to the individuals raw perception. Furthermore, drawing dedicates itself to the space within. The importance of drawing within the space is a crucial process whiteread would have, by redraw the entire space to understand and refine her ideas. For instance, if we look at Floor Study, 1994, ink correction fluid on paper, 46x34cm This wonderful drawing evokes such movement and repetition that can be designed in the sculptures she makes. In relation to such work Louise Bourgeois who uses her drawings as ways of sketching forth ideas. Her memories are the inspiration as she draws sense of her childhood from memory this way of drawing is not systematically correct as there is no end to the line. It was only a matter of time before drawing could be viewed as an opportunity and opportunity to develop the traditions and stick by the conventions in only a symbolic sense. Artists would now discover the imagination as they moved without restraints between media. The Insomnia Drawings, by Louise Bourgeois are a series of two hundred and twenty drawings that contain major themes in her work. Very important in these Insomnia Drawings is the link between drawing and words. The artist expressed her ideas about childhood fears and memories via drawing. Drawing became the channel to exorcise her fears. In my opinion her draw ings are described mainly from a psychoanalytical point of view. Bronfen, The insomnia Drawings suggests that the artists drawings can be divided into two main categories: on one hand abstract and geometric on the other figurative and realistic.Marie- Laurie Bernadac elucidates that the abstract drawings come from a deep need to achieve peace, rest and sleep, they relate to unconscious memories whereas the realistic drawings represent the conquest of negative memory, the need to erase and get rid of..I found these distinctions that Marie-Laure draws between realistic and abstract drawings interesting, However in my opinion the drawings that is described as realistic could not be described as such in the conventional sense. I see her drawings as more of a dreamt reality. In this sense the act of Bourgeois drawings are successful in expressing her ideas, for instance the work femme maison, where the link between the female body and the house is expressed in a simple and effective way . If we look closely as though we were discovering the secret poetry within Twomblys paintings, Bourgeois uses words which are generally used to express ideas; in her drawings words become drawings themselves. Furthermore the use of words as an aesthetic element with excitement functions to challenge the separation of written word and visual language. In fact the artist expresses them as a whole. Words are also used to represent the banality of everyday.In other words, every real artist, by means of lines compels us to recognise what has been drawn this is the spirit of the subject. Close to Bourgeois subject would undoubtedly be Tracy Emin, her work also makes reference to the feminine and sublime. Tracy Emin returns to drawing as the primary means of expressing her abject state of mind and body. Though she employs a vast array of media such as film, sculpture and performance, it is however drawing that satisfies her confessional practice with a constant presence within her practis e (. i.e.). The line takes control over the way she makes marks; with thread she can sew the line and engage with the same familiarities that the line has within drawing. The difference between drawing and a picture is that in the latter the subject is worked out for us to look at; the former I can imagine so many things which are only suggested. The possibilities of drawing fall back to its original tradition; there is a constant flux of ideas that of which deal with the process of change and randomness. Jan Albers for instance, works in a constant hover between reality and phantasm between figuration and abstract. His interest in spiritualism and imagery reveal the intensity of his artistic research and practice. In this example the exploding lines of colour create a shield covering the figure which defines the structure of the drawing as repetitive mark making with use of the pencil. Often his drawings become three dimensional; the drawings step out into our reality and also are part of Albers reality. The radiating lines extend the drawings hung on the wall; his work deplores the change in drawing and is an infinite example of what drawing can become or what drawing has become. Drawing to me is far greater than being such of a secondary nature; it is in fact primary Sometimes leading to the discovery of another. Progression with their chosen materials Joseph Beuys for instance, his drawing can be compared to most recent works within contemporary art such as Monika Grzymala. The drawing is an exercise far removed from perfection often their drawings are much obvious where there drawing began and what sequence the overlapping steps where executed. Furthermore these artists both deal with Time and Energy. Beuys drawings share a complexity of line yet the basic materials used to create the line defines a greater similarity. There lines are erratic and confusing to look at; Beuys drawings investigate his ideas using his memories to make a mark. Grzymala works with tape as her tool too make a mark on a surface. Line is a point taken for a walk There is a fearful energy to Monika Grzymalas drawing installations: layer upon layer of black lines scrawling up the gallery walls. They have a similar intensity to Beuys spontaneous suggestions of form. Beuys per formative actions served to widen the possibilities for what was considered art. I am defining the themes of change and progression; anything and everything has become possible. Drawing and performance the body chapter three This chapter will discuss, drawing in relation to performance within the conceptual art world. I will use artist such as Paul McCarthy, Rebecca Horn and Ives Klein as a way of comparing and evaluating the extreme ways in which these artists would create drawings but not in the traditional sense. These artists would go against their traditions and explore possibilities of finding a new way of drawing, idea art that reinforce the connections with figure and ground and the physical relation that they have engaged with. If we look at the work of Keith Herring it is clear to identify the fusion of post modern theory that, activist practise and the appropriation of the idea of site specific drawing (performance).The growing eclecticism of styles in the 1980s gave artists the freedom to appropriate style and form from other disciplines such as architectural, fashion, and scientific illustration, as well as popular culture.At this time particular artist began to champion drawing again, origi nally seen as the eccentrics within art, and then gradually acknowledged as important individuals. It can be said that drawing for these artist could be the only method that allowed them to fully express their thoughts, ideas and emotions.For instance Rebecca Horn is a performance artist who creates site specific installations, a sculpture that also makes films whose values of drawing derive from this process of her experimentation. These following examinations will portray the artistic style and energy, motifs and aesthetic strategies in which reflect the importance of drawing and demonstrate why these drawings should be accorded far greater importance than they have been in all her previous exhibitions and publications.Even in the momentum of drawing Rebecca Horn fuses conceptual thinking with emotional and per formative procedure. For instance, her Pencil Mask from 1972 (image), considers these aspects offering a more empathetic demonstration of this approach. Rebecca Horn challenges the drawing and the making of the drawing proves a highly concentrated labour. The head mask consisting of a lattice of vertical and horizontal straps cross.Systematically the actions are prepared to measure spontaneous expression. It can be